OF THE UNIVERSITY CVaiFORtf^ M$ //gjjss /o^a>^ ^7y ■lL- Mr Thomas More Km, />//' ' / /v//.'/.>/'-).//r TCJ////f /:/,,■//,/'■//. *> A most pleasant, fruitful, and witty work, of the best state of a public weal, and of the new isle called Utopia; Written in Latin by the Right Worthy and Famous SIR THOMAS MORE, Knight, and translated into English by RAPHE ROBINSON, A. D. 1551. • A New Edition ; indeed, in too many instances, substituted personal abuse for licensed raillery ; and while, with the an- cients before him, and Erasmus as a contemporary guide, he strove to impart a classical spirit to his productions, he has not only fallen considerably beneath himself, but has set a very striking example how great talents and great virtues may be sacrificed at the shrine of misplaced zeal. What Dr. Knight says upon this subject, is not very wide of the truth. u Let any one but read the vindication of our Protestant faith by poor John Frith, a boy in effect ; and a naked prisoner — and then run over the answers and oppositions of the noble Lord Chancellor, Sir Thomas More, and com- pare the sense, the style, the spirit of them both — and he need not be told on which side the advan- tage lies."* But I proceed to enumerate the re- maining works of our author. * Life of Dean Colet, p. 104. 5. There was too good cause, I fear, for the following pertinent remarks of More's friend, Erasmus, in one of the epistles of the latter. " Olim etiam reverenter audiebatur Hereticus, et absolvebatur si satisfaciebat: sin convictus perstitisset, extrema ptenaerat, non admittebatur ad Ecclesiasticam Communionem. Nunc alia res est Haereseos crimen; et tamen ob quamlibet levem causam, statim hoc habeant in ore " Hceresis est ! Olim Haereticus habebatur, qui dissentiebat ab Evangeliis, Four Last Things.] Sir T. More. lxxxix 3. u A Treatyce (unfynyshed) upon these wordes of holye Scrypture, 1 Memorare novissima, et in eternum nonpeccabis. Remember the last thynges and thou shalt never synne." Made about the year of our lorde 1522, by Sir Thomas More then knyghte, and one of the privye counsayle of King Henry theight, and also under treasorer of Englande." This treatise extends from page 72 to page 102 inclusive, of Tottel's edition. The ensuing speci- men shews how forcibly and pleasingly our author could write when he was divested of personal feeling. Spiritual Pleasures, Now see the blindness of us worldly folks ! how pre- cisely we presume to shoot our foolish bolt, in those matters most in which we least can skill. For I little doubt, but that among four thousand, taken out at adventure, we shall not find four score, but they shall boldly affirm it for a thing too painful, busily to remember these Four Last Things. And yet durst I lay a wager, that of those four ab Articulis fidei, et his quae cum his parem obtinerent au- tboritatem. Nunc si quis unquam dissentiat a Thoma, vocatur Haereticus; imo, si quis a commentitia ratione quam heri Sophista quispiam in Scholis commentus est. Quicquid non placet, quicquid non intelligunt, Haeresis est ; Grace scire Haeresis est; expolite loqui Haeresis est; et quicquid seipsi non faciunt, Hceresis est." Erasmi Epist. JBasil, 1521. p. 477* cited by Dr. Knight. o xc Works of [Four Last Things. thousand, you shall not find fourteen that hath deeply thought on them four times in all their days. If men would vouchsafe to put in proof and experience the opera- tion and working of this medicine, the remembrance of these four last things, they should find therein, not the pleasure of their life lost, but so great a pleasure grow thereby, that they never felt the like before; nor would have supposed that ever they should have felt any such. For it is to be known, the like as we be made of two far divers and unlike substances, the body and the soul, so we be apt and able to receive two divers and unlike pleasures; the one carnal and fleshly, the other ghostly and spiritual. And like as the soul excelleth the body, so doth the sweetness of Spiritual Pleasure far pass and excel the gross and filthy pleasure of all fleshly delight: which is, in truth, no very true pleasure, but a false counterfeit image of pleasure. And the cause why men be so mad thereon, is only for ignorance, and lack of knowledge of the other. As those that lack insight of precious stones, hold themselves as well content and satisfied with a beryl or chrystal well counterfeited, as with a right natural diamond. But he that by good use and experience, hath in his eye the right mark and very true lustre of the dia- mond, rejecteth and will not look upon the counterfeit, be it ever so well handled, ever so craftily polished! And trust it well that, in likewise, if men would well accustom themselves to spiritual pleasure, and that s-weet feeling that virtuous people have of the good hope of Heaven, they would shortly set at nought, and at length abhor, the foul delight and filthy liking that riseth of sensual and fleshly pleasure; which is never so pleasantly spiced with delight and liking, Worship of Images.] Sir T. More. xci but that it bringeth therewith such a grudge and grief of conscience, that it maketh the stomach wamble,* and fare as it would vomit. And yet, notwithstanding, such is our blind custom, that we persevere therein without care or cure of the better: as a sow, content with draffe dirt and mire, careth neither for better meat nor better bed. " Think not that every thing is pleasant that men for madness laugh at. For thou shalt in Bedlam see one laugh at the knocking of his own head against a post, and yet there is little pleasure therein ! But ye think peradventure this sample as mad as the madman, and as little to the pur- pose. I am content ye so think. But what will ye say, if ye see men that are taken and reputed wise, laugh much more madly than he? Shall ye not see such laugh at their own craft, when they have, as they think, wilily done their neighbour wrong ? Now whoso seeth not that his laughter is more mad than the laughter of the madman, I hold him madder than both!" p. 72. 4. " A Dialogue of Syr Thomas More, Knyghte ; one of the counsaill of our Soverayne Lord the Kinge, and Chancellour of his Duchy of Lan- caster. Wherein be treatyd divers maters, as of the Veneracion and Worship of Ymages and rely- ques, praying to saintes, and goyingon pylgrim- age. With many other thinges touchyng the pestilent secte of Luther and Tyndale, by the tone bygone in Saxony : and by the tother laboured to be brought into England. Made in the yere of our Lord 1528." * Overturn, heave. xcii Works of [Worship of Images. This was among the most popular of More's con- troversial writings, and ran through two editions in two years; the first was printed in 1529, and is ac- curately described by Herbert, whose copy of it is in my possession. In the British Museum there is a copy of the second edition of 1530. The work ex- tends from page 105 to 288 inclusive, in Tottel's edition. The following passage is a proof of the skill with which our author could treat the subject on which he was writing. Why Heretics speak against Images. " But now, as I began to say, since all names spoken or written be but images, if you set nought by the name of Jesus spoken or written, why should you set nought by his image, painted or engraven, that representeth his holy person to your remembrance, as much and more too, as doth his name written? Nor these two words, Christus Crucificus, do not so lively represent us the remembrance of his bitter passion, as doth a blessed image of the crucifix ; neither to a lay man, nor unto a learned. And this per- ceive these Heretics themselves well enough; nor they speak not against Images for any furtherance of devotion, but plainly for a malicious mind, to quench men's devo- tions ; for they see well enough that there is no man but if he loveth another, he delighleth in his image or any thing of his. And these Hereticks that be so sore against the images of God, and his holy Saints, would be yet right angry with him that would dishonestly handle an image made in remembrance of one of themselves; where the Supplication, fyc] Sir T. More. xciii wretches forbear not vilainously to handle and cast dirt in dispute upon the holy crucifix, an image made in remem- brance of our Saviour himself, and not only of his most blessed person, but also of his most bitter passion!" p. 117. 5. " The Supplicacion of Soules, made Anno 3529, by Syr Thomas More, knight, counsaylour to our Soverayne Lorde the Kynge, and Chaun- celourofhys duchye of Lancaster." Agaynst " The Supplicacion of Beggars."* This tract, wri tten in opposition to a celebrated work, (of which some account is given in the note below) occupies 51 pages of Tottel's edition, and contains * A curious anecdote, connected with this work, is thus related by Fox, in his Book of Martyrs, vol. ii. p. 280, edit. 1641. " Master Moddis being with the king (Henry VIII.) in talk of religion, and of the new bookes that were come from beyond the seas, said, if it might please his Grace to pardon him, and such as he would bring to his Grace, he shoulde see such a booke as was marvell to heare of. The king demanded what they were: he said, two of ) our mer- chants, George Elyot, and George Robinson. The king appointed a time to speak with them. When they came before his presence ill a privy closet, he demanded what they had to say, or to shew him. One of them said that there was a book come to their hands, which they had there to shew his Grace. When he saw it, he demanded if any of them could read it. " Yea, said George Elyot, if it please xciv Works of [Supplication some very severe but coarse animadversions. There are few of More's treatises which exceed it in vio- your Grace to heare it." I thought so (said the king) for if need were, thou canst say it without book." ** The whole booke being read out, the king made a long pause, and then sayd, " If a man should pull down an old stone wall, and begin at the lower part, the upper part thereof might chance to fall on his head." And then he tooke the booke and put it into his desk, and commanded them, upon their allegiance, that they should not tell to anv man that hee had seen the booke, &c. The copy of the foresaid book, intituled of the Beggars, heere ensueth u A certaine Li bell or booke, entituled The Supplication of Beggers, throvvne and scattered at the procession in Westminster, on Candlemas day, before King Henry the eighth, for him to read and peruse, made and com- piled by Master Fish." The whole of this vulgar, but uncommonly energetic performance will be found in Fox's Martyrs, from which I extract the following singular passages — premising, that the first two sections or paragraphs, de*cribe in very glow- ing terms, the mischiefs resulting to the common people from the taxes and tithes then levied by the Catholic clergy. " Here, if it please your grace to mark, you shall see a thing far out of joynt. There are within your realme of England 52,000 Parish Churches And this standing, that there be but ten housholds in ever parish, yet aie there five hundred thousand and twenty thousand housholds. of Souk.'] Sir T. More. xcv lence of invective. The following is the opening : to which the editor Rastell has affixed this marginal And of every of these housholds, hath every of the five orders of Friers, a penny a quarter, for every order : that is, for all the five orders, five pence a quarter for every house : that is, for all the five orders twenty pence a yeere of every house. Summa ; five hundred and twenty thou- sand quarters of angels, that is, 260,000 halfe angels. Summa. 