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‘Fide Deo, diffide Tibi, fac propria laetus, | Cautus age, et si vis vivere, disce mori.’ Dated at Rostock. Addressed to Johann Heuppel.

(Engraved by Michael van der Gucht. It is unclear which volume of which edition this is from, though the engraver’s name does not appear in editions after 1719.)

‘Ναὶ ἔρχου κύριε Ἰησοῦ. (Revelation, xxii. 2o.) ‘Nulla salus mundo Jesum te poscimus omnes. | I, propera Judex, acceleraque diem!’ Dated at Tübingen.

(Dated Friday morning. Signed ‘Cleora’. Mary is addressed as ‘Roselinda’. Marked ‘No. 3’.)

This is the first edition.

(Engraved by J. Wallis from a drawing by Charles Muss.)

Two inscriptions on one slip, (i) on the recto, (ii) on the verso. (i) ‘Ὅσα ἐστὶν ἀληθῆ … ταῦτα λογίζεσθε.’ (Philippians, iv. 8.) Dated at Darmstadt. Numbered 397. (ii) ‘Christianus miser potest videri, non potest esse.’ (Minucius Felix.) ‘Symbolum ex S Paciano Barcinonensi. Christianus mihi nomen est, cognomen Catholicus.’ Dated at Giessen.

(Engraved by Michel Lasne.)

(Dated ‘July ye 18 | Wendsday Morning 7 oClock’. Signed ‘Cleora’. Mary is addressed as ‘Roselinda’. Marked ‘No. 3’.)

Two inscriptions on one slip, (i) on the recto, (ii) on the verso. (i) ‘Μέλλουσα μένουσα.’ (Hebrews, xiii. 14. Cf. ADB.) Dated at Leipzig. Addressed to (Elias) Silberrad. Numbered 113. (ii) ‘Spes confisa Deo nunquam confusa recedit.’ Dated at Leipzig, ‘finito Jubilaeo Academico’. Addressed to (Elias) Silberrad.

(Signed ‘Cleora’. Mary is addressed as ‘Belinda’.)

(Engraved by Smith from a drawing by Corbould.)

First line: ‘From glossaries, and doom’s-day book’.

—————

Transcript

Epigram | on two late writers in defence of | Rowley’s Poetry

From glossaries, and doom’s-day book,
Devoid of taste or spirit;
In vain ye vent your critick rage,
—On Warton, or on Tyrrit;!
As well might ye pretend to prove,
That Homer copied Cowley,
As, that young Chatterton possessed
One pinch—of Genuine Rowley!

No caption. The illustration depicts a finely-dressed woman, possibly Fanny Davies, standing in a room. A man, who is apparently just coming in the door, has an arm around her waist, and there are five other women in the background.

‘Time Deum et timebis neminem.’ Dated at Jena.

(‘Index sequitur in calce’ has been added to the title by hand.)

(No date or salutation. The text begins with an asterisk, but no corresponding asterisk has been found in any other of the letters. Signed ‘Cleora’. Mary is addressed as ‘Belinda’.)

(Signed ‘Cl[eora]’ (part of the signature is hidden where the letter has been tipped-in). Mary is addressed as ‘Belinda’. Marked ‘no. 29’.)

(Drawn and engraved by George Cooke, under Brayley’s direction. Engraving published by Vernor, Hood, & Sharpe, 1 July 1807.)

‘In hoc Unusquisque nostrum | Viret ut arescat | Adolescit ut senescat | Ascendit ut descendat | Vivit ut moriatur.’ (‘Guido Bituricensis’ (Guy de Fontenay?).) The year has been struck through.

(Signed ‘Cleora’. Mary is addressed as ‘Belinda’.)

‘Id inprimis agendum in vita, ut, quantum possis, Deo placeas, nemini displiceas, neminem timeas.’ Dated at Strasbourg.

(Undated. Docketed ‘Feb [th]e 4–76’.)

(Subscribed ‘[…] and Truth’ (most of the first word is missing). There are four illustrations, captioned respectively ‘Adam in Eden’, ‘The Deluge’, ‘The Nativity’, and ‘The Last Judgment’, around a larger illustration of two women either side of a sun breaking through the clouds, one of the women holding a cross and a cup, the other a bible.)

‘Tempori cedere et Necessitati parere | Semper Sapientis est habitum.’ Six lines, beginning ‘La Vertu Reyne des Mortels’. ‘Symb. Iuvat amare Deum.’ Dated at Strasbourg. Addressed to Joanni Philippo Friderici (dative), presumably Johann Philipp Friedrich.