A Looking-Glass for Traytors, and Treason Rewarded at Tiburn

EEBO link for "A Looking-Glass for Traytors"

EEBO link for "Treason Rewarded at Tiburn"

Both of these ballads have the same woodcut, which depicts three frames. In the first (upper) frame, a bound man is dragged behind two horses; in the second (left) frame, a man sits on the gallows above a hanged man; in the third (bottom) frame, the hanged man is drawn and quartered in front of a fire.

The Fair Maid of Dunsore's Lamentation.

EEBO link.

I'm pausing over this ballad (back to Wood E 25) because it uses one woodcut that's almost identical to one in "A Letter for a Christian Family." But even though these woodcuts are strikingly similar, they're not identical. For instance, the woodcut in "The Fair Maid" has unornamented shirt-cuffs, whereas the woodcut in "A Letter" has ruffled shirt-cuffs.  I can't quite understand why these two images are so similar, yet different.

By the by, the naked bathing lady in "The Fair Made" also appears (sideways) in "The musical Shepeherdess", though she's up-staged by a dancing dog. EEBO link.

The Schismaticke sifted; or his Shifts discovered: by way of Reply to Mr. John Vicars

This tract drew my attention for two qualities. First, the tract itself is a direct reply to John Vicars, printed by Thomas Paine, both of whom I've discovered are generative figures for research into image-texts. Second, the title-page of the tract promises to attack John Vicars as the creator of image-texts. This is the TCP title text from EEBO:

THE Schismaticke Sifted THROUGH A SIVE of the largest size: BUT Is now more purely drest. WHEREIN The Chaffe, the Froth, and the Scumme of Mr. JOHN VICARS his Siftings and Paintings prove him to be a lame Draughts-man, a smearie Washer, his Colours falsly mixt, and his Pencill as course as his Colours.
Collected out of his own words, and under his own hand.By T. C. a Well-willer to Truth and Peace.
Published according to Order.
LONDON, Printed by R. A. for S. W. 1646.

For Sions-Sons sake I cannot hold my peace.

On further investigation, this appears to be a direct response to the title-page of Vicars' original "Schismaticke Sifted" (again, from TCP on EEBO):

THE SCHISMATICK SIFTED. OR, The Picture of INDEPENDENTS, Freshly and Fairly Washt-over again. Wherein, the Sectaries of these Times (I mean, the princi|pall Seducers to that dangerous and subtile Schisme of Independency) are with their own properPensils, and Self-mixed Colours, most lively set forth to be a Generation of notorious Dissemblers and fly Deceivers.

 But, alas, the tract itself spends most of its text responding to Vicars' charges that the Independent churchmen--by their pleas for religious tolerance--threaten the one true (Presbyterian) church.

Still, there is an interesting comment at the end about Vicars' sight (Text from TCP on EEBO, again):

But I finde a light here that much offends your 11 eyes, it is a strange light to you, as well as a new light; I perswade me, it is a hot light also, and you love a middle temper: I would fain know what light enlightened you so farre, [Note: Pa. 34, 35. ] as to be for a Reformation that should be verie glorious, are your eyes now growne weake with looking too stedfastly, inso|much as your desire is now to leave one old light, and take another? or because one small candle is burnt out, will you light up another of the same size?

The Beginning, Progress, and End of Man

"The Beginning, Progreſs, and End of Man" (Wood E 25 [10]) is a folding (metamorphic) piece. A note on the back says, "Bought at Oxor[~] mi Feb. | 1688-9". The colophonic note says this is the product of "J. Deacon."

I thought this was by far the most original piece in the collection. There are ten woodcuts that, in various combinations, make a total of fifteen unique images. But this may be a rank copy of B. Alsop's original metamorphic piece.

A Letter for a Christian Family

This is a single-sheet ballad with three illustrations (I'll call one an amalgam, since it has two woodcuts that have been sawed apart from their original blocks and pressed together). The most interesting thing, though, is that this has been bound alongside the most repetitive, derivative collection of ballads I've ever seen. Even the woodcuts are chock-full of wormholes on every page.

The sign of celestial God, for example, on this ballad also appears in "England's New Bellman" (128). "England's New Bellman" was "printed for F. Coles, T. Vere, and J. Wright, the same partners who printed nearly everything else in this collection--including "A Letter for a Christian Family." It would actually be shorter to list the exceptions to their partnership than to list everything that they published. I'm confident, but not certain, that this was the latest incarnation of the ballad "conger."

It seems initially that the smuttier ballads were more likely to be printed independently: F. Coles published "The Wanton Wife of Bath" without naming the other partners; R Burton (who I don't believe was a partner) published "Five Merry wives of Lambeth" and "A Westminster Wedding" in the 1660s.

I digress. The sign of the penitent prayer also appears in "A Leiceſterſhire Frolick" (28). There, the figure has the upside-down text "Oh ſpare our lives I pray." There's no text above her in "A Letter for a Christian Family."

A list of interesting things from the Bodleian

Anonymous,  The manner of the impeachment of the xii. bishops accused of high treason, for preferring a petition, 1642. Pamph. C 50 (40). Wing # M472. EEBO link.
Anonymous, The declaration of his excellency the earl of Leven, the general officers, 1646. Pamph. C 77 (2). EEBO unavailable.
John Vicars, The xij Aeneids of Virgil, tr. into Engl. deca-syllables, 1632. Douce V 87. STC # 24809 . EEBO link.
John Vicars, A sight of ye trans-actions of these latter yeares emblemized with engrauen plats, 1646. Crynes 908. Wing # V327 . EEBO unavailable.
John Vicars, God in the Mount, Or, Englands Remembrancer, 1642. Wing # V308. EEBO link.
John Vicars, A letter for a Christian family, TK Date. Wood E 25 (149). Wing # V314A . EEBO link.

As you can tell, I've been circling around John Vicars. I think he's an interesting central figure who draws together Prynne, Jenner, and other hot Protestant stationers, authors, and partisans. But this connection also brought me to some of the awesome bound broadsides that are in Wood E 25. Vicars is important for finding both social and formal connections.

A Sight of the Trans-actions of these latter yeares...

First of all, I love the way that this book calls attention to its own reading in the full title: "A Sight of the Tranſ-actions of theſe latter yeares Emblemized with Ingraven Plates, which men may Read without Spectacles." Next to the title, a librarian with modern hand has added in ink, "By John Vicars." (The same hand added "Crynnes | Olim g21.", above). For his part, Vicars identifies himself as the collector on the final page (D4r), since the text itself reports several public speeches, petitions, and prayers, including:

• The Proteſtation [of Pym, Laighton, Smart, Walker, Foxley, Lilborn, and others] (A4v)
• The Earl of Straffords Speech on the Scaffold (B1r)
• The Biſhop of Canterburies firſt prayer on the Scaffold, 10 Janua. 1644. (D1v)
• The Biſhop of Canterburies laſt Prayer on the Scaffold" (D2v) and 
• "The Speech of the Lord Louthen, Chancellour of Scotland, to the King at Newcastle, July 1 6 4 6 (D3r)

 The bookseller is Thomas Jenner, who presumably printed the work. I'll have to check Jones to see if he's identified the sculptor of these engravings, but it may be someone from Jenner's circle of other engravers. From the ODB:

Among the engravers whose work Jenner published were Renold Elstrack, John Goddard, Wenceslaus Hollar, William Marshall, Simon De Passe, and his brother Willem (to whom Jenner may have been related by marriage). Jenner's professional association with Willem De Passe was happily productive, and three of his early publications of De Passe's engravings are among his best:Frederick of Bohemia and his Family (1621), James I and Charles as Prince of Wales (1621), and a striking dynastic portrait, The Family of James I (1622). Other productions of Jenner's earlier career which, in a different way, are also remarkable are the collections of prints depicting allegorical figures such as The Seven Deadly Sins (c.1630), The Five Senses (c.1630), and, later, The Four Elements (c.1640) (engraved, respectively, by Goddard, Barra, and Marshall).

"A Sight of the Trans-actions" was printed in 1646, after all of these series. The latest of these engravers to have worked with Jenner is William Marshall, who also engraved Heraclitus' Dream and many other objects of interest. Marshall engraved Vicars' "Charles prince of Great Britaine, borne, baptiz'd, and buried" which was sold by Jenner.


The engravings themselves appear to be a standard size:

• 128 mm high and 97 mm wide (A1v)
• 127 mm high and 98 mm wide (A4r)
• 127 mm high and 96 mm wide (B1r)
• 128 mm high and 98 mm wide (B2r)
• 127 mm high and 100 mm wide (B3r)
• 126 mm high and 96 mm wide (B4r)
• 127 mm high and 100 mm wide (C1r)
• 128 mm high and 98 mm wide (C2r)
• 125 mm high and 96 mm wide (C3r)
• 126 mm high by 96 mm wide (C4r)
• 129 mm high and 99 mm wide (D1r)
• 130 mm high and 100 mm wide (D2r)

The plates themselves are printed well in this copy, with no signs of mis-impression. Moreover, it seems that the engravings were placed not out of any necessity of printing (because C1r and C2r are on opposite sides of the same quarto sheet). Instead, each illustration appears in the opening most relevant to it. For example, the illustration with depicting "The arch-Prelate of St Andrewes in Scotland | reading the new Service-booke in his pontificalibus | aſsaulted by men & women, with Cricketts ſtooles | Stickes and Stones" followed below by "The riſing of Prentiſes and Sea-men on South-|-wark ſide to aſsault the Arch-biſhop of Canter-|-burys Houſe at Lambeth" appears opposite the page that narrates the same (A3v).

