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TI/E

HOLBEIN SOCIETYS FAC-SIMILE REPRINTS.

THE

THEATRE OF WOMEN.
Designed by

JOBST AMMON.

EDITED BY

ALFRED ASPLAND.

^ublisljco for

A.

tfjc lfe?olbrtn

Sorirtu bu

BROTHERS, St. Anri Sqnare, Manchester ; and

TRUBNER & CO., Paternoster Row, London.
's

M.DCCC.LXXIl.

6i-

vl

GYN/ECEUM;
R,

THE THEATRE OF WOMEN:

W HEREIN

MAV

BE SEEN

THE FEMALE COSTUMES OF ALL TIIE PRINCIPAL NATIONS,

TRIBES, AND PEOPLES OF EUROPE,
OF WHATSOEVER RANK, OROF.R, ESTATE, CONDITION, PROFF.SSION,
OR AGE.

With neu> and

inost exquisite figures

unequalled hitherto for

beauty.

DESIGNED BV IOBST
Attached

to

each

figure

is

\M.\luN

an eight-line stanza

by

Francis Monius of Bruges.

work prepnred both

in

commendation of the female sex, and

by their manner of ordinary life,

gratification of such as

for the especial

or from

other causes, are hindered from distant travel, but at the

same time take pleasure at home in the costume
of various people, which is a silent
index of their character.

A.D.

sfnmhfort
S

I586.

|hiblisbcb

ISMUND

I.

at

tbr

V E R

cost

of

BEN

INTRODUCTION.

ITH

Blake, with thc pupils of Bewick, and the

contcmporaries of Turner, the English school of
engraving died out.* Thenceforth those who might have
continued it successfully, devoted themselves to thc easel,
to

drawing

for book-illustration, or to the profitable supcr-

intendence of those mechanical works by which the public

are madc acquainted with the works of the artists of
the day.
The explanation is not difficult the money rewards
were slight, the honours few there was no court patronage,
and no blue ribbon from thc Academy the work was
Then,
injurious to the health and damaging to the sight.
again, the increase of wealth during the last half-century,
and the consequent large demand for engravings, instead
;

A
general must of course not be understood literally.
working on copper still linger amongst us Mr. Samuel Cousins
Graceful
his reputation in mezzotint.
latterly working in line, scarcely sustains
as is the engraving of the Minuet after Millais, it cannot for a momcnt be
This betrays
compared with the scraping of the Maid and the Magpie.
the figure of the Maid is a creation, finer in pose and modelling
genius
To realize fully the stimulus which Landseer has
than Landseer's painting.
a generation and recall the
given to English engraving, we must go back
works of this great artist before he adopted a theatrical treatment to satisfy
the debased requirements of modern picture-buyers, and contemplate the two
finest works vvhich ever came from his easel, the Shepherd's Chief Mourner
and the Shepherd's Grave. Visitors to the Manchester Art Treasures will
Over both these pictures the mcmory lingers
not easily forget the latter.
late George Phelps Gibbon to say
tenderly, and it is fame enough for the
that he has rendered with absolute fidelity tlie pathetic sentiment of the
to tliat shown m the
master, and that the executive skill is scarcely inferior
*

few

A statement" so

artists

finest of

modern

prints.

INTRODUCTION.

viii

The multiof fostering the art has hastened its downfall.

struck off
number
of
of
the
large
proofs
copies,
plication
before the prints appear, has necessitated the use of steel
and the introduction of a variety of executive methods,
which produce representations of the originals without
The same cause which has
their spirit or refinement.
created so great a demand for engravings, has given
unusual activity to the publishing trade, and as nearly
every book and magazine must be illustrated, the demand
for

woodcutting

is

proportionably great.

Designing on

requiring special knowledge and

long practice, and the designers were not to be found
Jackson says that at one period there was only one in
England capable of drawlng effectively on wood but
whether the men could be found or not, the work had to
be done, as woodcuts, being capable of almost unlimited
multiplication, were necessary for cheap popular works.
The capacity of wood is limited. It can express, perhaps
better than copper, the strong contrasts of light and
shade, but trade necessities required that it should attempt
to do the work of copper
the tint tools were brought into
full use, and the result was an imperfect imitation
the
value of the process is gone, and a poor, tame, and for
art purposes, a worthless plate, is produced.

wood

is

a special

art,

book published

years ago by Savage, on Deco-

fifty

rative Printing, illustrates these statements. He employed

some of the best artists of his time to furnish designs and
put them into the hands of the best woodcutters. Some
of them are in imitation of mezzotint engravings, and
some of water-colour drawings. The former are fiat and
spiritless, failing to
artist designer
the
;

with

many

give

an idea of the manner of the

although laboriously worked
coarse and utterly bad as to
Amongst the engravings where

latter,

blocks, are

so

be beneath criticism.
wood has been put to its legitimate use, we have
one cut by Charlton Nesbit, and designed by Thurston,
of singular interest.
It is of large size, being j\ inches
by 5. It represents a woody scene, with Rinaldo and
Armida in tlie foreground, and but for some imperfect

INTRODUCTION.

ix

work in the figures, would have been one of the finest

woodcuts ever executed in this country. If left to himself,
Nesbit would, with his exccutant powers, have overcomc
difficulties, but the failure in the figures is fully
"
Mr. Nesbit
explained by the naif statement of Savage
had the benefit of Mr. Thurston's observations in his

any

retouchings."
I wish we could claim for our
countrymen the woodcut
of Vanity Fair in Mr. Shields' illustrations to
Pilgriiris
It is y\ by 4 inches in size.
The figures are
Progrcss.
innumerable, and the German engraver has done full
It certainly
justice to the genius of the English designer.
is one of the finest
wood-engravings of recent date. Mr.
Shields designed plates to illustrate a small edition of the
History of thc Plaguc, and photographs of the wood
blocks before cutting were fortunately taken
they were
ruined by the engraver. The drawing of Solomon Eagle
has every quality demanded by the most scrupulous critic
and if the engraving had been at all commensurate with
the design, we should have had an important work of art.
In stating that we have lost the art of engraving in
England, it must not be inferred that the observation
applies to another branch of the graphic art etching.
With the needle in the hands of Mr. George Cruikshank,
Mr. Samuel Palmer, Mr. Haden, Mr. Millais, or Mr.Whistler,
the collector of art gems will never be at a loss to find
:

occupants for his portfolio.

It is proposed in this volume of the HOLBEIN SociETY,
to give a specimen of the German engravers of the sixteenth century.
Amongst thcm Jobst Ammon held a
distinguished place, and his Book of Costumes has been
Notselected as affording a good example of his work.
withstanding his celebrity and industry as an artist,
painting, as he is believed to have done, 011 glass and
canvas, engraving 011 copper, and designing on wood, and,
as far as we know, outstripping all cotemporary German
Albert
artists, we learn nothing of his domestic life.
Durer, who preceded him, had a history bcyond his
studio
he was the chief magistratc of the town of
;

INTRODUCTION.

Ammons

he was the chosen friend and

adoption
constant correspondent of the most distinguished men
of the day, amongst whom were Erasmus and Luther,
and he was moreover married to a handsome shrewish
wife, who embittered his domestic life and shortened his
;

His public life, his voluminous correspondence,

days.
and the pranks of his unamiable consort, furnished ample
materials for his biographers
but Ammon's life was
played out in his studio, and we gather little from cotemporary history to mark his career.
All that we know is, that he was born in Zurich in
1
539, removed to Nuremberg in 1560, and after thirty
He is
years of untiring devotion to art, died in 1591.
described as one of the Little Masters, from the fact of
his engravings being chiefiy of a small size, and was so
industrious, that one of his apprentices, George Keller,
said that if all his drawings made during the four years
he was with him had been collected together, they Avould
have filled a waggon.
He does not seem to have contributed to the literary
portions of the works, for the illustration of which he
;

drew designs

thus, his Book of Tradcs was brought out

under the title of Haus Sachs Correct Dcscription of all
Ranks, Arts, and Tradcs, with a German text, in 4to.
Hans Sachs was a most voluminous writer, and was held
in great esteem by his cotemporaries as a man of letters
;

of versatile power. Another edition was brought out in

the same year, in i2mo., with the text in Latin.
John Evelyn was born within thirty years of Ammons
death, and though professing and desiring in his Scnlptura
to give an exhaustive catalogue of the engravers of mark,
dismisses our artist with two short notices, misnaming him
as often as he mentions him.
This reticence is not to
be regretted, as Evelyn was credulous and deficient in
research.
So eager was he to be exhaustive, that he
began the history of engraving with the specimens
011 the shelves
of our first parent Adam, and stated,
on the authority of Thomas Aquinas, in his work
Dc Entc ct Esscntia, that Adam described a book on

INTRODUCTION.

xi

plants in his possession,

nay, that it may scarcely be
contradicted that he had a complete series of natural
He hinted that his
history and other works besides.
good genius the angel Razael may have helped him a
bit, but whatever assistance he derived, he alone was equal
to the occasion.
The next author of note mentioning Ammon is the

French engraver Papillon, who

published in 1760. his

Etigraving. The illustrations, though
He not
carelessly printed, exhibit skill and power.
unfrequently blunders in his art history, and makes out
two Jobst Ammons, one of Zurich and one of Nuremberg, from his ignorance of the removal in 1560.
In Germany, able writers came to the front
Heinecken,
Trcatise

011

Wood

between 1768 and 1790, published at Dresden and Leipsic

several important works on engraving, and at the close of
the last century, and during the first quarter of the present,
Adam Bartsch wrote voluminously on art. Dr. Dibdin,
in his Tour in France and Gcrmany, bears honourable
testimony to Bartsch's skill and industry as an artist,
and to his accuracy as a writer, speaking of his Pcintrc
Graveur, as

and

"

a literary performance of really solid merit

utility."

English writers, whose works are authoritative, such

Young Ottley, Jackson, and Chatto, quote
largely from Heinecken and Bartsch, and each of them
furnishes additional matter in aid of the history of woodas William

engraving.
In reference to the works of Ammon, Jackson says,
"
His style bears considerable resemblance to that of Hans
Burgmair, as exemplified in the Triumphs of Maximilian."
As Burgmair was, after Durer's death, the first wooddesigner of his age, and ranks only second to the illustrious Albert, this assigns a very distinguishcd position to
Jobst Ammon.
In the Book of Costumes, hc probably only drew thc
designs on the wood, and the cunning fingers of his pupils
cut them.
Masterly as they are, they exhibit some of the
stiflfness of the German school, from which even Durers

INTRODUCTION.

xii

works were not free. The eight-line verses accompanying

each figurc wcre composed by Francis Modius, a distinguished commentator of the time, and the preface vvas the
work of Sigismund Feyerabendt. The Feyerabendts had
been for generations scholarly publishers at Frankfort-onthe-Maine. If Papillon could be trusted, we might say
that the different branches of the family were celebrated
for painting, engraving, and for original works in prose
and poetry, but as Papillon's authority is so questionable,
we must content ourselves with saying that Sigismund
Feyerabendt was known as an author and artist, now
illustrating

bibles

with woodcuts,

now

editing

learned

works.

However imperfect
art,

and of

HOLBEIN

the above notice of

Ammon,

of his

literary assistants, the subscribers to the

SOCIETY may trust to the faithful rendering of
his

the fac-simile of the volume, under the skilful hands of

Mr. BROTIIERS, and it only remains to express our grateful sense of obligation to Mr. RlCHARD SMITH, of Balliol
College, Oxford, for the translation of the preface.
The following list of Ammoirs works is taken from a
fragment of a Dictionary of Engravers, published in 1831,

He broke down when he had

Ottley.
reached the letter B, finding life too short for the enterprise he designcd. Ottley's list does not contain the rarest
of Ammon's books,
Charta Lusoria Jodoci Ammouni, a
It con4to. volume, published at Nuremberg in 1588.
tained fifty-five woodcuts of cards, with illustrative verses
by the Imperial Poet Laureate, J. H. Schroter. Although
termcd Charta Lusoria, they were evidently not meant
to play with.
In arranging a catalogue of works brought
out by Ammon, much care and discrimination is necessary,
as, after his death, we find his woodcuts used by various
German publishers to decorate thcir books.

by William Young

Alfred Aspland.
DlKENFIELD, May

2J, lSj2.

LIST OF AMMON'S WORKS.

ETC
i.

Celebrated

Women

of the

H I N G S.
Old Testament

arched at top, with inscriptions.

Steffan Iierman exc.'

Jobst Aniiiiaii fecit.

'

2.

'

(/')

Sara

die gesegnet.'
'

'

'

'

Miclial die gethreu.'

'

Messig.'

die Keusch.'

a set of 12 pieces,
Eva die Geberin.

'

die geduldig.'

die

(a)

Kahel die holdtsellig. (c) 'Lea

die gehorsam.'
(d)
Ruht die gnetig.' (//)
(/) Jahel die redlich.' (g)

'Rebecca

(<)

'

3, w. 2.

//.

(/)

(i)

Hester

Abigael

die vernunfftig.'
(/)
'Judith
I.A.
(w) 'Susanxa

die Sanfftmiitig.

(B. 1.)

represented by the figures of men

The
//. 3^, -ui. 3I.
of different conditions, 12 pieces of an oval form.
name and number of the month is towards the top of each, and the mark
The first has 'Jo. Ammanfe. St. Herman
I.A. near the bottom.

The twelve Months of the Year,

do not agree with Bartsch in supposing the sct of prints

of the Apocalypse, described by him under No. 2, and markcd with a
ex.'

(13.

3.)

G. and a P., to be by Jobst

3.

Amman.

The Employments of the twelve Months

which, when joined

of the Veak,

together, form a circular

12 pieces,
to

fitted
curved,
The initials I. A. at
decorate the edge of a large dish or of a shield.
the top of each.
They contain extensive compositions of small figurcs.
/.

4.

at

top iof, at bottom 9,

//.

2%.

(B. 4.

frieze,

five Senses, represented by female figures, in ovals, which arc surrounded by ornaments wilh tille, 6 pieccs. The title represents, by
a tablct, at bottom
animals, the four Elemenls, and has on

The

'

Aminanf:

St.

Ilerman

cx. 15S6.'

The

figures are etched by J.

.,

Ainman

LIST OF AMMON'S WORKS.

xiv

the surrounding ornaments were probably added with the graver by

The names of the Senses are at the bottom of the plates,
S. Herman.
h. $\, w. 2.

in latin.

5.

(B. 5.)

Various Figures of Warriors,

attitudes

in different

and costume,

8 pieces ; /. 4|, by 2J, etched with great

The first has two warriors standing, one on
intelligence and delicacy.
'
each side of a cartouch, on which is inscribed : Jost Aman Inventor
Norimbcrg. Stephan. Herman excusit Onnoltzbachensis. 1590-' (B. 6.)
three, or four,

6.

plate

Soldiers AND others Fighting, whether with swords or staves, 8 pieces,

marked I. A. On the first is a little herald, between a drummer and a
fifer.

7.

upon a

3, h. 2.

/.

(Heinecken.

Artisans of different Denominations, fighting, armed with the

implements of their
'

Eben kommt mich

12 pieces, ovals,

art.

an, &c.'

/.

On

35, h. 2\.

the

first

Bartsch describes five of

(Heinecken.)

the set, each marked I.A.

(a) A painter with his easel-stick and a
dauber with a large brush.
(b) Two goklsmiths, one armed with pincers
and the other with a pair of bellows. (r) Two sculptors with drills.
(d) A blacksmith with a large file, and an apothecary with.a syringe.
(e)

Two

ham.
8.

men, one with a brush, the other with something resembling a

(B. 7.)

set of Huntings, 8
'

hare-hunting
initials I.

Jobst

Under

/.

6, h. i|.

Aman fe.

Stefan.

pieces.

the

Herman

first,

ex.'

A. and the cypher of Herman, composed of

representing

Each has the

the letters H.S.

(B. 8.)

9.

The Liberal Arts,

pieces.

/.

8J,

h.

3J.

engraved

in

1577.

(Heinecken.)
10.

The Elector and other Princes of Bavaria, with their Wives,

standing figures
part bearing his

11.

80

plates,

initials.

etched by Jobst

h. 7f, -w. 5f.

Amman, and

for the

most

(B. 9.)

of the Kings of France, 42 pieces. //. 4f, w. 2,1;

The series
completing the set, being by Virgilio Solis.
begins with Pharamond and ends with Hemy III., each print containing
the bust of the monarch in a medallion, and, in a
compartment underneath, some story of his life.
Thcy were published with a title on which

Fortraits

20 others,

AMMOWS

LIST OF

WORKS.

are tvvo winged genii, holding a laurel crown over

and

this inscription

'
:

Effigies

toribus Virgilio Solis Noriber

'

arms of France,

regum Francorum omnium, &c.

et Justo

Amman

Caela-

Tigurino Noribergae,

In Offkina Catharinae Theodorici Gerlachii

157&

&c. in 4to.
12.

tlie

xv

relictae Viduae,'

(B. 10.)

Perspectiva Corporum regularium

Das

ist,

&c. That

is,

examples

of the five regularly-formed bodies, whereof Plato writes in his

Timaeus,

and Euclid,

in his Elements,

&c, brought

very ingeniously into per-

by a method never before seen in use, by Wenceslas

In fol.
Jamitzer, Citizen and Goldsmith at Nuremberg, 1568.'
spective

This work contains 50 plates

43 of

viz.

studies,

and 6 ornamented

titles.

besides the general title of the book

tlie whole etched by Jobst Amman.
The former were, of course, done by him from the designs of Jamitzer ; but
the latter, which show much fancy and are etched with great delicacy, appear
;

to

be

entirely his

Work

own.

