A Bibliographical, Antiquarian and Picturesque Tour in France and Germany Volume III Part 3

Let no man, from henceforth, a.s.sert that all culinary refinement ceases when you cross the Rhine; at least, let him not do so till he has tasted the raspberry-flavoured soufflet of the _White Stag of Ulm_. It came on the table like unto a mountain of cream and eggs, spreading its extremities to the very confines of the dish; but, when touched by the magic-working spoon, it collapsed, and concentrated into a dish of moderate and seemly dimensions. In other words, this very soufflet--considered by some as the _crux_ of refined cookery--was an exemplification of all the essential requisites of the culinary art: but without the _cotelette_, it would not have satisfied appet.i.tes which had been sharpened by the air of the summit of the tower of the cathedral. The inn itself is both comfortable and s.p.a.cious. We dined at one corner of a ball-room, upon the first floor, looking upon a very pleasant garden. After dinner, I hastened to pay my respects to Professor Veesenmeyer, according to appointment. I found him, where all Professors rejoice to be found, in the centre of his library. He had doffed the first dress in which I had seen him; and the long pipe was reposing horizontally upon a table covered with green baize. We began a bibliographical conversation immediately; and he shewed me, with the exultation of a man who is conscious of possessing treasures for which few, comparatively, have any relish--his _early printed_ volumes, upon the lower shelf of his collection.

Evening was coming on, and the daylight began to be treacherous for a critical examination into the condition of old volumes. The Professor told me he would send me a note, the next morning, of what further he possessed in the department of early printing,[26] and begged, in the mean time, that he might take a walk with me in the town. I accepted his friendly offer willingly, and we strolled about together. There is nothing very interesting, on the score of antiquities, except it be the _Rath Haus_, or Town Hall; of which the greater part may be, within a century, as old as the Cathedral.[27]

On the following morning I left Ulm, well pleased to have visited the city; and, had the time allowed, much disposed to spend another twenty-four hours within its walls. But I had not quitted my bed (and it was between six and seven o'clock in the morning) before my good friend the Professor was announced: and in half a second was standing at the foot of it. He pulled off his green cloth cap, in which I had first seen him--and I pulled off my night cap, to return his salutation--raising myself in bed. He apologised for such an early intrusion, but said "the duties of his situation led him to be an early riser; and that, at seven, his business of instructing youth was to begin." I thanked him heartily for his polite attentions--little expecting the honour of so early a visit. He then a.s.sumed a graver expression of countenance, and a deeper tone of voice; and added, in the Latin language--"May it please Providence, worthy Sir, to restore you safely, (after you shall have examined the treasures in the imperial library of Vienna) to your wife and family. It will always gratify me to hear of your welfare." The Professor then bowed: shut the door quickly, and I saw him no more. I mention this little anecdote, merely to give you an idea of the extreme simplicity, and friendliness of disposition, (which I have already observed in more than this one instance) of the German character.

The day of my departure was market-day at Ulm. Having ordered the horses at ten o'clock, I took a stroll in the market-place, and saw the several sights which are exhibited on such occasions. Poultry, meat, vegetables, b.u.t.ter, eggs, and--about three stalls of modern books. These books were, necessarily, almost wholly, published in the German language; but as I am fond of reading the popular manuals of instruction of every country--whether these instructions be moral, historical, or facetious--I purchased a couple of copies of the _Almanac Historique nomme Le_ _Messager Boiteux_, &c: a quarto publication, printed in the sorriest chap-book manner, at Colmar, and of which the fict.i.tious name of _Antoine Souci, Astronome et Hist._ stands in the t.i.tle-page as the author. A wood-cut of an old fellow with a wooden leg, and a letter in his right hand, is intended to grace this t.i.tle-page. "Do you believe (said I to the young woman, who sold me the book, and who could luckily stammer forth a few words of French) what the author of this work says?" "Yes, Sir, I believe even _more_ than what he says--" was the instant reply of the credulous vender of the tome. Every body around seemed to be in good health and good spirits; and a more cheerful opening of a market-day could not have been witnessed. Perhaps, to a stranger, there is no sight which makes him more solicitous to become acquainted with new faces, in a new country, than such a scene as this. All was hilarity and good humour: while, above, was a sky as bright and blue as ever was introduced into an illuminated copy of the devotional volumes printed by the father of the ULM PRESS; to wit, _John Zeiner of Reutlingen_.