There are some interesting moments of meta-representation in these illustrations. Marshall illustrated a broadside against "Catholick Gamesters", and the illustration on C4r shows a fire of game-books below a large frame depicting the breaking of the Cheapside cross. Also, Marshall seems to have expunged a face from even the copperplate engraving of a devotional painting. The illustration on D1r has three visible painting subjects. One in the fire depicts the pope in profile, carrying a shepherd's hook. The two others headed towards the fire depict a man kneeling at the foot of the crucifixion, and a woman in profile. Notably, the woman in profile has her face visibly erased. At first, I thought this was damage to the page itself. I checked the paper, and it's not punched through or even scratched on the surface. This erasure was made on the ink itself--either before or after the impression of the copperplate.

God in the Mount

No, this isn't the title of a Shel Silverstein poem about baseball, it's a pamphlet by John Vicars that's titled with virtuosic print composition.

John Vicars appears to have printed two editions, the first in two parts, in 1641 and 42. As with other Vicars work, Oxford has unique holdings that aren't reproduced in EEBO. According to the Oxford DNB, Oxford held a special place in Vicars' heart: "my Sacred Mother the most famous University of Oxford."

This copy is interesting because I can dig into the text for a proper description of the typesetting on each page. The title-page reports that it was printed by a mysterious "T. Paine" and M. Simmons for John Rothwell and John Underhill. The Oxford DNB describes Simmons as "a favoured printer for independents and radicals during the civil war period." That same source says Simmons printed at least nine of Milton's Civil War tracts. But on the title of Milton's Tetrachordon, Simmons is acknowledged alongside T. Paine. Indeed, T. Paine and M. Simmons appear together on at least 15 imprints. In some cases, Paine printed what Simmons published; in other cases, they published together. Those entries show T. Paines name to be "Thomas Paine."

Save one playbook, Thomas Paine appears to have been a radical of Simmons' (and Vicars') stripe. The exception appears on DEEP. Thomas Paine printed Henry Glapthorne's Albertus Wallenstein (no, I did not make up any of those names), which the Annals categorizes as a "Foreign History."

As for Johns Rothwell and Underhill, Rothwell appears to have been a bookseller at St. Paul's (at the sign of the sun) who mainly published devotional fare. Rothwell's name appears in 335 ESTC entries between 1632 and 1661. After 1662, a "M. Rothwell" may have taken over the family imprint, though she sells in Cheapside rather than St. Paul's.

I'm attending to the status and collaboration of Paine and Simmon, because the typography of God in the Mount reveals the amount of type available in both print shops, or both publishers. Furthermore, the two editions with this title-page suggest that the printers kept the title-page bound, and therefore kept their type tied-up in what must have been a costly speculation.

The Hearse of the Renowned and A briefe and compendious Narrative

I found these entries by paging through the Bodleian's pamphlet C 77 (2). I'm stopping because the copperplate etching of Essex in "The Hearse of the Renowned" (C 77 2 8) is almost certainly the source for the smaller, less detailed woodcut engraving in "A brief and compendious Narrative" (C 77 2 9).

"The Hearse of the Renowned" etching (121.0 mm high, 116.0 mm wide) is bound in a preliminary position, but the signatures were cut off in binding. I infer that it's the verso of A1, and it's left an inky residue on the recto of an inferred A2, but there are some reasons to disbelieve that placement. If title-pages functioned as advertisements, as we're so often told, then it may have been that this page would be set in the A1r position. The title-text is on A2r.  The chain-lines on the inferred A1 match the width of the chain lines on A4. On the A1 leaf, the upper chainline is 29.5 mm above the bottom edge as measured along the binding; the lower chainline is 7.5 mm above the bottom edge as measured along the binding; the difference is 22 mm between chainlines. On the A4 leaf, the upper chainline is 31 mm above the bottom edge as measured along the binding; the lower chainline is 8.5 mm above the bottom edge as measured along the binding; the difference is 22 mm between chainlines.

The Harvard copy seems to have the same setting of type, except I must dive into some of the weirdness of bibliographic description. The plates are different: Harvard's copy shows Essex in front of a hatched backdrop; Oxford's copy has Essex in front of a floral curtain, parted along the right to reveal the shield, "Ætatis ſuce. 56." and the background, several groups of pikemen. Does the difference in engraving mean that this is a different edition? It's not certain whether the title-page illustration was actually the title page, or the degree to which the differences in title page may indicate another unit of intended publication.

The Union copy seems to have the same engraving, but a significantly different setting of type.

The ESTC shows five editions containing this text or its illustration, and three editions by the same publisher under the same title within a year. All of this suggests to me that this was a popular pf "rint in 1646, which may have exhausted the original copperplate used for each edition.

The woodcut from "A brief and compendious Narrative" (97.5 mm high, 78.0 mm wide) is bound on the (unsigned) A1v. The title-text is on the (unsigned) A1r. This woodcut seems especially clear to be a direct plagiarism from the engraving from the Oxford copy of "The Hearse of the Renowned" based on two unique similarities:

• The "Narrative" woodcut includes a flask, labelled "s," as seen in the Oxford and Union editions of "Hearse," but not in the Harvard or BL editions.
• The "Narrative" woodcut includes both elbows, as seen in the Oxford and Union editions of "Hearse," but not in the Harvard or "BL" editions. 

That said, the woodcut includes no background whatsoever, and is significantly simpler in several aspects than any engraving in two regards:

• the woodcut portrait has a completely unornamented collar
• the woodcut portrait has fewer buttons

I conclude that the "Narrative" is a reductive imitation of "Hearse" not only because of it's illustration is simpler and it contains fewer pages, but also because of the reported dates on each title page. "Hearse" purports to conclude a funeral sermon from 22 October, 1646, whereas "Narrative" alludes to Essex's death on 15 December, 1646. Even though "Narrative" revises the date of Essex's death, it doesn't contain any content from his life after he was sacked from the army in May of 1646. Furthermore, the date recorded on "Hearse" comes closer to the date recorded in the Oxford DNB, 14 September 1646.

Unicode characters in ubuntu

When you have to transcribe a lot of dipthongs and paleo-orthography, you need a handy list of most-used dipthongs. In order of usage:

Unicode.	Character.
CTRL+Shift+u+017f	ſ
CTRL+Shift+u+00c6	Æ
CTRL+Shift+u+00e6	æ
CTRL+Shift+u+00de	Þ
CTRL+Shift+u+2c6d	Ɑ
CTRL+Shift+u+fb06	st

Coleman-street Conclave Visited

Unfortunately, this is a null result. I didn't find the portrait of John Goodwin that Malcolm Jones had. That might imply that it was loved to death, or torn up by a reader, but it's more likely that it was removed during the re-binding. You see, Oxford's copy of Coleman-street Conclave Visited is bound with some 80 other tracts, listed thus in a modern hand on the title-card:

4. A coppie of a letter sent to Cromwell.
5. Seasonable memento's and sober advice.
12. Eaton (S.) and Taylor (T.): A just apologie.
13. Du Perron (J.) A warning to the parliament.
14. Two petitions of the sequestered clergy.
15. A letter from a scholar in Oxford.
19. Letter from Saffron Waldon.
20. Observations in answer to his excellencies letter.
21. Hell and death in the covenant.
22. P.(H.): The worth of a penny.
25. Moro-mastix
16. Lamentation of the ruling lay-elders.
25. Lex talionis.
26. Arguments for toleration.
27. Vicars (J.): Coleman st. conclave visited.
31. Touching supremacy in the matter ecclesiastical
32. The character of a London-diurnall.
33. H.(J.) Down-right dealing.
34. A letter to the earle of Pembroke.
35. The grand plea of John Litburne.
39. An ordinance inabling militia to punish.
40. Reasons of the judgment of the university of Oxford.
41. A declaration of the proceedings of divers knights.
43. A declaration of the kingdom of Scotland.
44. A declaration concerning papers of Scots commissioners.
45. The answer of the lord mayor to sir T. Fairfax.
46. The case of the army truly stated.
47. An humble representation of sir T. Fairfax.
48. A remonstrance from sir T. Fairfax.
49. The proposals delivered to the care of Nottingham.
50. A particular charge in the name of sir T. Fairfax.
51. The answer of the commissioners of Scotland.
52. The petition of the city of London to parliament.
53. The cordiall of judge Jenkins.
54. P.(H.): An answer to David Jenkins.
55. P.(H.): Severall papers of David Jenkins answered.
56. A form of church government.
57. Dury (J.): A model of church-government.

