PART II. JERUSALEM AND THE WAY THITHER 205

VI. Inns 240

VII. On the Road 284

VIII. The Purse 313

Special References 381

Bibliography 389

Index 407

ILLUSTRATIONS

DEPARTURE OF A TOURIST _Frontispiece_

(_British Museum MS. Egerton 1222, fol. 44._)

A PILGRIMAGE SCENE 18

_From a woodcut by Michael Ostendorfer (1519-1559) or perhaps by his master, Albrecht Altdorfer. Both lived at Regensburg, where the scene of this picture is laid, this shrine of Our Lady of Regensburg being a regular pilgrimage centre (British Museum)._

THE CHEAPEST WAY 22

_"Les Bohémiens" (no. 1) by Jacques Callot (1594-1635). The artist ran away from home to Italy when a youngster and fell in with company of this kind on the road. The second state (1633; British Museum) has been reproduced in preference to the first as being in no way inferior and having the advantage of the verses appended to them by another traveller of the time, the Abbé de Marolles._

A TYPICAL TOWN-PLAN 52

_Map of Venice, illustrating especially the disregard of scale. From H. de Beauveau's "Relation journalière," 1615._

A TYPICAL MAP 54

_Part of Flanders, from Matthew Quadt's "Geographisch Handtbuch," 1600. Illustrates the approximateness of detail and the absence of roads, especially as contrasted with the indications of waterways. But it must be noted that cartography made as great advances during the period here dealt with as surgery during the nineteenth century._

A CHANNEL PASSAGE-BOAT 64

_From Münster's "Cosmographie," 1575 (ii. 865—part of the map of Germany)._

SHIP FOR A LONG-DISTANCE VOYAGE 72

_Dutch vessel, showing the open cabins at the stern in which Moryson preferred to sleep. From J. Fürtenbach's "Architectura Navalis," 1629._

LOCK BETWEEN BOLOGNA AND FERRARA 82

_From J. Fürtenbach's "Newes Itinerarium Italiæ," 1627. There were nine of these in thirty-five miles. Fürtenbach's sketch shows an oval basin as seen from above, with lock-gates at the down-stream end only. He gives its measurements as large enough for three vessels, with walls twenty ells high._

GATE OF ST. GEORGE, ANTWERP 122

_The gate as it appeared about the middle of the sixteenth century (Peter Bruegel the elder: Bibl. Royale de Belgique), showing also the long covered waggon which was practically the only land conveyance in use, apart from litters._

VENETIAN MOUNTEBANKS 134

_Painted between 1573 and 1579; from a Stammbuch (British Museum MS. Egerton 1191). Concerning these mountebanks the French traveller Villamont writes in 1588, 'And if it happens that they [i.e. the 'sights' of Venice] bore you, go and look at the 'charlatans' in St. Mark's Place, mounted on platforms, enlarging on the virtues of their wares, with musicians by their side.'_

PUBLIC EXECUTIONS 136

_The "Supplicium Sceleri Froenum" of Jacques Callot (1592-1635). The first state of the etching seems to be unobtainable for reproduction, this being from a photograph (the only one hitherto reproduced?) of one of the better copies of the second state, almost equally rare in a good condition (Dresden Museum)_.

DANGERS OF THE NORTHERN SEAS 156

_According to Münster's "Cosmographie" 1575 (ii. 1724)._

AT MONTSERRAT 164

_Montserrat and its hermitages, with the Madonna and Child in the foreground and two pilgrims. From British Museum Harleian MS. 3822, folio 596. The two pilgrims are obviously the writer of the manuscript, Diego Cuelbis, of Leipzig, and his companion, Joel Koris. They visited Montserrat in 1599._

AN IRISH DINNER 178

_Referring more particularly to the MacSweynes, "whose usages," says the author, John Derricke, in his "Image of Irelande," 1581, "I beheld after the fashion there set down." From the copy (the only complete one known) in the Drummond Collection in the Library of the University of Edinburgh. The cut also illustrates the contrasts in Irish life as seen by the foreigner, referred to in the chapter on Ireland._

AN EXAMPLE OF TURKISH FINE ART 190

_Miniature illustrating some of the characteristics of Turkish art which Della Valle and other contemporary travellers prized so highly. The brilliant colouring of the original throws into relief much detail in the flowers which is necessarily lost in reproduction. (From Brit. Mus. Add. MS. 15,153; a copy of the Turkish translation of the Fables of Bidpai, dated 1589.)_

PILGRIMS LEAVING JAFFA FOR JERUSALEM, 1581 210

_From the MS. of Sébastien Werro, curé of Fribourg (Bibl. de la Société Economique de Fribourg). Showing also the fort at Jaffa, the caves in which pilgrims had to lodge until permission was given to depart, and the peremptory methods of the Turks when a pilgrim got out of the line of march_.