130,000 angels: Summa totalis 430,333 pounds, six shillings, eight pence sterling. Whereof, not 400 yeeres passed, they had not one penny!" " Oh grievous and painfull exaction thus yeerely to be paied — from the which, the people of your noble predeces- sors, the kings of the ancient Britaines, ever stood free !" At sect. 21. More's reply to this work is noticed in very sarcastic terms; his name and works are constantly alluded to throughout the performance. The wit of " Master Fish" is sometimes keen enough ; and although he seems to be fond of narrating licentious deeds with a disgusting minute- ness, yet, it must be confessed that, there are very bold and striking passages in this tract — which cannot fail to interest an English reader of the present times, and which probably made some impression upon the irascible Monarch to whom it was addressed. The manner in which Fox concludes his notice of this work, is too curious to be withheld from the reader. After bestowing on More's character and publication every spe- cies of abuse, clothed in the coarsest language, he adds — " After that the Clergy of Englande, and especially the xcvi Works of [Supplication, fyc. annotation. — U The silly souls in purgatory call unto us for help." To all good Christian People. In most piteous wise continually calleth and crieth upon your devout charity and most tender pity, for help, com- fort and relief, your late acquaintance, kindred, spouses, companions, play fellows, and friends, and now your humble unacquainted and half forgotton suppliants; poor prisoners of God, that sell souls in purgatory, here abiding and en- during the grievous pains and hot cleansing fire, that fretteth and burneth out the rusty and filthy spots of our sin, till the mercy of Almighty God, the rather by your good and charitable means, vouchsafe to deliver us hence." Cardinall (Wolsey), understood these bookes of the Beggers Supplication aforesayd, to bee strawne abroad in the streets of London, and also before the king, the sayd Cardinall caused not onely his servants diligently to attend to gather them up, that they should not come into the king's hands, but also when he understood that the king had received one or two of them, he came unto the king's majesty, saying, " If it shall please your Grace, here are divers seditious persons which have scattered abroad books containing manifest errours and heresies," desiring his Grace to beware of them. Whereupon the King, putting his hand in his bosome, tooke out one of the bookes and delivered it unto the Cardinall." Ibid. p. 284, Tracts, #c] Sir T. More. xcvii Fox tells us that More published this work, " un- der the name and title of The poore silly Soules pewling out of Purgatory." Martyrs, vol. ii. 283. 6 ** The Confutacion of Tyndale's Answere, made Anno 1532, by Syr Thorn as More, knighte, Lorde Chancellour of Englande." " The Second Boke which confuteth the Defence of Tyndall, for hys Translacion of the Newe Tes- tamente."* * Fox has given us the following anecdote relating to thefrst impression of Tindall's translation of the New Testa- ment : a book, which is continually noticed by More in the above work, and against which he pronounced many severe anathemas. " The new Testament began first to be translated by William Tindall, and so came forth in print, about the yeare of our Lord, 1529.; wherewith Cuthbert Tunstall, Bishop of London, with Sir Thomas More, being sore ag- grieved, devised how to destroy that false erroneous trans- lation, as he called it. It hapned that one Augustine Packington, a mercer, was then at Antwerpe, where the Bishop was. This man favoured Tindall, but shewed the contrary unto the bishop. The Bishop, being desirous to bring his purpose to pass, communed how that he would gladly buy the new Testaments. Packington hearing him say so, said " My Lord, I can do more in this matter than most merchants that bee here, if it be your pleasure — for I know the Dutchmen and strangers that have bought them of Tindall, and have them here to sell ; so that if it be xcviii Works of [Tracts « The Thirde Boke. Hereafter foloweth the thirde booke, in which be treated two chapiters of Tin- dales booke, that is to wit, whither the churche were before the ghospell, or the ghospell before your Lordship's pleasure, 1 must disburse money to pay for them, or else I cannot have them ; and so I will assure you to have every Booke of them that is printed and un- sold." The Bishop, thinking he had God by the toe, said, " Doe your diligence, gentle Master Packington; get them for me, and I will pay whatsoever they cost ; for I intend to burne and destroy them all at Paul's Crosse." " This Augustine Packington went unto William TindaU, and declared the whole matter; and so, upon compact made between them, the Bishop of London had the bookes ; Packington had the thankes ; and Tindall had the money. After this, Tindall corrected the same new Testaments againe, and caused them to be newly imprinted, so that they came thick and threefold over into England. When the bishop perceived that, hee sent to Packington, and said to him, " How cometh this that there are so many new Testaments abroad ? You promised me that you would buy them all." Then answered Packington : " Surely, I bought all that were to be had : but I perceive they have printed more since. I see it will never be better so long as they have Letters and Stamps I Wherefore you were best to buy the stamps too, and so you shall be sure." At which answer the Bishop smiled — and so the matter ended." See vol. ii. p. 286, 7, edit. 1641. Some account of Tun- stall will be found at p. 20. post. against Tindall."\ Sir T. More. xcix the church ; and whither the Apostles left ought unwritten that is of necessite to be beleved." " The Fourth booke : Whether the church can erre." " The Fift Boke: of the Confutacion of Tyndale's answere." " The Sixt Boke : The defence of the first argument agaynst Tyndall." '* The vii. boke. Here begynneth the sevent booke in defence of the second reason ; proovynge the knowen catholyke churche to be the verye churche of Chryste. Whiche seconde reason is, that we know not which is that Scripture, but by the knowen catholike church." ". The eyght Booke ; in which is confuted doctour Barnes church." M The ix booke ; which is a recapi tulacion and summary profe that the comon knowen catho- lyke church is the verye true churche of Christ." I have brought under one point of view the titles of all those treatises which More wrote against Tin- dall, and which fill upwards of 500 pages of Tottel's closely printed edition of our author's works. That More could have found leisure for such lucu- brations, whatever his inclinations might have been, is absolutely astonishing ! From the following speci- men, the reader will not be disposed to give Sir Thomas a very extraordinary share of praise; or to become further acquainted with the subject matter of the controversy. c Works of [Tracts^c. " What availeth it to lay manifest holy scripture to Tindall — that forceth so little, so manifestly to mock it ? Tindall cryeth out that every man misconstrueth the scrip- ture, and then himself, you see what construction he maketh ! Saint Paul sayeth plainly that Timothy received grace by the putting of his hands upon him. And Tindall letteth not to tell him as plainly, nay ; and that he did but stroke Timothy's head, and call him good son, by likeli- hood, because he was but young. But howsoever Tindal list to trifle, these places plainly reprove and convict his heresy, and prove priesthood an holy sacrament. Now falleth he to railing upon the holy ceremonies of priest- hood, as shaving and anointing ! And first he saith, that if only shaven and anointed may preach or consecrate the sacrament, then Christ did them not ; nor none of his Apos- tles; nor any man in long time after; for they used no such ceremonies. " This is a worthy jest, I promise you. If me listed here to trifle as Tindall doth, I could ask him how he proveth that Saint Peter was never shaven ? sith I suppose he never saw him ; or, if he would put me to prove that he was shaven, and therein when I could find no plain scrip- ture for it, Tindall would not believe me, but if I brought forth his barber : I might tell Tindall again that I were not bounden, since the Scripture sheweth it not, to believe him that St. Peter was ever christened, till Tindall bring forth his godfather ! ! !" p. 439- Our author very properly adds — " But these phan- tasies of his and mine both go far from the matter." Salem and Bizance.'] Sir T. More. ci In the British Museum there is a copy of the second book of the Confutation of Tindal, which is rather of rare occurrence. 7. " The Apology of Syr Thomas More, knight, made by him Anno 1533, after that he had given over the office of Lord chauncellour of Englande." This work commences at p. 845, and conclues at p. 928, of Totlel's edition. It contains 50 chapters ; and is written, occasionally, in a manly and ener- getic, as well as in a pious and moving strain. 