ioo TJie Dance of Death.

unknown in the above region, contrives, with the aid ofInfirmity, the Man's nurse, to make him fall sick. TheWorld being tired of his guest, and very desirous to getrid of, and plunder him of his property, under pretence ofintroducing him to Fortune, and consequent happiness,enters into a plot with Time to disguise Death, who islodged in the same house with him, as Fortune, and thusto give him possession of the Man, who imagines that heis just about to secure Fortune. Each act of this piece isornamented with some wood-cut that had been alreadyintroduced into the other work of Glissenti.

III. In an anonymous work, entitled "Tromba sonoraper richiamar i morti viventi dalla tomba della colpa aliavita della gratia. In Venetia, 1670." 8vo. of whichthere had already been three editions, there are six of theprints from the originals, as in the " Simolachri," &c. No.I. and a few others, the same as the additional ones toGlissenti's work.

In another volume, entitled " Ii non plus ultra di tuttele scienze ricchezze honori, e diletti del mondo, &c. InVenetia, 1677." 241x10. there are twenty-five of the cutsas in the ' Simolachri,' and several others from those addedto Glissenti.

IV. A set of cuts which do not seem to have belongedto any work. They are very close copies of the originals.On the subject of the Duchess in bed, the letter Sappears on the base of one of the pillars or posts, insteadof the original fjf j 1 an( ^ ** * s a ^ so seen on ^ cut °f thesoldier pierced by the lance of Death. Two have thedate 1546. In that of the monk, whom, in the original,Death seizes by the cowl or hood, the artist has made awhimsical alteration, by converting the hood into a fool'scap with bells and asses' ears, and the monk's wallet into afool's bauble. It is probable that he was of the reformedreligion.

V. " Imagines Mortis, his accesserunt epigrammata eGailico idiomate a Georgio ^Emylio in Latinum translata,.&c. Colonise apud haeredes Arnoldi Birckmanni, anno1555." 12mo. With fifty-three cuts. This may be regardedas a surreptitious edition of No. IV. of the originals b)