We crossed the Danube a little after ten o'clock, and entered the territories of the King of BAVARIA. Fresh liveries to the postilion--light blue, with white facings--a horn slung across the shoulders, to which the postilion applied his lips to blow a merry blast[28]all animated us: as, upon paying the tax at the barriers, we sprung forward at a sharp trot towards _Augsbourg_. The morning continued fine, but the country was rather flat; which enabled us, however, as we turned a frequent look behind, to keep the tower of the cathedral of Ulm in view even for some half dozen miles. The distance before us now became a little more hilly: and we began to have the first glimpse of those _forests of firs_ which abound throughout Bavaria. They seem at times interminable. Meanwhile, the churches, thinly scattered here and there; had a sort of mosque or globular shaped summit, crowned by a short and slender spire; while the villages appeared very humble, but with few or no beggars a.s.sailing you upon changing horses. We had scarcely reached _Gunzbourg_, the first stage, and about fourteen miles from Ulm, when we obtained a glimpse of what appeared to be some lofty mountains at the distance of forty or fifty miles. Upon enquiry, I found that they were a part of a chain of mountains connected with those in the Tyrol.

It was about five o'clock when we reached AUGSBOURG; and, on entering it, we could not but be struck with the _painted exteriors_, and elaborate style of architecture, of the houses. We noticed, with surprise not wholly divested of admiration, shepherds and shepherdesses, heroes and heroines, piazzas, palaces, cascades, and fountains--in colours rather gay than appropriate--depicted upon the exterior walls:--and it seemed as if the accidents of weather and of time had rarely visited these decorations. All was fresh, and gay, and imposing. But a word about our Inn, (_The Three Moors_) before I take you out of doors. It is very large; and, what is better, the owner of it is very civil. Your carriage drives into a covered gate way or vestibule, from whence the different stair-cases, or princ.i.p.al doors, lead to the several divisions of the house. The front of the house is rich and elegant. On admiring it, the waiter observed--"Yes, Sir, this front is worthy of the reputation which the _Hotel of the Three Moors_ possesses throughout Europe." I admitted it was most respectable. Our bed rooms are superb--though, by preference, I always chose the upper suit of apartments. The _caffe_ for dining, below, is large and commodious; and I had hardly bespoke my first dinner, when the head-waiter put the _travelling book_ into my hands: that is, a book, or _alb.u.m_, in which the names and qualities of all the guests at that inn, from all parts of Europe, are duly registered. I saw the names of several of my countrymen whom I well knew; and inscribed my own name, and that of my companion, with the simplest adjuncts that could be devised. In doing so, I acted only according to precedent. But the boast and glory of this Inn is its GALLERY OF PICTURES: for sale. The great ball-room, together with sundry corridores and cabinets adjoining, are full of these pictures; and, what renders the view of them more delectable, is, the _Catalogue_:--printed in the _English language_, and of which a German is the reputed author.

My attention, upon first running over these pictures was, unluckily, much divided between them and the vehicle of their description. If I turned to the number, and to the description in the printed catalogue, the language of the latter was frequently so whimsical that I could not refrain from downright laughter.[29] However, the substance must not be neglected for the shadow; and it is right that you should know, in case you put your travelling scheme of visiting this country, next year, into execution, that the following observations may not be wholly without their use in directing your choice--as well as attention--should you be disposed to purchase. Here is _said_ to be a portrait of _Arcolano Armafrodita_, a famous physician at Rome in the XVth century, by _Leonardo da Vinci_. Believe neither the one nor the other. There are some _Albert Durers_; one of the _Trinity,_ of the date of 1523, and another of the _Doctors of the Church_ dated 1494: the latter good, and a choice picture of the early time of the master. A portrait of an old man, kit-cat, _supposed_ by _Murillo_. Two ancient pictures by _Holbein_ (that is, the _Father_ of Hans Holbein) of the _Fugger family_--containing nine figures, portraits, of the size of life: dated 1517 and deserving of notice. An old woman veiled, half-length, by _J. Levens_: very good. Here are two _Lucas Cranachs_, which I should like to purchase; but am fearful of dipping too deeply into Madame Francs's supplemental supply. One is a supposed portrait (it is a mere supposition) of _Erasmus_ and his mistress; the other is an old man conversing with a girl. As specimens of colouring, they are fine--for the master; but I suspect they have had a few retouches. Here is what the catalogue calls "A _fuddling-bout. beautyful small piece, by Rembrand_:" n. 188: but it is any thing but a beautiful piece, and any thing but a Rembrandt.