What's so funny 'bout EEBO, state, and ideal copy?

(Note: This post was originally intended for 11 May, not 21 May.)

My old colleague from OSU, Aaron Pratt, was engaged in an interesting Twitter conversation with Whitney Trettien (whose work on the Little Gidding Harmonies I've been admiring from a distance):

First of all, I don't want to reduce or simplify either party's insights about the structure of book catalogs. As a result of this conversation, I learned a bit about the comparative advantages of relational databases. Like Whitney's creative projects, there's many branching paths in this conversation. I can follow none of them, except one. Here's the branch that Aaron follows on his blog:

 And [Whitney] is surely right that by taking the edition or issue rather than the individual volume as its unit of organization, EEBO demonstrates a disinterest in the kinds of juxtaposition and packaging that scholars have increasingly looked toward in an effort to understand reception and use.

In response to Whitney's call to include "books + texts" on a combined EEBO+ESTC, Aaron asks this question:

But what would it mean to turn EEBO on its head—to flip EEBO—and make its primary unit of organization the individual extant volume, the physical “book”?

 One of the reasons that Whitney and Aaron suggest looking at the physical book is that each of them studies binding. Binding is literally integral to the book. From this perspective, anyone who wants to study early English books online must study the binding as well as the text-block.

But consider what Philip Gaskell wrote about binding in the New Introduction:

The evidence of the binding cannot be accorded so much weight as that of the physical make-up of the book itself, since it may have been added long afterwards and in quite a different place. Nevertheless a binding of the hand-press period is more likely than not to be approximately contemporary with the book it covers—say within a decade or two—while, if it appears to be a trade rather than a bespoke binding, it is also quite likely to derive from the same part of the world. It will of course be remembered that a book may have been rebound at any time; and there is also the possibility, though a remote one, that it may have been rebound in a binding taken from another, possibly earlier, book. Edition bindings of the machine-press period are more useful in placing and dating than hand bindings, since they were carried out for the publisher in large batches, usually near the place of printing and often within a few years of publication. [emphasis added]

In context, Gaskell's chapter instructs readers to identify a printed copy with its author, publisher, site of location, etc. That is, what really matters is the accurate relation of a text-block to a social context. Consider the relative emphasis that each side would place on the phrase "early English books online":

• Gaskell might want to make sure that we're studying early English books online--which is to say that the New Introduction emphasizes the identity of these books
• Pratt might want to make sure that we're studying early English books online--which is to say that his blog posts seem to foreground the importance of binding to the conception of the text
• Trettien might want to make sure that we're studying early English books online--which is to say that her posts seem to foreground the digital structures that emphasize, obscure, prioritize, or flatten certain conceptions of the early English book.

Cats castle besieged by the rats

As Malcolm Jones notes, the Bodleian holds one copy of "Cats castle" in the Johnson collection. This copy was sold by John Marshall in 1790. This copy, then, has many striking differences from the version in the British Library. I'd like to expand on some of those differences.

First, and most importantly, the 1665 print is an etching and the 1790 print is a woodcut. The 1665 print has finer lines and cross-hatching. The 1790 print has wormholes that are visible in most areas that are shaded by hatching.

Second, the 1790 image is reversed. This implies to me that someone in the 18th century took the 17th century printed etching and used it as a pattern to engrave a new woodcut.

Third and consequently, the 1790 image diverges from the 1665 image in many details. Here is a list of substantial differences as I observe them from top-to-bottom, left-to-right in the 1790 edition:

1665 engraving	1790 woodcut
Above the gallows, the text reads, "vp you goe, Mr Puse"	Above the gallows, three heads of cats are posted on pikes
Below the gallows is one cat led by a rat with an axe	Below the gallows is one cat led by one rat with a fish towards another rat with an axe
From the gallows, five cats' legs hang	From the gallows, six cats' legs hang
The fish on the banners are spotted	The fish on the banners are not spotted
The largest turret in the corner has straight crosses on the sides.	The largest turret in the corner has rounder crosses, like Maltese crosses, on the sides
The rats march beneath the turret with an unmarked pennant	The rats march beneath the turret with a striped pennant showing a rat's head above a shield with a hammer.
The cat who blows a trumpet out of the turret window has no sign on his shield.	The cat who blows a trumpet out of the turret window has a chevron and circle on his shield.
The king of the cats stands with no background.	The king of the cats sits in front of a background of floral diapered background.
On the turret below the minaret, one cat raises a ball to throw towards a rat on a ladder.	On the turret below the minaret, one cat raises a ball and another aims a crossbow at rats pierced with arrows, below.
A rat fires a rifle towards the cats' turret	A rat aims a crossbow towards the cats' turret
The rats' cavalry carries a banner depicting a sphere	The rats' cavalry carries a banner depicting a hammer.
Nigro Mussell sits under a tent with no background.	Nigro Muſell sits under a tent in front of a framed background.
One rat climbs the ladder nearest Nigro Mussell.	Two rats climb the ladder nearest Nigro Muſell.
Two cats fight three rats at the main gate.	Three cats fight four rats at the main gate.
One rat climbs the ladder under the minaret.	Two rats climb the ladder under the minaret. A cat spears the lower rat from a window.
A rat fires a gun towards the castle from the topmast of the rats' ship.	A rat aims a crossbow towards the castle from the topmast of the rats' ship.
A horizontal line separates the vertical juxtaposition of upper rats receiving their commission and lower rats carrying pikes.	No horizontal line separates the vertical juxtaposition.
Ten rats carry pikes and fire a cannon.	Twelve rats carry pikes and fire a cannon
Three rats in a boat carry an unmarked shield.	Three rats in a boat carry a shield marked "N"
The rats' ship have no sign on their banner.	The rats' ship has the sign of a hammer on their banner.

Jones' transcription, 1665 edition, British Library	My transcription, 1790 edition, Bodleian Library
My command is to you all  To kill the Rats both great & smal	My Command is to you All, To kill the Rats both great and ſmall.
Downe with the Rouges [sic] defend me now or never  If they get up we are undon for ever.	Down with the Rogues, defend me now or never If they get up, we are undone for ever.
Fight ou [sic] brave Rats and kill our mortall foes  We’ll fight it out nor Will we feare thair blowes
Your commistion [sic] is to kill and destroy  Mischevous Cats that doe your state annoy.	Your Commiſſion is to take, kill, and destroy, Miſchevious Cats that do our State annoy.
if wee these catcs [sic] can overcom and kill  of cheese and Bacon we shall have our fill.

Fourth, the 1790 edition has been colored in tones that appear to have been red, blue, and yellow. The painting or inking seems to have been done with a very loose stroke: perhaps no more than a dab from a large brush.

Images painted with red	Images painted with yellow	Images painted with blue
legs of hanged cats on gallows
cat below gallows
roof of belltower	single-fish banner	three-fish banner
house in right-top corner		minaret
speartips in right-top corner	gate opening in right-top corner	rats' striped pennant
cannons and turrets below fish-flag	wagon underneath gallows
banderolle, "Master Tyburt prince of Catt's"	banderolle, "Down with the Rogues, defend me now or never If they get up, we are undone for ever."
leftmost two tents above "Nigro Muſell"		largest tent behind "Nigro Muſell"
cat below trumpet, pointing spear		banderolle, "My Command is to you All, To kill the Rats both great and ſmall."
cat above turret, below minaret
cannons on the right, in front of rat cavalry
rat cavalry's banner		foremost rat in rat cavalry
banderolle: "Your Commiſſion is to take, kill, and deſtroy Miſchevious Cats that do our State annoy."		Taller rat receiving commission
cannon to the left of the main gate		banderolle: "Kill or be kill'd, no Quarter give, We will not have a Cat to live."
arch of the main gate
spear and sides of rat, speared off of ladder under the minaret	canon underneath right ladder
cat under the main gate, stabbing a rat with a sword	rat stabbed under main gate
shield of rats under the main gate	rats' banner, left, and caption, "Come on my Friends, ne'er fear the Foe, We'll make them yield before we go."
rats' ship	rats' boat	water between rats' boat and the shore
banderole reading, "Fight on brave Rats, and kill ur [sic] mortal Foes, We'll fight it out nor will we fear their Blows"	rats' banner, right	rats' ship's sail

Finally, it's interesting to note that 1665 and 1790 are both times fraught by revolution for the English dominant classes. In 1665, the Cavalier Parliament is busy at work to roll back the memory of the Republic--while also fleeing the Plague in London. The Restoration is only as deep as the grass roots, and the Fifth Monarchists fight for the end of the world. In 1790, the English dominant classes have been shaken by the vision of Revolution in France. Edmund Burke was writing a fearful reflection on those revolutions. The cats in England were besieged by rats.

