Custom, Statutes, Episcopacy, Monarchy, Church lands and tithes, the Ship of State safely through trials and tribulations, till it has Nobility and the House of Lords, and ‘gaine’, symbolised by a pile now come to rest in the sunny uplands of divine favour. Somewhat of coin; it excretes ‘The Fruits of a Commonwealth’, identified as more puzzling, even sinister, is the third scene, the Sacrifice of ‘Taxes’, ‘Excise’, ‘monthly Assesments’, ‘Liberties’, ‘Loan mony’, Isaac, with Abraham’s sword poised about to de-capitate the boy; ‘Oaths of Covenants’, ‘Ingagements’ and ‘Abjuration’, while the surely this cannot allude to the king’s beheading? common people are bound within the chain that forms the The bottom of the sheet is filled with several emblematic dragon’s tail, ironically exclaiming ‘O wonderfull Reformation’. scenes of peace and prosperity (left) and machinations against The book includes a second frontispiece, the reduced version of the state (right). A shepherd pipes to his sheep beneath another the frontispiece to Quarles’s Shepherds Eclogues (1645), described punning olive tree, labelled ‘Oliva Pacis’ (‘the olive of peace’, but above. also, ‘Oliver’s peace’), and the Isaian prophecy ‘They shall beat their Speares into Pruneing-hooks And their Swords into Plow- shears’ is literally enacted in two further miniature scenes. Interesting is the last of these peaceful emblems, the war helmet that has become used as a hive by bees; already 150 years old Just as contemporaries do not seem to have gone overboard in by this date, it first appears in in Whitney’s A Choice producing dramatic and horrific images of the beheading of King of Emblemes (1586), but there derives from Alciati’s original Charles i at the Restoration, neither do they seem to have gone in emblem book of 1531. Closer in date to Faithorne’s print of for pictorial demonisation and vilification of the man who Cromwell, it had also appeared in Wither’s Collection of Em- supplanted him.57 Although the woodcut-illustrated sheet The blemes (1635), the plates for which (engraved by Crispijn de True Emblem of Antichrist (held uniquely in the ’s Passe) had been first used to illustrate Rollenhagen’s Nucleus Department of Prints and Drawings) – the text of which seems to Emblematum (Arnhem, 1611). imply that Cromwell is dead (d. 1658) – sounds alarming in its In the bottom right-hand corner of the sheet two bonneted portrayal of him as ‘the Chief Head of the Fanaticks and their Jesuits are depicted, one carrying a dark lantern, a man with Vices Supported by Devils’, it is merely a schematic ‘genealogy’, bellows trying to set light to barrels of gunpowder, and a pair of with a small portrait bust of Oliver at its head, literally supported foxes yoked by the tails about to fire a cornfield (these last not in by two winged devils. He is styled ‘Anti-christ Pontiff of Hell’, and Barlow’s preparatory drawing), some of which imagery recurs a his hand is joined in the marriage-clasp with ‘Pride Daughter of few years later in Pyrotechnica Loyolana, Ignatian fireworks Ignorance’, who, the inscriptions go on to say, ‘begot Hereticks (1667), which is discussed in Chapter Five. A gallows with noose Blasphemers Atheists’ and a host of contemporary sects. is labelled ‘Proditorum finis funis’ (The rope is the end of traitors). At any rate, it is a very different image from Faithorne’s The gunpowder is placed within a cavern of the rock on which engraving after Barlow’s drawing of Cromwell in Glory, against a the right-hand pillar featuring the representations of England, background of emblems, in a superb large sheet entitled The Scotland and Ireland stands, and is also attacked by a number of Embleme of Englands Distractions As also of her attained, and men (one with a ?fox’s head, punning perhaps on Fawkes) further expected Freedome, & Happiness Per H M 1658 wielding pickaxes – literal attempts to undermine the state, (pl. 4.17).58 Oliver stands holding a sword piercing three crowns presumably. The final scene, which remains mysterious to me, is upraised in one hand, an open book in the other, and tramples with of three rustics, one with pitchfork, approaching a small