There is a small picture, said to be by _Marchessini_, of "Christ dragged to the place of execution." It is full of spirit, and I think quite original. At first I mistook it for a _Rubens_; and if Marchessini, and not Otho Venius, had been his master, this mistake would have been natural. I think I could cull a nosegay of a few vivid and fragrant flowers, from this graphic garden of plants of all colours and qualities. But I shrewdly suspect that they are in general the off-scourings of public or private collections; and that a thick coat of varnish and a broad gilt frame will often lead the unwary astray.

While I am upon the subject of _paintings_, I must take you with me to the TOWN HALL ... a n.o.ble structure; of which the audience room, up one pair of stairs--and in which Charles V. received the deputies respecting the famous _Augsbourg Confession of Faith_, in 1530,--is, to my taste, the most perfectly handsome room which I have ever seen. The wainscot or sides are walnut and chestnut wood, relieved by beautiful gilt ornaments. The ceiling is also of the same materials; but marked and diversified by divisions of square, or parallelogram, or oval, or circular, forms. This ceiling is very lofty, for the size of the room: but it is a fault (if it be one) on the right side. I should say, that this were a chamber worthy of the cause--and of the actors--in the scene alluded to. It is thoroughly imperial: grave, grand, and yet not preposterously gorgeous.

Above this magnificent room is the PICTURE GALLERY. It is said to receive the overflowings of the gallery of Munich--which, in turn, has been indebted to the well known gallery of Dusseldorf for its princ.i.p.al treasures. However, as a receiver of cast-off apparel, this collection must be necessarily inferior to the parent wardrobe, yet I would strongly recommend every English Antiquary--at all desirous of increasing his knowledge, and improving his taste, in early German art--to pay due attention to this singular collection of pictures at Augsbourg. He will see here, for the first time in Bavaria--in his route from the capital of France--productions, quite new in character, and not less striking from boldness of conception and vigor of execution. Augsbourg may now be considered the soil of the _Elder Holbein_, _Hans Burgmair_, _Amberger_, and _Lucas Cranach_. Here are things, of which Richardson never dreamt, and which Walpole would have parted with three fourths of his graphic embellishments at Strawberry Hill to have possessed. Here are also portraits of some of the early Reformers, of which an excellent Divine (in the vicinity of Hackney church) would leap with transport to possess copies, wherewith to adorn his admirable collection of English ecclesiastical history. Here, too, are capricious drolleries, full of character and singularity--throwing light upon past manners and customs--which the excellent PROSPERO would view with ... an almost coveting eye!

But to be more particular; and to begin with the notice of a curious performance of John, or the ELDER HOLBEIN. It is divided, like many of the pictures of the old German masters, into three compartments. The _Nativity_ occupies one; the _a.s.sumption_ another: and the decapitation of _St.

Dorothy_ the third. In the a.s.sumption, the Trinity, composed of three male figures, is introduced as sanctifying the Virgin--who is in front. Below this group is the church of "_Maria Maior_," having two bells in the steeple; upon one of which, in the act of being tolled, is the date of 1499: upon the other, in a quiescent state, are the words HANS HOLBEIN: with the initial L.B. to the right. To the left, at bottom, is the inscription HIE LITBE GRA; to the right, below, on a piece of stone, the initial H. The third piece in this composition, the death of St. Dorothy, exhibits a sweetly-drawn and sweetly coloured countenance in that of the devoted Saint. She is kneeling, about to receive the uplifted sword of the executioner; evincing a firmness, yet meekness of resignation, not unworthy the virgin martyrs of the pencils of Raphael and Guido. Her hair is long, and flows gracefully behind. A little boy, habited in a whimsical jacket, offers her a vase filled with flowers. The whole picture is rich and mellow in its colouring, and in a fine state of preservation.