The verse, by the way, reads as follows:

WHEN fam'd Æsopliv'd we're told,
That Birds and Beaſts were of another Mould,
They then could Talk, Sir, Read, and Write,
But now, alas! they're dumb, and Stoicks quite.
Yet that our Story in that Time was penn'd,
Which if your readers it diſpleaſe, they now may mend. |
A Ship of War, which many Years withſtood
The raging Waves of Neptune's wat'ry Flood:
Whoſe ancient Sides by thundering Cannon Balls,
Were bruis'd and batter'd like the broken Walls;
Near to a Caſtle on a neighbouring Hill,
Was laid quite by, of Eaſe to take her Fill. |
No longer fit for Uſe became diſdain'd,
And now a Harbour for the RATS remain'd ;
Where Swarms and Legions fill'd both Hulk and Hold,
Enough to raiſe an Army brave and bold;
After ſome time they grew ſo ſtrong and ſtout,
That in full Force they agree to ſally out |
Againſt the Caſtle that was in their View,
Inhabited by CATS, a numerous Crew,
Who, jealous of their Force, rais'd all their Power,
Theſe enterpriſing RATS for to devour.
Their fierce Attacks, their different Schemes and Ways,
This Cuts to the Eye in various Shapes diſplays.

A catalogue of the earles, lords, knights, generalls, collonels, lieutenant...

I was fascinated by this print because of something that doesn't show up on the EEBO scan. Namely, three mis-impressions that hover behind and around the image-text.

The image itself is supposed to depict a Warrior in knightly garb who's late defeated the cavaliers.

• One patch of text to the right of the image (from "At Newberry fight" through "In fight by the E. of Manchester near Horncastle") has the bottom line of the title, "fled out of the kingdome," through the text, "Of the Garrison at Lime," rotated 180 degrees. Over that same area is a reversed image of the copperplate.
• One patch of the text just below (from "At Barkley castle" through "At Tadcaster of Newcastles men"") that has the text from middle of the leftmost two columns, rotated 300 degrees.
• One patch of the text to the bottom (from "At Tadcaster" through "At Glocester siege") has the vertical inversion of the copperplate engraving .

Magna Britannia divisa

This image-text is too large for me to describe in the time I have left. If I had known this were here, I would have started with this. But constraints being what they are, I can just note that I"ll view this again during the NEH.

Okay, I've finally got a bit of time and a workstation that allow me to look at this more fully. Here are some of the texts that don't register in the EEBO scan:

• The banner to the right of "C" reads, "Pro religione | Pro libertate". 
• Above "D," one figure is labeled "M. Pim". Below "D," one banner reads "Pro deo | Pro Rege"
• To the right of "F," the men under the gate are labeled "Militia"
• The banner above "M" reads, "Pro religione | Pro protestante".
• The banner above "H" reads, "Pro deo &c pro libertate"
• The flagpole above "L" reads "Religio Christiana"
• The banners above "V" read, separately, "Pro libertate &c." and "Pro rege &c."
• The banners above "1-6" read, "Array", "Bellum-Episcopalem-Sive", "Religio-Papalis," and "Ad-Extirpationem-Parliamentorum"
• The smoke blown by figure 77 reads, "meridionale"
• The smoke blown by 78 reads, "Instructionibus generalis"
• Underneath figure 81, the text along the left scale reads, "pro hispania"; the text along the right scale reads, "pro Francia".

Other notes: 

• The banner for 2 features a figure with a book in her left hand and a windmill in her right hand.
• The banner for 3 features an ass, kicking.
• The banner for 8 features a Pope in his mitre.

The key reads,

Litterae alphibeticae ad explicationem Profeſsionis Figurae vero  arithmeticae ad deſcriptionem Proceſsionis spectant.
The alphabeticall letters send thee to th'explication of the Profeſsion
and the arithmeticall figures to the deſcription of the Proceſsion.
Les lettres alphabetiques vennoyent alxplication de la Profeſsion
et les chiffres ala deſcription de la Proceſsion.
AMSTELODAMI-HANS-VANDERPILL
excud:& dedicat - Posteriati - 31 * Dec - 1642

The British Museum has a curator's write-up, with complete references to the people depicted.

Here's some of the text that's least clear in the EEBO scan:

... D. The King and Parl. of Eng.
land in the ſelf ſame year overthrew the deſſeigne which the ſaid Proceſion had to kindle a War be-
tween England and Scotland and to cauſe the Papiſts of Ireland to pass auxiliarily over into En-
gland do agree together of the meanes (by a E Committee of perſons choſen by both Parliaments
of the two Kiadomes[sic]) to repreſſe the cruelty that this popiſh War beares upon the fore-head, and cauſe
the Lieutenant of Ireland promotour of the ſame ſuccour, and Geuerall[sic] of this Proceſſion to be puniſhed

...

Mutandoes, or Under ſlops at York, D The King and Parliament raiſed, with great charges, a pow-
erfull M Army under the command of the Earle of Eſſex, for the Defence[sic] of the Proteſtant Religion,
the ſecurity of his Majecties Perſon[sic], and Parlement[sic], the preſervation of the Laws, Liberties, and
Peace of this Kingdom and protection of his Majeſties Subjects, againſt the aggreſſion, violence, and
oppreſſion of this Proceſſion. The ſame Army taketh Porthſmouth again from it, gives it Battle at
Edg-hil the 23 of Octob. 1642, where the Generall of the Proceſſion loſt his life, conſtrained it ſhort-
ly after to withdraw its gaping mouth from the attempts of London to Oxford and thereabouts; got
upon it Fernham Caſttle, the Epiſcopal Townes of Wincheſter and Chicheſter, and gave it many home-
touches in divers Counties before the end of Decemb. following. N His Excellency the E.of Eſſex
OThe Earle of Bedford Generall of the Horſe. Pthe Earle of Mancheſter,the Lord brooks, the E.
of Stamford, the L. Wharton,the L.Roberts, the L. Gray, the Lord Peterborough Generall of the Ar-
tillery, Mr. Hollis Eſq.SrWil.Belfore Knight, Major Generall Skippon, St John Meldrun, Sr Phil
Stapleton, SrWil.Waller, S.ArthurHaſterick Knights, and Colonels, M.Hampden and M. Stroud
Eſq. and Colonels, &c. Q The Regiment of Maſter Hollis, R the Regiment of my Lord Brooks
S the Regiment of Mr. Hampden, T The Earles of Northumberland,Holland,Pembroke,The L.Say
and Seale,&c.V the Lord Fairfax, Generall of the Army for the King and Parlement in the North,
S.Hugh CHalmley,S.John Seaton,Cap.Hotham,&c.

The Declaration and protestation of the Grand Jurie...

I was drawn to this image because of the split in the block used around the W. I suspect that it was conventional to saw apart blocks in this way, but I don't often see marks to that effect.

Due to the unclear EEBO scan, I want to make a  quick description of the image depicted therein. The very top of the image is a cloudy nighttime sky, punctuated with stars. There's an English flag on a mast in between a smiling moon and a gusty wind, blowing sails. The sails drive a ship that has one giant inhabitant, bearded and nude. He steers the ship by holding the sails from behind. The ship is steering towards a cliff, and more immediately, Poseidon astride an octopus. Poseidon is looking away from the ship, in the direction that his cape is blowing. The octopus has one eye visible above the water.

[A plan and view of the Town of Hull by W. Hollar.]

I just want to make quick notes about the text that's illegible in EEBO scans, from top-to-bottom, left-to-right.

Next to the title, "Kyngeston vupon HVLL," and above the text "The River Hvmber" the text says, This Humbre is broad against this | Towne, 2 miles or better."

In the key, the text says:

A. the olde ferye place
B. Salters ſtaires
C Hornesy ſtaires
D Chapell ſtaires
E Biſhops ſtaires.
F Scalelane ſtaires
G Kings ſtaires
H herringe ſtaires
I Horſe ſtaires
K Bruer lane
L the bockerie
M Finkell ſtreete
N Ogger lane

The text around the city reads,

• the high Streete
• Black frier gate
• The Roperie
• the Bridge over Hull
• North gate
• Chapell lane
• the loe gate
•  Fruite market
• Witmeat Market
• Corne marketDenton lane
• White frier gate
• The Balltowrs Nitongale ſtreete
• Blanket roo
• Whitfrier lane
• Scole lane
• Whitefrier gate
• Pesterne gate ſtreete
• Hutchinſons lane
• Beverly gate

And under the compass, the text says, "Scale of 600 foote"

A brief description of the excellent vertues of that sober and wholesome drink, called coffee,

Okay, this is a fun one. Unfortunately, I only have an hour to transcribe the poem that's not very well preserved on either EEBO scan.

