BIBLIOTHEQUE INTERNATIONALE DE L'ART 
 
 THE 
 
 BOOK OF FORTUNE 
 
PARIS. — IMPRIiMERlE DE L'ART 
 
 J. ROUAM, 1 MIMU M h;U K-lJblTEU R, 4I, R U t I) hJ LA VlCTOlRE 
 
 EDITION AT 200 EXAMPLES 
 
 Example 71° 
 
BIBLIOTHEQUE INTERNATIONALE DE L'ART 
 
 THE 
 
 BOOK OF FORTUNE 
 
 TWO HUNDRED UNPUBLISHED DRAWINGS 
 
 BY 
 
 JEAN COUSIN 
 
 Reproduced from the original manuscript in the Library of the Institute of France 
 WITH INTRODUCTION AND NOTES 
 
 BY 
 
 LiUDoviG L .A- x-i .A- iisr 3sr e: 
 
 TRANSLATED BY 
 
 H. MAINM^ARING DUNSTAN 
 
 LIBRAI RIE DE L'ART 
 
 PARIS ET LONDON 
 
 33, AVENUE DE l'opERA, PARIS 
 
 J. ROUAM, IMPRIMEUR-EDITEUR 
 
 134, NEW BOND STREET, LONDON 
 
 REMINGTON AND Co, PUBLISHERS 
 
 I 883 
 
few years ago, while looking over various manu- 
 scripts preserved in the Library of the Institute, 
 I chanced upon a book to which it was palpable 
 that but little attention had been paid, possibly 
 because its exterior was certainly not attractive. 
 It was a quarto volume bound in brown calf and 
 in very bad condition. Its title, Emblemata For- 
 tumv, seemed to point to its being one of those tedious allegorical works 
 so much in vogue in the sixteenth century, the most celebrated of which 
 is that by Alciat'. But on opening it I was agreeably surprised. In 
 addition to the Latin te.xt which I was quite prepared to find, it con- 
 tained two hundred drawings belonging unmistakeably to the French 
 School, and a mere glance over them sufficed to show that they 
 possessed a high artistic value. The MS. was quite ready for the 
 printer, as can be seen by the following title written on the first 
 
 ,. The Emblemata Alciati, which was hrst published at Milan in i522, and ran through rtfty 
 editions, without counting the translations of it in prose and verse. 
 
 1 
 
THE BOOK OF FORTUNE 
 
 page ; we reproduce it in fac-simile on account of the annotation at 
 the foot, to which we shall recur in due course. 
 
 i^n^ 
 
 Juts pnf^aUbmfuf^ fetr/tftius^c&- 
 Itfttcts^et niilCHs fcjtt'ntoftasy 
 
 Jwk^dJje in ct/fiftcsAftcofi )\triictif 
 
 tttfi vficov^^ fuS tnJ 
 
 mttt 
 
 k 
 
 
 !VNJ 
 
 ni 
 
 -^^ ^L^n 
 
 (7^ pfb\ dc ^' 
 
 o 
 
 The Book of Fortune, containing a hundred emblems and a hundred 
 symbols, ivith their divisions, quatrains, and distiches, and a great 
 number of arguments, and varied explanations. Paris. Jacques 
 Kervet, Rue St. Jacques, at the Sign of the Fountain, i56<S'. It will 
 be seen that nothing is wanting to this title, neither the date nor the 
 name of the publisher, who had then a great reputation, especially 
 
INTRODUCTION 3 
 
 for illustrated works. It is, nevertheless, probable that the author had 
 not at the time had any business relations with him, seeinj:,^ that he 
 is in error as to his name, writing it Kervet instead of Kerver, and 
 giving him in addition a sign which he never had'. 
 
 The title is followed by a short Note to the Reader, dated the 
 Kalends of March, i568=, and succeeding it are :— ist, along Dedica- 
 tion to Hercule-Frangois, Due d'Alencon, the last of the sons of 
 Henry II., and then fourteen years of age; 2nd, fourteen sets of verses, 
 some addressed by the author to the Duke already mentioned, to his 
 book, and to Louis de Gonzague, Due dc Nevers, and the remainder 
 by friends of the author: the whole in Latin^ 
 
 After these preliminaries, customary in the books of that epoch, 
 comes the collection of the hundred emblems and the hundred symbols 
 announced on the title-page ^ To each of these emblems and 
 symbols, which face each other (the emblem on the left, the symbol 
 on the rio-ht), is devoted a drawing occupying an entire page; the 
 hrst being a representation of an allegorical composition, and the 
 
 I Jacques Kerver was a bookseller and publisher in Paris from i535 to iSgo, and he had 
 successively, as his sign, first of all two cocks, when his establishment was in the Rue Saint- 
 Jacques, and afterwards a unicorn. Vide the Manuel du Libraire, under the heading M.zaud. 
 
 2. The date was originally 1567, but the figure 7 has been changed to 8. 
 
 3. The sets of verses are as follows : — 
 1st The author to the Duke d'Alenfon. 
 
 id Gastonus Claveus Sivernensis to the author. 
 
 3d Emondus Danle^us (d'Anlezy) in autoris figuratum opus. This d'Anlezy was evidently related 
 to the author, as will be seen later on. 
 
 4th In autoris Fortunas Mathurimis Maresius Andimis. 
 
 5th In eundem. 
 
 Gth In eundem, incerto autore. 
 
 7th Autoris quidam amicus ad lectorem. 
 
 8th Ad eundem. In my opinion these four anonymous sets were composed by the author 
 
 himself. 
 
 gth Autor a'grotans ad librum suum. 
 
 loth Autorieidem Claudius Cossovius Borboniensis. This is a distich in the handwriting of the 
 author of the book, who has made a correction in the superscription. 
 
 nth and i2th These two sets are addressed to the Due de Nevers, who had just been severely 
 wounded (February, i568) in an engagement with the Huguenots, of whom the greater number were 
 his vassals. 
 
 1 3th Herbauderii Carmen. 
 
 14th In autoris salutationem bonas fortunas precantis. This is anonymous and is erased. 
 4 The conclusion of the volume consists of five pages written by the author entitled, De Fortuna 
 adnotatio. The writing and the ink are so bad that it is difficult to decipher the text, which, 
 however, is devoid of interest. 
 
4 THE BOOK OF FORTUNE 
 
 second formed simply of ornaments or decorative subjects serving as a 
 frame to a Latin quotation or sentence'. 
 
 The drawings are pen and ink, with the exception of six, Nos. Gi, 
 63, 65, 67, 69, and 71, which are traced or retraced in red chalk. One 
 only. No. 27, is deteriorated, and all, with the exception perhaps of 
 No. 93, are by the same hand. The author of the text has conceived 
 the unfortunate idea of placing in the emblem, marked No. 143, the 
 fioure of a woman, the execution of which is both bad and heavy, 
 which he says he took from « the ancient marbles of Rome. « We 
 have succeeded in removing it and reproducing the drawing which it 
 covered. At the foot of each drawing are Latin verses (quatrains on 
 the left, distiches on the right), more or less applicable, as are also 
 the quotations and sentences enclosed in the frame on the left hand, 
 to the emblem and the symbol of which there is an explanation in 
 addition to the right or left as the case may be. 
 
 The author originally intended to give greater development to these 
 explanations. The Latin in which he at first composed them is fol- 
 lowed in the earlier drawings by a translation or paraphrase in five 
 lano-uao-es— in Italian, Spanish, French, German, and English— which 
 ouffht to have given his readers a lofty idea of the learning of the 
 writer, and at the same time to have secured outside France a market 
 for the sale of the book for which he anticipated so brilliant a des- 
 tiny. But, doubtless for lack of translators, the versions in foreign 
 lano-uao-es diminished by degrees, and after No. 73, the commentary, 
 now reduced to very brief proportions, appears only in Latin and 
 French. The various secretaries or copyists who had up to this time 
 transcribed the te.xt' disappeared simultaneously, and the task of 
 writino- his prose and verse fell on the author himself. It was in all 
 probability the labour of many years, for a gradual weakening and 
 
 1. The author of the text in his explanations indicates this second drawing by the words com- 
 partnipnt, margin, and border, and as a rule he applies the term device to the adage placed at the 
 top of the drawing. 
 
 2. Except certain words re-inserted here and there by tlie author. We may mention inci- 
 dentally that faults in orthography are by no means rare in the Latin and few Greek words quoted. 
 The mistakes must have been made by the copyist, who undoubtedly wrote from the dictation of the 
 author. 
 
INTRODUCTION 5 
 
 unsteadiness of hand can be traced almost on each successive pao-e. 
 We arc consequently led to the conclusion that in i568, notwithstand- 
 ing the import of the title page, his book was far from being com- 
 pleted, and that when he had traced the last page, age and infirmity 
 compelled him to renounce the idea of publishing a work for which it 
 would have indeed been very difficult to find a publisher, in conse- 
 quence both of the great expense which would have been incurred, 
 and the political situation of France'. We may well congratulate 
 ourselves on this failure, for otherwise the drawings might have been 
 entrusted to some clumsy engraver who would have disfigured and 
 completely spoiled them. 
 
 If the Liber Fortuncv had contained nothing but the text, I need 
 hardly say that I should never have thought of withdrawing it from 
 the seclusion of oblivion in which it had been reposing for nearly 
 three centuries, but though the verses are either indifferent or alto- 
 gether bad, and the quotations and sentences are trivial, dull, or 
 insignificant, the drawings are in the highest degree remarkable for 
 their originality, grace, elegance, and, considering the monotony of the 
 subject selected by the artist, their wonderful variety. 
 
 Who is the author of the text ? Who is responsible for the 
 drawings? These are two questions with which I am about tB deal 
 successively. In regard to the first, communications which I have 
 received place me in a position to answer it without any difficulty-. 
 
 Although his name does not appear on the title-page, the author 
 had no intention of depriving himself of the glory which he expected 
 to gain from his Liber Fortuiia% modesty not being his especial fault; 
 and though from beginning to end he simulates a desire to conceal 
 his identity, he would have been very much disappointed had there 
 been any failure to recognise him — fugii cid salices et se ciipit ante 
 I'ideri. He consequently contrived to arrange matters so as to render 
 
 1. The book is dated i568, the year which witnessed the outbreak of the third Civil War. 
 The war was brought to a close in August, iSyo, by the Peace of Saint-Germain, but there was no 
 diminution of the popular excitement. Two years later the massacre of St. Bartholomew took place. 
 
 2. I am indebted for them to the Comte de Soultrait and my colleague M. H. de Flamare, keeper 
 of the Archives in the Department of Nievre, to whom I here tender my warmest acknowledgements. 
 
6 THE BOOK OF FORTUNE 
 
 the discovery of his personaHty a work of no great difficulty, at all 
 events for his contemporaries. 
 
 Nevertheless, so far as we are concerned, the task would have 
 been an arduous one if we had not three monosyllabic abbreviations 
 to guide us — Imb. Dan. Dii. — by which he indicates himself in the 
 superscription to his Dedication to the Due d'Alencon'. Fortu- 
 nately, also, at the end of his Note to the Reader he has added the 
 name of the place where he wrote it — E Diinjliino nostra apiid Xyvcr- 
 nos — ((From our Dunflun in Nivernais)> -'. As Dunflun is the name of 
 an old castle now included in the district of Nevers, we had simply 
 to find out who possessed it in i568. 
 
 One of my friends, to whom I showed the manuscript in iSyS, 
 shortly after it had come under my notice, hit upon the happy idea of 
 consulting the Societe Xii'ernaise on the subject, and the question was 
 settled in the most satisfactory manner by one of the members of that 
 Society, the Abbe Boutillier, keeper of the archives of the town of 
 Nevers^, who conclusively proved, quoting authorities in support of 
 his contention, that in i568 the lord of Dunflun was Imbert 
 d'Anlezy\ Knight of the Order of the King, and one of the hundred 
 gentlemen of his household. He belonged to a very old family of 
 Nivernais, had for a long time been attached to the service of the 
 Dukes of Nevers, and must have died in or before 1574, because in 
 that year his widoiv^ Louise de 1" Hospital, claimed from the town of 
 Nevers the payment of a sum of i5o livres due to her husband''. 
 
 1. Herculi Francico regis cristianissimi Caroli noni fratri Imb. Dan. Du. Bonas Fortunas. 
 
 2. Canton of Saint-Benin-d'Azy, commz/Hc of Billy-Chevannes. It is described as follows in the 
 Repertoire archeologique du departement de la Nievre, by the Comte de Soultrait, Paris. Impri- 
 merie Nationale, 1875, 4°, col. 182: — 
 
 (I Castle of Dunflun : a square pavilion, flanked by a separate turret enclosing the staircase, of the 
 fifteenth century, and a large round tower devoid of character, pierced with modern apertures, of the 
 thirteenth or fourteenth century. On the staircase are two carved escutcheons, one an ermine with 
 border engrailed (d'Anlezy) ; the other three fretted fesses. » 
 
 3. Mde the Bulletin de la Societe Xivernaise, second series, Vol. VIII., pages 74 — 76. I have 
 only recently become acquainted with the query and the answer to it, thanks to M. Henri de 
 Flamare, whose name has already been mentioned. 
 
 4. The abbreviation in the Dedication to the Due dWIenfon may therefore be completed 
 thus : — Iinbertus Danlejius Dunjlunensis. 
 
 3. Vide also L'hxventaire dcs litres de Nevers de I'Abbe de Marolles, published and annotated by 
 the Comte de Soultrait. Nevers, 1873. 4°, col. 282. 
 
INTRODUCTION 7 
 
 M. Boutillier, however, was not in possession of accurate information 
 in regard to our MS., and believed the text and the drawings to have 
 been due to the same individual. That is not so, as we shall very- 
 soon see. 
 