8. " The Debellacyon of Salem and Bi- zance, by Syr Thomas More. Anno Domini, 1533. After he had gyven over the office of lorde Chauncellour of Englande." The " Declaration of the Title," may give the reader some idea of the pleasure which our ancestors took in quaint and metaphorical productions — whe- ther in Romance or in Religion. " The Declaration of the Title. " The Debellation of Salem and Bizance, sometime two great towns; which, being under the great Turk, were be- tween Easter and Michaelmas last passed, this present year of our lord, mdxxxiii, with a marvellous metamorphoses, enchanted and turned into two Englishmen; by the won- derful inventive wit and witchcraft of Sir John Some say the Pacifier, and so by him conveyed hither in a dialogue, to defend his division, against the apology of Sir Thomas More. But now being thus, between the said Michaelmas cii Works of [dnswer and Halowe'entide next ensuing, in this debellation van- quished, they be fled hence and vanquished, and are be- come two towns again, with those old names changed ; Salem into Jerusalem ; and Bizance into Constantinople ; the tone in Greece, the tother in Syria; where they may see them that will, and win them that can. And if the Pacifier convey them hither again, and ten such other town with them, embattled in such dialogues, Sir Thomas More hath undertaken to put himself in the adventure alone against them all. But if he let them tarry still there he will not utterly forswear it; but he is net much minded as yet (age now so coming on, and waxing all unweildy) to go thither and give the assault to such well walled towns, without some such lusty company as shall be somewhat likely to leap up a little more lightly." p. 929. 9. " The Answer to the first part of the poysoned booke which a nameles heretike * hath named " The Supper of the Lord." By Syr Thomas More, Knight, Anno 153S. after he had geven over the oflfyce of Lorde Chancellour of Eng- lande." This work, divided into fonr books, compre- hends 1 IS pages of Tottel's edition. After p. 1 138, * John Frith was this " nameles heretike." I have reserved rather a copious account of him and his writ- ings for my intended edition of " Ames's Typographical Antiquities :" at present, it may be sufficient to remark that the reader will find him mentioned in Hall's Chronicle, edit. 1550. fol.225. ; Bale Illustr. Brit. edit. 1559. p. 657, to Frith.'] Sir T. More. ciii where it ends, there should be an unnumbered leaf, pointing out some errors which had escaped 658; and in Mr. Brydges's Cens. Liter, vol. iii. p. 45, 6. Fox, in his Book of Martyrs, has given us some interest- ing particulars relating to him and to Sir Thomas More ; the latter of whom, he says, " persecuted him both by land and sea, besetting all the ways and havens, yea and pro- mising great rewards if any man could bring him any newes or tydings of him." It seems that Frith was at first un- willing to become a controversialist: a friend induced him to commit his u Disputation upon the Sacrament," to writ- ing — when one William Holt, a taylor, (as he is described by Fox), obtained surreptitiously a copy of it, and brought it to More—" who whetted his wits and called his spirits together as much as hee might, meaning to refute his opi- nion by a contrary booke," — " but when this booke [viz. More's answer] was once set forth, and shewed unto the world, then he [More] endevoured himself, all that he might, to keepe it from printing, peradventure lest that any copy thereof should come into Frith's hands." More's answer to Frith was replied to by the latter " out of prison — omitting nothing that any man could desire to the perfect and absolute handling of the matter." Thus far Fox; who does not mention another antagonist of Frith of the name of Gwynneth, but whose work is noticed by Herbert, in his edition of Ames, vol. iii. p. 1436. Frith's Reply to More was first printed, I believe, at Munster, towards the latter end of the year 1533. The title begins thus, " A boke, made by John Fryth, prysoner in the Tower of London, answerynge unto civ Works of [Dialogue in the printing of u The debellacion of Salem and Byzance." 10." ADyalogue of Comforte agaynsteTribula- cyon,made in the yeare of our lorde, 1534, by Syr Thomas More, knyghte, while he was prysoner in the Tower of London, which he entitled thus as followeth. " A Dyalogue of coumfort agaynst tribulacion, made by an Hungarien in laten, and translated oute of laten into frenche, and oute of frenche into Englishe." M. Mores letter, which he wrote agaynst the lytle trea- tyse that John Fryth made concernynge the Sacra- mente of the body and bloode of Christ, &c." It was again printed in 1546 and 1547 — and twice in 1548; the two latter editions by Seres and Jugge. The author suffered at the stake, for his writings, on the 4th. day of July, 1533. — " He was carried into Smithfield to be burned, and when he was tied unto the stake, there it sufficiently appeared with what constancy and courage he suffered death." The sentence of condemnation passed upon him, in his presence, concludes curiously enough. " Also wee pronounce and declare thee to be an heretique, to be cast out from the church, and left unto the judge- ment to the secular power, and now presently so doe leave thee unto the secular power, and their judgment : most earnestly requiring them, in the bowels of our Lord Jesus Christ, that this execution and punishment, worthily to be done upon thee, may be so moderate that the rigour thereof be not too extreme, nor yet the gentlenesse too much miti- gated, Sic."— Fox, vol. ii. 303—9- edit. 16*41. of Comfort.] Sir T. More. ct This isjustly considered to be the most popular re- ligious work of More. It is written in a calm, easy, and impressive style, and will long outlive the original polemical discussions of the translator. When the first Latin, or the first English edition appeared, I am uncertain : nor do I at present recollect whether there was any reprint of it towards the middle of the seven- teenth century. It was neatly printed in the black letter, in a small octavo volume, at Antwerp, A. D. 1573. — "Newly set forthe, with many places restored and corrected by conference of sundrie copies." The dedication by the printer, John Fouler, to the " Ladie Jane, Duchesse of Feria," and the preface " To the Reader," give some (superficial) account of the nature of the work. What renders this book of some value to the curious is, the Portrait of More on the leaf preceding the title of contents, which seems to have escaped Granger, and which is pro- bably among the earliest impressions of him extant. Opposite, are six Latin and twelve rude English verses by the printer, who styles himself, both here and in the title page, ■" A native of Bristol." I have a beautiful copy of this rare book. The rt Dialogue of Comfort," written in three books, commences at p. 1139, and ends at p. 1264, of Tottel's edition. Two extracts from it are given at pages 27 ( J— 347. 11. " ATreatice to receave the blessed Body of our Lorde, sacramentally and virtually bothe, cvi Works of [ Sacra mcnt made in the yeare of our Lorde, 1534, by Sir Thomas More, knygthe, whyle he was prysoner in the towre of London, which he entitled thus as foloweth. To receave the blessed body of our lorde, sacramentally and virtually both." The following specimen, being the conclusion of this very short treatise, shews with what earnest- ness and piety the author could write — and seems to justify the report of him, in his younger days, when he gave lectures upon St. Austin De Civit. Dei, that, " The Seniors and grave Divines were not ashamed to learn divinity from so young a layman."* Conclusion. " Let us (good christian readers) receive him in such wise as did the good publican Zacheus, which, when he longed to see Christ, and because he was but of low stature, did climb up into a tree : our Lord seeing his devotion, called unto him, and said M Zachee, come off and come down, for this day must I dwell with thee." And he made haste and came down, and very gladly received him into his house. But not only received him with a joy of a light and soon sliding affection, but that it might well appear that he re- ceived him with a sure earnest virtuous mind, he proved it by his virtuous works, For he forthwith was contented to make recompence to all men that he had wronged, and that in a large manner, for every penny a groat : and yet offered to give out also forthwith, the one half of all his substance * Knight's Life of Colet, p. 30. and Passion.] Sir T. More. cvii unto the poor men, and that forthwith also, by and by, without any longer delay. And therefore he said not — thou shalt hear that I shall give it; but he said, Lo, look good Lord, the one half my goods I do give unto poor men !" " With such alacrity, with such quickness of spirit, with such gladness, and such spiritual rejoicing, as this man re- ceived our Lord into his house, our Lord give us the grace to receive his blessed body and blood, his holy soul, and his Almighty godhead both, in our bodies and into our souls ! — that the fruit of our good works may bear witness unto our conscience, that we receive him worthily, and in such a full faith, and such a stable purpose of good living, as we be bounden to do : and then shall God give a gra- cious sentence and say upon our soul, as he said upon Zacheus : Hodie salus facta est huic domui, " This day is health and salvation come unto this house." Which that holy blessed person of Christ, which we verily in the blessed Sacrament receive, through the merit of his bitter passion (whereof he hath ordained his own blessed body in that blessed sacrament to be the memorial) vouchsafe, good christian readers, to grant unto us all!" p. 126*9. 12. * ATreatice upon the Passion of Chryste, (unfinished), made in the yere of our Lorde, J 534, by Syr Thomas More, knyghte, while he was prisoner in the Tower of London," &c. This is an elaborate treatise,* extending from p. 1270 to p. 1404 of Tottel's edition ; and shews in * A fine passage from it is given at p. 350. vol. ii. cviti Works of [Prayers. a very striking manner, how superior the author's mind was to the miseries of captivity with which he was surrounded. 