A BRIEF
DESCRIPTION
OF THE
EXCELLENT VERTUES
OF THAT
Sober and wholeſome Drink,
CALLED
COFFEE,

WHen the ſweet Poiſon of the Treacherous Grape,
   Had Acted on the world a General Rape,
   Drowning our very Reaſon and our Souls
In ſuch deep Seas of large o'reflowing Bowls,
That New Philoſophers Swore they could feel
The Earth to Stagger, as her Sons did Reel:
When Foggy Ale, leavying up mighty Trains
Of muddy Vapours, had beſieg'd our Brains;
And Drink, Rebellion, and Religion too,
Made Men ſo Mad, they knew not what to do;
Then Heaven in [mutilated] y, to Effect our Cure,
And ſtop the Ragu[mutilated] of that Calenture,
Firſt ſent amongſt us this All-healing-Berry,
At once to make us both Sober and Merry.
     Arabian Coffee, a Rich Cordial
To Purſe and Person Beneficial,
Which of ſo many Vertues doth partake,
Its Country's called Felix for its fake.
From the Rich Chambers of the Riſing Sun,
Where Arts, and all good Faſhions firſt begun,
Where Earth with choiceſt Rarities is bleſt,
And dying Phœnix builds Her wondrous Neſt:
COFFEE arrives, that Grave and wholeſome Liquor,
That heals the Stomack, makes the Genius quicker,
Relieves the Memory, Revives the Sad,
And chears the Spirits, without making Mad,
For being of a Cleanſing Q U A L I T Y,
By N A T U R E warm, Attenuating and Dry,
Its conſtant Uſe the ſulleneſt Griefs will Rout,
[mutilated] oves the Dropſie, gives eaſe to the Gout
And ſoon [mutilated] whereſoever it finds
Scorbutick Humours, Hypochondriack winds,
Rheums, Ptiſtiks, Palſies, Jaudiſe, Coughs, Catarrhs,
And whatſoe're with Nature leavyeth Warrs ;
It helps Digeſtion, want of Appetite,
And quickly ſets Conſumptive Bodies Right;
A friendly Entercourſe it doth Maintain,
Between the Heart, the Liver, and the Brain,
Natures three chiefeſt VVheels, whoſe Jars we know,
Threaten the whole Microcoſme with overthrow ;
In Spring, when Peccant Humours Encreaſe moſt,
And Summer, when the Appetite is loſt,
And VVinter time too cold to Purge or Bl[mutilated]d;
Do but this Rare ARABIAN Cordial Uſe,
And thou may'ſt all the Doctors Slops Refuſe.
Huſh then, dull QUACKS, your Mountebanking ceaſe,
C O F F E E's a ſpeedier Cure for each Diſeaſe;
How great its Vertues are, we hence may think,
The VVorlds third Part makes it their common Drink,
The Amorous Gallant, whoſe hot Reins do fail,
Stung by Conjunction with the Dragons-Tail:
Let him but Tipple here, ſhall find his Grief
Diſcharged, without the Sweting-Tubs Relief ;
Nor have the L A D I E S Reaſon to Complain,
As fumbling Doe-littles are apt to Faign ,
C O F F E E's no Foe to their obliging Trade,
By it Men rather are more Active made ;

INCOMPARABLE
EFFECTS
IN
PREVENTING or CURING
MOST
DISEASES
INCIDENT TO
HUMANE BODIES.

     --- Floreſcat Arabica Planta.
'Tis ſtronger Drink, and baſe adulterate VVIne,
Enfeebles Vigour, and makes Nature Pine;
Loaden with which, th' Impotent Sott is Led
Like a Snowe'd Hogſhead to a Miſſes Bed ;
But this Rare Settle-Brain prevents thoſe Harms,
Conquers Old Sherry, and brisk Clorret Charms.
Sack, I defie thee with an open Throat,
VVhilſt Truſty C O F F E E is my Antedote;
Methinks I hear Poets Repent th'have been,
So long Idolaters to that ſparkling Queen;
For well they may perceive 'tis on Her ſcore
A P O L L O keeps them all ſo Curſed Poor ;
Let them avoid Her tempting Charms, and then
VVe hope to ſee the VVits grow Aldermen
In Breif, all you who Healths Rich Treaſures Prize,
And Court not Ruby Noſes, or blear'd Eyes
But own Sobriety to be your Drift,
And Love at once good Company and Thrift ;
   To VVine no more make VVit and Coyn a Trophy,
   But come each Night and Frollique here in Coffee.

The RULES and ORDERS of the
COFFEE-HOUSE.
Enter Sirs freely, But firſt if you pleaſe,
Peruſe our Civil-Orders, which are theſe.

Firſt [mutilated] welcome
And may without Affront [mutilated] :
Pre-eminence of Place, none here ſhould Mind,
But take the next fit Seat that he can find:
Nor need any, if Finer Perſons come,
Riſe up for to aſſigne to them his Room;
To limit Mens Expence, we think not fair,
But let him forfeit Twelve-pence that ſhall Swear:
He that ſhall any Quarrel here begin,
Shall give each Man a Diſh t'Atone the Sin;
And ſo ſhall He, whoſe Complements extend
So far to drink in C O F F E E to his Friend;
Let Noiſe of loud Diſputes be quite forborn,
No Maudlin Lovers here in Corners Mourn,
But all be Brisk, and Talk, but not too much
On Sacred things, Let none preſume to touch,
Nor Profane Scripture, or ſawcily wrong
Affairs of State with an Irreverent Tongue :
Let Mirth be Innocent, and each man ſee,
That all his Jeſts withotu Reflection be;
To keep the Houſe more Quiet, and from Blame,
VVe Baniſh hence Cards, Dice, and every Game:
Nor can allow of VVagers, that Exceed
Five ſhillings, which oft-times much Trouble Breed;
Let all that's loſt, or forfeited, be ſpent
In ſuch Good Liquor as Houſe doth Vent,
And Cuſtomers endeavor to their Powers,
For to obſerve ſtill ſeaſonable Howers.
   Lastly, Let each Man what he calls for Pay,
   And ſo you're welcome to come every Day.

I was originally attracted to this print because of tho two-frame illustration at the top. This illustration has illustrations that are uniquely stacked vertically. The upper frame has a comparison of coffee trees, and the lower frame depicts a conversation at a coffee house.

I should probably just refer to Joseph Monteyne's reading of coffee-house images from The Printed Image in Early Modern London.

Vox Populi

In the left image, there are three figures. Here's what's not clear in the EEBO text: Each figure holds a text.

• The left figure wears a small cap and holds a text labeled "bible"
• The middle figure wears a low, tri-fold hat, and holds a text labeled "Seruice | book"
• The right figure wears the same, and holds a text labeled something very unclear, like "Superaſtis - | cimn"

In the right image, there are two figures. There's a Monk standing in front of a stone building. His hair is tonsured, he wears robes, and he has a rosary around his belt. He holds his right hand up, and extends his left hand to the viewer's right. In that direction is a devil. He has crooked horns, a pointed nose, a beard, a pointed tail, and talons for feet. That devil is reaching both hands to the viewer's left, though his right hand holds a black rounded hat upside-down.

Englands remembrancer

Again, I think my main job is to transcribe any details that are lacking in the EEBO scan. In this case, it seems to be "all of them." So I'll trascribe the text and describe the poem. The poem has marginal notes, which I'll try to reproduce with two-column text.