 The Note to the Reader^ and especially the Dedication to the Due 
 d'Alengon, whose name, Hercules, served as a peg whereon to hang 
 many puns and much eulogistic hyperbole, enable us to supplement 
 these indications. 
 
 Imbert d'Anlezy, lord of Dunflun, from the year i53S served 
 Francois I. and his successors in their wars at home and abroad. In 
 the midst of his camp life he no doubt thought that literature was, to 
 borrow the happy e.xpression of Brantome, « good emery wherewith 
 to give a bright lustre to arms. » So for the space of thirty years he 
 devoted his scant leisure to the composition of this Liber Fortunce, on 
 which he built such bright anticipations of fame. In his Note to the 
 Reader^ which we reproduce in an abridged form only because his 
 pretentious and diflfuse style is anything but conspicuous for taste and 
 elegance, he says : — 
 
 « I offer you, kind reader, the Book of various Fortunes. You 
 would not credit the toll and sleepless nights it has cost me. Indeed, 
 what difficulty is there which does not stand in the way of a noble- 
 man, and especially an old and worn-out soldier, who wishes to give 
 forth to the world a work worthy of consideration ? P^or we, nobles 
 and soldiers, in these days live a life entirely apart from that litera- 
 ture with which I dabbled in my youth ; and I have, therefore, found 
 it very difficult to return to those Muses whom I had deserted for so 
 long, and to whom I had so many years ago said adieu. Omit- 
 ting all mention of by-gone wars, of enmities, jealousies, and law- 
 suits, the life which I was summoned to lead, that most miserable of 
 all lives, a Court life, allows no one to live in peace and enjoy his 
 paternal inheritance. So my Book, thou shalt pursue thy journey in 
 freedom and quietude under the auspices of that Hercules whom thou 
 hast chosen for thy patron, and I would be bold enough to give 
 expression to my hope that he should be the Phoenix of this century. 
 
8 THE BOOK OF FORTUNE 
 
 did I not fear, what I could not endure, to be accused of flattery by 
 those who envy me. iMay thy surpassing merits outstrip my fondest 
 hopes, and a brilliant success attend thee with thy Fortunes! » 
 
 In addition to a certain amount of detailed information about the 
 life of a country gentleman, this Dedication, which is more than six 
 times the length of the Note, gives us a number of particulars in 
 respect to the manner in which Imbert d'Anlezy composed his book, 
 and the far more interesting subject of how he set about having it 
 illustrated. 
 
 « Many years, « he says, « have elapsed, most serene Duke, since 
 I commenced my labours on this work. I prepared it by the way 
 during the continual wars in which I took part for the space of 
 thirty years. The work was too heavy for my shoulders, but, as 
 befits a valiant soldier, I dared the attempt and the undertaking.)) 
 « Perhaps, )) he adds, a it may be found wanting in polish, but that 
 was unavoidable. )> The advent of peace had barely allowed him to 
 return home and put his affairs in order when he was sent by 
 Catherine de Medicis to attach himself to the service of the Duke, 
 and to enter upon that life to which he ever alludes with the most 
 profound aversion. « What anxieties, great God, what cares of every 
 description, what a multitude of catastrophes, does that life bring in 
 its train, that most wretched of all lives, that Court life where never- 
 ending occupations, for the most part vain and frivolous, leave neither 
 leisure nor repose ! If such an existence hinders the flight of those 
 who are born to study, and have only to sing for themselves and their 
 muses, what influence must it have upon us whom the brilliant lot of 
 an ancient race and the nature of our own minds have made so 
 widely different ? )) 
 
 And even when he had returned home with what cares and 
 worries was he overwhelmed ! 
 
 <c We have to take care of the horses, lead the beasts to pasture, train 
 the hounds for the chase, build, plant, sow, graft, buy houses and 
 lands ; as we all do either from covetousness, or to house the multi- 
 tude of our children, or to rival our grandfathers and our neighbours 
 
INTRODUCTION 9 
 
 in the extent of our property. Then there is a wife to be fed and 
 dressed, with the servants, nurses, and midwives, kiw-suits to carry 
 on, besides being subject to the threats and attacks of neighbours and 
 land surveyors, and the thefts and frauds of servants and retainers.)) 
 
 Then followed diseases contracted in war and foreign climes, which 
 for ten years caused him much suffering each recurring year, and 
 finally, most painful of all, civil wars. Such were the things which 
 stood in the way of his imparting to his book the perfection that he 
 would have wished ; but he could not resist the orders of his lords 
 and masters^ or the continual importunities of his relatives and 
 friends « whom he was accustomed to obey as a well-trained horse 
 obeys his rider,)) and he resolved upon publishing it. « To defend 
 myself against the malice of the envious, 1 could not have found a 
 better patron than you, whose youthful fondness for pictures drew and 
 extracted from me a promise to let it see the light as best it might. 
 You are called Hercules; be a Hercules for me against the yelping of 
 dogs and the buzzing of gnats. Be a Hercules not only for the pro- 
 tection of my book, but also for France and Eluropc.)) At the bottom 
 of his heart he did not think that he stood in any need of the 
 protection he solicited ; his quatrains, his distiches, and his c^uotations 
 borrowed from various ancient and modern authors, had filled him 
 with such an amount of pride that he thought he had left nothing to 
 be done by those who should come after him ' , and with a candour 
 which is truly comical he predicted for his Liber Fortiiiia.' <( an existence 
 if not equal to that of the Iliad, at all events as long as that 
 of the ^Eneid)) '. 
 
 After havino- alluded to himself and his work with so much 
 modesty, the lord of Dunflun thought himself bound to say a word 
 or two about the individual to whom he had entrusted the illustra- 
 tion of his book, whose figures, to use his own expression, « were 
 drawn and ornamented with admirable elegance ; )) but he does so after 
 
 1. Sic plane ut nihil posteris quod addant futurum speretur reliqui. 
 
 2. Vade, Liber, multos sane victurus in annos, 
 
 Non minus ^Eneide, si minus Iliade. 
 
 (Autor aegrotans aJ lihrum suum.) 
 
10 THE BOOK OF FORTUNE 
 
 a fashion which is not without a certain amount of originaHty. 
 « The artist [pictor), » he says, « may lay claim to a large share in 
 this work, for he has drawn his figures with so much art that he 
 seems to have surpassed Praxiteles, Apelles, and Zeuxis'. Never- 
 theless, he shall not bear away all the honour, because, as he has 
 drawn a very large salary from my purse, I think that I have 
 acquired by right of purchase all that may appertain to him, to say 
 nothing of my having directed, guided, and aided him in his 
 work »-. 
 
 By means of this guileless avowal Imbert d'Anlezy made his con- 
 science so exceedingly easy that in the end he imagined that the 
 entire book, text and drawings, had emanated from himself, and he 
 moreover persuaded others to take that view, so that in the verses 
 addressed to him by his friends, he is regarded as painter and poet. 
 He allowed one of them, Hcrbauderius"', to apostrophise him thus: — 
 « Imbert, thou art surely an elegant painter and an illustrious poet, 
 thou who hast been bold enough to represent various Fortunes both 
 by pen and pencil, as no other before you had essayed to do » ''. 
 
 We need not be greatly astonished by this method of proceeding, 
 if we bear in mind that in France, in the sixteenth century, painters 
 
 1. In the Xote from the Printer to the Reader in the celebiated « Livre de la perspective, » by 
 Jehan Cousin (Paris, folio, i5Go) this phrase occurs: « Martin Jeliaa Cousin, in the art of por- 
 traiture and painting, is not inferior to Zeuxis or Apelles. » This book was eight years anterior to 
 the dedication of Imbert d'Anlezy. 
 
 2. Insuper varia; tigurarum partitioncs, mira elegantia depictie et adornata;, suis legibus astricta;, 
 ad margines usque protensae, et diverse idiomate explicatce circumspiciuntur, sic plane ut nihil 
 postcris quod addant futurum speretur reliqui. Cujus partem non exiguam sibi pictor arrogare 
 poterit, cujus manu hi^c ita scite depictee sunt, ut Praxitelem, Apellem et Zeuzyn vicisse videatur. 
 Non tamen universam laadem auferet, siquidem artis peritas manus mercedem ex nostris marsupiis 
 locupleiissimam reportaverit. Emptionis jure opinor id mihi totum acquiri quod, prtcter operas, 
 me docente et praeeunte et adjuvante, factas, illi tantummodo oppigneratum videri poterit. 
 
 3. I imagine that this Herbauderius might very well be the lord of La Herbaudure (or La 
 Herbaudiere (':), Treasurer and Receiver General of Finances to the Due de Nevers. In the MS. ot 
 the French Funds, N°. 32I-2, in the National Library, there are four letters addressed to him in 
 i5iJ2. One is from his brother, the Lord of Estample ; the three others from the Due de Nevers 
 (F. 56, 6(5, 67, 68). 
 
 4. Na;, tu elegans pictor clarusque, Imberte, poeta es, 
 Qui varias scripto et penicillo pingere sortes 
 Ausus es. 
 
 Imbert has corrected the first line in his own handwriting and has modified it thus : — 
 
 Na;, tu elegans pictor, scriptor clarusque poeta es. ^ 
 
INTRODUCTION ii 
 
 and sculptors, however great their talent, were hi the estimation of a 
 orentleman merely miserable artisans ; the scant consideration which 
 they enjoyed is only too explanatory of the silence of their contem- 
 poraries in regard to them, and of the meagreness of the information 
 which has been handed down to us in connection with their persons 
 and their works. Instead of comparing him to a sculptor, Praxiteles, 
 or two painters, Apelles and Zeuxis, the lord of Dunflun would have 
 been better inspired, both on his own account and ours, if he had 
 named the clever artist whom he rewarded so handsomely. But the 
 name which he did not choose to tell us has been revealed by an 
 unknown person who has written, as everybody can see, at the foot of 
 the title-page of we have given a facsimile : De la main dc Jclian 
 CousinK 
 
 What approximate date should be assigned to this inscription, on 
 the paramount importance of which I have no need to dwell ? 1 
 thought it might be the commencement of the ^seventeenth century, 
 but I was unwilling to rely upon myself in this matter. I consulted 
 my learned colleague, M. Deprez, Librarian of the Manuscript 
 Department of the National Library, and one of the most competent 
 authorities on such subjects, as those numerous persons who have 
 daily recourse to his courteous experience well know. According to 
 him, the inscription may be dated as far back as the end of the six- 
 teenth century, and consequently may have been placed in its present 
 position a few years after the death of Jean Cousin, who, on the 
 authority of Felibien, lived until i58g. I may mention also, but 
 only for reference, that the name Cousin is to be found at the foot 
 of the first drawing, in a minute handwriting of a much later date 
 than the one already mentioned. I must candidly confess that I am 
 unable to assign any precise date to this. 
 
 It follows, then, that some twenty or thirty years after the death 
 of the lord of Dunflun, which happened in 1574, the drawings were 
 acknowledged as having been the production of Jean Cousin, very 
 
 I. After the name Cousin another hand has written the article dc, and a word commencing with 
 an L, which lias been completely erased. 
 
12 THE BOOK OF FORTUNE 
 
 possibly by a member of the d'Anlezy family who had become the 
 owner of the book and might easily have been possessed of trust- 
 worthy information on the subject. 
 
 Into whose hands did the Liber Fortuna' subsequently pass? I 
 w^as unable to discover this, but having bethought me of opening the 
 Histoire des Arts, published in 1810 by Alexandre Lenoir, who, during 
 the Revolution, saved so many monuments and precious objects, I 
 there found the following passage which, despite its errors, un- 
 doubtedly refers to our MS. 
 
 « In Paris there is a fine manuscript by Jean Cousin, composed of 
 sixty (this should be one hundred) drawings, and an equal number of 
 cartouches, representing the various attitudes of Fortune during the 
 course of human life, and Illustrative of all classes of society: the 
 cartouches in connection with each drawing, also the work of Jean 
 Cousin, contain in French (this should be Latin) verse the explanation 
 of the subjects represented in the drawings facing them respectively. 
 
 « Among the subjects to be found In these fine MS. we may 
 remark a young, newly-betrothed girl who presents herself before 
 Fortune In order to consult her on her future lot. Fortune, repre- 
 sented with the maoic wand In her hand, and standino; in front of a 
 table on which are placed the accessories necessary for the perfor- 
 mance of conjuring tricks, upsets with a stroke of her wand some 
 mysterious cups from underneath which several tiny Loves are seen to 
 emerge ; cunning is depicted in the eyes of the magician and joy 
 manifests itself on the countenance of the young girl. This elegant 
 drawing, full of grace and delicacy, is not one of the slightest of 
 those comprised in this beautiful collection, and all the friends of art 
 are expressing their earnest wish that after the death of the present 
 owner of this fine MS., who is over seventy years of age, it may pass 
 into the possession of the National Library. 
 
 a In another drawing' a king is seen placed on the top of the 
 wheel of Destiny which Fortune, represented with her eyes covered 
 with a veil, is turning round. The King, proudly seated with his 
 
 I. See Plate cxix. 
 
INTRODUCTION i3 
 
 sceptre in his hand and his crown on his head, triumphs over several 
 other sovereigns placed on the lower part of the wheel, where they 
 are seen overthrown and striving to retain the crowns which are 
 falling" from their heads ' « . 
 