copse at one foot between the bare breasts of the prostrate Whore of the foot of the same rock.59 Ironically, in the fifth state of the plate Babylon, who pours the contents of her ‘cup of abominations’ over (1690), the head is changed to that of William of Orange, while a hydra-headed serpent labelled ‘Error’ and ‘Faction’, which his the head of Queen Mary tops the left-hand pillar.60 other foot pins to the ground. Above his head are the dove bearing the olive branch of peace (and punning on his name), and a glory, cromwell’s car indicating divine approval. He stands, himself a pillar of the state, like a latter-day Hercules between two columns, on one of which John Nalson’s A true copy of the journal of the High Court of allegorical figures representing England, Ireland and Scotland offer Justice, for the tryal of K. Charles I (1684) is prefaced by a him laurel wreaths, while the other is composed of the fundam- frontispiece engraving of Cromwell being driven in a triumphal entals of English civil society, Magna Carta, the Rule of Law, etc. car by a devil, in a clear allusion to the proverb ‘Needs must when Three Old Testament vignettes are placed above him. The first, the devil drives’. Another minor devil holds up the Arms of the showing Noah’s ark safely arriving through wind and wave to the Commonwealth over the triumphing rider’s head. The three top of Ararat, on which the sun beams down, is clearly another female personifications of England, Ireland and Scotland that we example of the ship metaphor explored above: Oliver has steered left, a generation earlier, constituting one of the pillars of 4.17 William Faithorne, Embleme of Englands Distractions, 1658, engraving, British Museum

22 Princeps Proditorum is the very earliest English publication to illustrate the Gunpowder Plot, for, mysteriously – as if the nation and its artists were still in shock – no surviving English print concerning it can be dated before The Papists Powder Treason of 1612 (see below). Not only did the half-length portrait of Garnet, holding a document labelled ‘The Popes Pardon’, appear on the title page of Princeps Proditorum (pl. 3.8), but, to judge from Trevilian’s copies, the remaining twelve conspirators also appeared in pairs on the following pages of the pamphlet (pl. 3.9). At the bottom of the present Powder Treason print, beneath the plotters, who are disposed in an arc with Garnet at its apex, is a hell mouth – portrayed in the medieval fashion as the mouth of a gaping beast – in which a devil brandishes what is probably intended for that same alleged advance papal pardon, rather in the manner of a letter of introduction, before the resident fiends, the plotters behind him being labelled ‘Ignations conclaue’, that is, a conclave of Jesuits, or ‘Ignatians’, followers of Ignatius Loyola (1491–1556), founder of the Order of Jesus (Donne’s scurrilous anti-Jesuit polemic Ignatius His Conclave had appeared in 1611). Suggestively, in a letter to Tobie Matthew of 1607/8, Francis Bacon referred, in passing, to ‘this last Powder Treason, fit to be tabled and pictured in the chambers of meditation, as another hell above the ground’.16

Henry Garnet SJ But I come back to the ‘Pope’s darling’, the Princeps Proditorum himself, the plotters’ Jesuit confessor, Father Henry Garnet. On 21 March 1607 – just under a year after his execution – the 3.8 Thomas Trevilian, Princeps Proditorum, The Great Book, 3.9 Thomas Trevilian, Robery Keyes Gent & Guydo Faux, Stationers’ Register licensed to Roger Jackson and Christopher page 265, 1616, ink and colour wash, Sir Paul Mellon, Gent, The Great Book, page 271, 1616, ink and colour wash, Purset, ‘A booke called The popishe myracles or wonders Walmsley Sir Paul Mellon, Walmsley conteyninge the strawe, the grasse, and the Child with a confutation of them and their Lyinge’. As published, this is Robert Pricket’s The Iesuits miracles, or new popish wonders. Containing and heads were to be placed after execution. A Catholic layman Furthermore, Sir Thomas Edmondes, English ambassador to the the straw, the crowne, and the wondrous child, with the took the corn-ear away as a relic splashed with the Jesuit’s