ENGLANDS REMEMBRANCER, OR A thankfull acknowledgement of Parliamenta- ry mercies to our Engliſh-Nation. Wherein is contained a breife enumeration fo all, or the moſt of G O D s free favours and choiſe Bleſſings multiplied on us since this Parliament firſt began.
COme hither, each true Chriſtian heart and ſee; But,bring a joyfull, thankfull heart with thee. Come ſee (I ſay) to Gods eternall praiſe, How miracles of mercies in thy dayes.	1. Two parliaments diſſolv'd
How, though two former Parliaments were broke,	2. A third called
A third is cal'd, hopeful to ſtrike the ſtroke Of bleſſed reformation ; to which end, See how the Lord the peoples hearts did bend.	3. Choice of Knights and Bur-
To chooſe renowned worthies there to ſit,	geſſes.
Maugre the adverſe plots t'have hindered it.
How God ſtirr'd-up our Scottiſh Brethern brave,	4. The Army of Scots our
As friends, not foes, juſtice (with us) to crave.	friends.
In which meane time, how by Heavens providence,	5. Souldiers turne Reformers.
Souldiers ith' Country, with ſtrange violence Turn'd rude Reformers, hating the Popiſh-party	6. And haters of Papiſts and
And Pontificans with deſpight moſt hearty.	Pontificans
Crossing the Papiſts and the Prelates plots, To force fierce warrs betwixt us and the Scots To three great Kingdoms certain Deſolation,	8. The Pacification.
All croſſed by a bleſt Pacification: Scatt'ring and batt'ring (that time) Spaines great Fleet,	9. Spaniſh fleet at Sea, vanqui-
By honeſt Holland, who, their pride did meet.	ſhed by the Hollanders
How God begins t'avenge th'unpater'nd ruth,	10. M.Burton, D Baſt.M.Prins,
Of that pair-royall-Witneſſes of Truth,	happy return from captivity.
And all the ſuffering Worthies of the ſame,	11. And the reſt of Chriſts ſuf-
Reſtoring them to comfort, credit, fame.	ferers.
How God hath ſhot thoſe impious Canoniers	12. Canons and Oath in the
By curſed Canons to deep ſhame and feares,	Synod damned
Of fatall, finall fall,even by an Oath	13. And turn'd to their owne
Whereby they hop'd to get full Popiſh growth.	ruine
How Heaven diſcovered hath a rotten-Sort	14. Scandalous Prioſts diſcove-
Of ſcandalous Baals-Prieſts of foule report;	red
And open ſet a Doore of reſtauration	15. Godly Paſtors reſtored.
For faithfull Paſtours happy re-plantation.
How, by their own plots,God hath ſtrangely wrought	16. Plots harme the Prelates
Papiſts and Prelates to decline to nought.	moſt.
How by the very blood of traiterous foes	17. Traitors executed.
The Lord begins the wounds to heale and cloſe
Of Church and State, and,for this purpoſe,hath	18. Dayes of private humiliati-
Kindled the fire of Supplicating Faith	on by godly Chriſtians.
And fervent Zeale in private humiliation,
Such, as the like was nere ſeen in this Nation ;
And with tranſcendent ſweet returns re-paid	19. And returns fo their prayers
Our prayers into the boſomes with bleſt aid.
How the Lord hath, the Spirit of Unity	20. Bleſſed Union in Both
Shed on Both Houſes, Courage and Conſtancy;	Houſes.
O, how their indefatigable paines
Our happy Hopes in Church and State maintains !
To ſee both Prince and People bleſſedly
Conjoyned in a ſugred Symphony	21. Agreement twixt King
To ſit and conſult with full content,	and Parliament.
Till they themſelves diſſolve this Parliament.
And after it to ſit triennially	22. A trieniall Parliament e-
To Church and States future felicity	nacted
To ſee Ship-money, Pattents damned down,	23. Ship mony&Patie[~]ts da[~]ned
And good men ſet in feates of high renown.	24. Good men made officers of State.
To ſee Non-Reſidents juſtly diſgrac'd, To ſee our lazy Pluraliſts diſplac'd; And godly Lecturers by their flock elected,	25. Non-Reſidents } voted a- 26. Pluralists } gainſt. 27. Lecturers rightly choſen
And droaniſh Deanes and Prebends diſreſpected.	28. Deanes and Chapters vo- ted downe.
And voted-down in Parliament. To ſee,	29.Univerſities reformed.
Oxford and Cambridge hopefull pug'd to be,	30. Sabbaths betters ſanctified.
To ſee Gods Sabbaths more ſincerely kept,
Of Carryers, Frut'rers, Tavers ſoyle well ſwept;	31. Printing-Preſſes opened.
The Sabbaths precious honour, which, of late,	32. Sabbath-ſports put downe.
By impious Prelates, Pontificks profane,
Had (in vain ſports) receiv'd a deep-dy'd ſtain	33. Lords-Supper rectified.
To ſee to th'Sacrament, none (now) admitted
But ſuch as piouſly are thereto fitted
To ſee the Surplice and ſuch Romiſh traſh	34. Popiſh Ceremonies ſenten-
From Parliament receive a deadly gaſh,	ced
Whereby no Popiſh geſtures, veſtures are
Impos'd 'gainſt Conſcience on Gods Saints to weare.
And no man forced (now) at Church to ſtay	35. Liberty to heare tthe word
Where is no preaching to promote Gods day.	more freely
To ſee Gods out-caſts called home again	36. Perſecuted Paſtors recalled
And ſonnes of Beliall feel juſt ſhame and pain.
No High-Commiſſion, Sp'rituall-Court to ſee,	37. No High-Commiſſion
Whereby Gods peoples hearts from feares are free,	Court admitted.
Of their unjuſt commands, lawleſſe taxations
And all Church-wardens clear'd from vile vexations.	38. Church wardens freed.
To ſee our Seas and Cinque-Ports fortify'd;	39. Sea's and Cinq[`]-Ports for- tifide.
That we may und'r our Vines ſecurely 'bide.
But, ſpecially to ſee, with exultation
From Both the Houſes a bleſt Proteſtation	40. A bleſſed Proteſtation
Together,all true Engliſh-hearts to tye,
In a bleſt league, Romes Strumpet to defie,	Againſt all Popery and Popiſh
All Popish Innovations to diſdain,	Innovations.
Chriſts Truth toth'death conſtantly to maintain.
O,woh cannot theſe Halcyon-dayes admire,
And with enflamed Zeale be ſet on fire,
To found the praiſes of our bounteous Lord
Who theſe heart-cheering comforts doth afford
Unto a Nation,in th'eſteeme of moſt,
For Sin, forſaken, periſhing and loſt.
But, now, much like a Ship by ſwelling-waves	A proper Simile.
Toſt to and fro,gaping to be the graves	England compared to a Ship
Of all its heartleſſe Marriners, but yet	toſt at Sea.
A ſodain calme and faire windes favouring it,
'Tis brought in faf'ty to a harbour faire
Where all arive, where all preſerved are;
So, O, even ſo, thy God in mercy free,
O England, England, thus preſerved thee!	Admonition to England.
Hopeleſſe and helpleſſe: Lay this then to heart,
Rouſe up thy Soule, perform thy praiſing part.
O great King C H A R L E S,cheer-up thy ſoul,likewiſe	Counſell to the King.
Ponder theſe ponderous things, ariſe, ariſe,
High time to put-on reſolutions rare,
To honour God, who with ſuch honours faire
Hath bleſſed thee and thy three Kingdomes, now,	Reformation deſired.
A thorough Reformation in them vow.	5 Princely Petitioners to our
Remember alſo and Commiſerate	King
Thy royall Siſters poore Palatinate,	1.
Sad Germanies long lamentable woes,	2.
Rochell, like Rachell in her childleſſe throwes,	3.
Thy neare allyed Denmarke in diſtreſſe,	4.
Holland thine honeſt, ancient friend no leſſe.	5.
Who all, with Us, and on Us, look for ayd,
From thee, great Prince, who long have been ore-layd
With Romiſh rage and Spaniſh cruelty,	Gainſt Spaine and Rome.
Still groaning, frieving, by their tyranny,
To forward which moſt bleſſed worke, behold	Helpes at hand.
Thy prudent Peeres reſolv'd with courage bold,	1. Peeres.
Thy pious Prophets with their prayers addreſt,	2. Prophets.
Thy people all with hearts and purſes preſt,	3. People.
To give thee all their aide, to ſpend their blood,
To haſten-on this work ſo great, ſo good.
And, O our God, let thy good Spirit ſtrike-in,	4. A Prayer.
To make the work compleat, to pull-down ſin,
To ſet-up Chriſt in his pure, powerfull throne
To rule and raign in all our hearts, Alone.
So ſhall we All, all our remaining dayes
To thee our God eternall trophies raiſe
Of all obliged praiſes infinite,
Who, thus, to do us good, doſt take delight.

There's lots of text in the print that I think may be lost in the EEBO scan, so I'll reproduce it here.

Location	Text
Above the king, surrounding the beam of light.	This booke of the law ſhall | not depart out of thy mouth but thou ſhalt meditate there | in day & night & thou mayſt obſerve to doe according to all | yt is written therein; for then thou ſhalt make thy way | proſperous &c: Iof: 1: 8
Above the bishops, under the left windows.	Give the King thy Iudgments, O Lord & thy righteousness unto ye Kings ſon ſo ſhall he iudge thy people with equity & thy poore with judgment: pſal: 72: 1 :
Above the knights, under the right windows.	My heart is toward the Gouernors of Iſraell who offered themſelues willing- ly: Iudges: 5 : 9 :
On the King's book	Cultust | Deus ſui | protagit
Below the king.	Slacke not thy hand from thy ſer vants, come up to us quickly and ſaue vs, and helpe vs: for all the Kings of the Amorites that dwell in the mou[~] taines are gathered togeth er againſt us. Ioſh : 10 . 6 .
On four women.	[far-left] Holland [mid-left] Denmarke [mid-right] Palatinae [far-right] Rochell
Below the four women.	Happie art thou O Iſrael, who is like unto thee, O people ſaved by the lord and who is the ſword of thy Excellencie and thine enemies ſhall be found lyers unto thee : Deut : 33 , and 29
Below the people	[missing]hen the people reioyced,for that they offered willingly becauſe with a cheerefull hart they offered willingly unto the Lord, And the King alſo reioced with great joy : 1 : Chron : 29 : 9

A list of priorities

✓John Vicars. Englands remembrancer, 1641. BL # C.20.f.2.(13.) Wing # V302 . EEBO link. 
✓Anonymous, Vox populi. In plaine English, 1642. BL # C.20.f.2.(15.) Wing #  V728 . EEBO link. 
✓Anonymous, A brief description of the excellent vertues of that sober and wholesome drink, called coffee, 1674. BL # C.20.f.2.(89.) Wing # B4568 . EEBO link. (Both EEBO scans are imperfect, but this copy is mutilated.)
✓Wenceslaus Hollar, [A plan and view of the Town of Hull by W. Hollar.], 1642.. Thomason # 669.f.6.(21.) Wing # unavailable . EEBO link.
✓Anonymous (for G. Badger), The Declaration and protestation of the Grand Jurie..., 1642. Thomason # 669.f.6.(69.) Wing # D539 .  EEBO link.
~ Hans Vanderpill, Magna Britannia divisa, 1642. Thomason # 669.f.6.(113.) Wing # unavailable . EEBO link.
~ Anonymous, A catalogue of the earles, lords, knights, generalls, collonels, lieutenant... , 1647. Thomason #669.f.11.(30.) Wing # C1373 . EEBO link.