Another piece, by the same uncommon artist, may be also worth particular notice. It is a miscellaneous performance, divided into three compartments; having, in the upper part of the first, a representation of the Agony in the Garden of Gethsemane. Our Saviour is placed in a very singular situation, within a rock. The comforting angel appears just above him.

Below is the Pope, in full costume, in the character of St. Peter, with a key in his left hand, and in his right a scroll; upon the latter of which is this inscription: "_Auctoritate aplica dimitto vob omia pcta_"[30] The date of 1501 is below. This picture, which is exceedingly gorgeous, is in the purest state of preservation. Another compartment represents our Saviour and the Virgin surrounded by male and female martyrs. One man, with his arms over his head, and a nail driven through them into his skull, is very striking: the head being well drawn and coloured. To the left, are the Pope, Bishops, and a Cardinal between St.

Christopher and a man in armour. One Bishop (_St. Erasmus_) carries a spit in his left hand, designating the instrument whereby he suffered death.

This large picture is also in a very fine state of preservation.

A third display of the graphic talents of the Elder Holbein (as I should conceive, rather than of the son, when young--as is generally believed) claims especial notice. This picture is a representation of the leading events in the _Life of St. Paul_; having, like most other performances of this period, many episodes or digressions. It is also divided into three compartments; of which the central one, as usual, is the most elevated. The first compartment, to the left, represents the conversion of St. Paul above, with his baptism by Ananias below. In this baptism is represented a glory round the head of St. Paul--such as we see round that of Christ.

Before them stands a boy, with a lighted torch and a box: an old man is to the left, and another, with two children, to the right. This second old man's head is rather fine. To the left of the baptism, a little above, is St. Paul in prison, giving a letter to a messenger. The whole piece is, throughout, richly and warmly coloured, and in a fine state of preservation. The central piece has, above, ["_Basilica Sancti Pauli_."]

Christ crowned with thorns. The man, putting a sceptre in his hand, is most singularly and not inelegantly clothed; but one or two of the figures of the men behind, occupied in platting the crown of thorns, have a most extraordinary and original cast of countenance and of head-dress. They appear ferocious, but almost ludicrous, from bordering upon caricature; while the leaves; and bullrush-like ornaments of their head-dress, render them very singularly striking personages. To the right, Joseph of Arimathea is bargaining for the body of Jesus; the finger of one hand placed against the thumb of the other telling the nature of the action admirably.

Below this subject, in the centre, is St. Paul preaching at Athens. One of the figures, listening to the orator with folded arms, might have given the hint to Raphael for one of _his_ figures, in a similar att.i.tude, introduced into the famous cartoon of the same subject. Before St. Paul, below, a woman is sitting--looking at him, and having her back turned to the spectator. The head-dress of this figure, which is white, is not ungraceful. I made a rude copy of it; but if I had even coloured like * * *

I could not have done justice to the neck and back; which exhibited a tone of colour that seemed to unite all the warmth of t.i.tian with all the freshness of Rubens. In the foreground of this picture, to the right, St.

Peter and St. Paul are being led to execution. There is great vigour of conception and of touch (perhaps bordering somewhat upon caricature) in the countenances of the soldiers. One of them is shewing his teeth, with a savage grin, whilst he is goading on the Apostles to execution. The headless trunk of St. Paul, with blood spouting from it, lies to the left; the executioner, having performed his office, is deliberately sheathing his sword. The colouring throughout may be considered perfect. We now come to the remaining, or third compartment. This exhibits the interment of St.

Paul. There is a procession from a church, led on by the Pope, who carries the head of the Apostle upon a napkin. The same head is also represented as placed between the feet of the corpse, in the foreground. There is a clever figure, in profile, of a man kneeling in front: the colouring of the robe of a Bishop, also kneeling, is rich and harmonious. A man, with a glory round his head, is let down in a basket, as from prison, to witness the funeral. But let me not forget to notice the head of an old man, in the procession, (coming out of the church-door) and turning towards the left:--it is admirably well touched.