The

plates are not

numbered.

The Title

of the

printed with moveable characters within an oval frame or cartouch, surrounded by four allegorical female figures witli attributes, and the

names

(n) is

'
:

Arithmetica, Geometria, Architectura, Perspectiva,' and two winged

infants or genii
10.

'

Inclinatio,'

and has the

7f,

initials

escaped the eye of Bartsch.

from 9J to 10 by 6f to 7.

I.

and
A.

'

Diligentia.'
at

This plate measures,

an inch from the bottom

The remaining plates

The six other Titles or

are a

little

h. 10J,

though they

smaller, being

Frontispieces are prefixed

Tiie Fik.st
to the different classes of studies into which the work is divided.
is a large
(b) is intended to represent the Element of Fire ; in the. centre
flame issuing from a vase at bottom ; and around it are children with lamps
and lanterns, fiery dragons, and other accessorial introductions. It is marked

under the vase, I. A., and is prefixed to the first four plates of studies, marked
In the middle
of Air.
at top
A.
(c) The Second represents the Element
:

a large pair of bellows, and around are cupids with appropriatc attributes,
It has the initials I.A. at bottom ; and is prefixed to
birds, butterflies, &c.
TniRD has a large leaf
the next four plates of studies, marked E.
(</) The
in the centre, around which are cupids with baskets of fruit, &c. ; this piece
The initials I. A. are at the bottom of a little
the element Earth.
is

denoting
basket on the

marked

I.

left

(e)

of the print, which

The Fourth

shell occupies the

centre,

and

is

studies
placed before four plates of

of Water; a
represents the Element
around arc cupids with vases, fish of vai
1

The letters I. A. are upon a trident, on the left, and this piece
kinds, &c.
FlFTH has in the
(/') THE
prefixed to four plates of studies marked O.
centre a large circle of light, above which arc thc sun ami a large star, and
mical
on cithcr side are three cupids with sphcres, quadrants, and othei

LIST OF

xvi

On

instruments.

AMMOWS

the right near the bottom

WORKS.
are

the initials

I.

This

A.

followed by four plates of studies marked V.

(g) The Sixth, ancl
LAST Title, appears to be intended to denote the ordinary employments of
At top are three infants, one of them in a
mankind in this sublunary state.
one of which has
military dress beating a drum ; and below are two others,
piece

is

The

a bow.

initials I.

A. are in the middle

bottom.

at

This plate and the

and complete the work, are

Having spoken of the ornamented titles, I shall add

twenty-three plates of studies which follow

it,

/. 10, h. 7.
oblongs.
now a few words concerning the other plates.
The first tvventy consist of perspective views of the five regular solids,

of various forms fancifully derived from

The subject of the
designs in circles.

them

each plate

and
six

containing

four plates, marked A, is the

of
second four, marked E, the Octohedron
first

Triangular Pyramid ; of the

the third, I, the Cube ; of the fourth, O, the Icosahedron ; (two of these
having the initials I. A. with the date 1567, and a third the initials only);
;

and the

fifth,

have been,

artist's

and such forms

to represent the figure itself,

plan appears to
as are

produced

secondly, to represent the figure itself, and

in another point of view ; thirdly, to show such forms as

by cutting
vatives,

The

V, represent the Dodecahedron.

first,

parts from

it

its

deri-

may

be

obtained by combining two of the simple figures in such a way as that the
angles of the one should proceed from the centres of the sides of the other.

The manner

in

which the complex

figures

have been obtained from the simple

ones can, for the most part, be easily traced

but sometimes, in consequence

of the arbitrary sections made in them, this becomes difficult.

Of the twenty-three plates at the end, the first two are
second two, E ; the third, I ; the fourth O ; and the fifth,

marked

the

and these ten

plates represent perspective views of the figures above named, hollowed out
and perforated ; the remaining thirteen being devoted to fanciful delineations

of the sphere, the cone, and the wheel.

(B. II.)
second edition of this curious set of prints was published, with two leaves
of letter-press, at Amsterdam, in 161S, under the title of
Sintagma, in quo

'

Varice Eximiaque corporum,' &c.

13.

Military Suejects, &c,

15 pieces, k. I4f, w. iof, representing marches

of troops, encampments, battles, on land and at sea, &c.
The plates are

marked with numbers

referring

to

some book

Six of these etchings bear the

one piece has the date 1572. (B. 12.)

intended.

initials

for

which they were

Amman, and

of Jobst

LIST OF AMMON'S WORKS.

ETCHINGS SINGLE
14.

PIECES.

The Portrait of Gaspar de

towards the

Coligni, half-length, turned a little

an oval surrounded by ornaments and allegorical
Effigies Gasparis de Coligni, D. de Castilione,
In a cartouch below the massacre of St. Bartholo-

left, in

At top
Amiralis Francice.'
figures.

'

At bottom

mew's, Aug. 24, 1572.

h.

Tigui-inus 1573.'

15.

14^, w. IO.

'
:

Fecit Norivibergae Jost

Amnniu

(B. 17.)

Frederick, Bisiiop of Wurzbourg,

half-length, turned towards the

an oval, ornamented with allegorical figures

At bottom, I. A. 1572. h. uf, w. S.
Gratia,' &c.

left,

16.

xvii

in

'
:

Fridericus Dei

(B. 18.)

ITans Sachs, a celebrated poet of Saxony, at the age of 81 bust, nearly

at bottom
in front.
At top, his name
Zwey Monath, &c,
M.D.LXXVI.,' and the intitials I. A. Bartsch says this piece is done
;

'

with the burin.

17.

h.

with margin, w. Sj

\2.\

(B. 19.)

Feierabendt bibliopola, aetatis suae XLII. Anno

half-length, turned towards the left, in an oval surrounded
Without the artisfs initials.
ornaments, and four allegorical figures.

'Sigismundus

MDLXIX.'
by
h.

18.

94

w. 7J.

(B. 20.)

PORTRAIT OF A Man,
which he

half-length,

with a polygon in the left hand,

in an oval surrounded by

measuring with compasses

is

Without the

four allegorical figures.

artist's initials.

h.

iof, w.

S|.

(B. 21.)

19.

the same plate ; four of men, and four of females ; so

Tlie first bust on
disposed that each man has opposite to him a female.
the left is that of a warrior in a helmet, which is ornamented with a

Eight Busts, on

small coronet.

Near

it

Bartsch, with the burin.

20.

are
/.

the

6|, h.

initials

i|.

I.

A.

to

Done, according

(B. 22.)

and a
Quarterings a turk's-head
turk's-head ; supporters, a lion and a
At top, two winged genii with garlands of flovi
h.
'\7'.
thc left, I ; and on the riglit, A.

Shield of Armorial Bearings.

shoe (sabot)

helmet with

winged dragon.
At bottom, on
(B. 23.)

crest, a

'

AMMONS

LIST OF

xviii

WORKS.

21.

The Council of the Germanic Empire,

22.

An Allegorical

in which is seated the

Towards the
Emperor, surrounded by Kings, Dukes, Margraves, &c.
An oval. /. 13A, h. iof. (B. 13.)
left, at bottom, I. A.

MILIAN

II.

side, is a figure

in the

Design, in honour of the Emperor Maxiat the top of which, on either

of Victory, with a wreath in the right hand, and a palm

within an ornamented oval

left.

In the centre of the piece

is

represented the

Emperor

in

complete armour, kneeling upon a sort of tabernacle, whereon is inscribed

He has a large sword in his right hand,
Templum Pacis.
and with the left touches the sacred volume, which is supported by an
'

'

'
and on which is written
Upon tlie step of the
spes miseris.'
tabernacle are seated Peace, Wisdom, and Victory ; on his right hand
stands Justice, on his left Faith ; and upon a basement, on either side,

angel,

decorated with the statues of eminent persons of the Old Testament

niches,

are the virtues,

Patience,

Benignity, Fortitude,

in

Magnanimity,
In the sky are

Trath, Charity, Hope, and Temperance, also standing.

two Angels supporting the Imperial diadem ; Christ, surrounded by the
symbols of the four Evangelists, and Angels with the instruments of the

&c

and on the ground below are six figures kneeling, their

the three on the left being intended to
denote Unanimity, Piety, and the Church, and those on the right, the
Passion,

hands raised

in supplication

These three are male personages ; but

subjects of his imperial majesty.
the Virtues, &c, are all represented by female figures, with their appellations written in Latin.
The print has various other inscriptions, and

among them
top,
ters

which occupy three tablets, one at the

These are printed with moveable characupon separate papers, and are added by pasting. They begin thus
three in Latin verse,

and two

at

'Scis Caesar,

initials I.

A.

At

w. 194.

(O.)

six

and below,

Haud

'Nos infinitas
inches and a quarter from the bottom are the

custos Orbis,'

bellorum,' &c.

23.

the bottom.

&c.

at the

'

secus,'

edge of the plate,

Sacred Allegorical Representation

&c.

M.D.LXXI.

h. 27J,

same form and dimensions

In the spandles of the oval, at top, are two figures of

In the sky is repreVictory, each holding a wreath with both hands.
sented Christ, seated on the globe, with an olive-branch in the right hand,
as the last.

On either side
left, and his left foot resting on the cross.
him are angels with the instraments of the passion, &c, and below
him are twelve female figures with attributes, seated on the clouds, each
a sword in the
of

with her

title

in

Latin

'
:

Philanthropia, Pax, Misericordia,

Lux Mundi,'

LIST OF AMMON'S WORKS.

&c.

In the centre of the

XIX

is

print
Truth, 'Veritas,' represented by a
winged female, standing with a large open book under her left arm, in
which is written Ecce Agnus Dei qui tollit peccata
Mundi,' and her
on each side of her is another
right hand pointing to heaven
winged
female that on her right being in the act of
baptising an infant whose
father and mother kneel below, whilst the other is
employed in adminisWithin an arch, under the figure of Truth, is hell
tering the eucharist.
;
and on the ground below are eight prostrate, or kneeling
'

denoting

figures,

&c,

distinguished by letters of the alphabet,

to H, of which the explanations are given in
papers printed with
moveable type, in two tablets at bottom, similar to those in the other
Sin, Contrition, Penitence,

The

print.

Venite ad

inscription

me

in the tablet,

omnes,' &c.
'

Ios.

underneath,

Amman

at top,

commences

'
:

In the middle, near the bottom,

F.

M.D.LXXL'

These two

Christus.

I.

A.

and

prints,

from

and the care with which they are executed, merit

their dimensions,

perhaps to be considered as the artist's most capital performances on

It is remarkable that neither Heinecken nor Bartsch
copper.
appears to

have been acquainted with them.

24.

(O.

The Storming of a Fortified Town.

The

walls of the city, forti-

by various round towers, are on the left the attack is made

simultaneously by cannon, bombshells, and infantry scaling the walls ;
and on the right are two large bodies of troops drawn up in squares. At
fied

bottom, near the

left

letter intersecting

division of the A.

corner of the print, are the initials I. A., the former

first stroke of the latter
and within the lower

the

a small capital G, the singification of which is unknown to me. Three inches further to the right is the date 1564.' In
different parts of this plate are letters of reference, showing it to liave
is

'

been accompanied originally by letter-press.

Amman, and though slightly etched,

Jobst
h.

25.

11L

It
is

is

full

undoubtedly by

of

spirit.

/.

22,

(O.)

A View

of A Small Fortified Town, r.Y Night, with numerous persome in a carriage, and others 011 foot and on horseback, witnessing a display of rockets and other fireworks which are thrown from the
walls and bastions. Towards the right, at bottom, '1570. Jos. Ammau /'.'
sons,

Bartsch supposes this plate to have been engraved with the burin, but
think

it

chiefly

varied in their
represented.
26.

done by etching. The figures and horses are admirably

grouping and attitudes, and the effect of night is finely

On

the whole

it is

The Dresses and Manners of

a masterpiece.

tiie

/.

iy'i;

h. 8|.

(I!.

Four Quarters of the Glo

14)

AMMONS

LIST OF

xx

WORKS.

those of the European nations being represented in a compartment at top,

and those of Asia, Africa, and America, in three compartments below.

The

A. are upon a vase in the middle compartment at bottom.

initials I.

iS, h. 14.

/.

(B. 15.)

A Triumphal

27.

two

officers,

Arch,

one of

musicians, and at top

artist.

/.

204, h. 16.

Under the middle archway are

of three openiugs.
has a halberd ; in a balcony above are

whom

Without the

the imperial eagle.

is

WOOD-ENGRAVINGS, IN BOOKS, OR

SETS.

Biblia, das

Hanen Erben.' In fol. This work, according to

number of scriptural subjects /. 6, h. 4, a

great

(B.

Bartsch, contains a
large proportion of

which appear

to

have been done

after the designs of

Jobst

Amman.

1.)

Stories of the

29.

of the

ist die ganze heilige Schrift. D. Mart. Luther. Frankf. am

Mayn. 1565, Durch Georg Raben, Sigismund Feyerabend und Weygand

'

28.

initials

(B. 16.)

New

Testament, &c, 78

only of these pieces have the

without any artist's mark.

initials

pieces,

of Jobst

/.

3J, h. 2.

Amman

Three

the others are

They were published with this title

'Kunstliche und wohlgerissene Figuren,' &c. Durch Josl Amman,
Burgern zu Nurnberg. Frankf. am Mayn 1579. Durch Peter Fabricius,

The preface is followed by

auf Kosten Sigismunds Feyerabend,' in 4to.
a cut representing the prophet Elijah fed by the raven.
//.
4I, w. 45,
and an emblematical piece of the same size. The scriptural pieces have
Latin verses at top, and
'

30.

German

at

bottom.

(B. 2.)

praecipuas Romanorum historias, &c. M.D.LXXH,'

being a set of 75 pieces, representing subjects of the Roman history, /. 6,
each with the initials of Jobst Amman, besides which six pieces
//. 4]-

ICONES LlVlANAE

bear the mark of two wood-engravers

These prints were

first

employed

Frankfort on the Mayne, in 1568, in

'

31.

in

who

cut them.

(B. 3.)

a Latin edition of Livy, published at

fol.

Kunst und Lehrbuch, &c. (a) or A Book of Art, and Instruction, i.\ which to learn to draw and paint, i578,'in4to.
(/>)
Desgleichen Zwevtes Bixh. Josi Ammons neues Kunstbuc h.
'

LIST OF AMMON'S WORKS.

xxi

&c, 1580,' in 4to. These works were reprinted with additions, after
the artisfs death, under this title
(r)
Kuntsbuchlein,' &c., or
'

'

little

Book

of Art, wherein, besides the representations of

many

persons
of high and low rank, both Ecclesiastics and Seculars, as well as those
of the Turkish Emperors and their chief men, are contained all kinds of

masterly designs and figures ; as the seven planets, the ten ages, &c, by
the late excellent and far renowned Jost Ammon of Nuremberg. Frankf.

am Mayn

Durch

1599,
'

Feyerabends.

In 4to.

Romanum Beatum, in Verlegung Johann

This admirable volume contains, according to

Heinecken, 298 pieces, though Bartsch says 289. Twelve of them bear
Amman, and several have the marks of the wood"
engravers who cut them. The prints are of a small 4to size, and furnish

the initials of Jobst

abundant proof of the inventive genius of their author, and of his great
power as a designer. The two sets, each of 10 pieces, representing the

Ages of
'

32.

Man and Woman,

are particularly excellent.

(B. 4.

Artliche und kunstreiche Figuren,

&c.
Frankfurt am Mayn, in
Verlegung Sigmund Feyerabend, 15S4.' This work contains 92 cuts of
armed men and others on horseback, studies of horses, females on horse-

&c, which,

back,

if I

rightly understand Bartsch,

were afterwards,

1599, introduced into the collection last mentioned.

33.

ecclesiae subjecti,

abendij.
initials.

Ammanno

1585,' in 4to.

published with

Artificiosissimis

&c

Ro-

&c, nunc primum a

&c

(B. 6.)

The Dresses of Women of different Nations

w. 2

Cleri totius

omnium omnino

Francofurti sumpt. Sigismundi FeyerIt consists of 103 prints, without the artist's

expressi,

h. 3, w. 2.

'

seu pontificiorum ordinum

artificiosissimis figuris,

utriusque sexus, habitus,

Judoco

in

(B. 5.)

Costumes of the Roman-Catholic Clergy, &c

manae

34.

'

title

Gynaeceum,

nunc primum

figuris,

&c

122 pieces,

h. 3!,

theatrum mulierum, &c

expressos a Jodoco Amano,
sive

In 4to.
impensis Sigismundi Feyerabendij, 15S6.'
Each cut has two Latin verses at top, and two at bottom. They are
Francofurti,

without the

artist's initials.

(B. 7.)

YlavoirXia onmium illibeJobst Amman's Book of Trades ; entitled

ralium mechanicarum aut sedentariarum artium genera continens,
'

35.

Apud
Per Hartmannum Schopperum. Francof. ad Moenum, 1568.
It contains
Svo.
Georgium Corvinum, impens. Sig. Feyerabend.' In
There are several editions. (B. 8.
130 pieces, h. 3$, w. 2.
)

36.

AMMOWS

LIST OF

xxii

WORKS.
'

a set of 40 pieces, /. 4^, h. 3J

Kiinstliche wohlgerissene
neue Figuren, &c, durch den kunstreichen und weitberiihmten Jost
Durch Johann Feyerabend, in
Ammon. Frankfurt am Mayn 1592.