13. Here folowe certein devout and vertuouse in- strucions, Meditacions and Prayers made and collected by Syr Thomas More, knight, while he was prisoner in the towre of London." In Latin and English. From these two last publications, I present the reader with the following specimens of More's talents for the composition of Prayer. PRAYERS. " O glorious blessed Trinity, whose justice hath damned * unto perpetual pain many proud rebellious angels, whom thy goodness had created to be partners of thine eternal glory — for thy tender mercy, plant in my heart such meekness, that I so may by thy grace follow the motion of my good angel, and so resist the proud sugges- tions of those spiteful spirits that fell, as I may, through the merits of thy bitter passion, be partner of thy bliss, with those holy spirits that stood, and now confirmed by thy grace, in glory shall stand for ever." p. 1273. " Almighty God, that of thine infinite goodness didst create our first parents in the state of innocency, with pre- sent wealth and hope of heaven to come, till through the devil's train their folly fell by sin to wretchedness, for thy * Condemned. Prayers,'] Sir T. More. cix tender pity of that passion that was paid for their and our redemption, assist me so with thy gracious help, that unto the subtle suggestions of the serpent I never so incline the ears of mine heart, but that my reason may resist them and master my sensuality and refrain me from them." p. 1279- " O holy blessed Saviour, Jesus Christ, which willingly didst determine to die for man's sake, mollify mine hard heart, and supple it so by grace, that through tender compassion of thy bitter passion, I may be partner of thine holy redemption." p. 1290. " Good Lord give me the grace so to spend my life, that when the day of my death shall come, though I feel pain in my body, I may feel comfort in my soul: and with faithful hope of thy mercy, in due love toward thee, and charity toward the world, I may through thy grace, part hence into thy glory." p. 1299. "Omt sweet Saviour Christ, which thine undeserved love toward mankind so kindly would suffer the painful death of the cross, suffer me not to be cold or lukewarm in love again toward thee." p. 1306, Pater-noster, Ave Maria, Credo. " O Holy Trinity, the Father, the Son, and the Holy Ghost, three equal and co-eternal persons, and one Al- mighty God, have mercy on me, vile, abject, abominable, ex Works of [Prayers. sinful wretch: meekly knowledging before thine high Majesty my long continued sinful life, even from my very childhood hitherto. Now good gracious Lord, as thou givest me thy grace to knowledge them, so give me thy grace, not in only word, but in heart also, with very sor- rowful contrition to repent them, and utterly to forsake them. And forgive me those sins also, in which by mine own default, through evil affections and evil custom, my reason is with sensuality so blinded, that I cannot discern them for sin. And illumine good Lord my heart, and give me thy grace to know them, and to knowledge them, and to knowledge them, and forgive me my sin negligently forgotten, and bring them to my mind with grace to be purely confessed of them." p. 1417* For Friends. 11 Almighty God, have mercy on N. &c. with special meditation and consideration of every friend, as godly af- fection and occasion requireth." For Enemies. " Almighty God, have mercy on N. &c. and on all that bear me evil, and would me harm ; and their faults and mine together, by such easy, tender, and merciful means as thine infinite wisdom best can devise, vouchsafe to amend and redress — and make us saved souls in heaven together, where we may ever live and love together with thee and thy blessed Saints. O glorious Trinity, for the bitter passion of our sweet Saviour Christ ! Amen." Letters.] Sir T. More. cxi 14. " Here folowe four Letters which Sir Thomas More wrote after he had gyven over the office of Lord Chancellour of England, and before he was imprisoned." The first, second, and fourth letters are written to the Chancellor Cromwell ; the third to King Henry VI If. of which 1 have carefully read the original, in More's hand writing, among the Cotton MSS. in the British Museum. 15. " Here folow certain Letters and other thynges, which Syr Thomas More wrote while he was prisoner in the towre of London." These are the interesting family letters which have found their way inlo almost every life of Sir Thomas. They conclude the ponderous volume of Tottel, which comprises not fewer than 1453 pages. The Colophon is as follows : " Imprinted at London, in Flete Strete, at the Sygne of the Hand and Starre, at the coste and charge of John Cawod, John Walley, and Richarde Tottle. Finished in Apryll, the yere of our lorde God, 1557. Cum Privilegio ad imprimendum solum. Thus have I presented the reader with an analysis of a book, not less remarkable for its rarity than for its intrinsic value. If any apology be necessary for cxii Works of [Latin Works. the length of it, I must shelter myself under the au- thority of Dr. Johnson — who says, " Of the Works of Sir Thomas More, it was necessary to give a large[r] specimen, both because our language was then in a great degree formed, and because it ap- pears from Ben Jonson, that his works were con- sidered as models of pure and elegant style, There is another reason why the extracts from this author are more copious ; his works are carefully and cor- rectly printed, and may therefore be better trusted than any other edition of the English books of that or of the preceding age"* — Hist Eng. Language. It remains only to add that the Latin Works of Sir Thomas More, consisting of Epigrams, the Ijtopia, a few letters, annotations on Lucian, &c. were published at Basil, in 8vo. 1563 : at Louvain, in fol. 1566, and at Frankfort on the Maine, and Leipsic, in l68y, fol. This latter is a rare edition, and is valuable inasmuch as it contains the Life of Sir Thomas More, by Stapleton. — See Cayley's Life of Sir T. M. vol. i. 275 ; where the contents of the volume are specified. * In the Duke de la Valliere's Catalogue, No. 4402, there is said to be an edition of More's Works, printed by Rastell, in 2 folio volumes, 1530. This error has been transcribed in the Diet. Bibliogi . vol. ii. p. 272. [ cxiii ] IV. ENGRAVED PORTRAITS OF SIRT. MORE. Before I present the reader with a " Catalogue raisonne" of the various Portraits* which have been engraved of Sir Thomas More, it may be proper to lay before him a description of his figure and countenance, as they have been represented to us by two unquestionable authorities — Erasmus, and More's Great-Grandson. *' If (says Mr. Macdiarmid-f-) some of the particu- lars of Erasmus's description are so minute as to ex- cite a smile, they, however, most forcibly shew the high value which the writer entertained for More, and the interest with which he observed the most trifling circumstances connected with him." Erasmus's Description of More's Person. " To begin with what is least known to you of More, his person is rather below than above the middle size, yet not so much as to be at all remarked ; while so perfect is the symmetry of all his limbs that no part seems capable of improvement. His skin is fair, his complexion pale, yet in * In the original plan of this " Introduction Biographi- cal and Literary," the account of the ** Portraits of More" was to have been omitted ; but a second reflection has con- vinced me that it may be considered not the least in- teresting part of this preliminary discussion. t Lives of British Statesmen, p. 25. note. P cxiv Portraits of no respect sickly, but slightly tinged throughout with a deli- cate transparent red; his hair chesnut ; his beard thin; his eyes light grey, interspersed with some specks, a colour which usually denotes a most happy disposition, and is even accounted beautiful among the British; while among our people (the Germans) black eyes are held in more esteem. The former imagine such eyes to indicate a character par- ticularly free fiom all manner of vice. His countenance, completely corresponding with his disposition, is expressive of an agreeable and friendly cheerfulness, with somewhat of an habitual inclination to smile; and to own the truth, ap- pears more adapted to pleasantry, than to gravity, or dig- nity, although perfectly remote from vulgarity or silliness. Owing to one of those bad habits of which when once ac- quired it is so difficult to divest ourselves, his right shoulder appears in walking somewhat higher than the left. In the rest of his bo:ly there is nothing which offends the eye, only that his hands are coarse, at least when compared with the general delicacy of his frame." — Letter to Hutton. — Erasm. Epist. 447. Mote's Grtat-Grandson's description of Him. " Sir Thomas was of a mean stature, well proportioned, his complexion tending to phlegmatic, his colour white and pale, his hair neither black nor yellow, but between both ; his eyes grey, his countenance amiable and cheerful, his voice neither big nor shrill, but speaking plainly and dis- tinctly : it was not very tunable, though he delighted much in music: his body reasonable healthful; only that, to- wards his latter end, by using much writing, he complained much of the ach of his breast." — Life, p. 364. 4to. edit. SirT. More. cxv These descriptions, at once natural and vivid, leave little doubt of the figure and countenance of More. But, direct and forcible as they are, they seem to have been little attended to by the greater part of the " servile herd of imitators;" who have metamorphosed the sagacity and benevolence of our author's phisyognomy into expressions of stupidity or hard-heartedness, Never, perhaps, has it fallen to the lot of a human being to have his features so tortured and perverted as More's have been. At one time he is made to resemble a Turk ; at another time, an Officer of the Inquisition. One artist de- corates him with the robes of " Soliman the Great ;" another takes care to put around him those of a mountebank or a conjurer. Shaven or unshaven — with a short or a long beard — we are still told it is Sir Thomas More! In physiognomical expression, he is as often made to represent the drivelling ideot, as the consequential Lord Mayor ; and the immortal name of Holbein is subscribed to portraits, of which he not only never dreamt, but of which almost the meanest of his successors, in this country, might have been justly ashamed. Our subject, however, is En- graving and not Painting. In the following Catalogue, 1 have taken the liberty of differing from the arrangement of Granger, and of placing the portraits according to the order of time in which I conceive them to have been exe- cuted ; although, on this head, I beg leave to assure cxvi Portraits of the reader that I do not speak with authoritative decision. It was not the good fortune of More to have his por- trait engraved by either of his contemporaries, Al- bert Durer, Marc Antonio, or Aldegrever.