 Having asked M. Alexander Lenoir whether, among the papers 
 which had belonged to his father, he could not find some further 
 information on the subject of our MS., that learned academician was 
 kind enough to place at my disposal a quarto volume, the third of a 
 Traite Philosophiqiie des Arts, an unpublished work, in which, at 
 page 54, the author had reproduced a portion of the passage, with its 
 inaccuracies, which we have just quoted, adding to it some fresh 
 facts : — 
 
 <( This great artist (Jean Cousin), » he says, « has left a precious 
 MS., which was the property of the Chevalier de Bouftlers, and which 
 I saw in the hands of M. Le Breton, the Secretary to the Academy 
 of Fine Arts. This MS. is composed of si.xty pen and ink drawings 
 and sixty cartouches. These drawings represent the vicissitudes of 
 human life considered under every aspect and in connection with all 
 classes of society, and each cartouche contains an explanation in 
 French verse of the subject opposite to which it is placed. 1 will 
 content myself with describing two of the principal drawings in this 
 work. 
 
 « The first represents a young, newly-betrothed girl who is con- 
 sulting Fortune in reference to her future lot. The blind Goddess is 
 standing upright, the magic wand in her hand, and placed before a 
 table whereon are spread out all the accessories of juggling; with a 
 stroke of her wand she upsets a number of mysterious cups, from 
 underneath which several small children are seen to emerge. Joy is 
 depicted on the countenance of the betrothed girl and cunning on the 
 lineaments of Fortune. 
 
 u The second of these drawings represents a king on the summit 
 of the wheel of Fortune ; proudly seated there, he seems to be 
 
 I. Histoirc dcs Arts en France protwce par les monuments, by Alexander Lenoir, Paris 410, 
 1810, pp. 74 and 75. 
 
14 THE BOOK OF FORTUNE 
 
 triumphing over four other sovereigns ; the latter are overturned, and 
 each of them with difficulty retains his hold on the crown which 
 appears to be escaping from him. These two drawings, at once cor- 
 rect and elegant, are not much superior to the fifty-eight others 
 which, with them, form the total of the collection. From what I 
 have just said it cannot be concealed that these are in truth slight 
 productions, but the intellectual perception and imagination displayed 
 in them are fully equal to the genius which is conspicuous in the 
 Last Judgment of the same author. It must be a matter of astonish- 
 ment that a place has not been found for this precious MS. in the 
 Library of the King, who might easily have become possessed of it. » 
 
 M. Lenoir has added in a note: — « The Chevalier de Boufflers had 
 entrusted it for sale to M. Le Breton ; it is not known what has 
 become of it ' ». 
 
 We know now ; the Chevalier de Boufflers, who died in January, 
 iSi5, was very probably its last owner. Le Breton was secretary to 
 the Academy of Fine Arts up to March, 1S14. Did the volume reach 
 the Library of the Institute through his instrumentality ? Such a 
 thing is possible, but the minutes of the Academy, which I have 
 carefully searched, do not make any mention of it. 
 
 In recent years much attention has been paid to Jean Cousin- ; 
 by some he is assigned the largest and most glorious share in the 
 history of French art in the sixteenth century" ; others, but it must 
 
 1. M. Didot, who was not acquainted with these two passages, quotes a third from the same 
 author, extracted from \'oI. 111. of the Musee des Monuments Francais (published in 182 1), but it is 
 only an abridgment of those we have quoted, and contains their inaccuracies. 
 
 2. Jean Cousin, born at Soucy, near Sens, in i5oo or i5oi, as far as we know, died about 1389. 
 Scarcely anything is known of his life, which was mostly spent in Paris. 
 
 3. We may quote Etude siir Jean Cousin, suivie de notices sur Jean Leclerc et Pierre Woeiriot, 
 by Ambroise Firmin-Didot, Paris, 8vo, 1S72. Recueil des oeiivres choisies de Jean Cousin, by the same 
 author. Folio, 1873. Quelques prcuves sur Jean Cousin, peintre, sculpteur, geomeire et graveur, by 
 T. Lobet, 8vo, Paris^ iSSi. These three works are accompanied by plates. We may also quote the 
 very interesting work by Mrs. Mark Pattison, entitled The Renaissance of Art in France. London. 
 2 vols. 8vo, 1879. In the first chapter of the second volume the author has verv successfully dis- 
 cussed and summarised the most recent works upon Jean Cousin. 
 
 M. Didot, whose admiration for Jean Cousin has no limits, treats of him in the first of his works 
 successively, ist, as a painter (The Last Judgment, at the Louvre ; Eua prima Pandora, at Sens ; and 
 several family portraits); 2nd, as a miniaturist; 3d, as a sculptor {The Tomb of Admiral Chabot. at 
 the Louvre : The Tomb of Jacques de Bre^e, at Rouen) ; 4th, as a glass-maker ; 5th, as a draughts- 
 man and engraver on wood; Oth, as the author of the Livre de la perspective [\b6o], and the Livre 
 
INTRODUCTION i5 
 
 be confessed, very few in number, would reduce that share to insig- 
 nificant dimensions. As there is an ahiiost complete absence of 
 documentary evidence, and the discussion is therefore principally 
 confined to personal estimates, the end of it is not even in sight ; 
 the Liber Fortima' will doubtless furnish fresh food for it. 
 
 As we have already seen, the MS. has borne the name of Jean 
 Cousin for nearly three hundred years ; this fact alone seems to us to 
 justify us in having retained on the title-page of our publication an 
 attribution for which, after all, we are not responsible. We may 
 add that there is further circumstantial evidence which may be pro- 
 duced in support of it. 
 
 In his Traitc historiqiie et pratique de la grainire en bois ' 
 Papillon thus sums up his enumeration of the works of Cousin : — 
 « Nearly all the illustrations in the books printed in Paris during the 
 reigns of Henry II., Francis II., Charles IX., and Henry III are from 
 his drawings in pen or ink or on wood. » M. Monceaux, Secretary 
 to the Socicte des Sciences of the Yonne, who for some time past has 
 been devoting himself in quest of information respecting his fellow- 
 countryman, states that he has traced the hand of Cousin in the 
 majority of the illustrated works published at Sens from i552 to 
 1 582, and two years ago'-, he added more positive proof to his 
 assertion by the announcement that he had discovered « among the 
 old examples of Sens printing, more than forty wood engravings of 
 the si.xteenth century, the greater portion of which are signed with his 
 monogram. » 
 
 It is therefore incontestable, even if we allow for a certain amount 
 of exaggeration in the statements made by Papillon, that Cousin was 
 one of the most popular draughtsmen and engravers during a portion 
 of the sixteenth century^, and consequently nothing can be more 
 
 de pourtraicture (ib-]i). 1 may add that he was one of the tirst to whom I mentioned the existence 
 of our MS., which he had quoted from A. Lenoir and believed to be lost. He was so struck by the 
 news that he at once announced to me his intention of publishing it, and if lie had lived a few 
 months longer, he would certainly have carried out his intention. 
 
 1. 1766. 8vo. Vol. I, p. 204. 
 
 2. Inaufjuration de la statue de Jean Cousin, a Sens, iS'"" Octobre, 1880, pp. i5 and 16. 
 
 3. In France. In a record of works executed for Henri II., from January i, 1540, to December 3i, 
 
lo THE BOOK OF FORTUNE 
 
 natural than that the lord of Duntlun should have entrusted to him 
 the illustration of the Liber Fortuna'. 
 
 The next question is, can the general characteristics of his work be 
 traced in any of our drawings ? On this point A'l. J. Renouvier, one 
 of the greatest authorities in such matters, bears the following testi- 
 mony : — 
 
 « The height, elegant forms, and slim extremities of the figures, the 
 expression of the heads, and the prettiness of the children are equally 
 distinctive marks of his masterly skill in drawing'.)) 
 
 The reader will here easily find these « distinctive marks. )) 
 
 M. Didot also mentions as one of the peculiarities of Jean Cousin -' 
 his habit of introducing into his engravings a pyramid, or obelisk, and 
 leaves as pendentives. This may be seen in several of the drawings 
 in our collection. 
 
 We think, therefore, that we are not laving ourselves open to 
 censure in having allowed Cousin to retain that credit of authorship 
 which was almost conceded to him ^^■hen he was alive, and we have 
 neither considered ourselves at liberty to deprive the author of these 
 drawings of his name, nor to give him a fresh one. 
 
 We have one last remark to make by way of enhancing the in- 
 terest of our MS., in which artists will discover some useful hints in 
 regard to ornamentation, costume, furniture, etc. In this regard it 
 is, perhaps, unique ; for we are not aware of the existence elsewhere 
 of so large a collection of unpublished drawings due to a single 
 artist of its particular period and the French School. The nearest 
 approach to it, in regard to the number and importance of the com- 
 positions, is the collection called Histoire d'Artcmisc, preserved in the 
 Cabinet des Estampes, No. 382, folio. Of the thirty-nine drawings 
 which it contains, thirty-one are by a painter named Antoine Caron, 
 who died about i5g3. There are some curious points of resemblance 
 
 i55o, J. Cousin appears as imager at fourteen livres per mensem. See La Renaissance des Arts 
 a la Cow de France : L. de Laborde. Vol. i, p. 4^3. 
 
 1. Des types et des manieres des maitres gravcurs, pour servir al'histoire de la grarure. Mont- 
 pellier. Sixteenth century. 4to. i854, p. 164. 
 
 2. Etude sur Jean Cousin, p. 75. Among other instances a pyramid -will be found in the 
 background of the picture, Eva prima Pandora, to which we have alluded in a preceding note. 
 
INTRODUCTION 17 
 
 between it and the Liber Fortuna' which are worth noticino-. Like 
 our MS., and almost contemporaneously with it, about 1569, it was 
 executed according to the plans and at the cost of an amateur, Nicolas 
 Houel, who, yielding to the entreaties of his friends, embellished it 
 with sonnets of his own composition. Moreover, following the 
 example of the lord of Duntlun, he devoted a prefatory letter to 
 boasting of the labour, the nights, and the money it had cost him ; 
 and to carry the resemblance still further, though he spoke of the 
 « foremost men both of Italy and France, » whom he had employed, 
 he was careful to refrain from quoting a single name. Finally, he 
 dedicated his book to Catherine de Medicis just as Imbert d'Anlezy 
 dedicated his to the Due d'Alengon '. 
 
 We will conclude with a few words on the plan ^^'hich we have 
 adopted in regard to our publication. 
 
 For various reasons we were compelled to abandon the idea of 
 taking direct photographs of the drawings, and we decided to have 
 them copied. This delicate operation was entrusted to a young 
 draughtsman, M. Drouot, who has performed his task with much 
 care and skill. The photogravures have been made from his tracings. 
 
 As for the text to which Imbert d'Anlezy attached so much impor- 
 tance, we have without any scruple set aside his Latin, that is to say, 
 his quatrains, distiches, quotations and proverbs. So far his text was 
 devoid of interest ; but it was impossible to avoid reproducing the 
 explanations in French which he has given of his Emblems and 
 Symbols^ because, although they are occasionally very much involved, 
 they are indispensable to the due understanding of the drawings, and 
 serve to bring out into greater prominence all the mental and imagi- 
 native resources displayed by the artist in the illustration of the Book 
 of Fortune. In order, however, to allow of their being read with 
 greater facility, we have in transcribing them used the modern ortho- 
 graphy. 
 
 I. See ihe manuscript notes which accompany the volume, and the Notice des dessins, 
 cartons, etc., of the Museum of the Louvre, by iM. Reiset, p. 274 ct scq. 
 
EXPLANATION OF THE PLATES 
 
 - Fortuna audax. 
 
 - Aiisiis her cu lens. 
 
 Adventurous and daring Fortune is usually depicted in this, the commonest and 
 most trivial manner; and for this reason we have elected to commence with her. 
 Her device is the boldness and adventurous enterprise of Hercules, signified by 
 the skin of the lion and the club of the aforesaid Hercules. Around the com- 
 partment are all the labours of the aforesaid Hercules and his adventurous 
 fortunes. 
 
 3. 
 4- 
 
 - Fortuna virilis. 
 
 - Venus I'ictrix. 
 
 Next to this first nude (Fortune) we have placed the second armed, which is 
 virile Fortune, formerly worshipped by the Pagan Romans, for whose device we 
 have adopted the victorious apple of Venus, which apple, as narrated by Cornelius 
 Tacitus, is placed upon the summit of pyramids and other lofty sites in sign of the 
 signal victory of the aforesaid Venus. In the margin are Emperors, Kings, Popes, 
 gendarmes, and all others in bondage and subjection to her, with the Judgment 
 of Paris, Mars, and Adonis ; the meaning being that she has had more vigour and 
 living force than the other with her arms, and is victorious over armed Fortune. 
 
 5. — ■ Nemo sua sorte contentus. 
 
 6. — Nulla sors sua cruce caret. 
 
 Everyone carries with him his fortune: the soldier his with the sword; the 
 merchant his with the horn of plenty; the labourer his with the wheel; and no one 
 
20 THE BOOK OF FORTUNE 
 
 of them is content with it. So there is neither state nor life in this world which does 
 not carry with it its cross, that is to say, its torment, as you see in the border by the 
 arms of the soldier, the ship of the merchant, the plough of the labourer: every- 
 where there is a cross. 
 
 7. — Fata adversa volant. 
 
 8. — Bio;. — B16;. 
 
 In this place you see ill or adverse Fortune, seated on the eagle, the swiftest 
 of all birds, holding in her two hands rods, whips, and arrows, the weapons proper 
 to her ; with the Greek word which in our language means Life and the sound which 
 the aforesaid arrow makes when sped from her bow, to show that the life of mortals 
 is more sudden and quick than the sound of the aforesaid arrows or anv other 
 created thing. 
 
 (The lord of Dunflun has made a slight mistake here. If Bios, with the accent 
 over the ;, means life. Bids with the accent over the has never meant anything but 
 the bow, and not the « sound of the arrow »). 
 
