fickleness of Fortune, that her own book has vanished even from the memory and the knowledge of men, leaving but this cobweb behind.

(Expanded from The Athenæum, May 19th, 1900, p. 625.)

XII.

THE ITALIAN AND ENGLISH BOOKS OF FORTUNE.

E

NGLISH Literature of the Sixteenth Century is so

frequently translated from, or based on, Italian originals, that it becomes habitual to the student of the period to refer back new books or ideas to some possible southern source. When, some time ago, I put together in The Athenæum (May 19th, 1900) all that I had been able to glean concerning the English "Booke of Fortune," owned by Captain Cox in 1575, I hoped that some scholar would be able to add further details as to its source. None have as yet come to hand. A friend agrees that it might have been suggested by the "Triompho di Fortuna di Sigismondo Fanti Ferrarese, 1527." At first sight there may seem nothing in common, but Fanti's book is so interesting, not only in itself, but in relation to astrological beliefs and fortunetelling methods of the period, that it seems worth while analyzing it, before comparing it with its more modest English

successor.

Little seems to be known of the author. He was born at Fano in Italy towards the close of the 15th Century. Apostolo Zeno says that he was not only a poet, but a philosopher and mathematician. He published an Italian Grammar in 4 books at Venice in 1514, and other works are believed to have been written by him. He is however chiefly known by the

"Triompho di Fortuna." Rare as the book now is, there is one copy in the British Museum, and another in Mr. Huth's Collection.

According to "La Biographie Universelle" it is written in the style of Marcolini, and Brunet compares it to the "Sorti di Lorenzo Spirito." It is in large Folio, and profusely illustrated. The larger illustrations are high-class work both in conception and manipulation, but the smaller ones, which appear among the verses and "Domandos," seem to be by another hand and are crude little cuts almost fit for chap-book literature.

The Title page is entirely covered with a rich allegorical Frontispiece. Atlas supports the globe, but a good angel on the one hand and an evil angel on the other, turn it by means of a wrench. An equinoctial band with the signs of the Zodiac girds it. This globe is surmounted by a figure in papal robes and tiara, turning his back on the attractions of "Voluptas," and inclining towards "Virtus." To the left an athlete holds a dice box and a philosopher an astrolabe; to the right a large solar clock of 24 hours adorns a Cathedral tower; castles and palaces make a background vista. A canal runs across the front of the picture, on which floats an uncurtained gondola. A square frame lies on the water, on which are plain initials, generally believed to be I.M.; but they seem to me more like T.M. The Count Cicognara thinks that the I M on the tablet may be the mark of Giovanni Bonconsiglio, who also bore the name of Marescalco, but he admits that there is nothing to support this conjecture. Nagler says that the initials are those of an unknown Venetian artist. On the reverse of the page is the licence granted by Clement VII. to his "dilectus filius Sigismundus Fantus Ferrariensis " on 3rd July, 1526; cum gratia et privilegio, &c. The third page bears "Proemio del Triompho di Sigismondo Fante Ferrarese al Sommo Pontifici Clemente Papa Septimo nel quale Tratti delli Accidenti del Mondo, et de Molte discipline, con varie Questioni, Casi, et conclusioni, Pieno de gravissime sententie et maturi Documenti si per scienza naturale come

per Astrologia, Opera a ciascuna utilissima et sollazzosa" (A.A. ii.). There is a long list of errata. After an introduction, the author goes through the rules for working and applying the tables, giving with each rule sundry examples to illustrate its application. Marco Guazza concludes with one Sonnet addressed to the Reader, and another to the City of Ferrara in praise of the author.

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The next page adds to the sub-title “ Tavola del Triompho di Fortuna di Sigismondo Fante Ferrarese....come per astrologia da Mercurio Vannullo Romano, Fedelmente esposita opera utilissima et iocosa." Then follow seventy-two questions of the kind usually asked by those who wish to know their future," Domando Primo." In che tempo si de cominciar la guerra, o fare il fatto d'arme." The questioner is directed in the first place "Va alla Fortuna d'Oriente alla lettera A," under which letter are found further directions, "Della Significatione delle Figure documento primo." A Key follows. Four spirited woodcuts adorn each of the following pages,-The goddesses dominating the winds, who represent Fortuna de Oriente, Fortuna de Occidente, Fortuna de Septentrione, Fortuna de Austro, Fortuna de Aquilone, Fortuna de Africo, Fortuna de Cauro, Fortuna de Euro; Fortuna de Volturno, Fortuna de Argesto, Fortuna de Libico, Fortuna de Borea;" and three further pages represent the great Italian Houses.