* These artists never visited England ; and when * The merits of these three artists are admirably appre- ciated by Heinekin, Wattelet, Huber, and Mr. Landseer. " Ne avec un heureux genie, (says the lively and scientific Huber,) Durer surpassa bient6t, pour ne parler que de la gravure en cuivre, tous les artistes dans ce genre par la verite et la beaute de son travail. Sous sa main savantc les progres de cet art nouveau furent rapides. II mettoit plus de dexterite dans la coupe du cuivre, et plus d'aisauce dans le maniement de l'outil. C'est encore a son esprit in- dustrieux qu'on doit le perfectionnement de la gravure en bois et en clair~obscur, dont on a un grand nombre de pieces. Parmi les graveurs anterieurs ou contemporains d'Albert, il y en a eu plusieurs qui se sont distingues, et dont les estampes sont encore recherchees par les curieux; mais aucun ne Va e"gale." Manuel des Amateurs de l'Art. torn, i. p. 95. 6. Zurich, 1797- 8vo. The chef-d'oeuvre of Durer is considered to be his St. Hubert : an extraordinary performance ! of which fine impressions are very rare, and sell high. I have a beautiful impression of his " Mel an coli a,"* and the '* Death's * I shall borrow Huber's accurate description of this incomparable engraving, from his " Catalogue Raisonne' du Cabinet d'Estampes de Winckler." " Figuree par une Sir T. More. cxvii our author went abroad toCambray, it is probable that his portrait had not been painted. For want, there- fore, of such an accurate representation of him as either of these artists would have executed, succeed- ing engravers seem to have copied only from each other; and, losing sight of the original of Hans Hol- bein,* of course propagated error instead of truth. Head" — on the latter of which Mr. Landseer has learnedly expatiated in his " Lectures on the Art of Engraving," p. 225, &c. Heinekin describes only one portrait engraved by Marc Antonio, which is of the poet Aretin — and which he calls " la plus belle piece que M. Antoine ait faite." See his Diction. desGraveurs, torn. i. 239. Leips. 1778. 8vo. * It is not improbable, in the present age of indefatigable research into every thing connected with ancient literature and the fine arts, that some engraving of More may yet be found with the name of Hans Holbein inscribed as the en- graver. I incline to think that, like his great predecessor Albert Durer, this artist engraved, as well as painted, many things. Probably his masters were Altdorfer and his father John Holbein. Papillon is copious and enthusiastic on the femme ailee et largement drapee, tenant de la main droite un compas, et soutenant sa tete de la main gauche. Devant elle se voit un petit Genie aile, assis, et meditant sur un livre. Les accessoires dans ce morceaux sont infinis et rendus avec un proprete admirable. C'est cette piece que Vasari nomme Vestampe incomparable ! En bas, vers la droite, on appercoit le chifre et la date de 15 J 4. In fol." Tom. i. pt. i. No. 1440. Leipzig, 8vo. 1802. cxviii Portraits of No. 1. Thomas Morus Anglus. Anno iEtatis 50. Within an oval border. Stroke.* This portrait has been noticed at page cv. ante, as being probably among the most antient impressions extant. It is executed on a leaf in More's l< Dialogue of Comfort," printed at Antwerp in 1573; and in the copy of this work which I possess, it is inserted immediately preceding the " Table of the Chapters." No Engraver's name. Unknown to Granger and Bromley. No. 2. Thomas Mqrds. Beneath the portrait, two Latin verses — beginning ft Corporis effigiem dedit." Stroke. This is the portrait of More which is inserted in Stapleton's Life of him, [vide p. xl. ante]. It is deli- cately executed, although the attitude and drapery are stiff. The left hand holds a scroll : the hands are the best parts of the picture. The countenance has no sort of resemblance to Holbein's portraits. No. 3. Thomas Morus, quondam supremus totius Angliae cancellarius Digniss. Anton. Wierx fecit et excud. — Stroke. engravings of H. Holbein. — See hisTraite Historique, &c. de la Gravure en Bois, torn. i. \66, &c. Huber is more rational and satisfactory. Manuel des Amateurs de l'Art, torn. i. 152, &c. *The words" Stroke, Stipling, Etching, and Mezzotint," denote the different styles of engraving in which the por- traits are executed. Sir T. More. cxix A small print, about four inches in length, and three square. It has the head and shoulders only, and is very delicately executed. I consider it as one of the principal portraits of More, as it was copied for the Heroologia, and hence found its way, on a reduced or enlarged scale, into a variety of publica- tions. Of its resemblance to the Original, I enter- tain strong doubts — or whether, indeed, it was ever engraved from a painting by Hans Holbein. A beautiful impression of it is in the Cracherode Col- lection. Some of the engravings of the Wierxes [John, Jerom, and Antony,] have an exquisite enamel effect; and their small figures, in which they de- lighted, are frequently drawn with surprising anato- mical accuracy No. 4. Thomas Morus, Anglus. Four Latin verses beneath, beginning '* An memorem doctum magis." — No Engraver's name, but supposed to be engraved by P. Galle. — Stroke. More is here represented with a scroll in his right hand — ermined robes, without the chain — a cap with an upright front, like the covering which is upon the head engraved by Vorsterman. The countenance is long, bony, and harsh, and quite unlike what I conceive to be a legitimate portrait of More. Unknown to Granger and Bromley. No. 5. Thomas Morus Cancellarius Anglic: Within a semicircle, ornamented with a bird at cxx Portraits of each corner of the plate. An open book and tablet are beneath, with a candlestick and pair of snuffers between. On the tablet is inscribed, " Nascitur Anglia, Obtruncatur, 7 Jullij, Anno 1535." At the bottom, two Latin verses beginning " Singultantem animam Mori." — Stroke. From Boissard's " Bibliotheca Chalcographia Viror. Illustr." A book of considerable scarcity and value, and of which De Bure [No. 6107.] notices only the first edition of 1597. It was republished in 1628, and is rarely found with all the parts complete. As this engraving seems, in the countenance, drapery, and attitude, to be an exact copy of Galle's, I have placed it as No. 5. It is undoubtedly an ancient one. The letter B. is in the back ground, and Vu. at the end of the Latin verses. Slightly noticed by Granger. No. 6. " The true Portraicture of Sir Thomas More, sometymes Lord Chanceloure of England, famous for letters, He died Anno, 1535. R, Elstracke, sculp. — Stroke. This portrait, which seems to have been unknown to Strutt, is rather rare. It is executed within an oval, — around which is the following inscription : * Vera effigies Thomae Mori quondam totius Angliae Can- cellarii Dignissimi, Etc." At top, the crest is on the left, the arms on the right, of the oval — with the inscription " Disce Mori mundi, Vivere disce Deo/' Sir T. More. cxxi between. The left hand of More holds the cord and tassels attached to the Chancellor's Seal — with a ring on the fore-finger, which is pointing in a stiff direction. The right hand holds a parchment roll. The costume of the head dress and robes, and the expression of the countenance, differ a little from the other portraits — and has served in some degree as a model to the one prefixed to the present edition of the Utopia. Granger has slightly noticed El- stracke's engraving of More's portrait. There was a very indifferent copy of this print " to be sold by Compton Holland, over against the Exchange." No. 7. Thomas Morus Quondam Supremus Totius Angliae Cancellarius Digniss. With two Latin verses beneath, beginning ** Hie est Hie Thomas." From the Heroologia. The Cypher, A. B. subjoined. Stroke and Stippling. This head, as well as Vorsterman's, [though they are dissimilar from each other] served as a model for succeeding engravers, and was considered an ac- curate resemblance of Sir Thomas. The features are large, the expression is saturnine, the face long and bony, the cap high, upon a black cowl. The countenance is in the stippling, the robes and back- ground in the stroke, manner of engraving. There is a strong characteristic effect about it. q cxxii Portraits of No. 8. " Effigies THOMiE Mori, Supremi quondam Anglia, Cancellarij Quam ad vivum expressam. Stroke.— A. D. 1621. A small half length, executed with remarkable delicacy. The costume of the dress, and the arms and hands, seem to be an exact copy of Elstracke's — the great seal is omitted. Beneath is a dedica- tion to Christopher de Blocquerie, Chancelior and Archdeacon in " Eccl. Leodiensi," with his arms as a Cardinal. At the bottom, it appears that it was dedicated to him by Joannis Valdor, Anno Domini, 1621. Very rare; Unknown to Granger, and slightly noticed by Bromley. A fine impression of it is in the Cracherode Collection. No. 9- Heroa cernis? Morus est: Fidei ille Martyr optimse : Keimelaion seeculi sui, &c. &c. L. V. Lucas Forsterman, sculpsit. Stroke and Stipling. H. Holbenius, pinxit. This is, I believe, the first engraved portrait of More to which the name of Hans Holbein is sub- scribed as the painter. It is justly said by Granger to be " very different from his other portraits :" so much so, indeed, as to excite a suspicion in my mind whether Holbein ever painted it. The uncer- tainty attending the legitimate portraits of More by Holbein, which is amply discussed by the late Lord Orford (Anecd. of Painting), renders it rather pro- bable that this was not painted by him, especially as Sir T. More. cxxiii itdiffers so much from the other portraits, and in some respects, from the costume of the age. More is here represented with his right hand holding the end of his beard ; his upper lip is unshaven, and his mouth is nearly covered with the hair, which hangs down on each side in the form of whiskers.