 9. — Subrepitnt prospera fata. 
 
 10. — Sat cito si sat bene. 
 
 Prosperity or good Fortune is here seen depicted with the tortoise under her 
 feet, as if it bore her, with royal crowns, and palm and olive branches. The palm 
 signifies victory, the olive peace; in the device there is an ox, to signify that 
 honours, dignities, peace, victories, empires, and other contentments of mind, come 
 quite gently and slowly, step by step, as does the aforesaid o\ which makes the 
 corn, the vine, apples and pears, come quite gently, and builds houses and palaces, 
 as are to be seen in the border of the compartment. 
 
 11. — Nemesis triumphans. 
 
 12. — Imperium liabet in belluas. 
 
 Fortune being seated in her chariot drawn by griffins, as Politian says, signifies 
 great swiftness. If she commands the untameable and untamed griffins, she may 
 well command the rest of the other savage beasts, as appears in the margin of the 
 compartment. 
 
 1 3. — • Infortunium triumphans. 
 
 14. — Noxia fata canens. 
 
 By Fortune blindfolded, drawn by horses blindfolded and at speed ; equally the 
 raven, the hoopoo, the screech-owl, and the bat, birds of ill-omen, fleeing from 
 the light of the sun, denote the great power of unhappiness and ill-fortune which, 
 like powder, passes everywhere without anybody being able to bar the way. 
 
EXPLANATION OF THE PLATES 21 
 
 1 5. — Fortunce occasio. 
 
 16. — Ansa arripienda. 
 
 To recognize the occasion or opportunity in all the things of this world is the 
 act of a wise man, for it flies away faster than the wind; and for this reason you 
 see her here painted with wings and with hair in front but bald behind, and with 
 the dart of repentance in her left hand to show us that when she presents herself to 
 us we should lay hold of her, because when she turns away from us, having no 
 hair behind, she can with difficulty be seized again. Which thing the handles of 
 pots, vases, and baskets show us, for by the handles we are accustumed to lift and 
 lay hold of them. 
 
 ly. — . Fortuna sire occasionis Deiis. 
 
 18. — FvojO', /.a'.iov. 
 
 Time is, as it were, the husband of the aforesaid opportunity; he is hoary- 
 headed, as the oldest thing of this world; he has wings on his feet, as being lighter 
 than thought; he turns and flees away quickly, equally with the aforesaid oppor- 
 tunity; therefore it is very well to know Time, and knowing him to lay and keep 
 hold of him, as denoted by the dials and hour-glasses. 
 
 19. — Siicv qiiisqiie fortunce faber. 
 
 'J.O. — Egregiiim /acinus fama sequitur. 
 
 We are masters and makers of ourselves, of our fortune, from which one 
 extracts honour and property; another, infamy, shame, and loss, as may be seen 
 here in the image of the knight, the senator, and the labourer. We must therefore 
 sorrow over and complain of ourselves and not of Fortune. The horns and trum- 
 pets and cornets placed in the margin signify renown which, like the human voice, 
 resounds throughout the world. 
 
 21. — Fortuna sine pedibus: 
 
 22. — ■ Nil firmwn. 
 
 The invention of the Scythians has been considered very beautiful although they 
 were barbarous and cruel. They depicted Fortune with wings but without feet, 
 though with hands, to denote her instability. The column, which is a sign of 
 constant firmness, being broken and shattered as it is seen here, shows that 
 nothing under the moon is firm and durable. 
 
 23. — Fortuna sedens. 
 
 24. — Animus sedens quietior. 
 
 Unworthy of the least consideration is the Fortune painted by Appelles, 
 who has placed her seated on a chair, because, he said, she had no sure dwelling 
 
22 THE BOOK OF FORTUNE 
 
 place, nor any stable place wherein to abide. The, device is a tablet oh which 
 nothing is written, which signifies the mind. The chairs signify that, when one is 
 seated, the mind is quieter and more staid than it would be if one were standing 
 upright, moving about, or running. 
 
 25. — For tuna bifrous. 
 2G. — Gladius lydiiis. 
 
 Who does not know how continually Fortune changes, and how she exalts or 
 humbles human afi'airs? For that reason the ancient poets cleverly said that she 
 had two faces: with one she laughs, with the other she w-eeps, just as this two-edged 
 sword with which the enemy may be wounded from both sides, 
 
 27 
 
 - Alia bifrontis Fort una' descriptio. 
 
 28. — Arcus non semper tensus. 
 
 This, almost after the same fashion as the preceding one, is the discovery of a 
 French poet and very well explained in French verse, showing in the painting one 
 side of the face white and the other side hlacii.. On her right hand is her eldest 
 son, called Happiness; on her left, her younger son, called Unhappiness, clad in 
 mourning. On the one she bestows honours, on the other a fool's bauble. The 
 bow is not always bent and is not always wounding. So she is not always 
 inflicting injury. 
 
 29. — ■ Fortuna; bivium. 
 
 30. — Y^ litera Pythagora'. 
 
 As Pythagoras learnedly pointed out by the image of his letter Y, which is 
 said to have been invented by him, the two modes of life, one of pleasures and 
 vice, the other of hardship and virtue; so Eisopet, an ancient philosopher, con- 
 ceived that Fortune had two paths which she shows us in our life: the one on the 
 right hand, rugged at its entrance but beautiful and spacious in the end, is virtue; 
 the other, on the contrary, is that of vice, beautiful and broad at its entrance, but 
 rugged and disagreeable in the end. 
 
 3i. — Fortuna inconstans. 
 32. — Aura levis. 
 
 As the wind, the air and the clouds are variable, and as one sees in summer a 
 cloud full of heavy rain being borne, now hither now thither, by the impetuosity of 
 the winds, so the inconstancy of Fortune could not be better displayed than by de- 
 picting her with wings, having her feet on a round table, and in the border of the 
 compartment the winds from all quarters, and as a device, a cloud with rain and 
 hail. 
 
EXPLANATION OF THE PLATES 2? 
 
 33. — Fortuncv inconstantis siginun. 
 
 34. — ■ Ex formica elep[h]antem. 
 
 The inconstancy of Fortune is here well-pourtrayed, for you see how from a 
 school-master she makes a senator, and from a senator a school-master; from an 
 elephant an ant, and from an ant an elephant. 
 
 35. — - Sinistrce Fortuna.' exemplum. 
 
 36. — Victima nil miserentis orchi. 
 
 Theramenes, one of the thirty tyrants of the Athenians, when the palace fell in 
 which he and several others were revelling, and he alone escaped, exclaimed, 
 <( O Fortune, for what are you reserving me? » Shortly afterwards he was slain; now 
 he is the victim of Pluto who impartially pardons neither kings, tyrants, nor anybody 
 else. The head of the ox denotes the victim. 
 
 37. — ■ Diibia' Fortuna' sigmim: 
 
 38. — Sic I'oh'ere Parcas. 
 
 Our life may fitly be compared to the spindle of the divinities of fate, the 
 Parcce, which hangs and is attached to a minute and delicate thread, as is here seen 
 in the sword over the head of Damocles attached to a thread of hair from a horse's 
 tail, which incessantly threatens to fall on his back, as a sign of the doubtful and 
 uncertain faith of Fortune. 
 
 3g. — Indignis Fortuna favens. 
 
 40. — Arnica luto sus. 
 
 Here we commonly see F'ortune striving to exalt and place in lofty positions men 
 who are unworthy of them. So we find in books that Thyestes, Tantalus, Atreus', 
 and others unworthy of crowns, have been kings ; and similarily we see here a 
 hunchback, a cripple, and a blind man, unworthy men, being favoured by this 
 inconstant being, as though she delighted in things so foul and unclean, as does 
 the sow in the compartment, wallowing and lying down in the litter and mire. 
 
 41. — ■ Infortiinatos spes alit. 
 
 42. — Dum spiral sperat. 
 
 Hope sustains and nourishes men who are but little favoured by fortune ; 
 whence it arises that there is no one in so great a calamity and ruin of his affairs 
 but is attached to the thread, however weak it be, of that Hope. Let us then live 
 continually with it, as the bird shut up in that cage, who, so long as it breathes, 
 hopes one day to be set at liberty and fly through the free world. 
 
24 THE BOOK OF FORTUNE 
 
 43. — For tuna iusidiatrix. 
 
 44. — Anus vulpes uon capitur. 
 
 By the example of the old fox, full of malice and wiles, here painted from life, 
 who cleverly avoids the nets spread out, we are shown that with the powerful com- 
 panionship of prudence we ought equally in this world to avoid the lakes and 
 mountains and wiles of Fortune. 
 
 45. — Fortuna jocans ct illudens. 
 
 46. — Sic lioininum sortes. 
 
 Here we see, at the ends of the table, two ladies: by one is represented Nature, 
 who offers and dedicates to Fortune little children; the other lady is Venus, who brings 
 her flowers. This Fortune, after the manner of jugglers, exalts and elevates and 
 also humbles these little children, and hides them as she pleases underneath her 
 cups. By the figure of the back-gammon board, placed on the other side, we are 
 shown that we, with our prudence, ought to correct whatever comes to us in op- 
 position to our thoughts and desires through the instrumentality of the afore- 
 said Fortune, and if the die does not fall in accordance to our wish. 
 
 47. — Fortuna iiiinax. 
 
 48. — Ubique tempestas. 
 
 Bv that horrible look and the bands and pincers which are seen in her 
 hands, is denoted her strength; in that she threatens all living things, who so long 
 as they are here below are placed under her sway and exposed to her buffets and 
 those of the world, which is represented by that sky whence falls so much hail. 
 
 49. • — Fortuito omnia fieri. 
 
 50. — Rotat omne fatuni. 
 
 Fortune turns all things in this world, as is seen by the figure of that wheel; and 
 by it we see that voyages, war, peace, building, sowing, attempting, and other 
 human actions are guided by Fortune, as some ancient philosophers affirm. Abun- 
 dance and wealth are denoted by the cornucopia full of fruits and flowers; kingdoms 
 and empires by the sceptres; science by the books; war, by the swords; so that 
 we may know that the Wheel of Fortune turns and twists everything. 
 
 5i. — Fortwuv pericula. 
 
 52. — Intentant omnia mortem. 
 
 There is not any part of this world where man is sheltered from the perils 
 of this Fortune : on land, at sea, in the air, within the sphere of fire, and among 
 friends, and even brothers, we should doubt and fear, for all things in this 
 
EXPLANATION OF THE PLATES 25 
 
 world, even to the elements, threaten us with evil and death, as appears here 
 under that figure of the elements with their shafts and arrows. 
 
 53. — Fortuna varians. 
 
 54. — Littore qiiot concha\ 
 
 Variable and infinite are the accidents and circumstances of Fortune, as the 
 shells on the sea-shore, which cannot be numbered ; which may be seen here 
 painted in more than one colour; and with a chameleon in her hand, which little 
 animal changes to all colours before our eyes, save to red and white. So Fortune 
 chops and changes, to-day favourable, to-morrow contrary and adverse. 
 
 53. — • Fortmia vitrea. 
 
 56. — • Flos cinis. 
 
 The greater and more brilliant happiness and prosperous fortunes are, the less 
 enduring are they, and for this cause they may reasonably be compared to a trans- 
 parent glass, or a frail flower, because both one and the other perish and quickly 
 pass away. So prosperous Fortune endures but for a little while, and we could 
 find no other way of painting this Fortune of glass. 
 
 57. — For tuna fell X. 
 
 58. — - Veniiint ad Candida tecta coliunbcv. 
 
 So long as a man is favoured by Fortune every one does him reverence. Every 
 one worships him and sets a high value on him. Thus, as pigeons flock in large 
 numbers to new pigeon houses, attracted thither by the beauty of the building, so 
 there is a great crowd of people after the rich and fortunate. 
 
 5g. — Fortuna infelix. 
 
 60. ■ — Accipiat niillas sordida turris aves. 
 
 But if Fortune turns her back upon him and he becomes poor and a beggar, 
 all his friends and followers leave and abandon him; so he dwells alone and is no 
 longer accosted by anybody, as doves or pigeons hold aloof from old and ruined 
 dove-cots, or ants from granaries void of grain. 
 
 61. — Fortuna favens. 
 
 62. — Ubi Fortuna, ibi splendor. 
 
 Where Fortune is favourable and where there are riches, thither men are 
 seen to hasten ; for which reason everybody willingly associates with the rich 
 and opulent, and frequents grand palaces, thinking that the splendours of For- 
 
 4 
 
26 THE BOOK OF FORTUNE 
 
 tune reside there; while, therefore, the sails of our affairs are filled with the 
 favourable winds of Fortune, we find a great number of friends and followers, as 
 is denoted hv the ship and this roval edifice placed here. 
 
 63. — Fort una iiaufraga. 
 
 64. — Ubi infortunia, ibi squaloves. 
 
 But if the ship encounters a storm, or is wrecked, then all friends flee away. 
 Nor are there any longer there what were such resplendent royal houses, but poor 
 little cabins; the low and wretched roofs and those afflicted by the spite of 
 Fortune beint; willingly abandoned. 
 
 65. — For tuna Pliitoiieiii ditceus. 
 
 66. — Quisqiie siiaiii sequitiir sortein. 
 
 As a rule each one follows that Fortune to which it seems that nature inclines 
 him, and for this reason the ass here depicted, who is born to carry packs and loads, 
 derives more pleasure from eating prickly thistles, nourishment suited to his con- 
 stitution, than lettuces, because each one likes the things which resemble himself. 
 For this reason Pluto (Plutus), the god of riches, who is blind, loves the society of 
 that Fortune who is blind also. Each one should take care that harm comes to 
 him neither from the one nor the other, as is seen in the picture. 
 
