well-drawn figure of a man, above whose head, half on, half off it, a crown is held by an arm from the sky. In "Swetnam the Woman-hater, arraigned by women,' printed for Richard Meighen the next year, a fairly good cut, which I regret to have remembered too late to have reproduced, exhibits Swetnam formally tried at bar, before a judge and jury of women.

Our next picture is from "The Fair Maid of the West, or, a Girle Worth Gold. The

first part.
acted before the King and
Queen, with approved liking,
by the Queens Majesties Come-
dians. Written by T. H.
(London, Printed for Richard
Royston, and are to be sold
at his Shop in Ivie Lane.
1631.)" The cut, of course,
represents the "girl worth
gold," and leaves one wonder-
ing whether the man who took
the part was really able to
screw his waist to the fashion-
able limit here shown.

As it was lately

In "The Iron Age: Contayning the Rape of Hellen: The siege of Troy: The Com

bate betwixt Hector and Aiax: Hector and Troilus slayne by Achilles: Achilles slaine by Paris: Aiax and Vlisses contend for the Armour of Achilles: The Death of Aiax. &c. Written by Thomas Heywood," we have a very pictorial title-page, which duly answers to the stage direction: "Alarum. In this combat, both having lost their swords and shields, Hector takes up a great piece of a rock and casts at Aiax, who tears a young tree up by the roots, and assails Hector; at which they are parted by both armies."

In "The Second Part" (N. Okes, 1632) the title-cut shows Troy in flames, the Greeks issuing from the wooden horse, and in the foreground Sinon and Thersites engaged in a most conventional stage dialogue. The actual greeting of these heroes is in contrast with the earnest mien the artist has given them; for Thersites hails Sinon as "My Urchin," and Sinon hails Thersites as "My Toad." But these epithets had no doubt a hidden meaning.

Our next illustration is from "The Foure Prentises of London, With the Conquest of Jerusalem. As it hath beene diuers times acted at the Red-Bull, by the Queene's Maiestie's Seruants with good applause. Written and newly reuised by Thomas Heywood. (Printed at London by Nicholas Okes, 1632.)"

On the whole I am inclined to think that the picture merely represents the jovial dance of the apprentices, either when their labours are over, or when, after the proclamation for the Crusades, they hold this colloquy :

"Eustace. Ran, tan, tan.

Now by S. George he tells us gallant newes.
I'll home no more. I'll run away to-night.
Guy. If I cast bowl, or spoon, or salt again,
Before I have beheld Jerusalem

Let me turn Pagan.

Charles,

Hats and caps, adieu };

For I must leave you, if the Drum say true.

Godfrey. Nay, then, have with you, brothers! for my spirit

With as much vigour hath burst forth as thine,

And can as hardly be restrain'd as yours.

Give me your hands. I will consort you too:

Let's try what London Prentices can do!

Eustace. For my Trades sake, if good success I have

The Grocers arms shall in my ensign wave.

Guy. And if my valour bring me to command The Goldsmiths' arms shall in my colours stand.

Godfrey. So of us all. Then let us in one fleet Launch all together."

These are brave words, and the coats of arms hung over the 'prentices' heads are in accordance with them. But there is a stage direction later on in the play: "Alarum. The four brethren each of them kill a Pagan king, take off their crowns and exeunt, two one way and two another way"; and I cannot but regret that the artist did not choose this as the subject of his cut.

From the same press as our last two illustrated plays came: "A Pleasant Comedy, called a Mayden-head Well Lost. As it hath beene publickly Acted at the Cocke-pit in Drury lane, with much Applause: By her Maiesties Seruants. Written by Thomas Heywood. (London, Printed by Nicholas Okes for John Jackson and Francis Church, and are to be sold at the Kings Armes in Cheapeside. 1634.) "

Like its predecessors, this also is illustrated, and unlike them, or any other play I have noticed, the title-cut is repeated in the body of the book, opposite to the passage to which it refers. Here is the quotation:

"Enter a Serving-man with a child in a covered Dish. Gentleman. The Prince, my Master, hearing your solemnities

Hath sent this dish, to add a present to

Your royal feasts, wishing himself therein

To be a welcome guest.

Prince.

Gent. Prince Parma.
Prince.

A hundred crowns.

Your master's name?

Give this gentleman

This will much grace our banquet.

Florence. There's in that dish some moral.

Milan. Coming from him, Methinks it should be seasoned with some strange

And dangerous poison. Touch it not, my Lord.