I shall now give you a notion of the talents of HANS BURGMAIR--a painter, as well as engraver, of first-rate abilities. I will begin with what I consider to be the most elaborate specimen of his pencil in this most curious gallery of pictures. The subject is serious, but miscellaneous: and of the date of 1501. It consists of Patriarchs, Evangelists, Martyrs, male and female, and Popes, &c. The Virgin and Christ are sitting, at top, in distinguished majesty. The countenances of the whole group are full of nature and expression: that of the Virgin is doubtless painted after a living subject. It exhibits the prevailing or favourite _mouth_ of the artist; which happens however to be generally somewhat awry. The cherub, holding up a white crown, and thrusting his arm as it were towards the spot where it is to be fixed, is prettily conceived. Upon the whole, this picture contains some very fine heads.

Another picture of Hans Burgmair, worth especial attention, is dated 1504.

It is, as usual, divided, into three compartments; and the subject is that of _St. Ursula and her Virgins_. Although of less solid merit than the preceding, it is infinitely more striking; being most singularly conceived and executed. The gold ornaments, and gold grounds, are throughout managed with a freedom and minuteness of touch which distinguish many of the most beautiful early missals. In the first compartment, or division, are a group of women round "_Sibila Ancyra Phrygiae_." The dresses of these women, especially about the breast, are very curious. Some of their head dresses are not less striking, but more simple; having what may be called a cushion of gold at the back of them. In the second compartment is the _Crucifixion_--in the warmest and richest (says my memorandum, taken on the very spot) glow of colour. Beneath, there is a singular composition. Before a church, is a group of pilgrims with staves and hats on; a man, not in the attire of a pilgrim, heads them; he is habited in green, and points backwards towards a woman, who is retreating; a book is in his left hand.

The att.i.tudes of both are very natural. Further to the right, a man is retreating--going through an archway--with a badge (a pair of cross keys) upon his shoulder. The retreating woman has also the same badge. To the left, another pilgrim is sitting, apparently to watch; further up, is a house, towards which all the pilgrims seem to be directing their steps to enter. A man and woman come out of this house to receive them with open arms. The third division continues the History of St. Ursula. Her attire, sitting in a vessel by the side of her husband Gutherus, is sumptuous in the extreme. I would have given four ducats for a copy of it, but Mr. Lewis was otherwise engaged. A Pope and Cardinal are to the right of St. Ursula: the whole being in a perfect blaze of splendour. Below, they are dragging the female Saint and her virgin companions on sh.o.r.e, for the purpose of decapitation. An att.i.tude of horror, in one of the virgins, is very striking.

There is a small picture by Burgmair of the _Virgin and Christ_, in the manner of the Italian masters, which is a palpable failure. The infant is wretchedly drawn, although, in other respects, prettily and tenderly coloured. Burgmair was out of his element in subjects of dignity, or rather of _repose_. Where the workings of the mind were not to be depicted by strong demarcations of countenance, he was generally unsuccessful. Hence it is, that in a subject of the greatest repose, but at the same time intensity of feeling--the _Crucifixion_--this master, in a picture here, of the date of 1519, has really outdone himself: and perhaps is not to be excelled by _any_ artist of the same period. I could not take my eyes from this picture--of which the figures are about half the size of life. It is thus treated. Our Saviour has just breathed his dying exclamation--"it is finished." His head hangs down--cold, pale death being imprinted upon every feature of the face. It is perhaps a painfully-deadly countenance: copied, I make no doubt, from nature. St. Anne, Mary, and St. John, are the only attendants. The former is quite absorbed in agony--her head is lowly inclined, and her arms are above it. (The pattern of the drapery is rather singular). Mary exhibits a more quiet expression: her resignation is calm and fixed, while her heart seems to be broken. But it is in the figure and countenance of _St. John_, that the artist has reached all that an artist _could_ reach in a delineation of the same subject. The beloved disciple simply looks upwards--upon the breathless corpse of his crucified master.