 67. — Fort una et Amor. 
 
 68. — Ut talpa talpani. 
 
 In like manner this blind Fortune guides Love who is blind as she is ; who 
 in the things of Love, as in all other things, has great power; both are insidious 
 and deceivers of men, one following the other; as the mole, who is blind, naturally 
 follows the mole, its blind companion. 
 
 69. — Fortuna, Anwr, tenipus et locus. 
 
 70. — Quein non sorte tua cogis? 
 
 Love, is there anything in this world that you do not do, seeing that you 
 trouble human and divine laws; the great Jupiter himself, with the entire company 
 of all the gods, not being sure of his Empire? There seem to me to be three 
 companions who are very favourable and necessary to the sustainment and to the 
 accomplishment of its every eftect : they are Fortune, the hour, and the place, 
 every amorous desire operating with these means. The clock signifies the hour, 
 the round ball the place. 
 
EXPLANATION OF THE PLATES :^ 
 
 71. — Fato ct gcnio. 
 
 72. — Fatali miiniiic ductus. 
 
 Genius follows Fortune; and this word genius cannot properly be well-expressed 
 in French ; it is almost the good or bad angel, because our affairs are guided by one 
 or the other; whence it is seen that human actions are conducted sometimes by 
 a good, sometimes by an evil genius, and thus have now a good and now a bad 
 result. Equally, Fortune sometimes favours these and sometimes those. Just the 
 contrary does the sun. who sheds his rays on good and bad indifferently. 
 
 73. — Fortuna, sidus et Natiira. 
 
 74. — Xatiira diice. 
 
 We follow- our Fortune and our star and our nature, like this blood-hound who 
 follows his natural fortune, hunting through the woods. 
 
 75. — Fortuna et Salus. 
 
 76. — Ex infortunio salus. 
 
 Fortune and safety are sometimes companions : this fish by misfortune was taken 
 in the nets which by Fortune are broken, and thus by Fortune has found safety for 
 himself. (If safety is here represented by a woman, it is because in the sixteenth 
 century the word salut was still of the feminine gender, like the Latin salus). 
 
 77. — • Fortuna et Favor. 
 
 78. — Quid nan pra'stant nuninii? 
 
 Fortune and Favour also sometimes follow each other; but who will deny that 
 the favour of this devilish money is greater than that of Fortune? 
 
 79. — Fortuna et Neccssitas. 
 
 80. — Quarta /una nati. 
 
 Fortune and Necessity are sometimes together; and those who are born under 
 the fourth moon, that is to say the fourth day of the crescent moon, are, as the 
 books say, generally unfortunate; which Necessity and their Fortune decree. 
 
 81. — Virtutis Fortuna comes. 
 
 82. — Virtutis lucidiun sidus. 
 
 Fortune accompanies Virtue: Virtue has her star, as Sallust says, in the clear, 
 bright, and eternal sky. 
 
28 THE BOOK OF FORTUNE 
 
 83. — Concordant yarn Ratio et Fort una. 
 
 84. — Mentis oculus Ratio. 
 
 Reason is the eye of Thought, while Thought and Reason are not always in 
 accord; the eye of reasonable thought can see what is profitable and what Fortune 
 can injure. 
 
 85. — Fortuna' ininiicitiis Virtus crescit. 
 
 86. — Lii'or itt ignis alta petit. 
 
 Virtue increases in spite of the envy of Fortune: fire and the ivy always go 
 higher. The aforesaid envy attaches itself always to lofty things and most frequently 
 to the aforesaid virtue and the virtuous, 
 
 87. — Virtus citra Fortunain valida. 
 
 88. — Omne solum forti patria est. 
 
 Virtue is strong without Fortune. To the bold and virtuous man every region 
 is his countrv, and he finds means to live well everywhere, as is denoted by the wheel 
 of the aforesaid Fortune, in all places, on the plain, on the mountain, in valley and 
 forest, so that in spite of her the aforesaid virtuous man passes everywhere, nor 
 fears to encounter her, nor is afraid of her resolution or precipitancy. 
 
 89. — Nobilitateni a Fortuna I'inci. 
 go. — Tela Fortuiuv in nobiles. 
 
 Nobility has been often conquered and beaten down by Fortune. The troubles, 
 dangers, arms, and chances to which nobility is subject in order to maintain the 
 crown, that is to say honour, and grandeur, and nobility, are shown to us by the 
 border of the device. 
 
 gi. — Strai'it Fortunani Virtus. 
 g2. — SpiciV paleis niel lores. 
 
 Virtue overthrows Fortune, and just as the ear is better than the stalk, and gold 
 is preferred before silver, just so ought Virtue to be preferred to Fortune. 
 
 93. — Fortuna.' Pat lent la I'ictrix. 
 g4. — Vincitque ferendo. 
 
 Patience, mistress and conqueror of Fortune, clothed in a hair shirt, with the 
 helmet on her head and the shield of tolerance (constancyl, bearing the anvil as a 
 device; the whole signifving patience. 
 
EXPLANATION OF THE PLATES ,„ 
 
 95. — Fnrtuna contra Jiistitiain grassari potest. 
 
 96. — Ex recto cunniiu , ex ciirvo rectum. 
 
 Fortune can ruin and act like a brigand against Mother Justice, and make a 
 straight column crooked, and straighten a crooked one, and make good rioht false 
 and make the false good. 
 
 97. — Fortitudo ill Fortuimin, iioii in homines. 
 
 98. — Sic itiir ad astra. 
 
 Strength and high-mindedness are required against Fortune and not against 
 men, whose fame by literature and arms ascends to the sky. 
 
 99. — Tibicen FortuucV Virtus. 
 100. — Optima fundamcnta durant. 
 
 Virtue is the basis and prop of Fortune, and her support ; good and well-laid 
 foundations are durable. 
 
 I o I . — Prospercv Fortuncv pediseqiia.'. 
 102. — Nihil ex omni parte beatum. 
 
 The followers or handmaidens of prosperous Fortune are envv, audacitv, idle- 
 ness, and voluptuousness; and how can the aforesaid Fortune be called prosperous 
 while there is nothing prosperous and happy to be found throughout the world; and 
 how can geometricians say that the round form is perfect, when the sun looks down 
 upon nothing on earth, neither round, square, nor three-sided, which is perfect, or 
 which does not perish in the end ? 
 
 io3. — Fortuna' adverscv comites. 
 
 104. — Fortunatus modeste, infortunatus prudenter agas. 
 
 The companions of adverse Fortune are pain, fear, anger, and rapine: if you 
 are very fortunate be prudent as a serpent; if you are unfortunate, be gentle and 
 gracious as a dove. 
 
 io5. — Fortuna nimis blanda liamata. 
 106. — Dum blanditur necat. 
 
 The tears of the crocodile are to be avoided; for when it flatters and caresses, 
 then it throws itself on the man who is looking at it, and kills him. Similarly, blan- 
 dishing and flattering Fortune often, as if with baits, deceives and prepares many 
 ambushes. 
 
3o THE BOOK OF FORTUNE 
 
 107. — For tuna' imperatrix Proi'identia. 
 
 108. — Tela pvcvvisa minus fcriiint. 
 
 As in a mirror one sees what is hurtful to the face, so one ought to foresee 
 arrows; that is to say, the ills which Fortune may bring; which when well foreseen 
 do not hurt so much; so Providence (foresight) is empress of the aforesaid Fortune. 
 
 log. — Ubi Prudeutia mil his Fortitna' locus. 
 no. — • Jugiun Fortuucv vitabit pnideus. 
 
 Where Prudence is, there is no place for Fortune. The prudent man will avoid 
 the yoke of Fortune. 
 
 III.- — • Ubi abcst Foi'tuna, paruiu prodcst diligentia. 
 
 112. — Celeritas caHeris rebus pra'valet. 
 
 Diligence, although. ..(here several words which have been cut out by the binder 
 are wanting) always profits but little if Fortune be absent. The spurs signify 
 diligence. 
 
 11 3. — Eloqueutia' comes bona Fortuna. 
 
 114. ■ — Eloquenti Jure fata dedere. 
 
 We have depicted this one voung and beautiful, with a rather large horn of 
 plenty, and the caduceus of Mercury at the top of which there is a bat with wings, 
 and round the aforesaid caduceus two other horns of plenty; the whole signifying 
 that Eloquence is the companion of good Fortune; so those whom she favours are 
 happv, rich, and honoured : the aforesaid horns (signify) riches; the palm-branch, 
 good luck; the ring, honour; the whole being similarly thus entwined together. 
 
 11 5. — Fortuna volubilis. 
 
 iiG. — ■ Rapidis ludibria rent is. 
 
 What vou see here is a plaything for small children which turns at every wind. 
 Equally, this voluble (moveable) Fortune, like a child with her wheel and feathered 
 ball, is turned by all hands and every wind. 
 
 117. — Fortuucv rota. 
 
 118. — Sic pcrgunt or dine fata. 
 
 The wheel of Fortune painted in this manner, some mounting it, some wishing 
 to mount, others falling off it, and as very often in order the hind part goes before, 
 so is this cart going before the oxen, backwards like the crabs. 
 
EXPLANATION OF THE PLATES 3i 
 
 iig. — Alia Fnrtiiiuv rota. 
 
 120. — Urna; Ba'lidum. 
 
 This other wheel of Fortune means that from weahh comes pride; from pride, 
 war; from war, poverty; from poverty, humility; from humility, peace; from peace, 
 wealth; from wealth, pride; from pride, war; ever returning and beginning over 
 again, having no end. The urns or vases of the Belides which are perforated and 
 never grow full, like as the aforesaid wheel cannot stop itself, signifv human desire 
 which is never satisfied nor has any end of contentment. 
 
 121. — Ky./,'. Or,/.'. (x.y./.Y; -•y/r,). 
 
 122. — Omnia cum tempore. 
 
 The old woman who has been sitting down is past Fortune; that prettv one who 
 is sitting down is present Fortune; that young one who is not seated and who wishes 
 to be, is future Fortune. The tree which is grafted, the other which bears fruit, and 
 the other which is perishing from old age, signify that all things have their time like 
 the abovementioned Fortunes. 
 
 123. — Fortiina rotans rotam. 
 
 124. — Sisyplii saxiim. 
 
 Sisyphus, as the poet tells us, is incessantly turning a large stone and is ever 
 rolling it everywhere, over mountains and in vallevs; so this (Fortune; is continually 
 turning her wheel. 
 
 125. — Fata Iiomerica. 
 
 126. — Spirit us i lit us agit. 
 
 Homer has said that (here a line has been cut out by the binder) Jupiter has two 
 casks: one is full of good fortune, the other of bad fortune, and as he gives men to 
 drink, so he governs them, and those who drink of the two are sometimes unhappv, 
 and sometimes happy ; and he to w'hom the aforesaid Jupiter shall have onlv given 
 bad will he perpetually unhappy. The balls filled with wind, like men with the 
 abovementioned wine, go in proportion as thev are filled and according to the wind 
 enclosed within them, and are agitated like those who have drunk of the liquor from 
 the above-mentioned casks; for man is but a bubble, a ball full of wind, as the pro- 
 verb says. 
 
 127. — ■ Fata Clirysippea. 
 
 128. — Omnium rerum I'icissitudo. 
 
 All things are subject to vicissitudes, as this little wheel shows us in the device, 
 which we Provencaux call posseraqites, with which the gardens are watered ; the 
 
32 THE BOOK OF FORTUNE 
 
 other large wheel, as Chrysippus says, is called fatal. Fatum is equivalent to the will 
 of the gods, which Chrvsippus defines to be a chain, like an eternallv immovable 
 order or reason, which is found in the eternal order of sequence to which it is an- 
 nexed and attached as if by small chains. 
 
 129. — • Fortiina Adrastia. 
 i3o. — ■ Ineluctabile fatum. 
 
 Aristotle says that (here a line has been cut out by the binder) Adrastea is an 
 inevitable thing; being by nature always a goddess, one of the Parca'. Strabo savs 
 that she is the daughter of Necessity and Jupiter, whose vengeance, like the thunder- 
 holt of Jupiter, is inevitable. The theologians of Ancient Egypt wished to convey 
 that her seat was beneath that of the moon, in order that as queen and judge she 
 might look down upon the lower and earthly regions. 
 
 i3i. — Fortiina Jiistiticv Jilia. 
 
 1 32. — Omnia somniiim, J'ltmus et umbra. 
 
 The ancient theologians also wished to convey that Fortune was the daughter 
 of Justice, and that from a hidden and concealed place she looks down upon low 
 and human things, and that she distributes to and breathes upon men as it pleases 
 her, which thing is vain as well as evervthing we see in this world; which world, 
 according to our Christian religion, ought to come to an end with the judgment 
 consummated bv tire ; then this world will be no more than smoke, a dream, and a 
 shadow. 
 
 1 33. — Juppitcr ipse a fat is vincitur. 
 
 134. — Aquila a scarabeo victa. 
 
 The eagle, which is the king of birds and the favorite of the great god Jupiter, 
 has been conquered by a vile and abject little bird, of small value. The said Jupiter 
 allowed himself to be vanquished by Fortune, as Homer says, when before Troy the 
 Great he could not save his son Sarpedon from death and fatal destiny. 
 
 i35. — Fortuna elata. 
 
 1 36. — Absque pennis volare. 
 
 Here vou sec Fortune uplifted and bold. The wings are taken for rashness and 
 presumption. Is there anything in this world more rash and presumptuous than to 
 desire wings wherewith to flv, like Dredalus or Icarus ? 
 
 137. — Fortuna parva, pusilla, minima. 
 
 1 38. — • Ex minimis damnum et utilitas. 
 
