The following is some additional and necessary explanation of the cuts belonging to this dissertation. Plate II. fig. 1, is from Catzii emblemata. Fig. 2, is the duke of Suffolk's fool in the time of Henry VIII., copied from a print in Mr. Brydges's Memoirs of the peers of England. Fig. 3 and 4, are from paintings in the author's possession. Plate III. All these instruments, excepting fig. 3 before described, are taken from various Dutch and German prints. Plate IV. Fig. 1 is from an old German print by an unknown master. Plate V. Is from a print by Breughel. Plate VI. Fig. 1 and 3 are from A booke of Christian prayers, &c., 1590, 4to, being figures belonging to a dance of Death. the frontispiece to Heywood's Fig. 2, is from comedy of The fair maid of the exchange. Similar figures of the costume of fools in the time of James I., or Charles I., may be seen in The life of Will Summers, compiled long after his time. Fig. 4 and 5 are from La grant danse Macabre, printed at Troyes without date, but about the year 1500, in folio, a book of uncommon rarity and curiosity. Plate VII. Fig. 1 is from the Stultarum virginum scaphæ seu navicula of Badius Ascensius, another work of much rarity, and far exceeding that of the ship of fools by Sebastian Brandt. In all the editions of the latter, a great variety of the fools of the fifteenth century will be found. Fig. 2 is from a French translation of Saint Au gustine on the city of God, printed at Abbeville 1486. It exemplifies the use of the tabor and pipe by fools; a practice that seems to have been revived by Tarlton in the time of Elizabeth. Figures 3 and 4 in Plate VI., and fig. 1 in Plate VII., have been introduced to show the costume of female fools. Among others of this kind that might deserve notice is a very interesting one in the picture, by Holbein, of Henry the Eighth's family already mentioned. |