* His left hand holds a small book, divided by the forefinger: a dog lies on a tablet before him. The cap on More's head is smaller and shallower than the one usually executed by artists, and the countenance is sterner than we should conceive it to be from the descrip- tion of Erasmus. The beard has a good deal in it of the Jewish character. The date [miocxxxi.] is subjoined to the Latin inscription beneath. Whatever may be the deficiencies of this engrav- ing, on the score of likeness, it is most admirably exe- cuted by Vorsterman : " dans les estampes duquel," (says Basan, in his Diet, des Graveurs, torn. ii. 546.) * This portrait is, however, described as one of Hol- bein's by Huber, in his " Notice des Graveurs," p. 447. The length of beard alone is not conclusive evidence of its spuriousness : as we know that when More laid his head upon the block, he pulled his beard aside, alleging that that had not committed treason. Nevertheless a long beard was not More's ordinary habit of dress. And yet it must be remembered that, previously to his execution, he was of necessity compelled to neglect his person — something like King Edward II. in Berkeley Castle. But would Hol- bein have painted him in this situation ? cxxiv Portraits of " on trouve une maniere expressive, beaucoup d'in- telligence, et un art admirable de rendre les etoffes, ainsi que les diffe>entes masses de couleurs, &c. The face and hands are in the stippling manner; the robes and background, in the stroke or line. I am in possession of a remarkably fine impression of it. This print was copied by numerous artists, with various success, as will be presently noticed. No. 10. Sir Thomas More. Within a small oval : In the title to his Latin Epigrams, in 12mo. 1638. Marshall, sc. Stroke. So described by Granger and Bromley. It was re-executed in 1639 for Alsop's edition of the Utopia, in an engraved title page, with the figures of Mer- cury, and a woman, crowning the oval, and the sub- scription " Prudetitia, Eloquentia." This portrait is a copy of No. 7. No. 11. Thomas Morus — " Hac Mori Effigies, &c." 4to. From Granger. No. 12. A rudely executed head. A pen in the right hand, with the point of it on an open book. Stroke. No name subjoined. This is executed, as I conceive, after that of No. 4. by P. Galle : the robes, and general expression of the figure, being nearly the same. The ermine is so managed as to represent the *' quills upon the fretful porcupine." A still more miserably executed portrait is the following one : Sir T. More. cxxv No. 13 A fac simile in duod. of the same. Stroke. No. 14. Thomas Morus ; a fictitious head, neatly engraved by Gaywood, after Rembrandt ; 4to. Etching. Granger is right in calling this a fictitious head, for it seems rather a resemblance of" the Grand Turk/' than of Sir Thomas More. The head is shaven, with a small black cowl upon the top of it. The whiskers are curled. There is, however, great force of light and shade in the engraving. This portrait is not noticed by Walpole.* No. 15. Thomas Morus. An oval of about five inches long. Stroke. This is a clumsily executed copy of the preceding. It is not mentioned by Granger. No. 16. Talis erat Morus, quern sors infida peremit. Quod nollet Regi dicere blanda suo. A very excellent etching, without Engraver's name, and copied from No. 9. by Vorsterman; the hands being reversed — the left under the beard, the right opening the book. The dog is omitted. It is about four inches long, and two and a half wide. Rare ; and Unknown to Granger and Bromley. * u Gaywood has not set his christian name at length to one cf his prints : the letter R. being only prefixed. Vertue says that to some of them he put " Quondam Dis- cipulus Wen. Hollar."— Walpole's Cat. of Engr. p. QO. cxxvi Portraits of No. 17. Thomas Mokus. An indifferently exe- cuted copy of Vorsterman's, on a smaller scale, by E. de Boulonois. Stroke. Not mentioned by Granger or Bromley. No. 18. Thomas Morus, Cancellier Van Engel- lant. Stroke. This is the head only of Vorsterman's portrait re- executed, without the hand under the beard. The plate is about a foot long, and seven inches wide. There is some merit in the execution. Rare. Un- known to Granger and Bromley. No. 19. Thomas Morus. Within an oval, with emblematical ornaments beneath. Stroke. This also is a copy of Vorsterman's, with the right hand under the beard. The dog lies on a monu- ment, from which hangs the portrait of Holbein on a kind of scroll. The axe, partly covered with a black garment, lies at the bottom. This folio print is badly executed. Unknown to Granger. No. 20. Thomas Morus, Chancelier a" Anglettere, &c. Grave par E. Desrochers. Four French verses beneath. Stroke. A wretched likeness of Sir Thomas ; who is made large, athletic, and morose. It is an oval print. Unknown to Granger and Bromley. No. 21, Thomas Morus, in wood; with an orna- mented border ; large Ato. a foreign print. From Granger. Sir T. More. cxxvii No. 22. Vera Effigies Thom^; Mori, Quondam totitis AnglieeCancellarii Dignissimi, &c. Stroke. A small oval print; the right hand upon the Chancellor's seals, the left on the breast. The arms beneath; with the date of More's birth and death inscribed on each side. A contemptible perform- ance ! No. 23. Sir Thomas More, Lord Chancellor. Stroke. A very small oval — part of the seals seen within it ; three-quarter face, squinting. Avery despicable production. Executed for the Abridgement of Bur- net's Hist, of the Reformation, 8vo. 1683. p. 1. It faces an equally bad portrait of the Chancellor Cromwell. No. 24. Same inscription as No. 23, and a fac simile of the portrait on a larger scale. R. White, sculpsit. Stroke. A very indifferent performance ; professed to be from a painting of Hans Holbein ! No. 25. Familia Thomje Mori, a Jo. Holbenio delineata. Cochin, sc. Outline. Oblong folio. Inserted at page 191 of" Tabella Selectee ac Explicates a Carola Catharind Patina ,-" a work published by Palin's widow, of which some account is given in the note below.* This out- line, which is called by Granger " very scarce," * This work was published at Padua, in l6oi. " Ex Typog. Seminarii." It has a picture of the Virgin and Child cxxviii Portraits of appears to be a copy of the famous picture sent to Erasmus by More, which is now preserved in the Town Hall of Basil. It was copied by Holbein from a picture which he had himself painted, and which was latterly in the collection of the Lenthalls, in Oxfordshire. The impassioned manner in which Erasmus de- scribes this painting to More's daughter, Margaret, leaves little doubt of the correctness of the likenesses. " I want words," says he, u to express to you my de- light on contemplating the picture of your family which Holbein has so happily executed. If I were present with the originals, I could not have a more accurate idea of them. I see you all before me, but no one more strikingly than yourself — in whose features shine those mental accomplishments, those domestic virtues, which have rendered you the orna- in the Frontispiece, indifferently engraved by Desbois, after a painting by Guido. The greater part of the prints, forty in number, are engraved by Cochin ; and among them there is an etching, admirably executed by the same artist, of Titian's celebrated picture of the Robber — now in the Na- tional Collection at Paris, and considered by many connois- seurs as the chef-d'oeuvre of the painter. The last plate in the work is the handsome family of Patin, engraved by Juster. Among the females, there is a countenance which bears a strong resemblance to some of the early portraits of Mrs. Siddons. Neither Granger nor Bromley have given us any account of this amusing and rare volume. Sir T. More. cxxix ment of your country and your age !" — Erasm. Epist. (Marg. Roperae.) This picture is divided into two groups. In the foreground, to the right, are More's daughters, Mar- garet and Cicely, kneeling — behind them, is their mother-in-law, Alice, in the same position ; while a marmoset is playing under the cushion before her. The second group, a little retired, forms a line extending almost from one end of the picture to the other. In the centre of this line, sit More and his father, with their hands enclosed under their sleeves. John More, the son, and Henry Paten, are standing the last in the group. Behind More and his father, stands Ann Cresacre, in her 15th year, to whom young More is supposed to be newly espoused. Elizabeth, More's second daughter, and Margaret Gigs (pointing to an open book,) stand the foremost in this second group. In the back ground are a clock and a violin against the wainscoat, and at a retired distance, through an open door, near a window, ap- pear two men in close conversation. The original of this engraving seems to be a faith- ful representation of a domestic scene in More's family. For an account of its comparative merit with De Mechel's copy of the same picture, see No. S3, post. It is now very rare. No. 26. Thomas Morus. M. B. (Michael Bur- ghers,) sc. Stroke. vol. i. r cxxx Portraits of This print of More, which is unnoticed by Wal- pole, ** was copied from an old print pasted before a manuscript life of More, by Rooper, which belonged to Mr. Murray of Sacomb, and which Mr. Hearne esteemed a great curiosity, and supposed it to be the first print of Sir Thomas that was done after his death. Burgher's copy is prefixed to this book which was published by Hearne." Granger, vol. i. p. 103. ed. 1804. No. 27. Thomas Morus. J'euspour un Roi cruel trop peu de complaisance, fyc. followed by three more verses. P. A. Gunst, sc. From a painting of A. Vanderwerff. Stroke. The legitimacy of this portrait may be questioned. Vanderwerff, who was not born till upwards of a cen- tury after More's death, must have copied it from the same original, from which those of No. 3. and No. 7. were executed. More is here represented with a stern large-featured countenance, and a figure better calculated for a giant than one <( of mean stature." The portrait is within an oval, which rests on a pedestal or basement, having a black piece of dra- pery falling over More's arms. It is a very common print. No. 28. Familia THOMiE Mori. Copied by Vertue from the outline of Cochin. No. 25. Stroke. Small oblong quarto : executed for Dr. Knight's Sir T. More. cxxxi Life of Erasmus, and usually inserted at p. 310 of that work.