 The little honey-bee signifies to us that there is nothing in this world so small 
 
EXPLANATION OF THE PLATES 33 
 
 but has in itself some usefulness or hurtfulness, nor Fortune so small but it aids and 
 profits, and sometimes hurts and wounds. 
 
 1 39. — Fortiiim j'iscata. 
 T40. — Hoiniimin incscatio. 
 
 Just as the lust after gold and silver is a tenacious bait to ambitious and 
 avaricious men, so this Fortune of bird-lime is wont to catch men and draw them to 
 her; which is the meaning of the limed twigs which she carries on all sides. 
 
 141. — Fortiiiia piiblica. 
 
 142. — Siinilis Fnrtinia tlicatro. 
 
 So good and bad Fortune is public, and her favour, says Socrates, resembles 
 a theatre or public place, where most frequently the unworthy have the most 
 advantageous positions and the best places. There was formerly at Rome a temple 
 on Mount Quirinus to this Public Fortune. 
 
 143. — Fortittia rediix. 
 
 144. — Nnu nisi I'crc redit. 
 
 Fortune leading, or conducting, or bringing back, if such an expression be 
 allowable, had altars at Rome in olden days, and they who returned from distant 
 countries and vovages sacrificed to her. The swallow only returns in spring to her 
 accustomed nest; similarly, however cold and cloudy the weather may be, it seems 
 to be springtide to them who return safe and sound ; we have taken this figure also 
 from the ancient marbles of Rome. 
 
 (This figure, taken from some ancient monument which I have not been able to 
 trace, and which certainly was not drawn by J. Cousin, had been placed by the lord 
 of Dunflun over the original drawing. As stated in our introduction, we have 
 succeeded in detaching it, and the figure covered by it is the one we give.) 
 
 145. — ForltiiicV boiuv ft nialiv sijuulachriini. 
 
 146. — Perciitit ft sanat. 
 
 The image of good and bad Fortune was formerly at Rome. The scorpion 
 wounds and heals: bad Fortune wounds; good Fortune heals. 
 
 147. — Fortuna inuliebris. 
 
 148. — Siinia semper erit siniia. 
 
 The image of female Fortune was also in days of old adored at Rome and, as 
 related by Valerius JMaximus, spoke twice. The ape will always be an ape, even if 
 
 5 
 
34 THE BOOK OF FORTUNE 
 
 dressed in purple; so Fortune, though she be dressed as a woman, will always be 
 Fortune. 
 
 149. — Fortuna fcnestralis. 
 i5o. — Vaiia siiperstitio. 
 
 The poets have called this the Fortune of the window, meaning that, as Ovid 
 bears witness, she visited the Emperor Servius Tullius through a small window, and 
 on account of her being ashamed of her divinity having had intercourse with a 
 mortal man, her image in her temple was concealed and enveloped in her robe, as 
 in like manner was that of the aforesaid Servius. The poetry means that the said 
 Servius was born of a slave or handmaiden, and had been so elevated by Fortune 
 thatit seemed as though the said Fortune, passing through a window, went to lie 
 with him. Simputum was a vase ; litiius, a tube or pipe, with which the ancients 
 made their sacrifices; the whole in this article is only a vain old superstition. 
 (Lituiis was an augur's wand.) 
 
 1 5 1 . — Fortis Fortuna. 
 
 02. — Pal ma ponder i resistit. 
 
 Strong Fortune was thus celebrated by the Romans; the palm resists heavy 
 weights, and is sweet to the victorious; thus strong Fortune aids the strong, the bold 
 and the victorious, and is their palm. 
 
 1 53. — Fortuna philapolis. 
 
 154. — Urlv's tutanien. 
 
 Fortune philapolis, the protectress or guardian of towns and cities, as Pausanias 
 says. But the portcullis or iron grating which is usually placed at the gates of cities 
 is still safer. This Philapolis had also several images. 
 
 1 55. — Satis progrcditiir qui Fortunas vitat. 
 
 1 56. — Tecum habita. 
 
 He progresses enough who passes Fortune by, says the proverb; you will dwell 
 safely in the house with yourself, if you are willing to follow the example ot this little 
 animal who carries his with him and finds himself very safe and sound within it. 
 
 157. — Quod ars negat, Fortuna prcestat. 
 
 1 58. — Venari irata Diana. 
 
 jEsop, the philosopher, tells us the fable of some fishermen who went out to fish 
 and were a long time without catching anything ; and being angry, they wanted 
 
EXPLANATION OF THE PLATES 35 
 
 to return, but by good fortune a tunny leapt into their vessel pursued by a large fish, 
 and rejoicing over that capture they returned. The fable signifies that Fortune- 
 gives what skill has not been able to effect. To hunt in spite of Diana or Fortune; 
 and to fish in spite of Neptune, is to lose one's time and trouble. 
 
 1 59. — Siistinet hie, ho'c dcpriiuit. 
 
 160. — Utcrqiie scrvict iini. 
 
 The poets pretend that Hercules bears the world on his shoulders, but this one 
 puts it under his feet. The device means that both poles will obey her; the Arctic 
 and the Antarctic poles, that is to sav, the whole world from one end to the other. 
 
 161. — Ex iufortunio luajiis infortiiuiitm. 
 
 162. — ■ Ex malo ciaiuno pejus daininini. 
 
 Upon one misfortune another still greater sometimes follows, as he who thinks 
 to avoid Charides (Charybdis) and falls into Scylla ; both are dangerous marine 
 passages ; for as a Scylla is a high reef or rock, Charybdis is a dangerous whirlpool. 
 This stag has escaped the shafts or arrows of the hunter and sportsman, but has not 
 been able to escape from a large tree struck by lightning which has overthrown 
 him. 
 
 1 63. — Fortuna discedens fidem seeuin train' t. 
 
 164. • — Sequuntiir diicein. 
 
 As the cranes follow a leader, so faith, hope, and love sometimes follow Fortune 
 when she departs. 
 
 1 65. — Fortuna priueipibus aspectum subtrahit Veritatis. 
 
 166. — • Veritas aulani non nisi larvata intrat. 
 
 Fortune chases Truth from out of the sight of princes and rich and great lords. 
 The aforesaid Truth does not enter the palaces of princes or great lords unless she 
 is masked; and there everything is chicanery, cheating and deception. 
 
 167. — Fatalis Fortuna. 
 
 168. — Hand sidvnergitur cruceni perpessurus. 
 
 He that is born to be hinged will never be drowned : no one can escape his 
 Fortune. 
 
 169. — Fortuna' innocenteni mors sola eripit. 
 
 170. — Dmn ordirer scindit me. 
 
 Death alone can remove the innocent from Fortune. In this device there is 
 
36 THE BOOK OF FORTUNE 
 
 simply a woven cloth which is cut by shears or scissors, which means that, before it 
 was woven, it was cut and made £;ood for nothing, as the innocent being is snatched 
 away by death before arriving at the age of his perfection. 
 
 171. — Fortiina omnibus I'eiitis exposita. 
 
 172. — Uliiius veiitis agitari gaitdct. 
 
 Fortune on a rock exposed to every wind and the waves of the sea, as Gerald of 
 Ferrara (Geraldi Cinthio of Ferraral says. The elm grows, savs Plinv. bv being 
 blown about bv the winds. 
 
 173. — Fortilua fortiiiiatrix. 
 
 174. — Feliciter cadiiut Jovis taxi Hi. 
 
 Those who are born under the star of .lupiter are happv in their time, and the 
 die smiles upon them. So also thev whom propitious Fortune favours are 
 happv. 
 
 175. — Furtiiiia span aiigct. 
 
 176. — A tenebris liiceni spcrat. 
 
 Fortune increases hope ; this bird rendered powerless bv Fortune: but as his 
 hood is removed he hopes for light after darkness. 
 
 177. — Depicta Xeniesis cum freno. 
 
 178. — Mur (read : AIus) ex suo inditio periit. 
 
 Nemesis or Fortune depicted with the bit of a bridle, and a rule, or square, or 
 compass, putting a finger to her mouth, shows us that we should beware of speaking 
 in a unbridled manner and in unmeasured terms: as the mouse when not showing 
 itself is in safety, but discovering itself is in danger. 
 
 179. — Fortuna cum jioracula. 
 
 180. — Has nemo retundit. 
 
 The scythe and razor of Fortune cannot be avoided any more than the scythe 
 and razor of Death. 
 
 181. — Fortuna quod comniodavit toilet. 
 
 182. — Fors sceptra ligonibus a\juat. 
 
 What Fortune has lent she takes awav; what Nature has reciprocally given, she 
 will repeat; what Virtue hands over, she will retain: Fortune and Death equalize the 
 sceptres of kings and the pick-axes and mattocks of the poor rustics. 
 
EXPLANATION OF THE PLATES i^ 
 
 i83. — Qiios tenet exccvcat. 
 
 184. — Quos capit luvc retiiiet. 
 
 The fish which has got into the eel-pot can with dilliculty save itself. The man 
 caught in the noozes of F'ortune is in danger of heing blinded. 
 
 1 85. — Altior Fortiiiuv iiupi'tii. 
 
 186. — Ut scopuhis in iindis. 
 
 As the rock is agitated by the winds and waves and resists them, so we should 
 constantly resist the mischief and impetuosity of Fortune, and hold ourselves stead- 
 fast and lofty like this oak which grows in spite of every rain and cold, and the 
 calamities of Time and Fortune. 
 
 187. — Faveat For tuna labor i. 
 
 188. ■ — Ut semen t em feceris ita metes. 
 
 As you have sown so you shall reap; so sometimes Fortune will respond to 
 your labour. 
 
 i8g. — Una inanu mammam, altera fiinem Fortiina prtvstat. 
 190. — Melius sperare licebat. 
 
 Fortune presents her breast with one hand, and with the other ,->he spins a cord, 
 as Clement Marot, a French poet, has successfully described. The bough of the 
 oak from which the handle of the wedge has been made is by the self-same wedge, 
 by t'ortune and chance, overthrown, which no one would have expected or thought 
 would have happened to the aforesaid tree. 
 
 11) I. — For tuna insana. 
 
 192. — Omnibus lioris sapit nemo. 
 
 Fortune insensate and without understanding, as Publius (Syrus) says. The 
 sun-dial with books and baubles means that there is no one who is wise at all hours 
 of the dav, and that there is no one who has not acted foolishly on one fine day in 
 
 his life. 
 
 ig3. — Fortuna ca'ca , manca, surda , bruta. 
 194. — Fortuna chimera. 
 
 Fortune blind, deaf, and crippled; we have depicted her to show that she is 
 nothing, like the Chimera which has a name but no existence : and the aforesaid 
 Chimera is described by the poets as having the head of a lion, the belly and feet of 
 
38 THE BOOK OF FORTUNE 
 
 a goat, and the tail of a dragon or serpent ; and in truth it is nothing but a fancied 
 or imaginary thing, as is Fortune; and to both one and the other have been at- 
 tributed many faces, many forms, many signs and effects by their poetical fictions, as 
 you have been able to see from what has gone before. 
 
 iq5. — Fortunce et fatorum ministra'. 
 196. — Est calcanda scmel I'ia lethi. 
 
 The three sisters and goddesses of fate, the ParcK, as Plato narrates, wear white 
 garments and crowns on their heads. Ciotho indicates time past ; Lachesis, the 
 present; .'^tropos, the future; and they are inexorable and pitiless; from whom it 
 proceeds that each one of us must pass along the road of death, to which they con- 
 strain us, according to the aforesaid poets, by breaking the thread of our destined 
 and fate-decreed life; which is shown by the door with the effigy of death. 
 
 iqy. — In manibus tuis sortes mecv. 
 
 198. — Omne ex siiperis. 
 
 David, king, prophet, and psalmist left all his fortunes in the hands of God. 
 Everything comes from on high, which is signified by the sky and its stars in the 
 shape of a cross. 
 
 199. — Ultima Fortima. 
 
 200. — Nil amplius. 
 
 And the end of men, and of Fortune, and of all things comes. The sky and the 
 earth shall pass away: God alone will remain perpetual and eternal. After death 
 we shall take nothing awav but honour, and renown, and victory; which is shown 
 us by the palm, and the laurel chaplet of honour and triumph. 
 
 The end crowns the work. 
 
fV^ £fK^ : 
 
 
 et SYfnfoC^'^en.ho^ coftttJteyir: c^tfn 
 utf Vitttttwmfus:^ t^tr^fticts ^^t 
 itfiicts ^et yyiuSHs mtinwHys^ 
 
 ector. ticLrmycftr tot fof-tccfut ncmtna 
 hoc Uincie/yrv c^f-tti^m^ hn^is 
 
 1)tu^ 
 
 l/Cem 
 
 .P 
 
 
 fwktm in (tdiftisjjptcoft i\eraeh/' 
 iimv^xol^^^ fuJ iftAJM ton h'^ 
 
 IJ^ cA JL^m ^i^ (LJ^xA^:^J, 
 
 ^^v ^TiX cit 
 
 ic'' 
 
 .^ 
 
PLATE I. 
 
 -^FORJ-VTMA AVDAX.'-N- 
 
 '<'U>«1 
 
 DARING FORTUNE. 
 
THE EXi>L01TS OF HERCULES. 
 
PLATE 111. 
 
 'P^XA^N-A viraLis 
 
 VIRILE FORTUNE. 
 
PLATE IV. 
 
 VICTORIOUS VENUS. 
 
PLATE V. 
 
 NO ONE IS CONTENTED WITH HIS LOT. 
 
PLATE VI. 
 
 EVERY DESTINY BEARS ITS CROSS. 
 
PLATE VII. 
 
 M 1 S K O R T U N F S COME Q U I C :•; I, Y , 
 
PLATE VIII. 
 