Hunting;

Verlegung Sig. Feyerabends Erben.' The cuts have Latin verses at

and German at bottom. Two pieces have the initials I. A. and
These blocks were
five others the marks of wood-engravers.
(B. 9.)

top,

again printed in a book of instructions for hunting, in German, with the

'
title
Adeliche Weydwercke, &c. Franckfurt am Mayn, Bey Joh.
Wilhelm Ammon und Wilh. Serlin Buchh. Im Jahr. 1661.' In 4to.
:

This

J.

W. Ammon

was probably of the same family

at this time, a chief proprietor of the

37.

The Tricks of the

entitled

Fox, a set of 50 pieces, /.

Hartmanni Schopperi Speculum vitae

'
:

Ten

1574,' in 121110.

as the artist, and,

left

by him.

2$, h. i
aulicae.

in a

of the cuts have the initials

I.

A.

work

De admi-

Francof. ad

astutia Vulpeculae Reinikes, &c.

rabili fallacia et

38.

engraved blocks

Moenum

(B. 10.)

/.
6, h. 4I, in an
pieces, with the initials I. A.
edition of the Jewish Antiquities of Josephus, published at Francfort on
the Mayne, 1580, in fol.
larger number of wood-cuts in the same book

Bible-Subjects, 24

were engraved
39.

after the designs of

Tobias Stimmer.

(B.

12.)

in a Book upon Cookery

Ein neu Kochbuch,'
&c, by Marc Rumpolt. Frankfort, 1581, published by I. Feyerabend.
In fol. This book contains a great number of wood-cuts, several of

Wood-Engravings

'

them

after the designs of Jobst Ammon, and some bearing his initials.
Vignette in the title-page representing a kitchen, with aman-cook and
/.
his female assistant.
$\, h. 3^.
(b) Head-piece to the Dedication,
(a)

containing the arms of

Saxony,

/.

54, h. 5.

Anne
(c)

to the persons ofhis court

of

Denmark, wife of Augustus Elector of

Prince seated on his throne, giving orders

with the mark of the wood-engraver. h. 4!,

Prince speaking to one of his ministers, who stands

before him, on the right.
In the fore-ground on the left is a dog. Same
size.
(e) A man accompanied by a dog, delivering a vase to a gentle-

w. 4g.

man, who

(d)

is

On

ficent hall.

/.

mark

//.

the

left,

at

bottom, the

of a wood-engraver.

5, h. 4.k

to a lady

(/)

his feet a dog.

the

with the mark of a wood-engraver.

;
Cup-bearer, with a goblet in his right hand, and at
4, w. 3f.
(g) An Imperial banquet, in a magni-

standing on the right

Same size.

who

is

initials I.

5I, h. 4|.

A., and on the right

Royal banquet.
a goblet in his right hand, speaking
h. 5, w. 4J.
standing by him.
(k)
banquet of

(/')

/.

(h)

A nobleman with

LIST OF AMMON'S WORKS.

the

King of Hungary

5, h. 4.

/.

(/)

The

palace.

guards, and on the right, musicians.

stairs of the rich man's

left,

Lazarus at the foot of the

initials

Marriage of Cana.
40.

on the

XXlll

Wood-Engravings,

I.

The

A. on the

/.

right.

A.

initials I.

011

the

h.

5I,

41.

Same size.

left.

Book upon the Art of War,

in a

The

(B. 14.)

entitlcd

'

Kriegszbuch, Ander Theyl. Von Wagenburgk, &c.

Franckfurt am Mayn, im Jar nach Christi Geburt 1573.'
title is

ornamented with two

the above
;

In

This

fol.

vignettes, each representing a

/11

cannoneer

The volume itself is not before me but only

the second part, and 85
wood-engravings belonging to
over the last of which, representing a figure of Fame, in an oval,

with a piece of
it

Getruckt

artillery.

title to

within a square ornament, 4! in diam., is this

Getruckt zu
colophon
Franckfurt am Mayn, durch Martin Lechler, In verlegung Sigmundt
FeyAnno m.d.lxxiii.' The work appears to
erabendt,' and underneath
'

'

have been unknown both to Heinecken and Bartsch, and I shall therefore briefly describe the chief prints it contains, which are
among Jobst
Amman's most spirited performances premising that several of them,
;

according to the custom of the time in works thus ornamented, are repeated two or threetimes in different parts of the volume.
(a) THREE

Vignettes, without marginal line, /. 5^, h. \\ to i|; each representing a cannoneer with one or two pieces of artillery, in the manncr of
those 011 the title. (b) Another Vignette, /. 4I, h. 2|, representing
a waggoner with four horses,

011

one of whichhe

carts, conducted bymilitary, moving tothe left.

PIECES OF Artillery, cannon-balls, &c, /. 5^,

seated.

is
/.

h.

4f
2

h. 2'\

(c)

BAGGAGEVarious

(d)

tHe initials

I.

A.

011

Cannoneer, with a piece of ordnance, taking aim at a

tower /. 5J, //. 2.
(/) A LARGE Cannon, with a soldierguarding it
/.
/. 5, h. 4. (//) A GROUP
5f, h. 4. (g) Two MORTARS, with a guard
OF WAGGONS laden with military stores /. $%, h. 4. (/) VARIOUS
Cannon, pointed at two towers /. 5, h. 4. (k) Twd MORTARS
the right.

(1?)

throwing shells,
w. 4. (/) The
(m)

in the presence of various offkers

Bombardment

of a Fortified

Set of 52 pieces, of an oval form,

on horseback

Town

h. 4J,

w.

/.

3J,

5.1,

/.

5. ,,

w.

g.

which are

'
printed within
passe-par-touts,' ornamented with trophies and figures,
of which there are fifteen different from each other ; //. 5, w. 5J. These

52 pieces represent the dresses and employments of all classes of perod

the m<
sons belonging to an army, with appropriate backgrounds
the
of holding courts-martial ; military punishments ; councils of war
1

&c.
sending, or receiving of ambassadors ; marchings of troops ; battles,
One print of the set, only, bears the initials of Jobst Amman, tl

LIST OF AMMON'S WORKS.

xxiv

having no

artist's

mark whatever.

soldiers playing cards, &c.

This print represents a group of

and on the

the furthest of which are the initials

I.

left

are three large barrels,

upon

A. in cypher, and immediately

me to be the little knife, or other instruaccompanying the monograms of the woodengravers of the time*; though I will not too much insist upon this
appearance, as it is possible the artist may have intended it for an
underneath, what appears to

ment, which

is

often found

instrument used in drawing.

FoURTEEN

(n)

PlECES,

/.

5f, h.

viz.

Four officers on horseback, on the left, the bearers of a letter to the

Men undermining a fortified city.
Governor of a besieged town.
The taking of a city by storm ; the initials I. A. at bottom, on the
A march of Infantry through a defile ; on the left an officer
right.
A combat of Turkish and Euroon horseback, in complete armour.
A combat of Muscovite and Turkish Cavalry.
pean Cavalry.

Turkish General seated in his tent

Two, of naval engagements.

two Turks standing on the

left,

addressing him.

delivering a letter to a king,

who

is

seated on the

left

Turkish Banquet,
at which are entertained two European Ambassadors.
An amicable
A messenger
meeting between a Turkish and an European General.
initials

into

I.

A.

on the

right the

Turkish troops leading persons of every age and sex

A king on his throne, on the left, listening to the

captivity.

an Ambassador.
The Emperor of Germany on his
(0)
and on either side the princes of the empire ; and a Judge,
before whom is brought a criminal
two pieces, which I think by some
inferior designer.
/.
5I, h. a,\.
(p) A circular piece, surrounded by an
ornament, at the top of which is the Imperial Eagle, and at the corners
the figures of Justice, Faith, Charity, and Peace. It represents a general
address of

throne

armour, addressing the Emperor, who is seen in front, seated on his

throne ; his courtiers standing on either side and in the foreground.
h. 5, w. 5.
(q) The Turkish Emperor, seated on his throne, on the
in

left,

listening

to

the

address of two Tartar Ambassadors

brought him tribute ; an oval, within an ornament.

(r) A General on horseback, haranguing his army

/.

5!, h. 4\.

(s)

habit, with a cap

The

Portrait,

and feather

half-length, of

man

/.

in a

who have
5$, h.

4|.
cartouch.

in a military

perhaps the author of the book ; an

upr. oval, in one of the passe-par-touts used for the set of 52 pieces
h. 5, w. 5.
already described.
;

Heinecken mentions two or three other books, with wood-cuts by Jobst

I have omitted to notice ;
doubting whether the same blocks
may not have been also printed in some of the above.

Amman, which

AMMOWS

LIST OF

41.

WORKS.

DETACHED

PIECES,

ENGRAVED

Martin Luther,

half-length,

nearly in frontj

xxv

IN WOOD.
a circle within a

in

border omamented with four scriptural

Within the circle
subjects.
D. Martinus Luterus ; and in the middle at bottom
I. A.
/5 h 4
'

'

',

(B. 19.)

42.

Steph. Bathory, prince of Transilvania,

1586

of his sword, and the

theinitials

43.

elected

half-length, turned towards the right

I.

A.

h.

left

on

I2, w.

his haunch.

King of Toland died

hand on the hilt
;

his right

In the middle at bottom are

(B. 20.)

o,|.

The History

of Adam and Eve, from their creation to the death of

Abel ; the whole represented in one piece, printed in clair-obscure from
two blocks. In the middle at bottom are the initials I.A. h. 10;,',

w. 1\.
Impressions of this piece, printed from a single block, are
introduced in the Latin edition of Josephus, of 1580, before mentioned.
(B. 15.)

44.

St.
I.

45.

Christopher, with
A. on the

A Tournament,
milian
/.

46.

right.

The

II.

13I, h. 8.

the infant Saviour on his shoulders; the initials

h. 9J,

held

w. 6f.

(B. 18.)

at Vienna,

initials I.

by order of the Emperor Maxi-

A. with date 1565, tovvards the right

at top.

(B. 21.)

An Allegorical Representation

'

Designatio picturae, officium

boni coloni exprimentis ; with explanations printed with type.
In the
middle at bottom, the initials I. A. and on the left the mark of the wood:

'

engraver.
47.

h. 15^,

w. 9!

(B. 23.)

Time drawing Truth from Obscurity,

in spite of the opposition of

The initials
the background, an extensive landscape.
I. A. with date 1562, are on a
/. 17], h. 12J.
bridge 011 the left.

two demons

(B. 24.)
48.

An Allegorical
a

female

figure

tiece on Commerce.
representing

Obligation

In the foreground, on thc left,

and on Ihe right another
;

man, standing in the middle, and two groups oi

denoting Liberty.
other men, a little lower in the piece, on the right and Ieft, dcnote
These figures
Integrity, the knowledge of Languages, and Taciturnity.
are represented in a large hall,

whercin are accountants, weighers

ol

LIST OF AMMON'S WORKS.

xxvi

money, men packing merchandise, &c, and in various tablets are German
verses, printed with moveable type. The initials I. A. are on a package,
on the
49.

left.

/.

23!, h.

uf.

(B. 25.)

Procession of Military,

in five pieces joined.

Captain on horse-

back followed by two men with halberds and with two muskets ; three men
with muskets, and a drummer and a fifer, four men with halberds, a boy
with a goose on his back, and a soldier with a spear three other soldiers
;

The initials
with spears, and a part of the followers of the troop, &c.
I. A. are on the lastpiece.
/. 68, h. \o\.
The first piece ishigher than
the others.

50.

A View
the

(B. 26.

of St. Mark's Place at Venice, with the Procession of

Doge and

Senate, &c, before embarking in the Bucentaur, for the

The initials of the artist are about the
cerernony of espousing the Sea.
middle at bottom.
In fourteen pieces, joined.
Rare.
/. 74^, h.
30.
(B. 27.)

Additional.
51.

Authority, Chatlo on

Charta Lusoria Jodoci Ammoni.

tains 55

woodcuts of cards, with

Laureate, J.

H. Schroter.

This

"

4to.

Playing Cards."

Nuremberg, 15S8. It conby the Imperial Poet

illustrative verses
is

the rarest of

Ammon's

works.

INDEX OF ILLUSTRATIONS.

1.

2.

3.

4.
5.

6.

An Empress A

4, verso.

A Queen of France B.
A Oueen of Germany B
A Oueen of Spain B
A German Princess B
A Spanish Princess B

1.

2.

2,

vcrso.

3.

7.

An

8.

Italian married lady of rank

maiden of the

Ammon

seems

4.

illustrious family of

Fuggers

5.

have had an eye to business, as this cannot be accepted

to be supposed that the Fuggers wore any special
costume.
The Fuggers, though of mean origin, had i'isen by trading to great
wealth, and were the Rothschilds of the sixteenth century, and probably his
to

as a portrait, neither

patrons.

is it

They were a numerous

family,

and had formed marriage-allianccs

with most of the noble families of Germany.

They were not Jevvs. Occasional traces of the family are still found, such as almshouses with their

names recorded

as founders

but the only descendants

now

alive are said to

be in abject poverty.

About the period of the publication of this Book of Costumes, one of the
family, Huldric Fugger, a bibliomaniac, was pursued by his family in a court
of justice at Augsburg and declared incompetent to managc his property. The
which satisfied the court of his incapacity was his purchase of

special reason

costly manuscripts,

which he printed

Biblioat tlie prcss of Ilenry Stephens.

in the Court of Chancery.

maniacs of the present day would probably fare better

Huldric retired to Heidelberg, and dicd in 1584.

INDEX OF ILLUSTRATIONS.

xxviii

9.
0.
1.

2.

3.

4.
5.

6.

7.
8.

9.

20.
21.

22.
23.
24.

25.
26.
27.

28.

29.
30.
31.

A Roman lady of rank B 6.

A German Princess C.
A German Countess C 2.
A noble lady of Saxony C
A noble married lady of Meissen C 4.
A noble Franconian lady D.
A noble married lady of the Palatinate D
A noble married lady of Hesse D
A noble maiden of Meissen D 4.
A noble maiden of Saxony E.
A noble maiden of Franconia E 2.
A noble lady of Augsburg E
3.

2.

3.

3.

An Augsburg woman of the lower class E

An Augsburg maiden F.
An Augsburg serving woman F 2.
A Suevian maiden F 3.
An Augsburg lady going to church F 4.

A
A
A

noble lady of Frankfort-on-the-Maine

noble bride of Frankfort

married

woman

fort G

3.

2.

G.

2.

of the lower ordcr of Frank-

A woman of Frankfort G 4.
A serving woman of Frankfort H.
A serving woman of Frankfort going
H

4.

to church

INDEX OF ILLUSTRATIONS.
32.

33.
34.

35.
36.

37.

xxix

A woman of the lower orders of Frankfort H

A noble maiden of Frankfort H 4.
A married woman of Nuremberg
A noble lady of Nuremberg in walking dress
A noble betrothed lady of Nuremberg
A noble maiden of Nuremberg in hcr wedding
3.

I.

I 2.

I 3.

dress

I 4.

43.

A maiden of the lower orders of Nurcmberg K.

A serving woman of Nuremberg K
A married woman of Leipsic K
A maiden of Leipsic K 4.
A woman of Strasburg L.
A married woman of Heidelberg L

44.

The

38.

39.

40.

41.
42.

45.
46.

47.
48.
49.
50.
51.
52.

53.
54.
55.

2.

3.

2.

wife of a lawyer of Spire

3.

A woman of Cologne L 4.
A serving woman of Cologne M.
A maiden of Zurich M
A married woman of Basle M
A woman of Halle, in Suabia M 4.
A woman of Wurzburg, in Franconia N.
A Franconian woman of the lower orders N
A noble lady of Meissen in mourning N
A Thuringian maiden N 4.
A Silesian married woman O.
A betrothed Silesian O
2.

3.

3.

2.

2.

INDEX OF ILLUSTRATIONS.

xxx
56.
57.

58.

59.

60.
61.

62.
63.

64.
65.

66.
67.

6S.
69.
70.

71.
72.
73.
74.
75.
76.
77.
78.
79.
80.

An

Austrian married

woman O

3.

A noble married lady of Sweden O

A Lubeck married woman
A Dantzic bride P
A Dantzic serving woman P
A wife of a Doge of Venice P
A Venetian noble lady O.
A Venetian noble bride Q
A noble Venetian maiden O

4.

P.

2.

3.

4.

2.

3.

A noble Venetian lady in a summer dress

A Venetian married woman R.
A Venetian woman of the lower orders R
A newly-married Roman lady R
A Roman maiden R 4.
A Roman courtezan S.
A Neapolitan married woman S
A noble Neapolitan maiden S
A Florentine married woman S 4.
A Florentine maiden T.
A noble married lady of Milan T
A noble maiden of Milan T
A noble married woman of Ferrara T 4.
A Mantuan noble ladyV.
A Veronese woman V
A Patavian noble married lady V
3.

2.

3.

2.

3.

2.

3.

4.

2.

INDEX OF ILLUSTRATIONS.
81. A woman of Placentia V 4.
82. A noble married lady of Vicentia X.
83. A married woman of Sienna X
X
84. A maiden of Bologna
X 4.
85. A married woman of Bologna
86. A Spanish married woman Y.
Y
87. A noble English lady
88. A married woman of London Y
Y 4.
89. A French noble married lady
Z.
90. A French noble maiden
Z
91. A Parisian noble married lady
Z
92. A noble married lady of Lyons
Z 4.
93. A noble married lady of Lorraine
a.
94. A Burgundian maiden
a
95. A married Belgian lady of high rank
a
96. A Belgian maiden
a 4.
97. A Brabant woman

98. A Dutch woman

b
99. A Belgian serving woman
100. A woman of Aix-la-Chapelle b
101. A Cologne bride b 4.
102. A woman of Belgic Flanders
c
103. A noble married woman of Hungary
c
104. A woman of Prague
c 4.
105. A Bohemian married wonran

xxxi

2.