* The curious should attend to the in- sertion of this print, which is oftentimes missing, and is sold for rather a high price separately. It is a somewhat finished engraving, having the lights and shades admitted ; but, upon the whole, it is indif- ferently executed. Granger tells us that " the plate of it is lost." No. 29. Sir Thomas More, Knight, Lord Chan- cellor of England. G. Fertue, sculp, from Holbein. This is the most common, and among the most faithful copies of the original ; and whoever is in pos- session of a fine impression of it, will be convinced that Vertue has even improved upon his head of Erasmus, executed for Dr. Knight's life of him. The best part of the portrait is the countenance ; and of this, the eyes and mouth — which are very suc- cessfully managed The drapery and back ground * As Dr. Knight's Life of Erasmus is daily becoming very scarce, it may be proper to inform the reader that " A List of the Cuts," is inserted at the back of p. xxxi. of the Introduction. Of these cuts, the heads of Erasmus Froben, Sir H. Guildford, Bishop Fox, King Henry VIII. and Cardinal Wolsey, are greatly the better ones. How More's head came to be omitted, as so much is said of him in the life, is unaccountable. There are some few copies of this work (which sell at an extravagant price) struck off on large paper. cxxxii Portraits of are, as usual, the worst parts of the picture : hard and brassy! Vertue 13 certainly a very unequal artist; but in the portrait line of engraving, he has eminently be- nefitted his country. His fidelity is unimpeachable ; and as he had access to originals, many of which are probably now lost, his works will always have a due value fixed on them by the judicious collector. Who- ever calls to mind his Sir William Temple, Sir Ralph Winwood, and Dr. Fiddes, need not require further evidence of the powers of his graver to do justice to courtly elegance, unblemished integrity, and mascu- line sense. I am ready, however, to admit that his Women are almost invariably harsh and repulsive ; and that, if he had laboured for a century, he would never have produced that soft enchanting effect which Powle accomplished in his head of Mademoiselle d' Hamil- ton, in the Strawberry Hill edition of the Comte de Grammont : nor did he possess any thing of that tenderness and richness of execution, which have con- ferred lasting celebrity on the Females of Strange. To the dignified expression of Goltzius, and the ex- quisite brilliancy of Edelinck, he was equally a stranger. Vertue never " sprinkled divers pretty in- ventions and capriccios" (as Evelyn says of Albert Durer) throughout his works, but was content to sacrifise sportive elegance to rigid fidelity. Some of his Men, too, are unworthy of him ; especially the portrait of Hearne — which seems to have been Sir T. More. cxxxiii copied from the head of a ship, rather than from a human being! But these are venial imperfections. The many excellences of Vertue * shine through the darkest veil which the most fastidious critic can fix around him. No. 30. Sir Thomas More. Engraved by Hou- braken after a painting of Holbein, for Dr. Birch's " Heads of Illustrious Persons," 1741. Stroke. The beauty of this engraving is sufficiently known, but it has faults in the midst of its beauties. The sagacity and shrewdness of More are exchanged for an unmeaning softness ; and, like almost all the men portraits of Houbraken, the male character is lost in a certain effeminate expression. This is per- haps, in a great degree, attributable to the smallness * What Mr. Landseer says of Marc Antonio may be well applied to Vertue. " His style possesses not the exterior of oratory, but he pronounces every sentence so distinctly; with a confidence so modest; that those who attend are convinced without being persuaded. To speak without a metaphor : there is something in his manner of employing his graver — something dry, unambitious, unat- tractive to the sense: which, by all sound critics, has been thought to deserve praise without desiring it, and pecu- liarly appropriate to the works of a painter, who not merely does not require, but will not admit " the aid of foreign ornament." Lectures on Engraving, p. 273. Lond. 8vo. 1807. cxxxiv Portraits of of the eyes of Houbraken's heads, and to the soft lustre by which they are distinguished : though in " Konstchilders' De Groote Schouburgh" [1753. 3 vols. 8vo.], Houbraken has executed some male portraits in a bold and truly masculine style. Another fault of this engraving is, that it gives us the idea of a larger man than More is described to have been. The drapery and background are nearly as hard as Vertue's. It has been frequently and closely copied ; with what success, will be presently shewn. No. 31. Sir Thomas More. Within a broad- framed oval. Stroke. This forms the second plate in the second volume of " British Biography; or an acccurate and impartial account of the Lives and Writings of Emi- nent Persons in Great Britain and Ireland, from WicklifFe, &c. London, 8vo. mdcclxvi" — a publi- cation, which deserves to be more generally perused. I am uncertain whether it extends beyond the third volume, which ends with the life of Sir Francis Drake. The head of Sir Thomas More, of which it is my business to speak, is a wretched copy of Hou- braken's — indeed, almost all the plates prefixed to these Lives, are sorry imitations of those in Dr. Birch's splendid work. Unnoticed by Granger and Bromley. No. 32. Sir Thomas More. Tringham, sculp. Stroke. Sir T. More. cxxxv Within a fancied frame-work. A contemptible copy of Houbraken's head, on a reduced scale. Not mentioned by Granger or Bromley. No. 33. Fa mili a Thomje Mori Ang li. Cancell. Large oblong folio. Outline. C. de Meckel, sc. et excudit. Basiliae 1787. This scarce and well executed print is a copy of the same painting which was engraved by Cochin; for an account of which the reader will consult, p. cxxvii. ante. It appears to be a much more faithful representa- tion of the original than Cochin's :* many of the countenances have a different expression, and seem strongly to partake of the accuracy of the original likenesses. I suspect that Cochin suffered his outline to be a little directed by the then prevailing notions of fashion and taste. The present performance is exe- * Among other proofs which might be adduced in con- firmation of this remark, observe the countenance of John Moor, the son of Sir Thomas! It has a very close resemblance to the drawing of him by Holbein, which was engraved by Bartolozzi for Mr. Chamberlaine's magnifi- cent publication. In Cochin's outline, the countenance of the son is distorted by being out of drawing ; and that of Sir Thomas seems a little caricatured by an affected sprightliness of expression. The countenances of the women too, in Cochin's plate, want much of the natural air and correct outline which distinguish those of De Mechel. cxxxvi Portraits of cuted in a ruder, but in a more bold and artist-like manner ; and the names of the different characters, which are inscribed on the original painting, are here transmitted to the plate — written in the hand- writing of the times. This print was published since the death of Granger, but it is unnoticed by Bromley. No. 34. Sir Thomas More. Grignion, sculp. Stroke. Within a circle-border. This is a very poor effort of Grignion's graver. It is copied from Hou- braken's head, but the chief similitude consists in the cap, gown, and collar. No. 35. Sir Thomas More. T. Holloway direxit. Stroke. From the sumptuous quarto edition of Lavater's physiogonomy ; in which Mr. Holloway has fre- frequently reached the topmost point of perfection in the art of engraving. His " Julius Caesar," copied in some degree from the bust in Dr. Clarke's magni- ficent edition of the commentaries, has hardly been equalled : it is beyond all praise. The present portrait of More is well executed ; but it never could have been intended for a faithful one. Our author is here represented with a fat jowl, bulbus nose, and frizzled wig — wholly dissimilar to every preceding and subsequent portrait ! Sir T. More. cxxxvii * N0.S6. Tho: Moor, Ld. Chancelour. Bartolozzi, sculp. From Mr. Chamberlaine's publication of the Holbein Drawings, in his Majesty's Col- lection, 1793. Stipling. Of all the portraits of More, this has probably the strongest resemblance to the Original. Its exe- cution, by Bartolozzi, is unrivalled. Sir Thomas is however made, contrary to the usual descrip- tion of him by his biographers, to " look frown- ingly ;" but there is a shrewdness and sagacity about the portrait, manifested by the keen retired eye, protuberant nose, and thin lips. — This engraving, which comprehends very little more than the shoul- ders, is nearly as large as life; and though executed with all the delicacy of the stipling department of the art, it has a powerful effect upon the beholder. ■ No. 37. Tho. Moor, Ld. Chancelour. R. Dalton, fee. Etching. A wretched copy of the preceding beautiful head by Bartolozzi. The sagacious frown of More is converted into an unmeaning smile; and the me- chanical execution of the plate is feeble and unartist-like. Printsellers sell it for a shilling or two. - No. 38. Familia Thoms Mori, Anglise Cancel- larii. Small oblong folio. Aquatint. Basil, A. D. 1794. Although from the subscription, this print would appear to have been executed at Basil, it is an cxxxviii Portraits of English one; being a copy, on a reduced scale, of the outline of More's family engraved by Christian de Mechel. [See No. 33.] The light and shade is suc- cessfully managed ; but the countenances of More and his father are not only unlike, but a good deal out of drawing. The women are the best executed ; and yet the countenance of More's wife would indi- cate that Gerard Dow, and not Holbein, had been its designer. I never saw a copy of this print but the one in the Cracherode Collection. No. 39- Sir Thomas More. Freema7i,ac. Stip- ling. Prefixed to the " Lives of British Statesmen ;"* and copied, on a reduced scale, from Houbraken's portrait. This is a truly beautiful engraving, and, in its style, by far the best representation of what we should conceive the Original to have been. Mr. Freeman is a justly rising artist : while his graver can boast of such a head as that of Lord * Mention is made of this work at p. lii. ante : since writing that account of it, the author is no more ! " fallacem hominum spem,fragilemfortunam, et inanes nostras contentiones !" I knew not Mr. Macdiarmid personally : " tantum vidi" — -but those to whom he was well known, unite their testimonies in bestowing on him the praise of an amiable and upright man, as well as of an elegant and vigo- rous writer. Some account of him appeared in Dr. Aikin's Athenaeum, vol. iii. p. 377- Sir T. More. cxxxix Strafford (in the same work), he has little to fear from the efforts of competitors. « No. 40. " Your humble orator and moost bounden bedeman, Thomas More." Engraved by Philip Audinet, for Mr. Cayley's edition of More's life. Stroke. 