vol. ii. p. 247)

286 45.—Elizabethan gaieties. The actor Kemp's dance to Norwich, from the frontispiece of "Kemps nine daies wonder performed in a from London to Norwich, containing the pleasure, paines and kind entertainment of William Kemp betweene London and that city ... written by himselfe to satisfie his friends," London, 1600, reprinted by Dyce, Camden Society, 1840, 4to 287 46.—Portrait of Nash, from "Tom Nash his ghost ... written by Thomas Nash his ghost" (no date). A copy in the British Museum 326 47.—Portrait of Dekker, from "Dekker his dreame," a poem by the same, London, 1620, frontispiece 333 48.—Heroical deeds in an heroical novel. "Pandion slayes Clausus," from "Pandion and Amphigenia," by J. Crowne, London, 1665, 8vo 347 49.—Sir Guy of Warwick addressing a skull, in a churchyard, from "The history of Guy, earl of Warwick," 1750? (a chap-book), p. 18 350 50.—Burial of Sir Guy of Warwick, from the same chap-book 351 51.—A map of the "tendre" country. The original map was inserted by Mdlle. de Scudéry in her novel of "Clélie," Paris, 1654, et seq., 10 vols., 8vo, vol. i. p. 399. It was a map drawn by Clelia and sent by her to Herminius, and which "showed how to go from New Friendship to Tender." It was reproduced in the English translations of "Clélie"; the plate we give is taken from the edition of 1678 359 52.—Endymion plunged into the river in the presence of Diana, after an engraving by C. de Pas, in "L'Endimion de Gombauld," Paris, 1624, 8vo, p. 223. The French plates were sent to England and used for the English version of this novel: "Endimion, an excellent fancy ... interpreted by Richard Hurst," London, 1639, 8vo 367 53.—Frontispiece to Part IV. of the translation of La Calprenède's "Cléopatre," by Robert Loveday: "Hymen's præludia or Loves master-piece," London, 1652, et seq., 12mo. This frontispiece was drawn according to the instructions of Loveday himself, "Loveday's Letters," Letter lxxxiii. 371 54.—A fashionable conversation, from the frontispiece of "La fausse Clélie," by P. de Subligny, Amsterdam, 1671, 12mo. An enlarged plate was made after this one, to serve as frontispiece to the English version of the same work: "The mock Clelia, being a comical history of French gallantries ... in imitation of Don Quixote," London, 1678, 8vo 375 55.—Conversations and telling of stories at the house of the Duchess of Newcastle, from a drawing by Abr. a Diepenbeck, engraved for her book: "Natures pictures drawn by Fancies pencil to the life," London, 1656, fol. 379 56.—Moorish heroes, from an engraving in Settle's drama: "The Empress of Morocco," London, 1673, 4to 393 57.—A poet's dream realized, from the English version of Sorel's "Berger Extravagant," "The extravagant Shepherd," London, 1653, fol., translated by John Davies. The usual description of the heroine of a novel has been taken to the letter by the engraver, who represents Love sitting on her forehead, and lilies and roses on her cheeks. Two suns have taken the place of her eyes, her teeth are actual pearls, &c. 401

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