3.

2.

3.

2.

3.

2.

3.

b.

2.

3.

c.

3.

2.

INDEX OF ILLUSTRATIONS.

xxxii

10.

A Polish married woman d.

A Livonian woman d
A Livonian lady of high rank d
A noble Livonian married lady d 4.
A Russian lady of high rank

11.

Camilla, the daughter of the Turkish Sultan

12.

A Turkish courtezan

e 3.

13.

A Peruvian woman e

4.

06.

07.
08.
09.

2.

3.

e.

15.

A nun of the order of St. Catharine

A nun of the order of St. Bridget/

16.

Order of the White Nuns with the black

17.

Order of Paid Attendants on the Sick/4.

18.

19.

The

20.

Order of Penitent

21.

Order of the Virgin Clara

22.

An

14.

2.

-f.

2.

Beguin

g.

lay order of St. Catharine

abbess

3.

Women g

1.

2.
2, verso.

veil

/3.

TO THE MOST SERENE

LADY ISABELLA OF

AUSTRIA,

QUEEN OF FRANCE.

authorities do not appear to bc suffias to the race of men who first

made themselves clothing such as we daily wear each
assigning the credit of such an invention to those of his
own race and country one thing I take to be beyond
dispute, namely, that our first parent, while still dwelling

ALTHOUGH
ciently agreed

in Paradise with his wife, but after the actual

transgression
of the law given to him, covered himself with the leaves
of trees, until, having been expelled from that garden of
delights and compelled to seek for more effcctive protection
against the severity of cold, he began to make use of skin
garments, i.e. untanned hides of wild or domesticated
animals and this unquestionably remained as an example
of clothing to posterity. For the statement of Eusebius
(in his work, De Prceparationc Evangclica, where he is
writing on Phcenician affairs), that one Uso, a Sicilian,
first made
coverings for the body from the skins of wild
beasts, I take to refer only to the Phcenicians, since
skin-garments, as I have said, had long before been invented by the first man or, to speak morc correctly, and
more in agreement with the sacred Scriptures, liberally
assigned to the first man for his use by the very Auth< >r of all
good things, Almighty and Most Gracious God. The case
;

DEDICA TION.

xxxiv

is the same with regard to linen, which Pliny, in his seventh

book, declares to be the gift of Arachne, a maid of Lydia.
He was clearly ignorant of its use by the Hebrews so long
before the birth of Arachne, just as with regard to many
other things, the bestowal of which the same Pliny and
other profane writers assign to different persons. In the same
way, the arts of spinning wool and weaving are assigned
by Ovid to Pallas, or, what is much the same, by Trogus,
or rather Justin, to the Athenian worshippers of Pallas,
and by Pliny to the Egyptians. So the art of fulling, by

which garments are improved and brightened, is assigned

to one Nicias of Megara
sewing to some unknown Boethius
embroidery to the Phrygians, whence the name of
manyPhrygioucs, applied to those who work it, is derived
coloured robes to the Babylonians watered stuffs to Caia
Caecilia, who is identical with Tanaquil
costly dalmatics
to the Dalmatians and, on the other hand, the very low;

dress to the Cilicians by Varro, Trogus,

Silk
Diodorus, and Pliny who has been already quoted.
only, than which there is at the present day nothing
commoner, was both discovered later, and for a long
time more sparingly transmitted to us
since, even in
the time of the Emperor Aurelian, as Vopiscus relates,
in the year of grace 274, silk was valued at its
i. e.

priced cilician

in gold.
On this account, too, that most temperate sovereign thought fit to refrain from the use of
robes all of silk, until, in the reign of Justinian, as we
learn from Procopius, this material also became gradually
The use
more abundant, and consequently cheaper.
of robes, having arisen from such a commencement,
gradually advanced so far that personal adornment now
seems to be hampered by the elaboration of its means ;
since day by day some new thing is devised by those artists,
whose sole business is to pander to the passionate lovers
of dress, and especially to the more showy of women.
That sex is not only the more inclined by nature itself to
the pleasure and beauty of dress, but also, to confess the
truth, the want of moderation in men (for whom those
women had no charms who did not assist their own special

weight

DEDICA TION.

xxxv

excellence of beauty by some art and favour of dress) drove

the sex to descend so far as to take the very highest account
of personal ornament and decoration, in order to retain
their husbands, by this species of enticement, in love and
admiration for them.
This had not, indeed, been altogether amiss, although

excessively and over-nicely done, if here those arts of

allurement had stayed. But afterwards, some men, not
even by this means contented with their own, began to
fix their hearts on othcr men's wives
making an ill
use of their eyes as waylayers of the innocence of
their neighbours' wives
and womcn were actually found
who delighted less to charm with their beauty their own
husbands than their neighbours. Forthwith, by license in
dress, good morals were cast out headlong, and eventually
for nothing more than dress was some rule requircd.
For
although, as Cyprian justly says with reference to the
;

dress of maidens, the display of ornament and dress, and

the allurements of personal shapeliness, are only in keeping
with prostitutes and immodest women and none are more
expensive in their decoration than those whose honour is
cheap even womcn, modest in other respects, have been
compelled, or rather have desired to seem compelled, to
imitate the w ay, or rather the wandering, of the unchaste
in this excess of apparel, as if with the like blandishments,
as I have said, to keep hold of their husbancls.
This their
aim, which at first sight seems not undeserving of excuse,
that most strict censor Tertullian most severely blames in
"
these words
Come now," he says, " if from the rlrst
both the Milesians shearcd sheep, and the Chinese spun
from the tree, and the Tyrians dyed, and the Phrygians
embroidered, and the Babylonians invvove, and if pearls
if gold itself, too, came
shone and rubies flashed
up
from the earth with the desire for it and if now, too, no
lying but the mirror's were allowed, Eve, I suppose, would
have desired these things on her expulsion from Paradise,
and when spiritually dead. Therefore, she should now
neither desire nor know, if she desires to live again, what,
when she lived, she neither had nor knew. Accordingly,
;

DEDICA TION.

xxxvi

those things are equipments of a lost and dead

prcpared, so to speak, for the funeral procession."
And again

all

woman,

"

A womans

toilet

comprehends two

species, cultus

and

name we

give to what is called her

toilet proper
oruatus, to what should be called her toilet
The lattcr consists in gold, silver, precious
improper.
the former, in attention to the hair
stones, and raiment
and skin, and those parts of the body which attract the
The one we charge with seeking admiration, the
eye.
other with prostitution so that hence you may see how
much of this is suitable to your training as a handmaid of
God, a training which you should consider to be formed of
the contrary qualities, namely, of humility and chastity."

ornatus.

Cultus

is

the

"
Earth, forsooth, is far
again, in another passage
after being wailed over in pestiferous
mines of cursed metals by the labour of criminals, it has

And

more glorious, because,

abandoned the name of earth in fire, and then the fugitive

of the mine is changed from torment to ornament, from
punishment to delight, from shame to honour." In this
passage that most accomplished theologian can be seen to
imitate Pliny, who, although a heathen, and indeed an

We penetrate
luxury
into the bowels of the earth, digging veins of gold and
we seek also for gems
silver, and ores of brass and lead
and certain little pebbles. Driving galleries into the depths,
we draw out the bowels of the earth, that the gems we seek
may be worn on the finger. How many hands are wasted
"

atheist, says in indignation at this

order that a single joint may sparkle

If any hell there
were, it had assuredly ere now been disclosed by the borings
of avarice and luxury!"
Hence, as our author Tertullian
"
for a very little casket a great estate is
continues,
offered.
In a single dress a million sesterces are embroidered.
Parks and islands are carried on a slender
neck.
Thin ear-lobes hang out for view a whole estate
and the left hand sports a bag of gold on every
This is the strength of ambition to carry the
finger.
capital of so great interests on one little body, and that
a woman's."
Presently, deriding that kind of luxury
in

DEDICA TION.

xxxvii

as the ground of its folly, inasmuch as

gold and gems,
which ladics esteem so highly, are common and con"
temptible in the eyes of many, he says
Among certain
because
is
an
abundant product' of thcir
barbarians,
gold
ovvn soil, they keep their prisoners in golden fctters, and
load malefactors with wealth, the more lavish as
they are
the more guilty.
Sometimes, in fact, instances have bcen
found of the absence of even the love of gold. The noble:

ness of precious stones, too, we see at Rome,

blushing at
the disdain of the Parthians and Medes and other kindred
tribes shown for gems in presence of our ladies,
exccpt,
Hidden in thcir
indced, such as are not worn for display.
girdles are emeralds, and the jewels of their scabbards
their swords alone know and in their boots, pearls
long
to rise from the mud.
In fine, they jewel just as much
as should not be jewellcd if it is not visible, or only so
far visible as to display also the neglect of it.
Accordingly, with regard to the colour of clothing, their slavcs
bear the palm
nay, they even waste on their walls,
instead of paint, Tyrian and hyacinthine and royal
tapestries, which you with great pains unravel and metamorphose. Purple is of less price with them than ochre
;

for

what

rightful

honour

them with wrongful

is

done

colours

to clothes

God

is

by adulterating

not pleased with

what he has not himself produced, unless you suppose

that he could not bid sheep be born purple and grccn.
If
he could, he ivould not what God would not may not
Those things, therefore, are not
lawfully be contrivcd.
naturally the best which are not from God, the author of
:

nature.
Thus they are understood to be from the devil,
the disturber of nature."
Pnially, therefore, he bids Christian women to lcavc
such things to hcathen and unbelieving womcn. " Lct
"
strive to please their husbands by
them," he continues,
but
luxury
go ye forth eqnipped with the cosmetics
and adornments of the Apostles, taking fairness from singleness of heart, colour from modesty, paintingyour eyes with
reverence and your lips with silcnce, wearing in your cars
the word of God, and cncircling your ncck with thc yokc

this

DEDICA TION.

xxxviii

Submit your head to your husband and you will

be adorned enough. Keep your hands busy with spinning,
keep your feet at home, and they will give more pieasure
than if clad in gold. Clothe yourself with the silk of upof Christ.

rightness, the fine linen of holiness, the purple of chastity.

Arrayed in such colours, you will have God for a lover."

Though these observations may seem somewhat strict,

and pertaining solely to those who have devoted themselves
entirely to God, it cannot be doubted that they may be
applied generally to all, especially as Tertullian elsewhere
says that salvation consists especially in the dispiay of
chastity because, though we are all the temple of God
(the Holy Spirit having been brought into us and consecrated in us), the sacristan and minister of his temple is
Chastity, who permits nothing unclean or profane to enter,
lest that God who dwells there should leave in wrath the
defiled abode and he adds, further, that he judges of this
chastity not only from carnal innocence, but aiso from the
manner of adornment and decoration, and that accordingly
in heathen women there is not true chastity.
Yet, what
(some one will ask) is the object of these long remarks ?
It is just this, to show that usage has long sanctioned
women in attending with great care to their personal
adornment, but with the limitation that those should
always be the most approved who considered that here,
as in all other matter.-^, moderation should be preserved.
Herein, though I assail no nation or people, inasmuch as
it is ordained that different nations should have different
customs, and that another way of life for strong reasons
should not be so much in harmony, and such is the will of
God, the ruler of all things, that each people should have
;

its

own

special characteristics,

among them,

who

say,

are distinguished for temperance and moderation,

that
the most commendable women of Germany hold the best
place, will, I hope, be established even by this little book.
When I had prepared at great expense an edition illustrated and embellished with most curious pictures, I felt
myself bound to seek for a pattern of chastity and all
virtues, to whom (as Sulpitia, daughter of Paterculus and

DEDICA TION.

XXXIX

wife of Fulvius Flaccus, was ouce

singled out by a vote of
matrons as chastest of women, being chosen from a hundred ladies of the first rank to dedicate the
image of
Venus according to the Sibylline books) I should, without

offending her feelings by any unchaste

events, of a goddess unchaste
dedicate

symbol at

all

and consecmte

the female costumes of all Europe.

And truly I found
without difftculty what I was seeking as soon as I turned
towards you, most serene Oueen, my eyes and mind
towards you, to whom the first place for modesty and
chastity has long been gladly assigned with justice by
the ladies not merely of Rome but of the whole world, at
all events of Europe
all of whom confess with one
voicc,
that Isabella of Austria is the very pattern by whose
character the good and modest women of this our time
ought rightly to mould their own. Unless I had desircd
to consecrate this my Theatrc to her, I might seem to
begrudge to the most commendablc sex their exemplar,
by looking on whom their life may be well and cxccllcntly
conducted, since, though my native Germany has many
chaste daughters besides (for I wish not to detract from
the fame of any), yet somehow vve are more moved by
virtues of this kind when they shine in a glorious and
princely personage
according to the trite saying, that
subjects readily mould themselves, so to speak, after thc
;

image of their sovereign. Hereto I add, since this work

treats of empresses, that you are at once daughtcr, grand-

not the undisdaughter, and sistcr of an empcror

tinguished emperor of fickle Constantinoplc or fccble
Trebizond, but the monarch of the Holy Roman Empirc
mother of an emperor too, perchance, you will bc,
unless that sacred disposition which you have long
proved to all mankind, keep you henccforth from
marriage bonds, and claim you all for Gocl, with all

your greatness.
Since it treats of queens, you are thc onc and most
praiseworthy queen, queen of no inglorious realm, but of
that which has no superior,
nay, nor cqual, Oueen of
France, without an cqual or a second. Speak we of mai

DEDICA TION.

xl

of maids betrothed, of wives, of widows, of women veiled,

You as maid, betrothed, widow,
or consecrated to God.
and all but entirely given up to pious reading and meditation, are the model by whom they of every age, rank,
and condition, should test themselves and conform their
that is, if they long to run here the race of
character,
and after its course is run, to enjoy
life without offence
eternal bliss with God their Creator.
Accept, therefore,
most potent and serene Queen, this small offering of my
no small affection and devotion to your Majesty.
And whereas other ladies are wont to receive a compliment from books inscribed to them, do you, in accordance with your happy genius, bestow on this little work
the reflection of your glory, and favoured by God and
men alike, long rejoice in the most abundant fruits of
your very many and great virtues. Farewell.

Your most Serene Majesty's

Most devoted,

SlGISMUND FEYERABENDT,
Citizcn

and Printcr qf Frankfort.

Fraxkfort-ox-the-Mai.\e.
ist

March, 15S6.

11)',;;/ cr Sons, Printcrs,

Grcat Qnccn Sirect, London, W.C.

Gynseceum, Smcu

THEATRVM MVLIEPRAECIPVARVM
QVO
PER EVROPAM

RVJVUN
OMNIVM

INPRIMIS.NA*

TIONVM,GENTlVM, POPVLORVMQVE.CVIVSCVNQJE
dignitatis, ordin's,fbtus>conditJonis,profefsionis>
setatis,fceniineos habitus videre eft,

KjiRTIFICIOSISS IMIS

NFNC PRIMFM

figurisjiefe vfqttam antehacpari eleganftA

editis

exprejfos

IODOCO

A M

A N O.

ADDITIS AD SINGVLAS FIGVRAS SINGVLIS

o&oftichis

Fkancisci Modii Brvg.

OPVS CVU AV FOEMINEI SEXVS COMMENDAtiomtn

tum in illorttm maximegratiam adornatum-. qtii a longmquis

certis altjs dt
percgnnationibus infittuta vitct rationcaut
caufiisexclufiAomt interim variorumpopulo-

rum babitu,qni csl morum indicium

tacttunhddeclantur.

M.

D,

LXXXVL

Francoforti,Jmpenjis Sigifmundi Feyrabendij..

SERENISSIMAM
1SABEL-L AM AVSTRIACAM
G-A L L

AE R EGInam.
I

ESTEM QV1 MORTALIVM HVJVS

aut Uiitis

gencris , quo bodieque vtimur, primifibi

fecerintffcreniftima Regina, vt inter auclores non
fatis videtur conftare,

vnoquoque adftu gaitu

nationifve homines laudem hiuentionis huiufmodi trahente : ita iliudextra

controuerfam effc
opinor, pnmum parcntem adeoin paradifoadhuc cum coniuge fua diuerfantem quidem, fed
potf

datts,

legisiam tranfgreftioncm , tegminaex

fibi aptaffe, donec hortoillodeli-

arborum folijs

ciariwieieftits,firmioraaditerfusfrigorisiuclemeutiamprfidia'circum(piccreco~
Airus,rhenonibus , hoc esl , rudibusfcrarum , pecorumuepelitbus vti axpit,quod

pofta um exemplar exftitit.