1808. This engraving, which is professed to be copied from a painting by Hans Holbein, is an imitation of Houbraken's head. The mechanical part of it is well done, but one could have wished to have seen the locks of More not quite so formally curled. No. 41. Sir Thomas More. Engraved by James Hopwood, from an original by Holbein. Stip- ling. 1808. A sufficiently neat engraving; being a frontis- piece to an edition of the Utopia, which is hereafter noticed. It is copied from Mr. Freeman's; but the features of Sir Thomas, and especially the nose, are too large for the contour of the head. The figure is too high up in the oval to give us the idea of a short man, as was the original. [cxI] V. EDITIONS OF THE UTOPIA. # # # Those Editions, to which an Asterisk is affixed to the date, thus, [*] are in my own possession. [Circ. A. D. 1516.] " Libellus vere aureus nee minus salutaris quam festivus de optimo Reipublicse statu, deque nova In- sula Utopia, authore clarissimo viro Thoma Moro, inclytae civitatis Londinensis cive et vicecomite, cura Petri iEgidii Antuerpiensis, et arte Theodorici Martini Alustemis Typographi almae Louaniensium Academiae nunc primum accuratissime editus. Cum gratia et privilegio :" 4to. On the other side of the leaf which contains the Title, is" Vtopise Insula; Figura ;"* followed by « Vtopiensium Alphabetum. — Tetrastichon vernacula Utopiensium lingua — et Horum versuum ad verbum sententia. — Hexastichon Anemolii Poete Laureati Hythlodei, &c. — Claris- simo D. Hieronimo Buslidio Petrus iEgidius, S. D. — Johannes Paludanus Cassitelensis, M. Petro iEgi- dio, S. D. — Ejusdem Johannis Paludani in novam Insulam Vtopiam Carmen. — Gerardus Noviomagus de Vtopia, (i. e. Carmen). — Cornelius Grapheus ad Lectorem, (Carmen.)— Hieronymus BuslidiusThomae * A sort of View-map, without human figures. Editions, &c. cxli Moro, S. D. — Praefatio in opus de optimo Reipublicae statu, Thomas Morus Petro iEgidio, S. P. D." These introductory pieces occupy the first twelve pages of the book, which contains only fifty four (unnumbered) leaves. The last page is filled with the device of Theodore Martin. It is printed in the roman letter, without marginal annotations. Editio Princeps, on the authority of Panzer; [vii. 26l.] who cites Baumgart-Nachr. 1, p. 541. sq. Vonderhardt, 1. c. ii. p. 52. the latter of whom sup- poses it to be printed in 1517. There is no date ex- pressed in the title page ; and the above one, being put within a parenthesis by Panzer, may be con- sidered as doubtful. We may, however, draw something like an accurate conclusion as to the period of its publication, from the following circum- stances. According to Peter Giles's letter to Buslidius, dated Nov. 1516, it is evident that the former speaks of an intended edition of Utopia — for he says, ", 1 know of nothing requisite to add to this narrative but a metre of four verses, written in the Utopian tongue, which Hythloday shewed me on the departure of More: this, with the Utopian alphabet and some marginal quotations, is all I have thought proper to subjoin." Not a syllable is inserted of any printed edition : the work, therefore, was most probably in that state of MS. in which P. Giles describes it, at the opening of his letter, to have been as ** sent to him the other day by Sir Thomas More." Now, as cxlii Editions of [Latin. Buslidius was provost at Arienum, it is barely pos- sible for the work to have been printed at Lovain in the month of December. Another circumstance may be considered. In Stapleton's life of More, p. 206. there is a letter from More to Warham, Archbishop of Canterbury, in which the former observes that " his friend P. Giles had thought the work deserving of publication, and had caused it to be printed without his knowledge." The date of this letter is not mentioned ; but we find that it was written to the Archbishop on his resigna- tion of the Chancellorship ; which took place, ac- cording to Godwin,* in the year 1515. [Warham was succeeded by Wolsey and More.] There is Dothing in the letter which induces us to suppose it was written immediately after the resignation, though most probably it was not written later than 1516. It is, however, worth while observing that Erasmus, in his epistle to Froben, prefixed to the Basil edition of 1518, and written in September, 1517, makes no mention whatever of a printed edition of the Utopia — a copy of which he sends his friend Froben, as if it were to gain immortality from being printed in his office. * Will it not," says he, " delight the learned when it is known to have issued from the press of Froben ?" Upon the whole, although we should have natu- * De Praesulibus Angliae, edit. Richardson, p. 135. Latin.'] the Utopia. cxliii ralty expected the first edition of the Utopia to have been printed at Antwerp, under the immediate super- intendatice of Peter Giles, (as he resided in that city), yet, on the authorities adduced by Panzer, there is nothing improbable in its being first printed by Theodore Martin, at Louvain, in 1517. A copy of this very rare book is in the British Museum, which was bequeathed to it by the late Mr. Tyrwhitt; and another is in the extraordinary collection of Mr. Heber. A. D. 1518. [*] " De Optimo Republican Statu, deque nova insula Utopia, libellus vere aureus, nee minus salutaris quam festivus, clarissimidisertissimique viriTHOMjE Mori, inclytas civitatis Londinensis, civis et Vice- comitis," with the Latin Epigrams of More and Erasmus. At the end of Buslidius' Epistle to More, p. 168. occurs the following subscription, " Basilea apud Joannem Frobenium Mense Novembri, an. m,d. xviii. At the end of the volume, p. 355, there is the same subscription, with the substitution of the word December. Editio Princeps secunda. This is the second edition of the Utopia, and may be now considered a rare and curious volume. The title page is printed within an engraved compartment of an arch, deco- rated with winged boys, and wreaths of flowers. At top, in the corners, are the words " Hans. Holb." denoting, I conceive, this great artist to be the cxliv Editions of [Latin. designer of the frontispiece. The printer's device, of the hands grasping Mercury's Caduceus, is at bottom. The same ornaments occur in the fourth page of More's Epistle to Peter Giles, which pre- cedes the first book of the Utopia. At the back of the title page is the following epistle from Erasmus to Froben. " Erasmus Roterodamus Joanni Frobenio compatri suo charissimo. s. d. " Cum antehac omnia Mori mei mihi supra modum semper pi acuer in t, tamen ipse meojudicio nonnihil diffidebam, ob arctissimam inter nos amicitiam. Caeterum ubi video doctos uno ore omneis meo sub- scribere suffragio, ac vehementius etiam divinum hominis ingenium suspicere, non quod plus anient, sed quod plus cernant, serio plaudo mea3 sententiae, nee verebor post hac quod sentio, palam eloqui. Quid tandem non praestitisset admirabilis ista naturae felicitas, si hoc ingenium instituisset Italia ? Si to turn Musarum sacris vacaret, si ad justam frugem ac velut autumnum suum maturuisset ? Epigram- mata lusit adolescens admodum, ac pleraque puer. Britanniam suam nunquam egressus est, nisi semel atque iterum, principis sui nomine legatione fungens apud Flandros. Praeter rem uxoriam, praeter curas domesticas, praeter publici muneris functionem, et causarum undas, tot tantisque regni negociis distra- hitur, ut mireris esse ocium vel cogitandi de libris. Proinde misimus ad te progymnasmata illius et Uto^ Latin.'] the Utopia. cxlv piam, ut si videtur, tuis excusa typis, orbi posterita- tique commendentur. Quando ea est tuae officinae autoritas, ut liber vel hoc nomine placeat eruditis, si cognitum sit e Frobenianis aedibus prodisse. Bene vale cum Optimo socero, conjuge suavissima, ac mel- clitissimis liberis. Erasmum filioluin mihi tecum communem, inter literas natum, fac optimis literis instituendum cures. Lovanij viii. Cal. Septem. AN. M. D. XVII." This address is succeeded by Budaeus's letter to Lupsetus : after which (p. ] 1.) we have the following " Hexastichon Anemolii Po^ete Laureati, Hythlodai ex Sorore Nepotis in Utopiam Insulam. Utopia priscis dicta, ob infrequentiam, Nunc civitatis aemula Platonics, Fortasse victrix (nam quod ilia literis Delineavit, hoc ego una praestiti Viris et opibus, optimisque legibus) Eutopia merito sum vocanda nomine. On the reverse of this page is a wood cut of a bird's eye view or" Utopia, with three human figures at bottom ; two of which have been exactly copied in this edition for the head-piece to the f Pro- logue :" these I conjecture to be More and Hyth- loday. The Utopian Alphabet, with a " Tetrasti- chon Vernacula Utopiensium Lingua" faces this wood cut. Then follows Peter Giles's letter to Bus- lidius, which is dated Nov. 1516. At page 17 com- mences More's letter to Peter Giles, within a com- partment similar to that of the frontispiece; and at t cxlvi Editions of [Latin. p. 25, with a vignette similar to the second one in this edition (from which indeed it was in part copied), commences the Romance of the Utopia, which terminates at p. 162 ; the remainder being occupied with the Epigrams of More and Erasmus. I suspect that all the engraved and typographical ornaments of the book were designed by Holbein. The frontispieces to More's and Erasmus's Epigrams are very elegantly executed, especially the latter. The engraver's mark is a V, in the midst of a volute or curl, like a G ; which, from Christ's Diet, des Monogrammes, [edit. 1750. p. 281.] I suppose to stand for Von Goar. This second edition of More's Utopia, though by no means executed in the best style of Froben's press, is, notwithstanding, rather an elegant volume, and is faithfully printed. It is briefly described by Maittaire, vol. ii. 323, and by Panzer, vol. vi. 205; which latter refers to Gesner, 1. c. p. 80. Thott. vii. p. 211. Bibl. P. Nor: Bibl. Schw. jun: Bibl. Dilherr. and to his own collection. A. D. 1519. "Thoms Mori de optimo Reipublicae statu, deque nova Insula Utopia libellus. Epigrammata ple- raque e graeco versa. Item Desiderii Erasmi Roterodami Epigrammata. Vienna Pannonia per Joannem Singreniutn. 4to. 1519. This is noticed by Panzer, on the authority of Denis, 1. c. p. 204. It is probably a reprint of the Basil edition. Latin.'] the Utopia. cxlvii A. D. 1548. " De Optimo Reipub. Statu, Deque nova Insula Utopia, libellus vere aureus, nee minus salutaris quam festivus, clarissimi disertissimique viri Thom* Mori inclytae civitatis Londinensis civis et Vicecomitis. Lovanij, Excudebat Ser- vatius Sassenus impensis viduae Arnoldi Birk- manni. Anno Salutis, 1548. Mense Junio. 8vo. At the back of the title page, there is a privilege granted to the printer for the exclusive printing, sell- ing, and distributing, of this work for the space of the four following years. It is dated at Brussels, xx M ar. M. D. xlvij, and signed Facuwez. This edition seems to be a reprint of Froben's, for it is arranged precisely in the same order, and contains the same matter. Peter Giles's letter to Buslidius, More's to Giles, and the two books of the Utopia, are printed in italics: the remainder in the roman letter. On the reverse of p. 181, (at the end) is a list of errata: this is followed by a print of a man crowned with laurels, grasping in h