blood. States General, based in Brussels, complained about a reproduction confutation of them and their follies. It features an important It was not until a few days later, that, on closer inspection, he of the image being circulated in that city in 1607, a fact we know engraving, initialled by Jan Wierix, on its title page (pl. 3.10) that noticed that a double-headed apparition had revealed itself on the thanks to a letter from Sir Henry Wotton, ambassador in Venice, was issued as a single sheet on the Continent, and doubtless ear. Instantly proclaimed miraculous, it became a popular image of December 1607: ‘For your picture of Garnet and his straw 3.7 Anonymous, Princeps Proditorum, 1606/7, woodcut, British Museum circulated amongst Catholics in England, and this, the earliest amongst Continental Catholics. Indeed, on 12 May 1607 Sir Ralph received in your last . . . I do very much thank you.’19 English record of the image, seems all but unknown to historians Winwood, English agent to the Dutch States General, wrote that A year or so later, on 19 or 20 September 1608, the intrepid 3.7). It was, however, copied out in full by Thomas Trevilian in of the Jacobean era.17 As the Gunpowder Plotters’ confessor, Thomas Coryate saw in Cologne: Sir Charles Cornwallis, the Ambassador in Spain, being of late both his manuscripts of 1608 and 1616,15 though, extraordinarily, Garnet became notorious for ‘equivocating’ (see Macbeth ii. iii. received in audience by the King there, complained much of the the picture of our famous English Jesuite Henry Garnet, appears not to be known to historians of the Gunpowder Plot. 9ff.; indeed, his ‘equivocation’ is crucial to the dating of honour done to Garnet the Jesuit who was executed last May [i.e., publikely exposed to sale in a place of the citie, with other Princeps Proditorum is undated but must have appeared before 3 Shakespeare’s play), that is, for not breaking the seal of the May 1606], for they have procured a painter to make pictures of things. Whose head was represented in that miraculous figure May 1607, since it refers to the execution of Garnet as having confessional, although he knew what the plotters were intending. Garnet, under it setting the words ‘Henry Garnet, an Englishman, imprinted in a straw, as our English Papists have often reported. occurred ‘last third day of May’, and maybe as soon as a few days The English authorities were keen that there should be no relics martyred in ’, signifying thereby that King James is a A matter that I perceive is very highly honoured by divers after the event; a ballad entitled The shamefull downefall of the of the executed plotters, who might appear to the Catholic tyrant, for none but the tyrants execute that kind of cruelty upon Papists beyond the seas. Though I thinke the truth of it is such, Popes Kingdome Contayning the life and death of Steeuen [sic] populace to have been made martyrs. A drop of Garnet’s blood, the saints and witnesses of God. Moreover in Low Countries the that it may be well ranked amongst the merry tales of Poggius Garnet uses the same phrasing, yet was entered in the Stationers’ however, splashed onto an ear of corn amongst the straw that had Jesuits have set out a book of the supposed miracle of Garnet’s the Florentine.20 Register just two days after his execution on 3 May 1606. been placed to hand to line the baskets in which the traitors’ limbs straw, but the Archduke [Albert] hath caused it to be suppressed.18

8 9 is, ‘Printed Coloured & Sold by Iohn Garrett at the Royall A Thankful Remembrance of God’s Mercie by G. C., dated 1625 Excha[n]ge in Cornhill up ye stayres’. Thanks to the kindness of and ‘sold by Thomas Jenner at the Royall Exchang [sic]’; it was the seller, I am able to reproduce it here (pl. 3.4).6 engraved by Cornelis Danckertsz. in Amsterdam, in part after the N. N.’s The blessed martyrs in flames; or, Queen Marys fury, rage title page of George Carleton’s A Thankful Remembrance of Gods and cruelty, seasonably discovered in the bloody martyrdome of 277 Mercie, engraved by Willem de Passe and first published in 1624.11 eminent Protestants, some of whose dying expressions are sureably In 1627 