 LIFE — THE EOW. 
 
PLATF. IX. 
 
 HAIM'INKSS A K RIVES SI. OWL V. 
 
PLATE X. 
 
 
 IT IS SOON ENOUGH, IF IT IS GOOD ENOUGH. 
 
PLATE XI. 
 
 THE TRIUMPH OF NEMESIS. 
 
PLATE XII. 
 
 <SXl 
 
 - illllllliTL ■ . V, 
 
 
 THE ANIMALS ARE UNDER HIS COMMAND. 
 
PLATE XIII. 
 
 THE TKiUMl'H OK Ml S KO K T U N t. 
 
PLATE XIV. 
 
 HE I'KEIlICTS MISFORTUNES. (OVIIi.l 
 
PLATE XV. 
 
 OPPORTUNITY (THE FAVOURABLE MOMENT) OF FORTUNE. 
 
PLATE XVI. 
 
 marjiMms^ 
 
 5f^^"^j 
 
 ONE MUST LAV HOLD OF THE HANDLE. 
 
PLATE XVII. 
 
 ^oKT'Jtu occ//mifJ>euf\ 
 
 KOKTUNE, OR THE GOD OF CHANCE. 
 
PLATE XVIII. 
 
 ^^ 
 
 TRY TO CATCH THE FAVOURABLE M O M E N 1 
 
PLATE XIX. 
 
 EVERY ONE IS THE ARTISAN OF HIS FORTUNE. 
 
PLATE XX. 
 
 FAME FOLLOWS A NOBLE ACTION. 
 
PLATE XXI. 
 
 3^V^ f ^C55^irSi^^ 
 
 ToxrVN i 
 
 "iw'i^^s 
 
 FORTUNE WITHOUT FEET. 
 
PLATE XXII. 
 
 n. 
 
 i^ 
 
 m 
 
 -^ ^ ^ '■""■"^ 
 
 NOTHING IS SOLID. 
 
PLATE XXIII. 
 
 FORTUNE SITTING DOWN. 
 
PLATE XXIV. 
 
 WIT IS QUIETER SITTING DOWN. 
 
PLATE XXV. 
 
 y ij » I) II inrrrw ii tt rtnrrn-^t-r^ 
 
 FORTUNE WITH TWO FACES. 
 
THE LYDIAN SWORD. 
 
PLATE XXVII. 
 
 I 
 
 
 ANOTHER REPRESENTATION OF FORTUNE WITH TWO FACES. 
 
PLATE XXVIII. 
 
 g^^^^^^B^^ 
 
 THE BOW IS NOT A I. \V A Y S BE N T. 
 
PLATE XXIX. 
 
 THE TWO ROADS OF FORTUNE. 
 
PLATE XXX. 
 
 
 Y, LETTER OF PYTHAGORE. 
 
PLATE XXXI. 
 
 INCONSTANT FORTUNE. 
 
PLATE XXXII 
 
 FOKTUNi; IS) A LIGHT WIND. 
 
PLATE XXXIII. 
 
 j:'or(MtiS^: jfvcoKjtaftti.} 
 
 EMBLEM Of INCONSTANT FORTUNE. 
 
PLATE XXXIV. 
 
 ^^^^^^^^^^^ 
 
 FORTUNE MAKES A 
 
 N ELEPHANT OF AN ANT. 
 
PLATE XXXV. 
 
 EXAMPLE OF AN ADVERSE FORTUNE. 
 
PLATE XXXVI. 
 
 
 VICTIM OF THE PITILESS HELL. 
 
PLATE XXXXVII 
 
 
 ^^^^ii6>\^<^K^\i^\\^m.\\^^^ 
 
 
 '^^•<SKS)Q^^©®®^ 
 
 EXAMPLE OF A DOUBTFUL FORTUNE. 
 
PLATE XXXVIII. 
 
 %. 
 
 o 
 
 "t* — 051^ 
 
 
 SUCH IS THt DECREE OF THE KATES. 
 
PLATE XXXIX 
 
 FORTUNE FAVOURING THE UNDESERVING. 
 
PIGS I.OVE THa MUD. 
 
PLATE XLI. 
 
 ■tiforkifipdjos'Sp^s {^Cit 
 
 pWN^xwxcswkVV^WVVsVVV^T^ ^V\'^\\\V<;; 
 
 k\SV^\\^VS.\V\^\^VW\\\\\^ 
 
 HOI-E SUSTAINS THE UNFORTUNATE. 
 
PLATE XLII. 
 
 )^^e%^^^:s^^^^s:^0^:M^^^ 
 
 WHILE THERE IS LIFE, THERE IS HOPE. 
 
PLATE XI.III. 
 
 gn^ Y •■ j7-^^ m/TMx 
 
 FORTUNK LAYING A TRAP. 
 
PLATE XLIV. 
 
 NVS "VVl^tS 
 
 AN OI-Ii FOX IS NOT TO BE CAUGHT. 
 
PLATE XLV. 
 
 AMUSEMENTS AND DIVERSIONS OK FORTUNE. 
 
! 
 
 •'1? r iiuiiii iininihii|i|iniiiiii iiHiiiiiiM II III nil mil (III I ii ii nil I Mill Ml n;/ii/rM /;/iin II I I'l Mini I II Hill Miiij 
 
 A 
 
 SUCH IS THE Di:STINV OF MAN. 
 
PLATE XLVII. 
 
 FORTUNE THREATENING. 
 
PLATE XLVIII. 
 
 n 
 
 y^lU . ''^i I "■i'l-tTE^^ 
 
 3 
 
 THE TEMPEST FROM ALL PARTS. 
 
PLATE XLIX. 
 
 EVERYTHING IS DONE EY FORTUNE. 
 
PLATE L. 
 
 EVERY DESTINY CHANGES. 
 
PLATE LT. 
 
 THE DANGERS OF FORTUNE. 
 
PLATE LII. 
 
 DEATH IS SHOWN IN EVERYTHING. 
 
PLATE LIII. 
 
 ToyrvtJ 
 
 N^ 
 
 CHANGING FORTUNE. 
 
PLATE LIV. 
 
 NUMEROUS AS THE SHELLS ON THE SEA SHORE. 
 
PLATE LV. 
 
 T 01\T V^U 
 
 ....... I.., > :.3.i.^wV\V^V^ S^ 
 
 
 L-,,„MM unnnM.i ..uun^ ^^^^^^^^^r^^yr^^-r.^^.^^-^^-^^ 
 
 FORTUNE IN GLASS. 
 
PLATE LVI. 
 
 THE FLOWER RETURNS TO DUST. 
 
PLATE LVII. 
 
 THE GOOIi FORTUNE. 
 
 f 
 
PLATE LVIII. 
 
 
 THE PIGEONS RETURN TO THIER HAPPY HOME. 
 
PLATE LIX. 
 
 THE EVIL FORTUNE. 
 
PLATE LX. 
 
 N V (t A i/^\5o rfUfU 
 
 
 
 < 
 
 7ZZZ22ZZZZZZZ 
 
 
 'oy '"Q^g^^^^c^ 
 
 ///,////// 
 
 (r^'S^KSS) Oa 
 
 THERE IS NO BIRD IN A RUINED PIGEON HOUSE. 
 
PLATE LXI. 
 
 PROPITIOUS FORTUNE. 
 
PLATE LXII. 
 
 'pm^h 
 
 fu'V!) To^vt^,^'}'^!!- 
 
 JVCCNDOTiJ 
 
 tif; 
 
 &tf^ 
 
 WHERE FORTUNE REIGNS, THERE REIGNS MAGNIFICENCE. 
 
PLATE LXIII. 
 
 FORTUNE BRINGING THE TEMPEST. 
 
PLATE LXIV. 
 
 ^yjf ^ / fUL (L ^^ ^,3^ "^ > '^ '^ ^•^^ 
 
 Vb fi tnfo r tu ivui ^ i^k ' fjUd /h res 
 
 SLOVENLINESS AND MISFORTUNE GO TOGETHER. 
 
PLATE LXV. 
 
 FORTUNE LEADING PLUTUS (NOT PLUTON). 
 
PLATE LXVI. 
 
 EVERY ONE FOLLOWS HIS DESTINY 
 
PLATE LXVII. 
 
 FORTUNE AND LOVE. 
 
PLATE LXVIII. 
 
 THE MOLE FOLLOWS THE MOLE. 
 
PLATE LXIX. 
 
 ST XVCxyJ - " 
 
 FORTUNE AND LOVE, THE HOUR AND THE PLACE. 
 
PLATE LXX. 
 
 
 WHO DOES NOT FEEL THY POWER? 
 
PLATE LXXI. 
 
 BY FATE AND BY GENIUS. 
 
PLATE LXXII. 
 
 ^ s 
 
 tuCt.tiumm ffuctus 
 
 LED BY A FATAL POWER. 
 
PLATE LXXIII. 
 
 FORTUNE, THE STAR AND NATURE. 
 
PLATE LXXIV. 
 
 \0)i=J 
 
 NATURE GUIDES HIM. 
 
PLATE LXXV. 
 
 FORTUNE AND SALVATION. 
 
PLATE LXX.V1. 
 
 SAFETY IN MISFORTUNE. 
 
PLATE LXXVII. 
 
 )) 
 
 FORTUNE AND FAVOUR. 
 
PLATE 1. XXVIII. 
 
 WHAT IS T H K R E THAT MONEY CANNOT BUY 
 
PLATE LXXIX 
 
 FORTUNE AND NECESSITY. 
 
PLATE LXXX. 
 
 CORN THE 4>h DAY OF THE MONTH (THAT IS TO SAY UNDER AN E V It. INFLUENCE) 
 
PLATE LXXXI. 
 
 WIlNfiff/A 
 
 VIRTVTIS :rOR-rvNA- CO^vE^- ^ ^ 
 
 1-ORTUNE THE COMPANION OF VIRTUE. 
 
PLATE LXXXII. 
 
 THE BRILLIANT STAR OF VIRTUE. 
 
REASON AND FORTUNE DO NOT OFTEN AGREE. 
 
PLATE LXXXIV. 
 
 REASON IS THE EYE OK THOUGHT. 
 
PLATE LXXXV. 
 
 HATRED OF FORTUNE INCREASES VIRTUE. 
 
PLATE LXXXVI. 
 
 
 ?0;^k> 
 
 
 ENVY LIKE A FLAME MOUNTS UPWARDS. 
 
PLATE LXXXVII. 
 
 I 
 
 VAI-IDA 
 
 ^^5<&r'^ 
 
 VIRTUE IS STRONG AGAINST FORTUNE. 
 
PLATE LXXXVIII. 
 
 rHE COURAGEOUS MAN FINDS HIS HOME IN EVERY COUNTRY. 
 
PLATE LXXXIX. 
 
 RANK VANQUISHED BY FORTUNE. 
 
PLATE XC. 
 
 rr- 
 
 THE ARMS OK FORTUNE AGAINST R\NK. 
 
PLATE XCI. 
 
 VIRTUE HAS OVERTHROWN FORTUNE. 
 
PLATE XCII. 
 
 THE EAR OF CORN IS WORTH MORE THAN THE STRAW. 
 
PLATE XCIII. 
 
 f'opoVjswE: pAriifrN-riA vig-tj^ij^ 
 
 PATIENCE TRIUMPHS OVER FORTUNE. 
 
PLATE XCIV. 
 
 THE FORCE OF THE ANVIL IS IN ITS RESISTANCE. 
 
PLATE XCV. 
 
 FORTUNE CAN MAKE WAR WITH JUSTICE. 
 
PLATE XCVI. 
 
 FORTUNE STRAIGHTENS WHAT IS BENT AND BENDS WHAT IS STRAIGHT. 
 
 l3 
 
PLATE XCVII. 
 
 COUr<AGE SHOULD BE EMPLOYED AGAINST FORTUNE 
 AND NOT AGAINST MEN. 
 
 I 
 
PLATE XCVI 
 
 IT IS THUS ONh. ARRIVES TO IMMORTALITY. 
 
PLATE XCIX. 
 
 VIRTUE IS THE SUPPORT OF FORTUNE. 
 
PLATE C. 
 
 SOLID FOUNDATIONS ARE LASTING. 
 
PLATE CI. 
 
 THE FOLLOWERS OK FORTUNE ARE i' R O S 1' E R O U S. 
 
PLATE CII. 
 
 wzzzzzzzzzzzm 
 
 ^ZZlZ2ZZP 
 
 [//yyyyy/y/'/'^/y, 
 
 L^^) 
 
 \y//y////^/////^///yy////y'/^///^^^,>^/y>/^?7> 
 
 NlHlIv EX C>A\Ml PARxe : T3iA5-WV. 
 
 P^6t.s; 
 
 NO HAPPINESS IS PERFECT. 
 
PLATE cm. 
 
 T H K COMPANIONS OF ILL FORTUNE. 
 
PLATE CIV. 
 
 BE MODEST IN HAPPINESS, AND PRUDENT IN MISFORTUNE. 
 
 '4 
 
PLATE CV. 
 
 8^^^=^ 
 
 THE CARESSES OF FORTUNE ARE FALSE. 
 
PLATE CVI. 
 
 THE CROCODILE KILLS IN CARESSING. 
 
PLATE CVII. 
 
 FORESIGHT COMMANDS FORTUNE. 
 
PLATE CVIII. 
 
 THE STROKES FORESEEN DO NOT TOUCH. 
 
PLATE CIX. 
 
 WHERE PRUDENCE IS, THERE IS NO ROOM FOR FORTUNE. 
 
platp: ex. 
 
 THE WISE MAN A V O I Ii S THE YOKE OF FORTUNE. 
 
PI.ATE CXI. 
 