Nam quod Eufebius

dePbtxnicum
rebusfcnbit, vfotiem
.Euangeiica, quapartc

hauddubie veftimcntorum

in

att, in

de pr&parationc

tiefcio

quem Siculum primum

corporibus

tegminaex

peliibus ferinis confecijfe

id

vero cgoadPhivnicesdumtaxatperttnereftatuo,pelliceis,vtdixi, tunicisiam multo anteab

ipfoprotoplafto repertis , aut verius vt loquar,& facrofantiis voinminibus

congruentius,protoplaftoabipfo omniv.mbonorum auclore Dco Opt

ad vfum liberaliter attributis.

itim iibro VU.Pitnius Aracbnes

Max*

Similifque adcoesllim ratio,cuius inuentionem

hj/cTu puclisL beneficium

traderct ,tgnor abat ni-

mirum eiufdem vfum Hebr&is multb tanto antc Arachnem natamfmffe, vt csterarum qnoque rcrum, quarum tamen munus ab eodem Piinio alijfque firiptortbus
Vt lanifii tjperitia,&texendi an ab
propbanis modo buic3 modo illi attribuitur.
Ouidio Palladi,aut
quodfere perinde eil, a Trogofeu Itiftino potius Atheniaifibus
a curantur
, aPitnio
AEgyptijst SicFullonia quaveftimcnt

&

Valladis cultoribus

poiiuntur cuidamNicia Mcgarenfi , SutoriaEoethio nefcio cui, acu piiin vejics

Phrjgibus, vnde Phrygwnes earum

Cau

Citcilu

contra

qtu

artifices ,diuerftcoiorcs

& Tanaquil, Dalmatica

pretiofiftima

Bab)iontjs,vndulata
Daltnatis populn

aiutumvUiftima veftu Ciiuibus k Vurronc, Trogo,Diodoro,eodcmque

vt

Plittio

EPISTOLA
m adfcrihunttmf>lafmferka

qua bodie nibil vulgatius, pofierhts

& inuenta &

cumvel Aureliani Ituperatoris tempore. Vopijio

:
parcius tranfmijfa
(ericum auro expen
auilore, hoc eil; anno a generis bumanifalutt
ari

dm

nos

CCLXXIV.

deretur.
tuuit

& modejiifitmus

Vnde

ille

Princeps boloferka vefiefibiabjiinendtimpu-

donoc luftiniano Prmcipe, vtexProcopio difcimus

b<tc

quoque paulla-

timvuig.trior,acperbocviHorejfeco:pit. Abbisinitijsvfus vejiium

ttm eopsrutmt, vtiam

orttts pav.iia-

operofoinfirumentolaborare videatunqttotidie
poui aliquidexcogitantibas ijs artifi.cibus,quorum npera omnis banm rerum cupi-

&

cultitsfui

Quifexus cum natura

virorum
ad hocjiudtum ,
,fiverumfateri vomund'uiemproniorfit,etiam
\pfa
lumw, quibus fordebantilU , qtu formA proprimn (jpeculiarebonum nonarte

du

&

&

&

aduiuarent, inmodejiia adaclns esl codefcendercvt ornaviros hoc quaftiUicio infv.i amore,
comptufjjfui vel primam rationem haberett
admiratione retenturns. Non omnino pefitme hoc qiitdem,etfi fuperfiue, ac fu-

aiiqua,
ttis

in ijspr&cipue eicgantiorilusfceminis lenocinatur.

vefiis gratia

perjHtioshfi

hic iBecebrxilU conjiittjfenf.fedpoftquam nefic

ptale vtentes

mn tam vtris fuis,quam vicintsformamfuam probare

licentia b oni

quidem contentipro'

quidam, ad vtcinorum vxores, alienapudkitia fubfejforibtts oculit

animumAdtjcere coeperunt , inuentaque adeo fint> quas iuuaret

prijs coniugibus

mores aclifttnt,euenitg3 ,vt

llicet

in praceps vefiitm

nulli rei

magis quam buicdijlipltna quadam opus ejfet. nam etfi.vt recie ait CyprUnus de babitu virginum, ornamentorum

4cve{t'mminfignia,& ienociniaformarumnon

nifi proftitutiSj&

impudicisftxmi"

congruant,& nullarumfere pretiofior cultus efi,quam quarum pudor vilis cff

toaclxfunttamen,veI potius coatla videri voluerunt etiam pudtca alwqui, tmpunis

dicarum inho.cveflium liixu moremfeuerrorempotiusimitari, tanquam fimtltb.

vti diilum eslMlecebris m.tritos retentura: quarttm fiuefl udtum primafronte venia non indignum, grauifiime increpat Jeucrijsimus cenfor Tertullianus ,htsfae
Seres arottes tondcrent ,
vcrbts:
Age nuncjnquit,fiab iuitio rerum
Milefij
bor werent,

&

Tyrij tingerent,

&

&
&
& Phrygesinfuerent ,& Babylonij i'ntexercnt,&

ceraunia corufcarent : fi ipfumquoque aurv.miamde

ma.garit.t canderent,
terra cum cupiditateproiqfet , fi iam &JpecuIo tantum mentiri liccret , bac Eua
concupiuijfet de paradtfo expulfa
.

hat.

ldeo omnia ifia

damnata

iain

debet, aut noffc fi cupit reuiutfcere

&

lortua opinort Ergonecnuncappetere

qua nec babuerat, nec nouerat,quando viufmortua mulieris impedimenta funt , quaft ad

pcmpam funeris conjhtuta. &rurfum:\iabitus fcemina duplicem Jpeciem circumfert,cultum,&ornatum.Cultumdicmus,quemmundumuliebremvocant,Ornatum,qtiem

immundum mulicbreconuenit dici. llle in auro,

& argento &gem'a, &

t

reflibut

NVNCVPATORIA.
Jftein cttracapilli,&cutis ,& earu partiumcorpo'ris,qtu cctu
trahunt. Alteri ambitionis crimen tntendimus, alteriproftitutionis: vtiam bini
fYojphias dei anciSaquidexbis difciplina tua conueniat,qiudediuerJishiftitutis
reflihts ieputdtuf:

los

cefearis/cilkcthumilitatis,accaftitatis.ltemjs alibi:Tcrrafiilicetgloricftorp!a-

*ie,quoriiaminmakditorttm metaUorum ferahbus officinis pcenali opcre deplorata,nomen terr&in ignircliquicatque exinde de tormentis in ornamenta, defupin
pUcijs in delkias,de ignominijs
bonoresmetallirefuga mutatUr. quodimitatm
Vtderi poteft erttditifimus tbcologuscxVlirito, quiquamuis etbnicus,atque adco

athcusjuxui \miciratm:?enetramus,aitfm vifceraterra,auri argcntique venas,

quofdam paruuios qturi&Aruacplumbimctallafodientes,gemmasetiam t

&

mus lapideStfcrobibus in profundum aciis,vifcera tcrra extrabimus,vtdigitogefIetur gemma>quam pctimns quot manus atteruntur vt vnus reriiteat artkulus ?Si
.

inferijiamprefefto iUos auaritu atque luxuria cuniculi rcfodijfent.Bre

uifimis ergo, vtpergit idem TertuUianns,loculis patrimonium grande prefertur.
Vno lino decies fejiertiuminferitur. Saltus
infults tenera ceruix fert. Gra~ XXv.mil*
-

ylli efjent

&

iiles

aurium

dc faccts

cutes

Calendarium expendunt ,

fingttlis ludit.

Ha funt

&

in ftritftra pcr fwgulos digitos fant cor^

nat lla #

vires ambitionis,

& muliebri corpufculo

ptumridcns, vtpote cum aurum & gcmma

fiantiam vno

bainlare.
,

tantarum vfurartnn fub-

quemeundemluxammox

qtu

vtine-

tanti amatronisfiant ,vilia&

contemnendaftnt multis.
AptidBarbaros, inquit, quofdam quia vcmaculum
eft aurttm
auro
vinclos in ergaftulis babent :
diaittjs malos onecopiefum ,

&

&

rant tanto locupletiores,quanto nocentiores.Aliquando re verainuentttm esl,quo

rnodo
atirum non ametur. Gemmarum quoe^ nobiiitatem vidimusRoma defaJitdioPartborum &Medorum, caterorumquegentHiumfuorum coram matronit
babentur. Latent in cingulis fmaerubefcentem,ritfi quodnecad oftenfionemfere

&

ragdi ,

& cylindros vagina fiu

mergere de luto cupiunt.

tum

effc

fubftnu nouit:&in peroritbtu vritoncs

tantum gemmatum.habent, quod gemma-

f&ltis gladins

Deritq3

non debet,ft nen comparct,aut

Jtendatur.

Proinde

Sed &parietes

Tjrijs

& veftitm dc

& hjacintbinis &

comparet vt neglcclttm qttoqtuobonoremferui etiam corum ferunt.

idco

coloribus

iilis

regijs

velis,

qtu vos

operofe refoluxa
rit-

Viltor eft apttd iilospurpura quam

transfiguratis , pro piciura abutuntur.
f Von
hrica.
Qujs eritm esi vejiium bonor iuftus^leaiulterio colorum tniuftorum

placct deo quodnon ipfeprodttxit: riifi fi non potuit purpureas& earinas oues nafei
non licet fingi. Nou
iubere.
Sipotuit,crgoiam noluit: quodDeus noluit,vtiqae

Skadiabolo
trgo natura optimafunt ifla,qiu a deo non fnnt, auclorenatttra.
iubet
Cbriftianas fvmjnas
Ifeintelligunturftntcrpolatore natura. Poftrcmo igitttr
bdC
A 3

Impcratrix.

Vgujlos

habitm ^veneror^ultuf^ferenA

Qjiosmaieftatis tam bene complcthonos

AiiFuror {$ fiqtud credendum^vatibm ,ori&

Haudaliter ccelum tuce hilararejui,

Glu& magni mcedit germana , ($ nupta tonantis

"Vnahominum regnumqu&ten&t', *vna T)eunu.
\

Regnum hommum dixi?failor:prtmailla dearit

eft*

Diuifo imperio h&c regnatin orbefuo,

l^egina

ReginaGalliarum.

Y)^man^mfortemfaciestambeUatimeb^
Vere ha crudeles infua dona Deos.

^Debuerant ora h&c communis

nefcia iegis^

Quapatimurfati tempora quiftfefut:

Debuerant ^uultm hac maieflate fereni

Aiiernum humanos exhdarare Joue*.

StaminaPatraru mmis improba, ^imuda,in ipfas
^eginas vobis ius quis haberededit?

Regma

Regina Germanica.
1D Eo-iaprogeni&s,

&

regi nuptu

marito,

Stcpofitis proditfujptctendacomis.

jsQc male conueniunt taltfafiigtaform&

Reortafezalis lucet in ore

<vt<ror.

^Torqut qui ctngit collumfudauit Hjdajpis

oAccolatfW ^Ntliaflumtnafontebibit.
Huictorqui Cjangesmtfitjua munera,f$ Jndus

Hmc qmfubferofoleflmnta rtgewtJ*

%egin&

ReginaHifpanica.

^<*A(cua Geryonis nontraxereHerculis arma:

Nee tmnen in vanum h&cfabulafiiki iocum eH

Fcemina Geryonis talijpechibilis orc^j

Mouit amatorem "vtfumerettUa^DeuTTu^

Et dignaiftafuit memdicejudice tf il/o, esl

Cuius tantilla tnpeEtoremicafalk*

Tres ammas propter quam rex efftaret Iberns?

Herculis indueret

qm ter in arma manu*.

Trin*
3 z

Princeps fcemina Germanica.

g Iforet in cunBis h&c cultw cura mcdcjli,

Qua^arat Sous^ua^arat Hejperius:
Tcemina non

cenjwportar&t ccrporeauorurru,
^jtorumjub titulis obrutn regna iacewL>*

Dtfce hinc exigua

qm mutaspafcuagemma

MiRe bouesherbispajcerejuetajuis:
Difcepudkitiam cunHsprxponeregemmisy

fua qu& commJateHygemmea^ittafkteH.

Hijpanica

Hifpanica prmceps foemina.

relato

defendimus oragalero
<*A radijsnobis, ^Phcebemolefte, tiw.

^s^Onabs

Qmdtamen m noftris nimium dumperfuris

oru

Jmprobus,auerfo cardine lenttts abes?

Jllicte 'votispofcuntiuuenefyfenefcfc
ades.
Hic execrandtts dum

mthifemper
<tAn tibi tucundum eBinuitas vrere terras?

Sipudor eSlfopulostranfiadHyperboreos.

Matrona

Matrona primaria Italica.

<

T Talicish&c e&notifiima <veftisin oris,

Cuius tegtttmo eftfubdtta ^vita iugo.
Terfora,per plateass taliprocedtt amicltt y
adatura choros:
Taltfefltuosnupta

Efttfe quidetlle ,

neget qius

enimhoc? digniftmuso^
toro.

^artesmaritaltquemgeratauElu
Ntlin eo tamen <vt,meiudicejureprobari
Debeat hoc comptu Itbermemagis.

(mm

Virgo

Virgo ex illuftt Fuggcrorum

i

familia.

V* Tnatx <vifa eH comptu hoc Fuggera Diones,

*
Conflitit adrofeas obflupefafh renas.
Conflititadcrinemdonatum lambere <vento

Ze/otypo^JIuxas col/aperalba comas.

Inter

&h&c

tllt

manibm cecidere remtfis

Cmgida,cjU4s ipfum

esl

vrerefueta Jouem.
ab illo

Qmfimulinuafit vtrgo Fuggerajam

Vrit amata hommes^rttamata Deos.

Fcemina

Fcxmina Romana primaria.

J^ Omangs habttmcernisquicunfyftolatos,
Jsfeminreflola luc cfuoadmoneamur habct
tendst

ad

imos>
Jnfl/m ion^apedes fruftranec
Matronam h&c talis> ^uttta^ flriliu decct.

^Adfficcvte collocarbunculus ardeat

<vtcf
f

hic

Splendeat Armenms tuncio adamante lapis:

Sicdommasdomtnafas eliincedere m <Vrbe^:

jnduuU exuuias petoris orbishabenfcs*

Priaceps Foemina Gefmanica.

*vtro

coniunx^ Principequonda
"pRinape dtgna
Natapatre^ac Ducihm qm celebratur auis:
in oris,
^Princeps Teutonkisficjcemmaprodit

Mores vultuipfi tefiificatajuos.

Jn quo dum comisgrauitasfic ludit,

vt iuam, QT

Quam deames dignam, {$ qua<venerere,putes:

Vtilemifiendodulciillatemperatarte,
Tetnca vtinequefit Jit neque blanda nimu.
J

Comes

ComesGermanica.

^Almata eit <veftis,<veterum gcftamina regum,

me quoque turba colit.
PrincipibufcLpare
EHautem titulus comitis.quta nempe mantm
Jre comes magnisregibm vfquefolet.

^B^egibm Atate hac ettam,nam temporeprifco,

Hicfoh eft habitm C&fari gf ipfks honos.

Sedfeu Czfaribmfeuregiproximmillc^
Eftmem9 hutc rofeis vnieo comptagenis.

Saxonica

Saxonica foemina nobilk

\30bditatemeinonignorandaparentu,
Clarior at clari nobditate viri,
Inter Saxonicasfrontc hacmatronapueiUiSaxonico incedo confociata toro.

HHk

&on triftunimium, nimium non blandamarito,

%esfcatet h*c njitijs9 neccaretiUafuis.
Intcr rvtrumque nitens comi atgrauttate fcrcuo,

Nubem contraclt iungopndicut&.

Mifniaca

Mifniaca matrona nobilis.

Y/T Ifhtaca esipollensopihisdegente maritus,

viro, h&c eadepatria origo mihi est

Quxmic

J[Uforistractattratiandancgotia,noflra
Jpft mcafumproparte opcrofa

Teltcts thalami

\feltx

domu

concordia lecli,

amor.

Offcijs hisquem mntuus ornat

in vnuwu,

Taltbusauftcijs qui conuemfiis

Vtmtc terfauftofcemina,

virfytoro.

Franconica

Franconicafoemina nobilis.

^Fpminter Francosfednonde plehe,marito,

Hacfe vefte tUi pojfeplacere putat.
J\(jc,rii(iiudtCijfallor,matronapudica
Frontis cultu alw
contyictendajuit.

J\am *velut alterni ludunt in veflecolort?

jn^

oculis

grawtaSiC&teroinore lepos:

Sic ornantanimum

virtutesplurtm&^ tnter
Prtmahas legitimi cura pudicatori.

Talatin

iijs
Pahtina matronanobilis

A Vla

^PalatiniJurgit quacelja leonis^

Stfamulis ^Khemnobtlitatur aquis:

Sic equitis corimnx, equite
prognata parentt^j-,

Jpfaq^nunc equitum.aut

Sic

deindefutura parem :

patrias exculta3 tnquam,(f?atiatur'advndas*

Aureaficfefto tempore templafibit.

*RJoene? quid exultas^glaucaq^ emergis ab <vlua?

Fallor^

an hac vija cor tibijubflijt?

Hafiaca

Haffiaca matrona nobilis.

g Irettnfacie incedoffrontepudorenu
Sicteftorfit

vt hacfemiadoperta mihi>

GlujdmirumJOctototegitnr

Vefialeprofeffa
libera
decentJ.
vela
Caftum.matronam

^Uelapudicittam non exclufura, venufias

Nulli <vt claufa nimispt mea^apertu nimis.

Sumite ab

Hafiacis Exemplum nobile nymphis

Matrom

hacfuerat wjle tegenda Venus.

Mifhenps

Mifhenfis virgo nobilis-

Xflrgineos

comtm agnofo.Mifnkin orOf

Jndicit quotiensgaudtafefim Hymen.

Reticulo crmale decnscohibetur in orber/u,

Quoddecorant violis floreafertafiw.

^jiorumfimemores^trgojoaudoblimtuids,
Cuiusfcproperatperbreueforma bomnru,
Vterisfacie>qiu tam ctto defctt^ianu

Jam (fonfhsjihinunc qmprocminflat, erit.