A list of interesting things - from the Poetical Broadsides collection

Anonymous, The Armes of the Tobachonists, 1630. BL # C.20.f.2.(5.) STC # 776 . EEBO link.
Anonymous, The true manner of the life and Death of Sir Thomas Wentworth... 1641. BL # C.20.f.2.(8.) Wing # P3385 . EEBO link.
Francis Mussell, Good Newes for all true hearted Subjects, 1641. BL # C.20.f.2.(10.) Thomason # E.599.(11.)  . Wing # M3163 . EEBO link.
John Vicars. Englands remembrancer, 1641. BL # C.20.f.2.(13.) Wing # V302 . EEBO link. (NB: This EEBO scan is a mess.)
Anonymous, Vox populi. In plaine English, 1642. BL # C.20.f.2.(15.) Wing #  V728 . EEBO link. (NB: This EEBO scan is a mess.)
Anonymous, Qui chetat chetabitur, 1661. BL # C.20.f.2.(45.) Wing # Q203 . EEBO link. (NB: This is illustrated with a trope that appeared in Pyrotechnica Loyolana.)
Henry Bold, Satyr on the Adulterate Coyn Inscribed the Common-Wealth, 1661. BL # C.20.f.2.(46.) Wing # B3475 . EEBO link.
Anonymous, A brief description of the excellent vertues of that sober and wholesome drink, called coffee, 1674. BL # C.20.f.2.(89.) Wing # B4568 . EEBO link. (Both EEBO scans are imperfect, but this copy is mutilated.)

A funerall ellegie, upon the death of Mr. John Pim

Since this sheet has no image on EEBO, I should explain.

The document is a half-sheet broadside. Across the header is the image of a skeleton with laurels, resting on its side over a tomb. The frames around the whole page are pure black.

The elegaic poem is followed by an acrostic on the name "IOHN PIM," and an Epitaph.

Behold Romes monster on his monstrous beast!

Again, I'm short for time and I have an EEBO scan for later reference. So I'm just going to make a quick list of the in-image-text, all of which is obscure in the EEBO scan.

• Giericheyt
  Couetouſness
• Honerdie
  Pride
• Onerſheit
  Lecherie
• Gramſchap
  Wrathe
• Nydicheyt
  Envy
• Gulſicheyt
  Gluttonie
• Dronkenſchap
  Drunkenes
• Bedroch
  Coſenage
• Erge bate
  Priuate lucre
• Ergen Vernuft
  Selfe opyonated
• Gewelt
  Violent
• Tvat der Sonden
  The barell of Sinne
• Mordadighe Inquiſitie
  The Murderyng Inquiſition
• De torne gods
  The wrath of god

The kingdomes monster vncloaked from heaven the Popish conspirators...

Again, the EEBO scan is pretty good on this tract, and time is short, so I'll just make a note to come transcribe this later.

The malignants trecherous and bloody plot...

I don't know how much time I'm allowed with the Thomason tracts, so I'm going to rely on EEBO for later work on this. The scan is relatively good, except for the bottom lines.

For the panel labeled "St. James," the bottom lines read:

Shall once prevaile to roote out Iſraels name Iſa: 63.1
Sion or'e Conquered heaps shall Victory proclayme.
This is Entred according to order and ſould by Io. Hancock.

For the panel labeled "ye King's Army," the bottom lines read:

Dagon ſhall fall, and Ashod, men ſhall flee
Nought is their gaine, but woefull payne and miſery 

For the panel labeled "ye Covenant," the bottom lines read:

Theire Native Rights, their Lawes and Liberty
Subdud their Necks to th'iron Yoke of Slavery.

For the panel labeled "ye Execution," the bottom lines read: 

Their Soules with God, their Blood for Vengeance cryes
Corruption turnes there Corys to droſse.
The Resurrection ſhall that loſse
Returne with gayne, and wipe their watry Eyes
And ſhall for aye with vengreance pay their Enimyes

Syons Calamitye

The EEBO scan of this engraving is a bit unclear, so today I want to transcribe, as well I can, the small text on this sheet. I'll be organizing the text according to the letter to which image and text are indexed.

General notes:

• All question marks in this engraving are vertically reflected. 
• Most of the poetic text is italicized, except on select non-italicized words. I have reversed this and italicized select words.
• The colophon underneath the poetic text reads, "Are to be ſold by Nathaniell Gilbye at the Eaglle & childe in Lumbard ſtreete"
• The collector has marked the date as "May ". 12 . 1643" 
• An unindexed image, above all and at the center of the top, is the eye of God. This is a left eye, surrounded by rays and casting down the ray seen in "L."