In that look, the world appears to be for ever forgotten. His arms and hands are locked together, in the agony of his soul. There is the sublimest abstraction from every artificial and frivolous accompaniment--in the treatment of this subject--which you can possibly conceive. The background of the picture is worthy of its n.o.bler parts. There is a sobriety of colouring about it which Annibal Caracci would not have disdained to own. I should add, that there is a folding compartment on each side of the princ.i.p.al subject, which, moving upon hinges, may be turned inwards, and shut the whole from view. Each of these compartments contains one of the two thieves who were crucified with Our Saviour. There is a figure of S.

Lazarus below one of them, which is very fine for colour and drawing.

The last, in the series of old pictures by German masters, which I have time to notice, is an exceedingly curious and valuable one by CHRISTOPHER AMBERGER. It represents _the Adoration of the Magi_. There are throughout very successful attempts at reflected light; but what should set this picture above all price, in my humble estimation, is a portrait--and the finest which I remember to have seen--of MELANCTHON:--executed when he was in the vigour of life, and in the full possession of physiognomical expression. He is introduced in the stable just over those near the Virgin, who are coming to pay their homage to the infant Christ: and is habited in black, with a black cap on. Mr. Lewis made the following rough copy of the head in pencil. To the best of my recollection, there is _no engraving_ of it--so that you will preserve the enclosed for me, for the purpose of having it executed upon copper, when I reach England. It is a countenance full of intellectual expression.

[Ill.u.s.tration]

Of the supposed _t.i.tians_, _Caraccis_, _Guidos_, _Cignanis_, and _Paolo Veroneses_, I will not presume to say one word; because I have great doubts about their genuineness, or, at any rate, integrity of condition. I looked about for _Albert Durer_, and _Lucas Cranach_, and saw with pleasure the portraits of my old friends _Maximilian I._ and _Charles V._ by the former--and a _Samson and Dalila_ by the latter: but neither, I think, in the very first rate style of the artist.

There was a frightful, but expressive and well coloured, head of a Dwarf, or Fool, of which Mr. Lewis took a pencil-copy; but it is not of sufficient importance to enclose in this despatch. It is the EARLY GERMAN SCHOOL of Art which is here the grand and almost exclusive feature of attraction--speaking in an antiquarian point of view. Rechard estimates the number of these pictures at _twelve hundred_, but I should rather say _seven hundred_.

I find, however, that it will be impossible to compress all my _Augsbourg_ intelligence in one epistle; and so I reserve the remainder for another opportunity.

[23] [Several years have elapsed since I have received a letter from Mons.

Le Bret. Is he alive? If he be living, let him be a.s.sured of my unalterable and respectful attachment: and that I have unfeigned pleasure in annexing a fac-simile of his AUTOGRAPH--from a letter to me of the date of June 8th 1819: a letter, which I received on the 17th of the same month following--the very day of our _Roxburghe Anniversary Dinner_. Singularly enough, this letter begins in the following strain of bibliographical jocoseness: "_Monsieur, et tres reverend Frere de Boocace l'Immortel!_"]

[Ill.u.s.tration: Signature--f.c. Lebret]

[24] The predominant religion is the Protestant. Indeed I may say that the number of Catholics is exceedingly limited: perhaps, not an eighth part of the population of the town.

[25] I presume this to be the earliest date which any of his books exhibit.

His brother GUNTHER, or GINTHER (for the name is spelt both ways in his colophons) began to print in 1468. Lord Spencer possesses a beautiful copy (which I obtained from the library of St. Peter's Monastery, at Salzbourg) of _Bonaventure's Meditations upon the Life of Christ_, of the date of 1468, printed by G. Zainer, or (Zeiner) at Augsbourg; and considered to be the first effort of his press.

[26] The note, above mentioned, was written in Latin: the Professor telling me that he preferred that language to the French, as he thought he could write it more grammatically. A _Latin note_ must be rather a curiosity to my readers: which, as it is purely bibliographical, and in other respects highly characteristic of the _bon-hommie_ of the writer, shall receive a place here. After mentioning the books above specified, the Professor goes on thus:

"Haec paucula e pluribus notare libuit, quae reliqua temporis angustia ostendere non permisit. Habeo enim alias, quas vocant, editiones principes, e.g. Diogenis Laertii, Bas. 1533-4. Josephi, Bas. 1544. fol. Jo. Chrysostomi [Greek: _peri p.r.o.noias_]

1526-8. Ej. [Greek: peri hierosunes], ib 1525-8. Aliorum Graecorum et Patrum. Calpurnii et Nemesiani Eclogarum editionem, ab. do.