Saxonica

Saxonica virgo nobilis*

V[ On egofucata cupiam contendereform&>

Et commercatis irefuperba comis:
MoUibus Italica hac faciem njultuyncLpuella
^Adiuuet artefuum coinplaaturaprocps:

orta,

Jpfamemorqu&fim, quisin regwmbus

Sat duco ingenuum hoc comere more caput.
naiu <virago,
Mafcula corda internimirum
Prodibo infettisprodigiofagenis?

Franco-

Franconicavirgo nobilis.

p %ancontcam ecce tibi at de nobilitute pueUamj>

oAnni cm plena vtrgtnitate tumensL>.
<iAiwosaio?tUud<volutfc nempe.paptlU

Cuiplenadudum virgtnitatetumentj.

Qm f cui

ftmtlisft qmris,protinus

edairu: esi

TalisDiBynnis nota Dtanaiugis.

Talisfedp ofitis, veftis cum fluxerit th

Jmos vfquepedes > injiattone comis.

Vatricia

Patritia

Auguftana.

^STIn dicam.anfktu efipro nominefigna referrc^

H&c adeo qu&fit fcitula^ vndedomo?
Sedfeti fignafatistibi (unt->>ex

<vrbe

(uperbaeft-

Alter cm Csfar nomen habere dedit*

Seu magis

omifiis

rem vis ambagibus edi

Augufiam habitum ciuis, {$

ora vides.

Gfuzrere parce vltra: e vultutacitufi^tacentis,

Et rofeo tacite c&tera in ore lege^j.

E 3

Fcemina

Foeminaplebeia Auguftana'

\7 Sflttutenuihoc $Augujlan& vrbisalumna

Gaudeo,plebeiam

in nuptn locatadomunu.
c

J\(onquianonpofirnMbeatJi,cultibm

uti

Commendentform/i qui?nage do?iame&*

Sedquia fi me alijs comam exhaurire maritunu

Cogar fi$ infami haudfim carituranota:

Stfolifatago

Sicilli

cui debeo vette placerc^,

wideor compta^enujiafatls.

dugujlana

Auguftanavirgo.

JNgenuo sAuguftana ferox hocorepuellaeU?

Comttbm hisflexis hac ratione comis.

r

ducere curas
Tatriciumcfe vfturaprocumfic

Ceffatum adpulfamgaudet^amati^ chelyn*

Vrerefed quidte iuuat improba, quopot&s

vti?

More tibi hic alio conciliandus erat.

^Abnuis^dignam reritt<Lj,quamrogeyt?ergo,
Virgimta* tua eiconciliandafuit.

AncilU

Ancilla Auguftana.

Q Ic bis cintki forum peto profpefcdra culin&,

Siccjforo

redeo rurfumoncratadomunu.

Augufta Augufl& qua furgunt tcmpla,puellis

Gratus <vbihicnoflr& conditwnts honos:

Pellito

innodum tortas cohiberegaiero

^Qonflexu errantes Uberwre comas.

t tuntca extremas limbis bicoloribmr oras
Signare9 ac cupidumhac <Orere vejfe procum^.
Sueui2

Sueuicavirgo.

(^ ^Kinihm intortis Suems e!i curapueUis

Prodtre^ nudum an^ereflorc caput*
\Qempe vtzam veterescrinem torfiflfle Sjcambrosj
Siieuis

quisgenshaudres alicnaflutnttf.

quamflmplex ^jeftttm^cumtamen oris

Gratiaflt nulliflortepndenda minm.

Aflj?ice

Cultus conueniens illis operoflor&quo es%

Qma nuda metuuwL> fronte placere parunu.

F 3

Augujlana.

Auguftanatemplum adiens.
IJIc habitu* templam cslAng{ft*adeunti*,abejto
votis votaaliena meis.
Quifyfoties
At tn cuiftudium cur&pietattt9 ardor

Jn fcnclnm firacia

9
relligwnis opus

Lmea in articulis erret crebrod recurrat,

9

Jmpleat gf dextrampagmafacrajnanunu.
Omnia vtifaciasnunquamjat digna merendo
Terfoluesdomino votaprecejci Deo.
Tatricia

FrancofurtenfisadMoenumpatrkia.

Q Vmmo vrbs cara Deo

cjiii

te tot dottbm auxit

ZJrbs> qu& 3 qtu optznturfingulajunikitenes:

Felix nomtnibm cumfis3 meiudtccmji-t multis:

Cumfis

^uicinis tnuidiofatius:

Vel>tnmen in reltquis esl cjuo te, vrbs irjcS ta>

nata bonis.
^Pr&ctpuunuyhis tantisfcemina
Morum <vbt maieftatforms. dumcertat.ab
Sctltcet.tlla

gab hac cur mage ament

SponJ*

Spon& patricia Franccfurtcnfis.

\\ALccine, Mcenepater >

natarnm eft <vna tuarn\

<*Ah non: ^Qatades vejiis honore careivL.

t

^Undedomo eft tgttur, noel quigenuere parentes

Hanctalem.an nohis ccelttus tUavemt?

Mcenus adhacwrhseft noftrax qua maxtmaadvnEtmeo^Atlantiaci (^tantafauoreDei.

Hacce 'veltpjietiam

(daSj

ccelofefe&quatalumna:

oAdJfpiciaffa MopettQradignaputes.

Cj

Spcnja

Sponfa plebeia Francofurtenfk

p Lebeioiungenda virofictemplafrequento,
JsQon omnes eademres

& ubiq
r

decef.

memento,
Hocte Francfurtificemina natamonef.

%JfcL tu&fortisfapies qu&cumq^

oAddit^ <vt pudibundafioris.operofa domifis:

Exemplo gffacias.quodfacis omnefuo.
Dignaquide patria hac, ^tam clar& vrbis honore,

Qju re,quodJancit ^voce.manuq^probef.

Francofiur-

Francofurtana mulier*

TJJEcFrancfurtam efl laudata modeflia nupt&>

^Terfora 'velatum, templaqf

habere caput.

efl tn

vefte ,pudom
sAdjbiccfmplicitasquantd
%Jt multum, Gafa nillemtatu habet.

Nempe animimaUehas.quamcultus laude placere,

Ornari comptuqm potiore negarvL>.
%)t tamen haudcaptent^ammi^non laude placebunt

Tantunuform& etiam cur cupiantur tnefl.

Francofur

Francofurtenfis ancilla.

Q lc me maadat& tu uat inferuire culina

Francofurtenfes

natam habitare Lares.

Sic redeoa lanionedomum.fc pifcibm emtis,

Stc opusad<variosquismihi cumque cibos.

^uosfmulimpofuipatinis

iUorum in odomru

Ccenat cdiipfi cumjoue turbafuo.

Mentiri cenfes?qumficottumirerecufo,
tB.
Jncce nata eademcumjoueturbafuo

aAncilla

Ancilia Francofmtenfis templum

adiens.

T-XdEc eH anciUa templum accedentisimago:

Francofurtenjes

Mcenm <vbiauget opes.

^Adflice^vteH ^vultus trifli gramtate mode/im,

Heflerm reliquum <vt

~Per

nilleuitatu habet.

Venerem iures eadem nonte ora tueri?

Blanditiefy 'vbifittUaflerena roores:

^Qmirumfludijshen erawL> aptata prophanis?

Congruafu?vL> ^votknunceadcmillajuis.
Fcemina
2

Foemlna plcbcia Francofurtenfi^

TJAZc Francfurtitna eft ferme iHisve/tis in

Quas iunxit iuflis ignts Qf vnda viris.

vrlc,

quidem cenjum non exhauflura mariti,

ZN^ec tamen ex omni non benepartcplacens.

llla

Adde qubdeslhabdis, qubdidonea^ aptaoperajt

domi>
oblatapetat quantulacuncjs
Turpe eflmatrom pr& cultu diuite $ auro
^B^es

Non operimterdumpoffeadhiberemanHS.

Virgo

Virgo patrlciaFrancofurtana.

T Vrridulas

(irophioquid amascohiberepapillas?

^Tambona res cnntlis infpiciendajmt*

Jnuidamateries

qm tefortunabeamt^

Multorum votaheulmtea w/iishabes,

*Tu tamen ofaltem cara tuapeciora matri

D^Quda^ clamabtt protinpts ipfefinus:

Jam ynea ^jirgmitasplenis esl nubilis annis

tibi esl?
Ogenetrix,generi cura nec u\la

Rloribergen*

Norimbergenfis matrona.

\-\Oc hahituincedofeftk ornatadiehm,

*Orbe bacpatrictjflias nupta,nurm:

Quam trepidufuhmtjfmaquis Pegnefjm adorat?

Noricm

& circum cuifamulaturager.

T)tc,Mome>anne aliquiddefummo wrficejumma

Jn mequodcarpas cern is advffepedes

non carpere>quod
Nempealiquid: nec^ enimpotem
( r2 " ;
Carpere quodpofk Imidm tnuenias.

Tatricia

PatriciaNonmbergenfis pervrbcm
itura.

monentnos
*TEmpH*,res,locHt,f$ratio diuerfa

Longa h&cnunc teftis palliafcrre

togis:

honore^j,

Syrmate nunc/olo.negledopal/ij
Vcrrere humum , f$ Ixtosducerein orbecboros.

j^Qon mentis domina illafux, ei>qu& tn cycladefefc^

^Profhtuitlimisper ^vtam ttura viris:
^Rjtrfum nonfapit huic cornotos tnter a?nicos

St qua domi

chlamjde f$

'velo

adopertafedef*

Norim-

Norlmbergenfis iponfaPatricia.

\$Audanda antiqui

cernovefligiamoris,

Conflio* Vrbsjantum hoc macie,beata,tiio.

JVLoribmantiquisfiabat T^omana.nouis mox

u& ruity pejfum res eadem omnis ijt.

ftdaSie ergo:^) tu , Jponfa, nouo ducenda marito,

Si$,ofuodes,antiqu&fmplicitatisamans.
natu eflemmatenatos
Fclix Patricio

qm

viro es.
Tatriciofmiles nupta datura

I 3

fN^orim-

Patricla nuptlis
Norimbergenfis virgo

ornata.

Q lcjepatricijsfollemne ornarepuellis,
GemmifcL induBum cmgercforecaput,
sAdfefiosqiiottcnsgaudcntinccdcreccetHS,

Cumjocw indtxit quosgregepatlm Hjmen

ZN^orimbergenfis qua fe refiublica

cdo

ToUtt^eHpopulttota in honorejui.
Perjffidem,quicunfy,

tuam, num culttor vjquanu>

vUatuis?

fhQum vija hac oculispulchrwr

Virgo

Virgo plebeia Norlmbefgenfis.

5 Icorpusjolidum,fucco% tgfanguineplenunu,
Jnpretio eft,pretijnonmediocris ero.
xilesgracilefq^artm fbifngat oAthenis

Nata^elin populis, oAufonis orajms.

^Teutonis orafugit captata iunceaform&

VeBorafubduttis ipfo f$ ab ore

cibit.

EtNorimberga hasqm meproduxitinauras,

Forma contentam mc iubet ire mea.

Ancilla

Ancilla Norimbergenfis.

Sabim,
iMperiofifiam creda* feruire
Tantumipfo in vultuftueritatishabct.
a cubtto clamanL> nudatn cuiin&
*~Brachiacf
Gaudere omnijugum perpetuam interopus.

Et tamen hac etiam vintto interpeciore, f$ ipfs

Vrodttfiaduertas3 non tnhoncragcnis:
Ta/es nempeoltmfamulasvixiffe Sabinis,

Dummeruit cdotolkrc %oma caput.

Lpfc

Lipfenfis matrona-

fi^ ^Tergo

Atutis iam

tempora verna reliqtti,

Corde ex hocnimu cedite munditia,

"Defidtafaciem longa *vosquzrtte Nymph&,

lmrtim halant^primaslaciea colla rofts.

Jpfit operofa domipueros

8t nat

educere nato$>

asfktagofingere

voce meas.
illis

Officium^mihigenetrix quodpr&flitit
Jmputoieafi^eadem curaaliquandomanet.
,

IC

Li[fict;>

Lipfcnfis virgo,

T Tpfta Germanis non vhiwain njrhthtu vrbsefl,

Virro 1'btfic itcitosgaud&t tntrechoros.

JsTon Gblttafuitllacjutdem, aut oblita parenturru>

nullaparte notanda tamen.
Velpatri&,tn

S^amcpgemma comasjtringit-cp bracbia quajfant

oArmillas auro demeltoreduas:
Jtylorefit,

^cenfu pofcente hunc diutte cultunuy

Metirifas eftfepede quenquejuo.

Fcemina

Fcemlna Argcntoratenfls.
J^Rgentinenfemfcferturnuptapervrbenu
Fcrregradiim>cafiumfndoneteBncaput.
vtpronafolumficcfet, vultufyfiuero

Scce

^Qullum nondtgnumfimtnitetur opm.

Sic decet in

communefuum adtutura marttunu

Qiu quoduisprofehaudferre recufat onm.

Et cjUAgnaua domi natis operata creandity
Hosfacicnda eadem,bosqmfugienda

docct.

HeiJel-

Muller Colonienfis.

XJQcce indutz habitufacra ,

hocce prcphana fre-

(quento*
Agripptnenffcemina natnfolo*
njide?vL>
ornatnmficforayfcad
Sicmetempla
lim
eo.
inagentis
Cognata vifwn

Dentjhona multailli

dl>qu& , dum hac repperit vti*

Confuluitnoftr& veftepudiatk.

Qju dum nudapatct nimmnu

nuUo abdita velo,

Dum totidempatitur, vulnera millefacit.
3

aAncilla

Ancilk Colonienfis.

XTfrginibufmoseB <tAgrippinenfbmipfo
Tejlari inta^hmcrinepudicitianu.
Verticenudato f$ cjuovusprocederefeu[i?vL>

PlebeUfeu de nobiliore domo.

Tnt reltquufamulas tamen hocferuare videreeft,

6)j4& nexis gaudentfcforaadire

comu.

*Tam benedemirarehabitam,f$ tamcorporefacci

Pleno l habet arbitrij quodcowit omnefai-

Virgo

Virgo Tlgurina.

XJAZcwreformaeB.qw vxoria

Jam lau&ata &uo> l^omule die,

Forfan ($ Herfdiam

tali

dicituriolwu

tuo.

nituijfepudort^,

Cum rapta injacrum eH,pr&dapetitatorurru.

QmdecoringenuinjulttislquAgratiafrontis?

Tallada te torto crine videreputes.

MattebonisgeneroJatuis3 male ore><virago>hoc

tPimora moxpatriomulta datura fblo.

ISafutenfis

Bafllienfis

matrona.

Tala terra

dabitcultasfnemorepuctlas,
^PlmtjJatiscultas Galhaterradabit.
Germanis placet hocinter

nimium^parumque^
^updmedmm,certotemperat tfa modo.

Ethenc~>: namfemper mediumtenuerebeath

luc tamen esl.
Simpliciim nobis
gratior

dj?e minufj.adeo curanutritaprobantur,

Quamprocuiwfolis arbuta nata

locis.

Halenfs

Halenfis Sueuica fcemina.

(f^OmhergtQocharispronus qua maxima adorat

J\Qumquam non animo templafutura meo,
TJictnis habttu hoc incedit nupta Salinis,

Halenji Halenfts confbciatu njiro.

jn qua ceruffasfi quisfucofq^ requirit,

Falltturjngenua hactaliaformafuvjit.

Sed cafium
Ecce

corpus cafafimente^j requtrit3

iflarru

inprima exempla pudtcitU.

Franconka

FranconicaVVirzeburgenfisfoemina.
(~) V&cunq cs>multer,qu&

credisddotia natunu

"^*""

Fcemineumfexu debiltoregenm,
hoc fcemina corbc,
Dtfec qutd Herbtpolt prognata
Conjultt contunxft ItccttUa^ueiit.

^Qempe opere afiduofacicndo,

& cfucdmbot vfaf>

labore domt,
Stueforis cpuseflfue
exercenda ettam fua membra puel!ts

Cfnaim
Otianevetitis pabuladentjvttus.
JSl

Frarico-

Franconica mulierplebcia.
}s30ntepertfus Flor>demittetimorc?n~>,
oAd Veneris Zephymsfolltcitaba opits.
excofki diurnis
Sulcisfronsfaffa3 f$facies
Solibits 9 ac fpurcispes lutulentus aqws.

ZN^onfaciunt Zephyro nec tute parte placere hac

y

jllhfedgnauo pojfe labore ^velis.

Trifca tibt hortorum f$ duret modo cura,placcbis
HaCifolito njheriffl ($ ttbifurget

olus.

Fcemina

Fcemina Mifhenfis nobilis inlu&tr.

^AJEcJunt Mifhenfis nuptd lugubria,feu vir,

Seupater efl lili.caraue flendaparcns.

Sednon cuiufuis nupta lugubria^ verunu

U^obilior quarumJiemmatnjignat honos.

Uulgmnempe decefqu&Juntj vulgarta>

nobis

Hac non eximium nilquoq^partcplacct.

Sed cu Itm talis quarum esl lugcntiunu.amabo

Qualem hunc nubentunu>quifipit, ejfeputct

]\l

Thurlth

Thuringlaca virgo,
%at'ta qmform&
Q Hoc
cum

h&c> teyieris qutfveindtdit an-

htUri mtfium

grauitate decus?

(nis?

Dlne Thurmgiacis hoc conceffere puellis,

oAn Gentasfauftt dona dat iftaloct?