	The image	The image-based text	The poetic text
A	A woman under a net. Her face is distressed and her hair is wild. Her breast is exposed, but she has a line under her breast. She wears a skirt from her waist to her ankles. At her feet is a fallen sword. To her immediate left and right are the figures from "F." Above her is the image from "H."	[none]	Alas Poore England! how art thou Diſtrest With Warre? which for a longe time was soe blest With Peace: that all thy Neighbouringe Nations Admir'de thy Glorye when all their Stations Were even fild with bloodye warres and ſtrife Then did thy Children Live a Peacefull life
B	Two symmetrical images of assembled men. Both sides face inward, towards "D" Each assembly has masses of men with pikes, banners, and rifles.	[Above Left:] "Triticum inter Gluma[~]" [Above Right:] "Gluma inter Triticum"	What? Armies fightinge what doe theſe portend thee? Or health or ſafetie? noe; this is the way to end thee The Kinge againſt his People~ (What meanes this?) And they 'gainſt Him, Deſtruction ſure it is
C	Castle walls. The walls are cross-hatched brick.	[Below, on either side] "Flumina | Miſericordiae"	Ah, Loe, thy Caſtle is ſurprised
D	A soldier on a turret. The soldier wears a Roman helmet. He carries a spear and a shield. The turret is above a gate.	[none]	Warre on thy Wall
E	Two parties, holding the sun between them. Both parties have one woman in classical dress, and six men in brimmed hats and robes. The woman to the left holds a small sun between her left index and thumb. The woman to the right holds a large palm in her left hand. The woman to the right reaches with her right hand towards the left.	[Underneath both parties] "Veritatem Sequi neceſse est."	And Peace, and Truth  excluded : but thy fall
F	Two women under the net. Both women wear simple robes and long hair. The woman to the left crouches on her knees. The woman to the left reaches both hands towards the figure in "A." The woman to the right is blindfolded. The woman to the right stands above a down-cast scale. The woman the the right holds the arms and shoulders of the figure in "A."	[none]	To this, is thus; Conſcience and Juſtice late The Props and Pillers of thy Glorious State Have been Intangled in a Subtile Snare
G	Five men in courtiers' robes. They huddle and raise a finger to the figure in "A." The foremost man holds the rope of the net.	[A banderole reaches from "N" to "G"] "Cavete Malum Conſultori peſimum"	By Evill Counſels; Soe that now they are Scarce able to Releive thee: though the Care
H	A woman with a sword. Above her head is a small sun. In her right hand she holds a sword. In her left hand she holds the net. Her breast is exposed, but robes drape over her left shoulder.	[To the right] Astrea	And Providence of Aſtrea doth not Spare To breake this stronge Compacted Nett aſunder To give them power to cheare thee, Whilst others wonder, And Grieve at the Diſcoverie thinkinge th'Event, Could never have been diſcern'de by Parliament. But blest be God, that Gave her Eyes to ſee And Heart to heale thy bleeding Miſerie
I	A King kneeling in prayer. The king wears his full robes and crown. The king has the pointed beard of Charles. The king looks upwards to God's eye, top and center. The king's hands are chained to "L."	[A banderole reaches from "N" to "I"] "Sivis Omnia | Subjicere Subice to Rationi" [Words reach from "I" towards God's eye] "O Lord behold"	Behold thy Kinge, now touch'd with Senſe of this Bewailes thy Miſerie and Prayes that Peace May once more kiſse thee; whilſt the
K	A woman kneeling in prayer. The woman wears long, full robes, and a Breton headdress. The woman looks upwards to God's eye, top and center. The woman's hands are chained to "L."	[Words reach from "L" towards God's eye] "Juſjurandum ſerva"	Lawe, His Mate Inſeperable; bids him Awe His God, and keepe his Oath, and God will send Warre out, Peace in, and Plentie to his Land.
L	A crown and scepter. "L" is suspended on a chain between "I" and "K," and inside a beam from God's eye.	[Inside God's beam] "Credite et Vivite"	The Chaine Supportinge Scepter, and the Crowne Denotes that these diſiointed? all fals Downe.
M	Two parties of people praying. Both parties, left and right, are men and women in contemporary dress. The ground has small shrubs. Their hands are folded in prayer, and their gaze is pointed upwards to a gate.	[Above both parties] "Ate Domine Speramus Salutem" [Between both parties] "Pro Rege Eccleſia et Patria"	Alas the Com[~]ons now belowe Lament To see the Kinge State, Church, and Lawe diſsent And Warre breake in, and Peace and Truth excluded. And they themſelves from hopes of Peace Secluded.
N	An old man in scholars' robes. The man is balding with a white beard. He holds two banderoles. In his right hand, he holds the banderole leading to "G." In his left hand, he holds the banderole leading to "I."	[Underneath] "Philoſophus"	Phylosophers Grave to th'Kinge this Counſell give. To yeeld to Reaſon is the way to Live. And Raigne with Glorie, to the eville Crewe Of wicked Counſellors declare, theire dew.
O	A church with a tower and flying arches. Over the door, the church has a large round window. On either side of the roof, a cross with a crescent moon on top.	[Underneath] "Eccleſia Languens."	The Catholicke Church being rent with Schiſme Laments
P	Four men with books. The men wear dark robes and varied hats. The rightmost man looks and points towards "S."	[Above] "Infrate Scholam Christi" [Below] "S. Theologi Sinceri"	The Reverend Clergie, which were woont to vent Pure Doctrine, were oppoſde,
Q	Two men in robes with high tri-fold hats. The man on the left points towards "S" with his left hand.	[Above] "Nolin mus colem tangere" [Below] "Suſurrores"	by Polititians, baſe
R	Two men in robes with wide tri-fold hats and crooked staffs. Both men point towards "S" with their right hands.	[Below] ""Adulatores"	Flatterers and
S	A man whipping another man. Both men face to the right. The left man wears a brimmed hat and a tunic. The left man holds a whip. The right man wears robes, no hat, and no shoes. The right man has a rosary hanging from his belt.	[Above both] "Nihil Refert ad nos" [Right, by right man's mouth] "Voe mihi"	Dunces Learnt to gaine the Place
T	Two parties, upper-left and lower-right. The upper-left party is three men in cavalier clothing with swords drawn. The lower-right party is young men in plain clothes with books on the ground.	[Above upper-left party] "Martenec Mercutio?" [Above lower-right party] "Victa jacet pictas"	Younge Students grewe diſheartened to See The Church thus Suffer; whilst Simple
V	Eight images, from top to bottom A young man in plain clothes, holding his hat. A woman with a hat, holding her left hand forward. Four young men. A smoking man in buccaneer's clothes. A bald man with a sheet. A man and a woman with fake crowns. A man gathering his cloak. A man and a priest grasping. The man has a strange device. The priest has a book.	[Above] "Ther's nothing to oppoſe us" [To the right] "Stand further of &c." [On either side] "Iſay: 65|v.5" [Above] we are wiſer then our Teachers [To the left] "All's our owne." [Above] "I am the Profett sone" [below] "a Vomere ad Roſtra" [Above] "I ſhall be Kinge of Jeruſalem | and I Queene" [On either side] "Phantasie Triumphans" [Above] "I speake all extempore nonſense naturally." [Left] "Hinc Illoe" [Upper right] "Tu ſans Ratione Philautos" [Lower right] "Lachrimoe" [Below] "2. Tim. 3. | 2. Tim. 4."	Phantaſie, Her unſounde franticke humours would advance, Above the Churches Glorie, Laid in a Trance. The Lawes you See! how they have been abuſed
W	Six figures, from top to bottom: A well with people in both baskets. The left is higher; the right is lower. Two men. The left man is dressed normally. The left man points to the left. The right man wears a ship on his head and drags a large seal with his right. A row of six Bishops. The left two wear laurels on their hats. The right four wear ships on their hats. A man pleading before four men. The men wear high tri-fold hats. A fool pulls down a pillar. A fool kicks a woman and threatens her with a staff.	[Above] "Hodic | mihi cras tibi" "Tem-pora mutantur" [Upper left] "Ne timeas" [Lower left] "Hinc petitio et Perditio hujus." [Right] "Heu quanta de ſpe decidam" [Left] "Memoria Juſti vivet in AEternum" [Above] Obliti ſumus Parliamenti" [Above, interspersed] "Our Canon | So shall he know | Choake him wth an &c. | The knaves wittie" [Below panel] "Nemo tenetur |&c." [To the right] "Te flectere faciam" [On the pillar] "Cuntis cadem" [Upper right] "Flocci pendo" [Lower right] "Eſt ne Deus?" [Below] "Conſcientia Spreta"	By Knaves and Fooles; whilſt Conſcience is refused, Deſpis'de and Kickt' Flatterye imprac'd, the Lawe. Puld downe Iniuſtice Raiſ'd the Poore to awe. Were Lawes made by Lawes? then what? shall I say By whom? by Knaves. what then? they ranne away
x	Two parties chained to a post. To the left, a woman in a scholars' cap with a long wand; a waiting boy holds her robes. To the right , a man holds a hanging lamp. The left waiting girl holds a garland; the right waiting girl holds an anchor.	[Above the post] "Nulla | Ulla ſallus belle?" [Lower left] "Judgement" [Lower right] "Reaſon"	Reaſon and Judgment chainde
Y	A gorgon pursued by a knight. To the left, the gorgon runs left after her own torch. To the right, a knight runs left after Medusa. The knight has his sword and dagger drawn.	[Above gorgon] "Fire" [Above knight] "Kill" [Below] "Ratio Relicta"	Paſſion and Furie free?
z	A man with a sheet. The man's back is turned to the viewer, but he points towards the Eye of God. The sheet has a large stamp, to indicate the warrant of the king.	[Above] "No Monopolies I beſeech you"	Monopolies and Pattents forced; Lett that not be; O God and Kinge!
a	Two burdened mules and a man. The mules are walking left. The man is crouching below the mules.	[Mules' burden] "HONORES"	Aſses downe Laden? what? with Honours! who Supports them? Com[~]ons? how comes that? They cannot Live without theire helpe, though forc'de to doe'it, They now growe wearie! Vpſtarts looke you to'it.
b	Athena holds the reigns to two mules, walking left. The mules pull a carriage. Athena has her sword raised.	[none]	Doe Aſses drawe in Warre? who rides in State?
c	A woman sits in the window of a carriage led by "b."	[Above carriage] "Dulce bellum inexpertis"	Miſerie, who runnes by?
d	A man runs alongside the carriage from "b" and "c"	[Below] "Hic labor hoc opus eſt."	Famine! who followes?
e [un-marked in poem]	A skeleton running after "b-d." In its right hand, it holds an hourglass. In its left hand, an harrow.	[none]	Fate.
f	Seven figures: A man pulling a woman by the hair. A burning city. A woman clutching heavy robes A pair of scaffolds A pair of canon Two warring parties A dead infant	[none] [none] [Above] "Hibernia Patiens." [none] [Above] "Lament: 1.V 16.20-21" "Lament:5 v. 1 2-3." [none]	Poore Ireland feeles it;
g	A rustic scene. In the foreground, a house with a gate. A man and woman leaving the gate. The woman by the gate holds a pan. A woman gathers coins in the yard. A man enters the yard with two bags.	[Above all] "Scotia Triticum Ventilans" [Above the man with bags] I have gott ſomethings. [Above the coins] "Oh you ſhall have dainety twopences" [Above the pan] "The wheat for me & the chaffe for thee" [Banderole, by the gate] "I ſee and ſmile"	Scotland gaines the Gold.
h	A gentleman with sword drawn. The sword is in the left hand. The sword's point touches the ground.	[To the right] "ista mihi" [Below, on either side] "The ſmooth | Tongu'd French man ſayes Oh! that's for me"	Whilſt France and
i	A gentleman, pointing left	[Above] "The hungie Spaniard wiſheth it's good Beefe" [To the left] "Valde Eſurio"	Spain doe Laugh thus to behald Our General Diſtractions; nay
k	A gentleman, pointing left	[Left] "Non aude ſed time" [Below] "The Dutchman bids hands of, that shall not be."	the Schoole of Warres
l	A gentleman with sword drawn	[Above, on either side] "The Lord Dane cries if theſe hold I'le be cheefe Redditum expecto[m? (obscure)]"	And Denmarke too, rejoyce to ſee our Iarres. As hopeinge they themſelves may hereby Gaine Our Kingedomes Glorie; wee, the Loſse and Staine, But Lord in Mercye looke upon this Nation And be to it the Helmett of Salvation. Expell Unnaturall Warre, and grant us Peace And Unitie 'mongst Brethren, if thou Pleaſe; That all may Live to give thy Name the Praiſe. Reſtore thy Peace to us in these our Dayes. Amen.