Alex. Bra.s.sicano curatam editionem ad MS. antiquum factam et Argent. 1519-4. impressam. Praeterea aliquot Aldinas et Juntinas editiones, aliquot a Mich. Vascosano, Paris. factas, in quibus Thucydidis Libri III. priores, Paris. 1548. 4. cujus margini Lectt. Varr. e MSto adscriptae sunt, non memoratae in editione Bipontina. aeschylus, ex edit. Franc. Robortelli, Venet. 1552. 8.

Idem ex ed. Henr. Stephani, ex offic. Henr. Stephani, 1557. 4.

Dionysii Halic. Opera Rhet. ex. ed. Rob. Stephani, Par. 1547. Fol.

Diodor. Sicul. ex edit. Henr. Stephani, 1559. Fol.

"Pauculos Codd. MSS. e. gr. Ciceronis de Officiis, Aratoris in Acta App. Fragmenta Liuii et Terentii ostendere tempus non concessit: praeter eos habeo aliquot Ciceronis Orationes, Excerpta ex Liuio, duos Historiae Griseldis, et alios minoris pretii.

"Maximam collectionis, Bibliothecam appellare non fas est, meae partem efficit magnus librorum et libellorum numerus ab Ao. 1500.

usque ad 1550. editorum a Reformatoribus eorumque aduersariis, qui numerum s.e.x millium superant, in quibus adsunt Serueti de Trinitatis erroribus, eiusdemque Dialogi, Tomi Pasquillorum, Henr.

Corn. Agrippae aliquot opera, Lemnii Epigrammata, aliquot libelli, Lutheri et Melancthonis manu ornati; praeterea alia Collectio Doc.u.mentorum, quorum antiquissimum est ab. A. 1181 et Epistolarum [Greek: _autographon_], a viris doctis Saeculorum XV. XVI.

XVII. XVIII. conscriptarum, in quibus Henr. Steinhoevvelii, Raym.

Peraudi, Lutheri, Melancthonis, Zwinglii, Gruteri, Casauboni, Ludolfi, Camerarii, Patris, Rittershusiorum, Piccarti, aliorumque.

"Sed nolo longiore enarratione molestus esse, ne va.n.u.s esse uidear, a quo vitio nemo me alienior est. Vt divina providentia iter prosperum esse iubeat, est, quod ex animo TIBI, VIR--precatur

Vlmae, Aug.

MDCCCXVIII.

[Ill.u.s.tration: Signature]

P.S. Et TIBI praesenti, et superiora heri nocte et somno ingruente scribens referre omiseram, esse mihi ex XXII. libris _ab Academia Veneta, della Fama dicta_, editis XV. Omnes adeo sunt rari, ut vel instructissimae bibliothecae vix aliquot eorum habeant. Addo _germanicam Sixti Papae Bullae datae 1474 versionem,_ sine dubio Vlmae eodem anno impressam, et quinque foliis constantem; quam apud me vidisti."

The Professor, with the above note, was also so obliging as to present me with a copy of his "_Specimen Historico-Litterarium de Academia Veneta_. Qua Scholarchae et Vniversum Gymnasii quod Ulmae floret Consilium Maecenates Patronos Fautores ejusdem Gymnasii ad Orationem aditialem A.D. XXIV. Febr. A. 1794, habendam officiose atque decenter invitant."--A Latin brochure of twelve pages: "_Ulmae ex Officina Wagneri, Patris_."

[27] [There is an excellent lithographic print of this Rath Haus, which I possess.]

[28] The postboys in the Duchy of Baden, and in the territories of Wurtemberg, have also horns; but I never could get any thing, in the character of a tune, performed by either of them. The moment you enter BAVARIA, you observe a greater elasticity of character. [The ARMS of Bavaria head the first page of this third volume of my Tour.]