a second edition of Carleton’s book was issued with [sic] applied to the present state of affairs in England (1683) may illustrative plates differently composed, but accompanied by the serve as typical of later exploitation of the Protestant martyrs, same labels, engraved by Frederik van Hulsen, a Frankfurt especially in the era of the Popish plots (see Chapter Five), who are engraver of Dutch origin. the subject of four of the ‘several copper-plates’ in this work. Jan Barra engraved a not unrelated print (compare the title), To the Glory of God in thankefull remembrance of our three great Deliverances (1627), in which, to the Armada and the Gunpowder Plot, he added ‘the heavy time of Gods Visitation, 1625’, that is, The Defeat of the Armada and the Gunpowder Plot a visitation of the plague in that year. A note below the engraving reads: ‘Gentle Reader, if thou be desirous to see more of this, I DOUBLE DELIVERANCE referre thee to a little Booke called The Crummes of Comfort’ The Double Deliverance 1588. 1605 is a particularly important (1627, by Michael Sparke), a book in which a trimmed impression and unusually well-documented sheet, ‘Imprinted at Amsterdam of Barra’s engraving appears, together with two extra subjects Anno 1621’.7 It pairs the Armada on the left (labelled ‘88’ and engraved by van Hulsen, entitled The night of Popish Superstition ‘Ventorum Ludibrium’ [the winds’ laughing-stock]), with Guy (the burning of the Protestant martyrs) and The Return of the ‘Faux’ about to enter the powder-filled cellar of Parliament on the Gospels light (Elizabeth receiving the Bible from Anglican priests, right, two scenes that flank a central table around which, plotting etc.), which latter also appear in Sparke’s Thankfull Remembrances England’s destruction, are seated the pope, the devil, a cardinal, a of Gods Wonderfull Deliverances of this Land (1628). Jesuit, a Spaniard and two monks. A protest from the Spanish Over fifty years after Danckertsz.’s original ‘Copper picture of ambassador landed its designer, ‘Samuel Ward preacher of the Thanckefull remembrance’ was entered in the Stationers’ Ipswich’, in prison. The print itself was advertised at the end of Register on 30 November 1624, the print-seller John Garret was the second edition of Ward’s The Life of Faith (1621) as ‘a most still advertising ‘A Thankful Remembrance of Gods Mercies for remarkable monument . . . necessary to be had in the house of his Deliverances from Popish Plots, and Treasons, from the every good Christian, to shew God’s loving and wonderfull beginning of the Reign of Queen Elizabeth’, and it is this state of providence over this Kingdome, when the Papists twise sought 1678, at the time of the Popish Plot, that brings this imagery back their utter ruine and subvertion’ – important evidence that such into play.12 Apart from all the miniature scenes, which naturally prints were expected to adorn loyal Protestant houses. include the Armada and the Gunpowder Plot, the title of the sheet By 1654 the plate had passed into the hands of Peter Stent, who is borne by an allegorical figure Danckertsz. copied from Willem re-titled it The Papists Powder Treason; it was still being reprinted de Passe’s title page to Carleton’s book. Labelled ‘Ecclesia Vera’, by his successor in the 1670s, and copied in a bilingual Ger- in the book she sits in front of banners bearing images of the 3.4 Anonymous, Faiths Victorie in Romes Crveltie (2nd state – original state, 1630), published by John Garrett, engraving, Mr Charles Goodfriend, New York man/English etching issued in 1689, the year of the ‘Glorious Armada and the Gunpowder Plot (omitted on the present Revolution’ when anti-Catholic sentiment was again rife. Copies broadside), wears a church on her head and tramples a devil, a were also made in other media: two needlework versions survive, monk, a cardinal and a pope under her feet; they are labelled The Stationers’ Register also records ‘A Picture and a Table 6. The unique surviving impression of this first state (in the British one made by an unknown needlewoman, now preserved in the ‘Ecclesia Malignantium’. This 1678 reprint includes, incidentally, intituled “ffaithes” “Romes” or The picture of the Marters’, Museum) bears the imprint ‘Sould by Tho: Ien[n]er city Excha.’, Lady Lever Gallery in Port Sunlight,8 and the other by Dame an interesting advertisement for Garret’s wares: ‘. . . where you entered to ‘Master Birde’ on 6 March 1630, and the same sheet – and duly appears in Jenner’s advertisement of 1662 as ‘The Dorothy Selby of Ightham near Ipswich, who also had it copied on may have choice of all Sorts of Large and Small Maps: Drawing now listed as ‘Faithes roomes, or the picture of the martyrs’ – was Martyrs that suffered in Queene Maries days’. The English her tombstone.9 The same ‘double deliverance’ is found in painting, Books, Coppy Books, and Pictures for Gentlewomens works; and assigned to John Wright Jr on 13 June 1642. The editors of A Protestant Martyrs described by Hind as issued by John Garrett, too, in a pair of panels bequeathed to his parish church in Gay- also very good originals of French and Dutch prints’. Short-Title Catalogue of Books understandably missed this and said to survive uniquely in the Bute Granger,5 is a later wood, Norfolk, by the former rector, Thomas Hares (d. 1634).10 somewhat eccentric entry in the Register, and yet the two words impression of this same print, which Hind seems not to have The Trampling Motif of the title, as quoted there, do fall directly beneath each other in realised, but, as we have noticed above, Garrett acquired most of A THANKFUL REMEMBRANCE the centre of the print, while the rest of the entry is clearly a good- Jenner’s stock at the time of the latter’s death circa 1673. In 2007 The trampling motif continues the medieval depictions of Christ enough description of the subject of the sheet, which is actually a second impression of FAITHS VICTORIE in ROMES A rather more comprehensive print featuring no fewer than fifteen and the Virtues trampling Vices, etc., but, more immediately, in a entitled, FAITHS VICTORIE in ROMES CRVELTIE, and is an CRVELTIE came onto the market, bearing exactly the same numbered miniature scenes and a further sixteen unnumbered Protestant iconographic context recalls the iconic woodcut anonymous engraving depicting the Protestant martyrs of 1555– imprint line as quoted by Hind for the Bute Granger issue, that ones was first issued four years later than the Double Deliverance: illustration entitled The pope suppressed by King Henry the

4 5 6.23 Anonymous, Converte Angliam, circa 1685, etching and engraving, British Museum 6.24 Anonymous, [Preaching Fox], late 17th century, etching, British Museum ••). Several figures in A Mappe of the Man of Sinne are depicted with one or more churches on their shoulders, but this particular motif – the pluralist who holds two or more benefices at the same time – was a recurring and, in fact, quite non-denominational complaint (see below, pp. ••–••).

Monk-Calf and Pope-Ass The monk-calf and the pope-ass were two of the staples of anti- Catholic iconography ever since they had been codified in the early German Reformation in a book issued in 1523 by Melanchthon commenting on the two ‘monsters’ as cut by the Cranach workshop. Half a century later, the book was translated into English by John Brooke and published in 1579 as Of two woonderful popish monsters, to wyt, of a popish asse . . . and of a monkish calfe . . . Which are the very foreshewings and tokens of Gods wrath, against blinde, obstinate, and monstrous Papistes, with bold woodcut portraits of both monsters (pl. 6.10). It appears that the monk-calf in the woodcut of two monks fleeing in terror at the sight of the monster, cowled like them, which is found in Usury. The ruinate fall of the pope Vsury, deriued from the pope Idolatrie (circa 1580), is copied from this same translated Lutheran pamphlet. The monk-calf was still going strong at the end of the following century, where it reappears in Aristotle’s Master-piece (1684, etc.). The pope-ass had already appeared in England a few years before the date of Brooke’s treatise in Boaistuau’s Certaine secrete wonders of nature (1569), and this cut was reused in Batman’s translation of Lycosthenes, The doome warning all men to the judgemente (1581).