Sedfeu

Dfqutbns eft orbis noftrt^poteftas

Seu Genmsfauflt dona dat ifla loct:

3^Qunc ego me,Junonis auis quotcf^ abflultt Argos

6fuotcLmtca?vL>nofl;ulumina, habere njeltnu*
Stlefiaca

Sileilaca

matrona.

C\ T^namenta meo non infcianda marito

H&cfitwL>jne quottem menfa aliena vocat,
c

Temporapellttpts

muritt

demoregalertts,

moUia ($ ipfaptlis.
^Palliafunt longis

Vnde domo tf cumqmrisfimnam ordims?orts,

aio Stleftacis.
Si
, ortnm me
3

nefcis

non pcemta,aut pudef.hicfit

Tlebeijd viri
SicmihidunuMidmagntsregtbHstnuidco.

Sponja

Matrona Succa nobilis.

t

<

\Ngenui vt vultmficeFlmatronapudoris
amans^
Jngemi, f$ quondam h&cfmplicitatis
IJtdputo Latmfc incejferepuella,
Sedreftidoneccura eotn orbefuit.

J^Jlfuper in cultu efl^ quodmirerejuperfit

Cumnil,nil decori,$pajfa deejfeJuo eft.

^Qata Mavtis claris>claro coniuntta marito,

Suecia vbiincerto tundituritta maru
Lubecenfs

Lubecenfis matrona.

Y^Vbecumpatria eff: ibifeornataper vrbenij

fncedo reiiisnuptafupercilijs.

Matronam decethocnullm confciaprobri

Qu&foci]firuat iura verenda tori.

Qft&fy abfente <viro eft eadem.pr^fente virocb

ffiQecfat quidnutufit dtgttif^ locjui.
Felicem nimmm tah hac cuxore maritun^

JsQon onerieH tttih&cfedmage prxfidto.

Damifcd

Dantifcanafponte.

n
Vis,cuicorJapiat,Dantifcinefciat orbem*
**""
Uicino late reddere tura mari?

J^otaeHiUa opibm3 celehrinotifimafamaett,

lua domus h&c Thcebi, qua domm tllapatet.

Hac ergoin fali^tali ,deducitur rvrb_j,

(ultujegitimiiura initura tori*

$Augend&pro partefua cui dumftudet ^unihsLc:

Crede^jwiro hocnon eft nuber^fedpatrm.
2
aAncillar

AncillaDantifcana.

Q
^^Vtdmtrum

ancittis

fiqui incaluiffeferuntur,
cupiantur habentj.

ancilid cur

S&peefiam
nudus
^Pes
tuniciscontettoplusmouct^ plut
Cerea nonfalfisbrachiaaperta

bonis.

Deinde annbn <vultus tjuofy hab&tcjuo iureputetnr

Taiisnon rigido poffe pUcereviro?
Eiahabef,at pernos operetur pura culim
Telid&famuluspettora vexetamor.

P 3

hxc,

Ducis

DudsVenetivxor.

%tnfalo,at magis aptnfolo,

Venrn aurea tulis

oAnchifi incefit concubiturafho.

Jmmbadeo Anchifes, libeatfverafateri,

Ghtam Veneri,huic mallct compofuijfe latus*

Zeuxis, Apellef^ ha numero cur mortuiabifiis

aAdplures) vefiro h&c dignacolorefuit.

DuxVeneteomifisproperaadtuagaudiacuris,
Semtdeum h&cpotisefltefacere njna Deu/ru.
Vene*

VenetaPatncia.

Dftkepatricia eximiam deftirpepuellanu*

VJurpaJJe tuo 5* lumine crede Deanu.

Dicopatriaa nuptam deftirpepueliatru,

Hadnacis

Venetiqua dommanturaqiM.

oAdftice vtincedatjoue digna peromrua coniunx,

incedat
^veljouedignaftror.

oAdfticevt
Saturno nate.hocdejcendere tempore

Fa$ eratjwctanti debuit ejfe

olympo

tibt.

Q^

Vcncta

VenetafponfaPatricia.

Vadne haudaliter vultum

deiecht modejlwnu

Dcdutln eftmagninuptafutura

^viri.

Jllafedaufptcijsfata^vtdocuerefintfirisy
rata vota,bonis.
Hacquodfberarc eflper

Dic mthidtc^orte inperegrinisgenttbus hojpes,

Cuiftnt vifa folo plurtma,plurafolo,

magequodiuuet vfy <videre^j?

J^Qon. <vt 'vifa oculisftt Venus ipfa ttus*
Virgo
Q^ 2

Vidiftinealtquid,

Virgo Patricia Venetx

XT Oncgo mutandis adeam temercibiis vmquam

T^cgwa Hadriacis cjtu domwarisaquis:
Mutandis adeat temerabus alterjn cftro
G^ucm muct egem?na duccrc *vinajua:

mercibns oftru,
Dnmficfitsjaleant cumgemma^
mihi c ff.
<*Alt era cur te adea, vrbs
mclyta, cauffa
Caujpi probanda cjuidem,fcdc]Ham,fi(ctre

laboras,

HacfacieinfbecTaextemporefcirepotes.

Q^ s

Tatri-

Patricia

JC

Veneta habitu seftiuali.

Stus vbi inualuit, Thoebufeflagrantia terras

calido effpofe natnremari:
Excoquit, %$

Tum Veneta hocgaudet

oAuram

vefiitufoemina,perquen,
Fberet
haberefnus.
defciens

Et quia fipe opvtseFlfaffo

calido aere vento:

Apta operi huicfumit plumea texta manus.

Jte me& comites cingamus tempora (ertis:
^P&Jtanas halewL>petoraapertn roft4.

Veneta

Vcrietamatrona.

^STT^bsfehxjres

quam dlnon de plebetuentur,

Quam Venus^ Tethys MercuriuffJouetvLu

Equibus hic lucro

adfbirat,gnauocflabori y
<vnus

Succeffus defit nejuus

agtt:

externa merce carmas

Jfla vltrofcetas
oAdte^tnoncupiant.carperecogttiter:
hac multasformaprtfantepuclUs:
Jlladat
omne optat quodreliqiu vna tt nes.
mdplura:
**r
,

%^

Veneta

Vir<jo

Romatu.

ILia rali* cratxum wargine Tybridu

olirru

TieUorum virro eft corpore pafa Deurru,

BK omanam agnofcofactemgrauimtefercna
Comcm

qualis

( tn inrgtne njulttts erat9

Forttor

ipjajuofexu qtutnde amne natuto

Hetrujct abfolutt prdta lenta Ducis.
Fattor an
tngenium $'talisttbijocle Troperti,

Jrtgenmm^ttbhculte Ttbull^Jabat?

^omana

Ronnna focmina proftratpudidtiar.

f^ Afta habitu hocpot era^cumno fim ca/la,<videri

JA(V notnmimpingat confcia

I{oma notam.

Lumta proterua petit,mens pofcit lubrica

corpus

Cinuis notlepat&t, tucepatet^meunu.

Hafia confertis apte infertare

Jlliabufy

labeUis,

viros frangere lumimbm,

hunc horrens accende , calejces

Toffe meu ettjgnem

PltisfatisMc rmtii ianua noftra negat.

yQapcli-

Neapolitana matrona.
(chi

XTO// male Graia iflis ^urbs primaab origineganCulttbus, hosfqutdem nunc etiam Hellas amat.

J\fam

ojuod

<velatur faciesperflrata viarumj.

J^Qudadomidomtno qiupatet ^j^fro:

Jndicium folt eftme deferuiremartto,

(tArbitrium cums cur alienm agat?
IJtdtt teproles,

L ucretta cafla, Superbt,

Tetifimulviditperdidit, ^pervjt.

Vino

Vlrgo Ncapolitana nobilk

P Arthenope quonda,nouanunc <vrbs diBnQamix

c

(nis
Gfua non Parnafifunt iuga grata magis:
vrbs
3
mquam$udtjs notifitma Thcebt,
%Jirginea
<

^OeraHellconiadurru^dtgna Maronedomus:

Me qualem cernisdias has virgtnem inauras

Sdidit^ comptu
Nefcio quamplaceam

hocpoffeplacercputat.
externis 3 necfcire laboro

Hocfcio me cimpoffeplacere

meo.

S j

florcntina

Flprentlnamatrona.

A \E, Florentinusf^coniuge iure beatnnu

ornnc mei

Cenfctjjabentmores.quoddccct
orc
Formaflata ett,qualemqf vocant vxortamjn
cu mgrauitatc lcpos
Miflpts habttgrata
.

^PeBoranudapatentjfoli at tungendamarito$
xe(ioalterius dextraproterua procuL
Tatis credenda ett Lucretia fctltcet oltrru

Jn Collatim bafiaijjfefui.
Virgo

Virgo Florcntlna.

TJOs florcnsflorcs Vlorentia flos ctiam ipfa

Et njcrm quotfunL> vrbium ocellus, habct.
mihi in hortulo amorum>
(farpere qualcsfifa,sfit

C^uem IJeniMipffds f^erigaiMt aqids:

^^
J^on ego vel Gz/ar,vel /uppiter effe labortnu,
lura licctpopuluille det,i/lepolis.

Seddicam regum maiefas ccdc, Deumquc^j,

vna Deumj.
H&c re(/emfacere,h&ceHt>otis
6 J

Mcdtola-

M? diolanenfis nobilis matrona,

T7 Xvultu mores fifts eli cofligerc^, hxc cH
Os oculos^animum y fcemma digna Deo.
Fron-smaieflatisfc toru<z vt tetricanonfit,
metuatur habef3 cur $* ametur habct.

Qur

Gejlu-s non altud ojuamfbiram <rrandias mentis

Dat tejiem^tqux nilquodtriuiale petat.

Sedquales rearhac ^uultus ingente ^virorunu^
Foemina vbi hos animos, hos habttufcL gerit?
z
Vtrqo

Virgo nobilis Medlolanenfis.

^Osquibm externasvo/upeefi gratu^per vrbes

Errare, ($ 'vitnm vmcre tn exfdio,
TJosjerrasalio mutantes fble calentes

Totarunt ZN^iliquos orientis aqu&:

Dicite, idem vt cunttis ego dicam millibus orbe hoc

,

QjiotJuntLfyOrbe

immo quotc^ alw3 atcfe alw.

Vtdifiifneahquam quamcunfy ingente puettarru,

H&c cut non ipfa certct f$ ejfigicJl

3

Ferra-

Ferrarienfis nobilis

matrona*

Ttrahit vt ferrummagnes, Ferraria/ic quarru

DM>dura emollit corda adamante magis.

Crine virosaurante ligat,qturumpere -vincla

J^fonpotis

ett

qujfquanu.nonpotis ipfe<velit.

Emicat ex ocultsfulgor.ceufulmine tnfkt,

^uomuenum attonita itnefciaturbafui.

mawr
V^fjtcfatis hispollere bonis,quogratia
Sitform&Jounc cultus talishonoreiuuat.

Mantuatm

Mantuana nobills foemina.

O^^

Vidprimum>quidpo(iremumfasdicere^){

tnlis

Jnceftt.faluoatLaodamia^viro.

Quidtnmenhis opus esl.quasgeftas>bella

catenis?

Credcaliudconiunx quo ieneatur hab&t

Certantesauro^ pofttimultn artecapdli,

Nodautf tenduntretiamilleconu
Quis laqueis

nonille velit^non pofi? abipfo

ExolmfolitofoluerecuntinDco^

^^

Veronenfis foemina,

'Ttaceam clamant capitis geftamina qii&fm^

Vnde domojn vultu c&tera
orelegc^.

&

<

quo fimnonadfyernanda tonanti,

nunc quoq^ morepetat.
Sicon/ueto homines

Qre,

ipfi

Adfpeculum talisprodtbat comta capillosy

Comtagena$,ntueosfemiadapertafimt$
vemret:
Juha non tunc

cumpatnplacitura

Iret

atAgrippA cumplaciturafuo,

Tatauinn

Pataulna nobilis matrona,

Q Jmodofaspetereeftfmon eH,diuajnoleJluiru

Qua nobis ccelt exparte benigna venis)

^Tramite quo adterra* magnodefccndis olympo?

oAn quo

^ ad aAnchijen (Jypriajuctajuurru?

curnanL

Sicoficcerte eft, Tatauljedmcema

tibi, Diuajomos i
Curplacita ante aliasjunt

Hac ego: cum motis leuiter <vifa ijla labeuis

Vtcere.Juno meum

hic qu&ro rclittajoucm.3.

i<*

Tlacentina

Placentinafoemina.

T Inm& ln rnellefit&fimt harunujulce venenunu,

Et fiiapiemfaptens

effuge

amaritienu.

oAh qmtiens dicesjaicft teceperit hamus,

Het mihiltbertas vitatLpriflina i>bi

es?

JSIequaquam atdtces. captns mage f impenetrabis

Vltro te in poftfas retia raraplagas.
Orabis multts onerari gf colla catenis,

Tlura^cumtuleris plurimaferre velis.

Vicentma

Vicentlna nobilis matrona.

hcriis
Q^ircealiojua^JEetaaut prognata potentib.

oAttineantteptdos infuiamore viros:

Gramtnavirtutes mihi(unt> mihi gramwamorcs,
Laufcfe tlhbat&purapudiciti&.

ne non rettnere maritunu

Qu:i ego non metuam
hno <velip(apctat.
ualeamfnllum

Forsdicesfultaennimialucfiduciafwcjiu?

^{ullaprobam vindeprobmtettmct. Scnai

Senenfismatrona.
Vidte nympha colis)quid comptos peciine crines
r)
"^^

Fiwis acu?in certa quidftat tone locas?

Coa
Deniq^quidtunica vejlitammcedcrc
Te tuuat, g? Icnga cyclade ^verrere humunu?-

Crede mihiquamuispelluceat illa,nec objfct

Multum>quin ueris conJj?iciare bonis.

U^Qudatamenpofitaq^potesplm njejleplacere^j:
non mthtjtco viro.
^uidformofa^rubesi
2
Virgo

VirgoBononlcnfis.

Qltibimandatn ettpingends, curapuelU,

Qu&form&ante almsfit bonitutefuA.

Jmttcam

hanc

Nympbamfj?irantem crcdefiguram^

Exemplumcjf

iibi

htnc^non almndepct^j.

Jn primifcfe oculos,pior,defixus adora,

T>ulciaamara ex quis fpicuia torquet amor.
^Poffe negas contra h&c defigere

lumina lumen ?

^QempeetiamaficJo hocvriertgnetimes.
Matro3

Matrona Bononienfis.
NTO/*' eadem ztati cuwisfnt congrua : vcrgens
fenium hunc habttum conuenienter habet.

Jn

BelU9 venufia procaxjamevtmembrvfypu4oris

r

Gaudebam apopulopratereunte canu

%Wttft

Ef#

Et digito oftendt,attonitus cum dtccrct,h&ceB

me moriamoreprocm.
6[ujifacit induro

L audeplacete ijla iuuenes nunc tllafuerc~>.

9

Eheu quam rarum> quam breueforma bonum es?

Htfanica

HMpanicamatrona.

^^s4fn 'vbttergeminilaudanturpafcud rcgis

ZN^uptn cothurnatos qaudct haberepedes

Gaudet $* hoc habitu,Galliat qm

nulicc nonfit

Contcndi dtgntts^ Gallicapalla ttbi

Dtcet idem oAufink quacumcj, cx irbe Tiritarmo

Dtcct tdem, f$ nofiro natapueilafoto.
,

Deni^ dtcetidem Cjcrmana,& qwdquid vbiqtit^>

NympharumefltipfificmmeniUeplacct.
J
T
Fcemina

Fcemina nobilis Anglicana fiue Britannica.

P R axiteles Vcnere, <vt natu eB> cumpingere *veUet.

Mtfit eipulchras Gr&cia totafuas.

De quibmeximiaspofitafid^veficpticllas
xemplaadclarumftarecoegtt opus*

fh(jc malhveftitam Venereat nuncfi quis amahit

Traxitelesretki ducerepojfemanu:

Matrom artificifludio exprimat ora Hritanw,

Cernere qm eH9 voti (f credite vittor erit.

AUtrona

Matrona AnglicaLondinenfis.
QSfvrbisnoftrodiutfksqui mariab orbcj

Tradadm Tiffiis Saxonibufqjuit:

^omine nunc <vno atdtffigcns totn TSritanni,

Hac <vbipa tricu itfcemma <vejle domw.

zAd Tamefim

cuttu hoc Londinenfemq^ perzrbe

oAmbulat,hoc ipfes gaudct\inirechoros.

Etnon immerito: quid emm non diuite dignum est
Cenfuin eo^ rofeis.quU micatilla,<rems?

Gallicamatrona nobilis.

txgdite
Q%ldi

Troiana, Galli, vosftirpe creatos*

fhat 0* ad Thrygumfic

Gjuifquis

Smoenta Vernts.

es infacilijhanc qmduxifti^re figurarru^

Culta vbmam eft oculis Cjpria vifatuisi

1{es operofafuitfateor^nudam editamab vndis

<vdaccmis:

Tmgere^negleSHs collaper
^esoperofa mage at comtam fic pmgere,qualis

Vel

patremexipfo deuocctillapolo.
Gallica

Gallica

virgo nobilis.

^Elixquemvirgo dignabor Gallicaamorj>,

Sednonplebeia virgo ormndadomo.
Ille>

inquamjelix,

& ter% quaterq^ beatw,

Complexum cums nofter amabtt amor*

tt4ntetorumpatruiHenn&is

in vallthus ibat

Filtafic carptumfloreajerta Jouis.

