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207 tablished by Elizabeth I and continued by James I and Charles I. The exiled James II took with him traditional beliefs in the divine right of rule, absolute monarchy, loyalty, the mythical quality of history, and the didactic and inspirational nature of regal portraiture. Consequently, Mr. Nicholson argues, ‘‘[h]is establishment of an alternative court in France can be seen not as a shadowy pastiche of royal authority, but as a wholly positive and determined reassertion of the regal presence , in line with the established precepts of the Tudor and Stuart courts.’’ An argument of iconography between the rival courts of William of Orange and the exiled James began almost immediately, though James and his heirs in Paris and Rome maintained the initiative well into the eighteenth century, with William and his successorsin Englandlargelyreacting to Stuart initiatives. Rather than dismissing copies, painted or engraved, of commissioned paintings, or medals and drinking glasses as merely derivative and ‘‘low’’ art, Mr. Nicholson regards them as essential to the Stuart mission of reminding the exiled monarch ’s subjects of his image and the loyalty they owed him. The Jacobite artists found their ideal model in the young, handsome Prince Charles Edward, and the rebellion in Scotland that began in 1745 prompted them to marry the traditional ‘‘high’’court iconography with the ‘‘low’’ associations of tartan dress to create something of a divinely ordained man of the people. With the end of Jacobitism as a serious political and cultural threat, Stuart iconography basically became more popular than regal, leaving a romanticized image of Prince Charles Edward in a state of arrested political development as Bonnie Prince Charlie, available to all. Vincent Carretta University of Maryland SCRIBLERIANA TRANSFERRED: PRINTED MATTER, MSS, AND RARE BOOKS, 1999–2001, PART 3 James E. May Virginia acquired the Swedish translation Joseph Andrews och hans wean Abraham Adams hèandelser (Stockholm: J. C. Holmberg, 1779), 2 vols., with 12 plates by J. Snack after J. Hulett, inscribed by Jacob Soderling; the Avantures de Joseph Andrews (Amsterdam, 1744), 2 vols., with plates, the 3rd French edition; a German translation of the Journal of a Voyage to Lisbon: Reise nach Lissabon (Altona: D. Iversen, 1764), 262 pp., bound with Reise nach der andern Welt aus dem Englischen bey Herrn Henry Fielding (Copenhagen, 1759); and Histoire de Tom Jones, a translation by M. D. L. P. (Geneva: J. S. Cailler, 1782), 3 vols. Price’s June 2001 listed J. J. Bode’s translation Geschichte des Thomas Jones eines Findelkindes (Vienna, 1788), 6 vols. in 3, small 8vo, frt. portrait of Fielding, engraved vignettes on titles. From Bennett’s 32 a collector acquired Gay’s A Panegyrical Epistle to Mr. Thomas Snow . . . Occasion’d by his Buying and Selling of the Third Subscription, taken in by the Directors of the South-Sea Company, at a thousand per cent (B. Lintot, 1721), 2nd ed., Foxon G65 listing 3 locations, not at auction since 1975), [ii] 5 pp. folio, elegantly 208 bound in panelled sheep. From his August 1999, Price sold to a collector a 2nd issue of the first Beggar’s Opera (J. Watts, 1728), 8vo, [iv], 59 [60, advt.], with 16 pp. of Pepusch’s music folded at the bottom of each leaf; 2nd issue distinguished by ‘‘AIR. A Cobbler there was’’ and three lines of engraved music on 53, text on p. 59, advt. dated 10 Feb. 1727 on p. 60. (£750). A collector bought from Dramatis Personae’s 63 an unrecorded edition of Gay’s libretto Acis & Galatea. A Masque. The Music Composed by George-Frederic Handel . . ., no imprint [c. 1740], disbd. The bookseller supposes this dating since the text has Handel’s 1739 division into two acts, it includes the chorus ‘‘Happy happy We!’’added ca. 1739–1740, and the dramatis personae lacks the character Corydan later added. The Book Collector of Autumn 2000 reports that Thoemmes 83 offered ‘‘Mandeville ’s The Fable of the Bees 1714 with the titlepage in cancelled and uncancelledstate’’ for £22,000. Bennett’s 32 listed a copy of Parnell’s Poems on Several Occasions, 1722, edited by Pope, in a presentation binding like that of the Rothschild copy inscribed by Pope, ‘‘contemporary red morocco...


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