A stray reference in a biographical account of Richard Barnes, 6.10 Anonymous,calfe… Of two woonderful popish monsters, to wyt… of a monkish Bishop of Durham from 1577 to 1587, records that in his , 1579, published by Thomas East, woodcut, British Library residence at Stockton-on-Tees he had himself painted a picture of the pope as an old sow emerging from the labouring mountains, vuolfe, printed in Emden circa 1555, that is, during the Catholic ‘whilst a train of persons all begrimed with farmyard filth hauled reign of Mary Tudor (1553–8), though it is self-sufficient, and it along by its tail’.25 6.9 Anonymous, A Mappe of the Man of Sin, 1622, published by John Bellamie, woodcut, Princeton University Library probably circulated independently as well. The engraving exists in two states, the earlier Latin-text version (pl. 6.11) and the later English-text version (pl. 6.12). The central figure, satirised as a THE WOLFISH BISHOP wolf-headed bishop celebrating Mass by literally biting into the his church, laments ‘Alas Alas Babilo[n] that great Cit[y]’ (Rev- shown ‘The Chair orturnd’, doubtless intended to be the papal Ostensibly Protestant bishops who were thought to be lamb suspended over the Catholic altar, is identified as Stephen elation 14: 8); there is thus no doubt that we are to identify her as throne.24 To the left, labelled s, is heaven’s gate, which is guarded oppressively powerful, even rapacious, became targets for graphic Gardiner, Bishop of Winchester. Six slaughtered sheep with legs the apocalyptic Whore of Babylon. Despite their differing vowel by the symbols of the Four Evangelists and from which ‘proceede satire no less than their Catholic counterparts. The influential bound are labelled with the names of six of the Marian Protestant quality in modern English, ‘Babel’ and ‘Babylon’ are the same word lightening and thunder’; despite the number of churches the bishop Stephen Gardiner (Bishop of Winchester, 1531–51, 1553–5) – like martyrs: Cranmer, Bradford, Ridley, Latimer, Hooper and Rogers. (from Hebrew babel) and, as the Oxford English Dictionary notes, (whose crosier falls apart) has brought with him, he and his fellows Archbishop Laud a century later (see Chapter Four) – was Seven almost shaven-headed laymen are literally ‘led by the nose’, the name of the city was also used for ‘the mystical Babylon of the are shown being repulsed. The palatial Heavenly City, labelled t, suspected of pro-Catholic sympathies, and the treatment of both the rings through their noses tied to Gardiner’s waist. Apocalypse; whence, in modern times, [it was] applied polemically is surmounted by another blazing sun bearing the Tetragrammaton. bishops by Protestant engravers well illustrates the way in which It is worth noting the one intriguing, albeit minor, difference to Rome or the papal power’. As the text makes clear, the ruin of Curiously, placed outside the confines of the City, the ‘Redeemed’ satirical imagery could be directed at individuals as well as types. between the original state and the later state with inscriptions Babel/Babylon is also the ruin of ‘her Rich louers’, including the (labelled v), ‘Palmes in their hands’, harp and sing in honour of An extraordinarily violent engraving, long believed to be an translated into the vernacular. In the earlier Latin-text version, the ‘Emperours, kings and Preests’, here labelled r, whose crosiers and the Deity. a, d, e and the ‘Manne’ all wear soft squarish caps that independent single sheet, has recently been shown to belong to object on the right of the altar can be seen to be an empty sceptres are indeed depicted ‘slent’ (broken). The engraver has also are doubtless intended to resemble the type worn by Jesuits (see pl. complete copies of William Turner’s The huntyng of the romyshe bookstand – a book is plainly visible to the bottom left of the altar.