Varua loquorjalis cumfilaferoriafratri

'Pangeref ofcula adhuc^uraq^ lunofuit.

Matr o-

Matrona nobilis Parifienfis.

Yidme defixis'oculis\quidmente'tueris
Commota, f$fuauem ducis amariciemf
JEqmles inter tali fpetkibilis orz_j
choris.
Incedofeftisficfum operofa

Ambrofiumdfbirant qua qua mebra inclyta odore>

Dulcimelle etiam dulcius orafonantj
.

Fallorapisfierian ^uelles^rofeis^labellis
His mifcere tuos
qui legis ifiafauos?

Matrom

Matrona nobilis Lugdunenfis.

J2V fexu

meliore <velut

turpifiima quondanu

%es habita eB,mitrisjiredimiciaforentjj

Si tunicis mankafic matronalis habetur

Econtra hichabitm , f$ mihimreplacef.

V^am quodmolle ^viris eneruatum^ vocatur,

Omne decensnojiro idducitur arbitrio.
^uidquidideH, totammea verticecerne ^vetipfos
dixeris ejfe Deanu.
Vfypedes>aliquam

&

Lottja-

Lotkmngica matrona nobilis.

XTO/z egoplus ^ueftcm.quamfarclum veftis amare
Sueui, longe animofitfuror illemco*

Sedtamen njtfarffo
Tojftputo

veftisfic

hac Curij fiigida cordafenis*

Vtdec&f en auro Imens

TJtcinttus?
G^ujfcjuis

veftemoueri

es hac

gemmfcy capilmsy

rugiscyctas 'vtipfafuis?

mUfrueristjaicum^ptnlla,

Ircde mihi inmdu non alienus eris.

Virgo

VirsbBurgunda.

Q Sdtbtts athereis gemina deueCki columba

SpeButum terras venerat alma Uenus:
lamtfeoculisgeminipartes luftrauerat orbis^

Oppida tam Cypri,iam nemora Idalij

&os quotfe cum <vultu nonindignataferena

^ejpicttjn reliquis

cernit

f$ effigiemhanc,

^ProtinttsacreJlansJutto (fperjingu/a vifu,

Veftitamadjpexit

me hic <vbiJcu/ptor ait.

a
Matrona

Matrona Belgica primaria.

eft,

nosnobisquoddecetomnehoc
"SfEftiscui^Jua
<vel
9 ex
zArmenijs.
ipfis <vfy

Carpimm
Nec placitumcultum Jemel ^vfcj^tenemm.at anno
C^uioratmfuerat mox odwjuserit*

Gfuem moremfiqms miratur, cogitet orhis

Qupdplacet

hic tvariashocjacereomne evices.

Cernerefemperidem^tfitresgratifimaitandenu

EHfemo^alternu illa veltllaplacentj.

Belgt-

Belgicavirgo.

Itibi Bandrenjem volupe eftfjteftarepuellanu,

8t nimiuspatriam eft eim adire labor:

Sn tibipr&fentipr&fenterru: at chartea di ces

H&C el,nimirumhancjj?em dat habere Itber.

Chartea tota quidem efl fedformaqm oreprofeffa

y

J\Qfdo(tfaperto , haudnilquo capiaris habet.

(urcapiare Wnen? fatis eftpotuijfe videreu:
^uifa

(apisdulcemhanceffugeamariciem^.
a j
^Braban-

Brabantina foemina.

TlSt ^Brabantin&.quam demiraris3 alumna

Terr&^ *vbi habespelagi cernere in amne <vices*

Gfuampatri& quotiens (patiantemmargtnerip^

Seuformofa Tethisfeu Galateavidci:

^Protmus

&quoreisreddunturfluBibus^fe^j

Humano ^vincipojfe nitoredolent->.

IJllacfepoH cjuauis certef degentepueU& huic>

Cuicenfu cedunt depotiore De&

Holandica

Hollandicafeu B ataulcafoemina.

J^Vro^argento

&re> aut mutnntismercihush&c efl

Mercem alijsfociofcemina iuntkitoro

^RJjenum vbipurpurei dulcem contrifat amaror

^Equoru^ <verfis currerecogitaqm.

S/c rui[urafuas,cognata$ ireper vrberru

Cernitur^njultu cunfhihilararefuo.
Vultu,millenoM quem demeliore lepor&s,
QuemtLtrigainfedit

cum Charttu alma Venus.

b

AncilU

AncillaBelgica.

P T^odeofic leuiterpofitis ancilla

capillis,

^BeWica <vicinoquaiacet Oceano.

JsTeue morer dominam,genmirritabilenamfuwt>

Hic domin&>cultahacJum ratwnefatis.

Qutdveadeoprofitfumofe additTu

cuhna

Siformam certem velle iuuare meanu?

Mercatafaciem qu&rantfibifraude puella
Tatriciwpfa ego yelficfum operofa
2
b

nimis.

Fcemina

Foemina Aquifgranenfis.
J^Ntealias habuitcaram quarn

(Jarolws vrbenLj,

Dux quotfuwL>,cjUot eruwL>, Carolw ilie ducu:

'Romani tmperij vrbs non vltimaj qu& dtadema

Jn regnaturumeHponerefitetn caput:

&

utrinqf paretes,
H&cpatria eB:hicfunt vir.nati,
Qmsvejlis ratwh&c omnibm <vnaplac&t.

St curenu>an>qu& tot caris culturaprobatury

Nefcio quohanc veniens hofbesab orbeprobet?
b j
Sponft

Sponfa Colonlenfis.

5 CilicU^antiqui aAgrippina Colonia, moru

^Teferuantem &tiam hacparteybeatuAoces;
Jn quafacratat cumfic ducaturadara*
'

oAccepturafuam gf fponfa daturafidem^.

^PedJora aperta illamfcte monftraremarito

viro y
IJelle
reorjufto <vt conficianda
Hocfeiatexemplo y nil illum clamfibtjoabendunu

^B^esfmperplena h&cfu(f?icionis erit.

Foemina

FoemiriaBelgka Flandra.

l^Ormofa

<vt

*Pallas,Juno ^formofiorilla

Vincuntur.pr&fensfifiet alma Venm:

^Belgicafic aliaspulchrasformofior exit,
'vcnta
orajua:

Cum

quodfit ^Aufonis

Tace tuaquodfit,(fermaniay (faUia3 (ju^

terra Britanna mari.
Diuiderisparuo
Ceditis,an dicendamihifub iudicecaujfa ett?

Sitfantjn nofiro

dummodo

& hocceforo.
c

Matrona

Matrona nobilis Hungarica.

\J[Ilitu

meus aftdue belli^domifed

Vtrrarwftnonjam htcmthtjallor, ertt.

mducaramtclnJ
Contemplare vt me deceat quo
Hicfatis, <vt pofit& nonfnelegecom&:

^Venturo cupio nam dum me ornare martto^

UixmundaeFi oculis mundttia tpfa meis:

dum fert,
tUe foris
fexcenta incommoda
Dignus

&

Inplactto quiferwmtQre domi.

c

^EohC"

Bohemica Pragenfis femlna,

WJctn regali Traga notifmm vrbc^

EH habitm.qmbm eft iam rnodo nota Venus,
Stmplexconfiteor ,pro re.cenfu^domo^
Jlletnmenfocij
pro rattone vzri.

&

Tlebeio quicumnatusfit
fanguine,plebs&

IpfequQ^acftmgens redderecuifyfuwnu:
T?

olcapitalfacianufiin cultum vertert tenterru,

Qupdfudorefuo comparatitte,meui7u.
c

"jBobe-

Bohemicamatrona.

VErpetua cingunt quaregnaTSohemicaJylufa

Clauduntur muris $* 'veluti illafuis:
%)er^entis matrona miiam exofa choreat,
oAuerfinsgratum qutdqmd^ antefuiu

Sicornatafatisproditfme iRapetitunu
De veteriegreditur <vina meracacado?

Stuefamemfedent qu&emptura obfonia,more$

Nempe

hejiernaalws atc^hodternapetuntj.
TqIq-

Polonica matrona.

Q lue domi eHfme eft peregrinaper Jiquora vettw

Ltgneo equo impoftum^ <vt nauita mut ot onus,

Qm mihigentili datm elt deplebe maritus^

l^egia quaprincepsfceptra

Tolonushabet:

Hoc cultu incedot ^valeant dtuerfafequentes:

Qui modus in reliquis

hac quoc^parte iuuat.

2slempeipfaabjumamrem,rem

dum quxrere quams

Virfatagit^fom^irjatagitq^

domt?
Linonica

Liuonicafcemin&

C\ %natu hoc noflrisfiqua in regiombm iret,

Qms rifwspopulo pr&tereunte daret?

j\Qon quia dedeceM nmiurru9
Iudiceme.augufio

cum regiaresjitj

hoc ^vefiis honore tegi:

Sedquiararafilentftupidiperfingula <vulgi
'Trimoreerrantes ore ciere tocos.

^B^araMquarru^nam filonginqua adiecerojn

illis

3^anfuntj9 longtnquo haudpattiatrttalocoh&c*

Liuo-

Liuonica foeminaprimaria.
"

"y Surpandattmpedibu* Liuonia non eB?

<At natum certe hac
cernercgente licct.

Jn cjuaftingenuum externamirahere 'vultum^

Bditanon

viliftirpe piiellafui.

Hoc< virofociata habttu demoreparentis

ZJtorforte etia-m deindefuturaparens.

3\(jcmihiturritocapiteeHprodirepudoriy
Siiurearbitrium eHinfua cuifyfuunu.

Liuo-

Liuonlca matrona ex nobilitatc

tenuitabuUm dum infpeflo pridrejjac

(") Virijum
~

Gjjuamcredunt atij haud ridiculameffemitms*,

Hicmodtcofateor diduxi labracachinno,

%Jelatum cernem hac ratione caput:

Qui modm extremm ornatwfieffefin Jndis*

Cauffa admirandi tamperegrmaforet,

Orbefedin noflro taticumfcemina cultu

Gaudeatjnuitirifwin ora <venit.

Mofcouica

Mofcouicafoemina prlmaria.
\KOfcouicis mos cH ve/lem hanc gejiarcjpuellis,

QuarumtampuppaJ

dextera

Cypris

habet\

orbis
qua quodfunt pleraqffic rigor
Hlms, gf Tlore&fubdiiaregtiambentji

Tellita in

CAtera , colbt^ere efl quodde pr&fente jigura,

Gratafatis merito commodttate/ua

Commoditate^, aio ? tmo

eft .

^ maiefiatedecora

Qualem 'vixfimilem Gallta culta dabit.

e

ett,

Carnd-

Camilla Turcici Impcratoris filia.

X>Atreferox>& patrepotem
Interfcemmeos

ire

hocdicitur orcj

CamiUa

chcros.

2\Qon ea Jma^onio qu& prdia

Dtim ciet,

more QtmilU

& Turnapro duce bellagent

Mafculam ab ore animam t enues effauit in auras

^Turcarumfummoatnata Camilla ducc^.
Gcceferos animosfexu

<vt non occulattpjo:

Dt bene propuero h&cnatapuellafuit.

:

Scor

ScortumTufcicum.

^^Smiraremeo ficultufiiperuenioauro^
6t reliquismundm qu& muliebrisamat,

^uamuis de noftraexterna
Sic it amatcri

*vel

gente pueliam;

ciu&placiturafuo efl.

Vtrgo oculisfi compta[uis,($fordida non efi

St
cjua maritale eHferrefueta iugunu:

L audanturfedmefas eli curatius vti

Formajncertns *vt hac detineaturamor.

e

fcemina

FoeminaPeniukna.
Jj^Tdos dum medijs qu&rit TeU&vts in Jndis,
^J^epopuh infecTu (editionefuu
laudenu hanc&uo certauitauorUfru

ISIecjuicjuam

Trtir/pere*

vt tantas orbi apcnrct opes.

*Perui& cjuantas noftriin regiombus,aurunij

Gemmarum %$ <vulgo
V^func hominum nuper

qu&genus omneferuntj,

reclufere *vfibus, 'vna hoc

Qum vejlisfexuin deterioremodo.

S.

Ca-

S.Catliarin# moniatis.

Tj^Ilia regis eratformacj^ $*

Digna
JntuCki

ante

nobis

Stfocij

moribus

mquales Jilia regis

ejjc^j

erat.

qtu virginitate pr&iuit

<voluit

fyernere

iura tori.

Non quia damnarisiufticonnubialecii

Error qui multosperniciofus habet:
Sedquia coniugij cenfebat legefolutas
vacareDeo.
Libermsfummopojfe
D.TSrigit-

D.Brinttordo.

^lnea me dec&t, $*

cineri conformls amifftts:

fflu& fapk>exe>nplo *viuerc difce meo.

D/Jce vacare hymnis, verbtffeprecantibus i)ti

e

Jn magm laudesfmper gjf ire Dei.

SHaliquidpedibus terereh&c qu& mundus adorati

J

Qft&cfc optatvotiscAteraturbafiis.

Brigida nojiri auttorgaude ordrnis, ^faue olympo.

J^unc quotfe vejlttu qu&teimitentur habes.

Ordo

Ordo monialium albatarum v elis

atratis.

Q\Andida tota mihieli vejiis^niueoj^colore^

Teftor &?pjame& donapudicitu.
Solum atro tegttur <velo caputiimmemor <vS /?o>
SimJortis>cums meiubet ejje Deus.

De relimo a^m^reces^mnt^cbor,^
etpalminolirumfmtjerefempero^.
cantu,
<Da SetisMq^ " celebrammjupphce
Scandamtts ccelt tem^la

beatatu,.

sorotl$ mercedc fcruicntium ordo

focmincus.

A Trata cft njefiisycolorefl hicapttts amanti

ALwrcto jpedicasarte parare dapes.
mcerentibm effe^j
resfatecrfe?npcr

Duraq

Tr&flo eftfed Chnfii h&c omma ^vmcit amor.

JEtherio

ille

dabttmercedem dcbitamolympo:

Junget 5* afanBisfuncrc virginibus.

Ftlices quibus efifas immortaliaaptfa,

lUa.qu^ extguo temporefudat ope^j.

Beguina

Beguina.
'

"y cSftalesolimfacrisper

luftraperattis

istriafe poterant confociare miru.

NamcL decemprimos dtftebant riteper annos,

(flu&facerent annisfacra quoc^

inde decerru.

Qu& reftantper luftra duoftatafefta docebantj,

Et iam legitimifas era tejfe tori.

hora

Nuberenosquouismomento,qualibef

"Tofumm^legumliberaturbafumus^

jOSca

Laica ordinis S.Catharinse.

\f Jrnnitas ihfamthi eH funt ^virgtnemores

DimiiGonuentemmo rtbm eflq^pudor.
^Dtftdeatcj

adeo ne ^vefiis mortbm} alba esi

JpfrftfUfc &* niueafimpltcitat

piacct,

J\(jmtrum inmclisaptm c olor illepuellis:

Quis vacuo volupe eH vfcL iacere toro.
Dumtejponfo oltmpottamur, Chrtflejpetito^

Qum nonmerito eB>inretfc ^ilisamor.

Ordo

Ordo mulierum poenitentium.

p OSnitet ofquidmiferis modo creditur,ij)(um *vt

*l)elatum hoc clamat

qua licct vfcL caput.

Tcenttet
anteatt&quQcun^ m crimim vit^
Vitzziam itmat nosmeliorefrut*

^Tec quia n;efiitus quams efl candiduf, tf nos

Jntegr&pura <virginitatefumus:
Sednotat hic habitm mundatas crimine ab omni

Qlim mm mritis nosfore Chnjle tuis.

g 2

Ckirs

Clar^ virginis oido

C] Larafui exemplum* Franafco edoih magiflro

G^ui Francifianis iurafacrata dedit:

Hoc habitu incedendiittis>qu&mnqt perofi

M.ecum>qu&inpreciocara(femundus

habct*

oArderent^vnifimper feruire tonanti

Hmc cuperent nolu huicpojfe vacare die.

Ha mifer&,qu& non exemplojpernere noftro

.

Audetis ^vana^s quas habet orbis opes*

Cano-

Canonicafacercfos

5 AcrU hoc habilu inccdit deuotafkcerdos,

Virginemtenero cuimtet orepudor:

Compoftam mentem nimirum exornai amicim

Compofitus , pofta

Longapuellares

& nonfne legecoma.

nec dedecefinftitagrejfits,

vjmffmea curfit velleretexta rogas?

Simplicitatem animi demonUrat labe carentis,

Et cati&pandit dona pudicith*

i 3

CORIUGENDA.
C4

Ver/it $ .

noftr& pro noftra.

F..

yerfujf.

Sueuha pro

K2.

verfu2. fcdulitatis profetteritatis.

M.f.Infcriptio

0^2. verfu.6
T.3.

verfu7.

Suettis.

Baftleenfts proBaftiienfts.

vifafalopltmmaprovifafoloplttrima.

quacum^proquamcun^.

V.4. verfuS,

ferrevoles pro fenevelis.

Z 2.

Amhrofium pro Ambroftum^

S.r.

verfuf.
verfttj.

d>4. verftif.
e.$.

verfui,

accedeproaccev.de.
extremis proextremuc,
ft culta profi cultu*

FR A N C O FO R

AD MOENVM, IMPENSIS
SIGISMVMDI FEYRA*
bcndii.

D.

L X XXV

I.

L
(

jUL 14i;