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The new series which follows contains two wheels on each page, the one above giving a representation of its title, surrounded by ciphers, dice, and directions; the one below containing a Horologe for fixing the natal hour and other dependent dates. The upper corners contain on either side a bust, and the lower spaces full-length representations of distinguished individuals, to whom names are generally affixed. But as the same wood-cuts are frequently repeated associated with different names, only a very generalised idea of any characteristic is rendered possible. Some of these figures are very fine as works of art. They do not seem associated in any way with the "Rota" round which they

are grouped. The reasons for the selection of the characters illustrated would have merited attention had there been more space to dwell on them. They represent people distinguished, at the time, or in history, a sort of "Who's Who?" in the minds of Venetians in 1527. They are sometimes strangely grouped. The first two are Campeggio and Lucio Tarquino. Alexander the Great and Cleopatra are paired. Most of the Greek Philosophers, the Roman generals, and writers are mentioned; Italian Poets and the characters from their works, such as Orlando, Rinaldo, Griselda, Paris de Viena; Painters, Sculptors, Architects are well represented; and well-known women, such as Portia Bruta. Some odd pairs are brought together, as "Attila Flagellum Dei, and Helizabeth Regina," who seems to have been an eminent female Astrologer. Lanciloto Famoso, Mandeville, and some other names suggest Britain. The wheels themselves seem named by chance. They run in the following order-" Rota del Liofante, del Camello, della Giraffa, della Panthera, del Bufolo, del Cervo, del Cavallo, del Asino, del Dracone, del Cocodrillo, del Lupo, del Porco spino, della Lepora, della Capra, del Cane, della Scimia, del Hidra, del Coniglio, della Testudine, della Rana, della Balena (a whale drawn with a trunk and tusks like those of an elephant), del Delphino, della Sirena (a doubletailed mermaid), del Aquila, del Struzo, del Griphone, della Cicognia, del Cigno, delle Equo Volante, del Pavone, del Barbagianni, del Gallo, del Vespertiglione (the last animal), della Palma, del Pino, del Giglio, della Corona, del Triangulo, de Lira, della Ara, della Scala, della Sagitta, del Bombardo, della Balestra, Rota di Cepheo, di Orione, di Vulcano, del Dio Baco, del Coro, del Dio D'Amore, della Luxuria, della Gulla, della Avaritia, della Accidia, della Invidia, della Superbia, della Ira, della Grammatica, della Rethorica, della Dialectica, della Arismetica, della Musica, della Geometria, della Astrologia, della Speranza, della Carita, della Fede, della Prudentia, della Temperantia, della Forteza, della Justicia (the picture of Justice is crowned, has her eyes open, and bears scales in one hand and a sword in the other). The last is Rota della Fortuna."

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Then comes a change in the designs. Instead of two wheels one circle occupies the centre of each page of astrological import, but the surrounding figures remain in similar groups. The Circles are the "Sphera del Paradiso, S. di Saturno, di Iove, di Marte, del Sole, di Venere, di Mercurio, della Luna, del Ariete, di Tauro, di Gemini, di Cancro, di Leone, di Virgine, di Libra, di Scorpione, di Sagittario, di Capricorno (who is represented as a biped with a convoluting tail), dei Aquario, di Pesce, dei Ursa Maiora, di Boetes, di Herchule, di Cassiopeia, di Andromeda, di Perseo, di Serpentario, del Auriga, del Fiumme Eridano, della Nave, di Philleride, del Foco, de L'aere, de L'acqua, della Terra, de L'Inferno."

The last section of the book contains the replies to the 72 questions, worked according to the rules given through the tables and the wheels and the Spheres. Each folio gives in the name of some Astrologer 22 4-lined verses, 11 on each page, illustrated by rough woodcuts with astrological figures contained in frames.

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Now it is this section which reminds one of the English "Book of Fortune," and I think we can there trace the origin of the English "Juries." The Italian book runs Atlanti degli Astrologi Principi"; (of 2 pages, and all the others the same;) Albategno Astrologo, Dorotheo. A.; Abadon A.; Ptholomeo A., Sybilla Persica, Haly A.; Sybilla Cumana; Azoroen A.; Sybilla Libyca; Beheco A. Sibylla Tiburtina.

Albumazar A., Sibylla Delfica, Alphragano A., Sibylla Samia, Alchindo A., Sybilla Troaica, Alfabetico A., Sybilla Frigia, Zael A., Sybilla Europa, Hermete A., Leopoldo A., Thebit A., Guido Bonato A., Albubather A., Sybilla Almathea, Julio Firmico A., Hiparco A., Ragiel A., Peccatrice A., Anthiesis A., Haomar A., Messehala A., Accebari A., Ullelio A., Iginio A., Zephar A., Sybilla Erithrea, Almeguerra A., Alhasen A., Zaradest A., Alfayat A., Alfadal, A., Atabari A., Herdedi A., Bianchino A., Alfonso Rege A., Helisabeth Regina Astrologica, Plenio Romano A., Pietro d'Abano A., Ceco D'ascoli A., Joanne de Monte Regio A., Zacuto, A. Nufil