10 11 headed dragon of Revelation 13, and claiming that the pope and Catholic clergy were terrified by the news of its appearance. In the verse the monster prophesies his kingdom’s downfall to the King of Spain at the hands of the ‘English souldiers bold and brave’, and the downfall of papal power. Equally fabulous and equally popular across Europe was the ‘monstrous Tartar taken in Hungary by the valour of the noble Count Serini. February, 1664’, whose allegedly ‘exact effigies’ were issued in London in the form of several single sheets in the same year,50 probably following his appearance in Cologne on a sheet engraved by the little-known Johann Hoffmann.51 A relatively crude Catalonian woodcut print entitled Il Tartaro Mostrvoso was evidently based on an Italian prototype,52 but, to judge from the number of different surviving exemplars, his fame would seem to have been nowhere greater than in England. By my reckoning there are four monolingual English prints, two broadside ballads bearing his image, and one quadrilingual print where one of the captions is in English. The true Effigies claiming to be ‘taken from the picture presented to his Sacred Ma:tie’53 is attributed to William Faithorne (c.1620–1691) by the British Museum. It is a close copy, unless it is the original, of that signed by Johann Hoffmann and issued in Cologne in 1664. The others, though very similar, seem to be based on a slightly different prototype with the Tartar’s bow facing outwards and the arrow upwards. That erroneously attributed to Hollar,54 which also bears a somewhat suspiciously spelt licence – ‘With Allowance Roger Liestrange May 23 1664’ – bears the address ‘Are to be sould at ye: Globe in the Ould Bailye’, which we know from his trade card engraved by Gaywood that same year (see pl. intro.2) to have been that of Arthur Tooker. It must also have been advertised in an issue of The Newes of 26 May of that year, which noted that ‘The effigies of a Monstrous Tartar taken in Hungary by Count Serini, cut from a Description, and Figure sent from beyond the Seas, is to be sold at the Globe in the Old-Bayly’.55 It was copied in reverse with exactly the same title and caption and ‘Sould by W: Faithorne’.56 A copy in the same direction but with no arrow and the addition of ‘a tarter’ and ‘a 11.16 Anonymous, The Prodigious Monster: Or, The monstrous Tartar, 1664, female tarter’ on a much smaller scale and set in a riverine woodcut, British Museum landscape survives in the National Portrait Gallery, London.57 The quadrilingual version58 – wherever it was published – Hungary, by the Invincible Valour, and Matchless Man-hood of includes as background a representation of the battle in which the the Noble Count Serini General of the German Forces against the monster was taken, as does, though rather more prominently, the Turk (pl. 11.16).60 engraving that heads the Bodleian Library’s broadside, which As Wittkower showed back in 1942,61 and as Roger Paas has bears the imprint ‘London, Printed for W. Gilbertson at the [Bible recently confirmed and amplified,62 with beak and weapon in Giltspur Street], and H. Marsh at the Princes Armes in omitted, Hoffmann’s Monstrous Tartar published in Cologne in Chancery Lane, 1664’, which also includes Count Serini, sword 1664 is based immediately on a sheet issued four years earlier raised, about to capture the monster.59 A relatively crude woodcut in that city, featuring a monster said to have been taken in version of the subject adorns the (fragmentary) broadside ballad Madagascar, and ‘gedruckt nach der Parisser Copeij’, but, as 11.15 William Faithorne after Giovanni Battista de Cavalieri, The Trve Portritvre of a Prodigiovs Monster . . . entitled The Prodigious Monster: Or, The monstrous Tartar. Being Holländer showed, it belongs ultimately to the tribe of crane-men Zardana, 1655, published by William Faithorne, etching, British Library a true Relation of an un-heard of Monster, which was taken in who first appear in depictions of the Monstrous Races, such as

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