 DILIGENCE SERVES FOR NOTHING IN THE ABSENCE OF FORTUNE. 
 
PLATE CXII. 
 
 IN EVERYTHING ELSE SPEED WINS THE DAY. 
 
 i5 
 
PLATE CXIII. 
 
 GOOD FORTUNE, THE COMPANION OF ELOQUENCE. 
 
PLATE CXIV. 
 
 i^ Tata: p^p/^fli^' 
 
 GIFTS Of FORTUNK TO THE ELOQUENT MAN. 
 
PLATE CXV. 
 
 f^T V NA ' VQiVbl Li^ : 
 
 U N K 1 X K I) F O R T U N K . 
 
PLATE CXVI 
 
 HE TOY OK SWIFT WINDS. 
 
PLATE CXVII. 
 
 
 THE WHEEL OF FORTUNE. 
 
PLATE CXVIIl. 
 
 THE FATES MARCH THUS |THE PLOUGH BEFORE THE OXEN. 
 
PLATE CXIX. 
 
 ,-ryT-.-v// nr77-r-'7T7:rTrr^:'/ 
 
 M.\^\roKTv\^■X6T^\ 
 
 i L 
 
 ^umii/)iiinn/i/ii>f>n>/fn/)n//f)/j,0 ,'^/ / /,-/,}/,-/?VJ/77 r7//>J/,' /f/.'///J////7777? 
 
 
 \u 
 
 '^^. 
 
 A N O T H L R WHEEL Of FORTUNE. 
 
PLATE CXX. 
 
 THE VASES OF DANAIDE. 
 
 lb 
 
PLATE CXXI. 
 
 ■HE GOOD FORTUNE. [Kxlr, -•jyr,.) 
 
PLATE CXXII. 
 
 IN TIME, EVERYTHING ARRIVES. 
 
PI.ATK CXXIII. 
 
 FORTUNE TURNING HtR WHEEL. 
 
PLATE CXXIV. 
 
 €>0 Q 
 
 THE ROCK OF SISYPHE. 
 
PLATE CXXV. 
 
 1 FATA :h 0/^El^I CA •■ 
 
 HOMER FOLLOWED By THE FATES. 
 
PLATE CXXVI. 
 
 THEY ARE r U S H K D BY THE AIR FROM WITHIN. 
 
PLATE CXXVn. 
 
 ( <:2: FATA : CHfOl^SlFPlAjZ^ 
 
 FATE FOLLOWING CHRYSllTE. 
 
PLATE CXXVIII. 
 
 
 
 EVERYTHING CHANGED. 
 
 i? 
 
PLATE CXXIX. 
 
 AVENGING FORTUNE. (NEMESIS. 
 
PLATE CXXX. 
 
 ^TVV^V-.'.kk'^'.^VV^'v'^V^s'.^-' 
 
 INFlVC rAB>i 
 
 '^. 
 
 
 M 
 
 i f ,fc^-.^ 
 
 INEVITABLE DESTINY. 
 
PLATE CXXXI. 
 
 FORTUNE, DAUGHTER OF JUSTICE. 
 
PLATF. C.WXll. 
 
 ALL IS A II R E A -M A SHADOW OR S M O K H . 
 
PLATE CXXXIII. 
 
 JUPITER HIMSEI.K IS VANQUISHED BY FATE. 
 
PLATE CXXXIV. 
 
 A(^ nI.A/\; <;,c/\Kh^lo\ v'ict/ki 
 
 THE EAGI.E VANQUISHED BY THE BEETTLE. 
 
PLATE CXXXV. 
 
 ^ 
 
 
 f 0RTE/NA.'£LATA : 
 
 LOFTY FORTUNE. 
 
PLATE CXXXVI 
 
 TO FLY WITHOUT WINGS. 
 
PLATE CXXXVII. 
 
 LITTLE FORTUNE, EXIGES, LITTLE. 
 
PLATE CXXXVIII. 
 
 LOSS AND I'ROFIT COME FROM THE SMALLEST THINGS. 
 
PI,ATE CXXXIK. 
 
 FORTUNE WITH HER I. I M E TWIGS. 
 
PLATE CXL. 
 
 ^//^///////Z ^ 
 
 THE DUPERY OF MEN. 
 
PLATE CXLI. 
 
 I'OBLIC FORTUNE. 
 
PLATE CXI.II. 
 
 FORTUNE IS LIKE A THEATRE. 
 
PLATE CXLIIl. 
 
 FORTUNE WHO PRESIDES AT THE RETURN. 
 
PLATK CXLIV 
 
 THE SWALLOW RETURNS ONLY IN SPRING. 
 
 '9 
 
PLATE CXLV. 
 
 SYMBOL OF GOOD AND EVIL FORTUNE. 
 
PLATE CXLVI. 
 
 THE SCORPION WOUNDED AND HEALED. 
 
PLATE CKLVII. 
 
 W O M A N S FOR T U N t . 
 
PLATE CXLVIII. 
 
 \.n)),,ii./>n )iu >>,>^IT . 
 
 ^i!^^^ 
 
 ^•r-S^- 
 
 ^W^W^J^I . ^/J /J^i'} J J . ff/'i * 
 
 S/MlA.'SFMp^K^^Kf T:5iM 
 
 ^'■■.■. ^.k ■.<■■■ ki. . t-i-^k-k, ^ k.k,n.. It i'<-; ,. 1 > >i I } 1 ! 1 ^ } > I I I J ' I ' TTj- 
 
 A MONKEY WILL BE ALWAYS A MONKEY. 
 
PLATE CXLIX. 
 
 ■ FoKrymh' ^^m^stp^al/S/ 
 
 FORTUNE ARRIVING BY T H t WINDOW 
 
PLATE CL. 
 
 THE VAIN SUPERSTITION. 
 
PLATE CLI. 
 
 VALIANT FORTUNE. 
 
PLATE CLII. 
 
 THE PALM TREE RESISTS BURDENS. 
 
PLATE CLIII. 
 
 - <^^^f<'/'/^///////////////////j/ ^// J /^^f j//^//f^/^/,//,//jj/,f/ j x 
 
 
 
 /?P^(>POVNA :/P^// i-APOJLj^ r^N^ 
 
 KOKTUNt i'HiLAi'OLE. 
 
PLATE CLIV. 
 
 THE SAFETY OF THE CITY. 
 
PLATE CLV. 
 
 
 HE WHO AVOIDS ACCIDENTS AVANCES QUICKLY. 
 
PLATE CLVI. 
 
 LIVE AT HOME. 
 
PLATE CLVII 
 
 "V 
 
 jT 
 
 \ 
 
 ^ 
 
 : o^v/od: ARS .'NeGA^r- ^6'RT^^^'^ .'PR^SMT 
 
 H/NUfii/t/finff///t/tnufr^//////yf//^//j/^?/f/^^?^/f ////j//ff/j 
 
 f^ 
 
 ■?l'„-ii c . 
 
 FORTUNE OFTEN PROCURES WHAT TAI, F:NT CANNOT C, IVE. 
 
PLATE CLVIH. 
 
 uiiijjtni TTm 
 
 ■^K\K\\.K^^yK^K\.K\.\sxy^^ 
 
 in? 
 
 ///fmff^/.'f/N///77r////////'/^////J/^J^/JJJ?^J//////ff/ j?i?t^//i)JJ/J/j/i/ -r 7\ 
 
 TO HUNT IN S 1' 1 r E OF D I A N' A . 
 
PLATE CLIX. 
 
 ONE SUSTAINS THE WORLD, THE OTHER ONE THE CROWD AT HIS FEET. 
 
PLATE CLX. 
 
 
 FORTUNE ALONE SHALL RULE FROM ONE POLE TO THE OTHER 
 
PLATE CLXI 
 
 FROM O N K MISFORTUNE SPRINGS A G R E A T t K . 
 
PLATE CI.XII. 
 
 FROM A GREVIOUS WRONG, A WRONG STILl. WORSE. 
 
PLATE CLXIIl 
 
 Wrirj-t.. '". 
 
 FORTUNE IN LEAVING TAKES WITH HER KAITHFULNESS. 
 
PLATE C L X 1 V . 
 
 THE CRANES FOLLOW THEIR GUIDE. 
 
PLATE CLX\' 
 
 M\\\\\\\\ \\\\\\\\\\\\)]\\}l\]iinfl mn/////i/T77 
 
 
 FORTUNE STEALS FROM PRINCES THE VIEW OF TRUTH. 
 
PLATE CLXVI. 
 
 
 Vv^^^■■^■^x'-^ ^^^'s^'^- 
 
 T / - ' ' /" :n) IUDU!))!/!/)/!'// 
 
 
 TRUTH ONLY ENTERS IN THE HEART WHEN MASKEH. 
 
PLATE CLXVII. 
 
 FATA I, FORTUNE. 
 
PLATE CLXVIII. 
 
 HE WHO IS B O l< N TO BE HANGED WILL NEVER BE DROWNED 
 
PLATE CLXIX. 
 
 
PLATE CLXX. 
 
 SCISSORS ARE CUTTING ME WHILE 1 AM WARPED UP. 
 
PLATE CLXXI. 
 
 SSSSS33 
 
 FOK T^ N A 
 
 7—ZZZ22ZZZ2272ZZZIZZ^^ 
 
 ^J>^J^J>/. 
 
 f£Ti-VC 
 
 F O K T U N E EXPOSED TO ALL THE WINDS. 
 
PLATE CLXXII. 
 
 c^ ^ . 
 
 SS^S 
 
 ; Y)n)f/fiA 
 
 
 f j i jn,))>,}) >>>'>>>i>iirm- t 
 
 THE EI,M I.OVES TO HE MOVED BV THE WINDS. 
 
PLATE CLXXIII. 
 
 FORTUNE BRINGING HAPPINESS. 
 
PLATE CLXXIV. 
 
 ^jTITi ^ 
 
 THE UICE OF JUIM.r. R KAl. I, H A I' IM L Y . 
 
PLATE CLXXV. 
 
 HOPE GROWS FROM FORTUNE. 
 
PLATE CI. XXVI. 
 
 
 \y// // y /y / y y^y ^/^ y///////^ ////<'/ J //^A 
 
 AFTER DARKNESS HE HOI'ES FOR LIGHT. 
 
PLATE CLXXVIl 
 
 
 VKNGEANCE REPRESENTED Willi A HIT. 
 
PLATE CLXXVIII. 
 
 THE FOOT-I'RINT OF THE MOUSE ( lUllS jud IlOt lUUrj OCCASIONS ITS RUIN. 
 
PLATE CLXXIX. 
 
 ^t\:Cys^ 
 
 FOKTUNK HO LI) I Nil A KAZOR. 
 
PLATE CLXXX. 
 
 NO ONE BLUNTS THEM. 
 
PLATE CI.XXXI. 
 
 FORTUNE TAKES AWAY WHAT SHE LEMDS. 
 
PLATE CLXXXII. 
 
 FORTUNE RENDS KQUAL SCEPTRES AND HOES. 
 
PLATE CLXXXIII. 
 
 FORTUNE BLINDS THOSE WHOM SHE HOLDS. 
 
PLATE CLXXXIV. 
 
 THOSE WHOM SHE HOLDS SHE RETAINS. 
 
 24 
 
PLATE CLXXXV. 
 
 THE STROKES OK FOUTUNE RENDERS GREAT. 
 
PLATE Cl.XXXVI. 
 
 AS THE ROCK AMONGST THE WAVES. 
 
PLATE CLXXXVII. 
 
 IS^^ 
 
 ^ 
 
 v\v\\\v\\\\\vv.^\\'.^'v'vV\\v\Vv\\v\\ \\\\\\\v\\\\\\\\\\\\v.V\\^\\\\'.\\v\\\Ws\\'v\\\\\v\Vy 
 
 
 TZ' 
 
 fT'T. ''^ 
 
 LET FORTUNE COME TO AID WORK. 
 
PLATE CLXXXVIII. 
 
 AS A MAN SOWS SO WILL HE REAP. 
 
PLATE CLXXXIX. 
 
 fiT-T J*--' 
 
 FORTUNE OFFERS WITH ONE HAND HER BOSOM WITH THE OTHER A ROI 
 
PLATE CXC. 
 
 HE COULD HAVE HOl'EU A BETTER LOT. 
 
PLATE CXCI. 
 
 MAD FORTUNE. 
 
PLATE CXCII. 
 
 NOBODY IS ALWAYS WISE. 
 
PLATE CXCIII. 
 
 FORTUNE BLIND, ONE ARMED, DEAF MOTIONLESS. 
 
PLATE CXCIV. 
 
 FORTUNE CHIMERA. 
 
PLATE CXCV. 
 
 : FCRTVN^: ET! FATOK^/M : M^NI 9 TK /t: 
 
 ~3>im. 
 
 77^ 
 
 SERVANTS OF FORTUNE AND DESTINY. 
 
PLATE CXCVI. 
 
 WE MUST ALL DIE. 
 
PLATE CXCVII. 
 
 MY FATE IS IN YOUR HANDS. 
 
PLATE CXCVIII. 
 
 ■vvvvvvsw 
 
 EVERYTHING COMES tROM ABOVE, 
 
PLATE CXCIX. 
 
 l/LT»r^A: FORTKIVA 
 
PLATE CC. 
 
 g^ AN\-pLrys 
 
 ^^^*»#^" 
 
 NOTHING MORE. 
 
CONTENTS 
 
 Pages- 
 
 Introduction ' 
 
 Exin.ANATiON OF th;: Pi.atks '9 
 
 Plates from I to CC. 
 
 I'jris. — iMPRiMEmE DE lArt, J. Rouam, imprimeur-iditeui, 41, ra- d; la Victoiro.