AT MOUNT SINAI 222

_From Christopher Fürer's "Itinerarium" (1566)._

ARMS OF A JERUSALEM PILGRIM 238

_Arms of Sébastien Werro, curé of Fribourg, Switzerland, surmounted by the arms of the Knights of the Holy Sepulchre, showing that he received that knighthood on the occasion of his pilgrimage thither, 1581. The title-page of the account of his journey written by himself (Bibl. de la Société Economique de Fribourg)._

TWO GERMAN KITCHENS 254

_The 'fat' and the 'lean.' Plates 58 and 63 of J. T. de Bry's "Proscenium Vitæ Humanæ" ("Emblemata Sæcularia"). From the copy of the first edition (1596) in the Bodleian Library at Oxford._

GERMAN BATHING-PLACES 268

_From Münster's Cosmography; two of the woodcuts are from the French edition of 1575 (ii. 1020-21), the other from the Latin edition of 1550. Visitors to Berlin will find the subject more artistically illustrated by the "Jugendbrunnen" of Lucas Cranach the younger, too large for reproduction here to do it justice._

THE RED GATE, ANTWERP 272

_As it was about the middle of the sixteenth century (plate I of Peter Breugel the elder's "Prædiorum Villarum ... Icones"; Bibl. Royale de Belgique), showing also the inn which, according to the custom so convenient to late arrivals, was usually to be found outside the gate of a town._

A MAIN ROAD IN ALSACE 284

_Showing ruts and loose stones. From Münster's "Cosmographia" (1550; p. 455)._

A SIGN-POST 294

_From the 1570 edition of Barclay's translation of Brandt's "Ship of Fools."_

"_The hande whiche men unto a crosse do nayle Shewyth the way ofte to a man wandrynge Which by the same his right way can nat fayle._"

BENIGHTED 'SIGHT'-SEERS 312

_From Josse de Damhouder's "Praxis Rerum Criminalium," 1554._

A PASSENGER-BOAT FROM PADUA 328

_From the "Stammbuch" (1578-83) of Gregory Amman in the Landesbibliothek, Cassel._

RABELAIS RECEIVES SOME MONEY 342

_Rabelais' receipt for money received by him against a bill of exchange such as travellers used. Photographed (with M. Heulhard's transcription) from the latter's "Rabelais, ses Voyages, et son Exil."_

LITHGOW IN TROUBLE 348

_From the 1632 edition of his "Rare Adventures."_

TRAVELLERS ATTACKED BY ROBBERS 354

_No. 7 of Jacques Callot's "Misères de la Guerre"; a photograph of the British Museum copy of the second impression (1633). The second state has been chosen in preference to the first, as including the verses of the Abbé de Marolles, himself a traveller; the clearness of the etching not having suffered in the second impression._

"WOLVES" 356

_Another wood-cut from Derricke's "Image of Irelande," or rather, part of one, the size of the original. It represents Derricke's best wishes for Rory Oge, the 'rebel,' but is none the less applicable generally._

A SOUVENIR 360

_A letter which was on the way between Venice and London in October, 1606, when the bearer was attacked by robbers in Lorraine, showing the tears and damp-stains it received in consequence. The letter is from Sir Henry Wotton, then ambassador in Venice; it was picked up and forwarded to Henry IV of France, who sent it on to London. It is now in the Public Records Office, No. 74 in Bundle 3 of the State Papers, Foreign (Venetian). The bearer, Rowland Woodward, was paid £60 on Feb. 2, 1608, as compensation and for doctor's expenses, but had not fully recovered from his injuries by 1625. (Cf. L. P. Smith's "Life and Letters of Sir Henry Wotton," i, 325-8, 365 note, and ii. 481.)_

A SCHOLAR TRAVELLER 390

_François de Maulde (1556-97); portrait by J. Sadeler (Bibl. Royale de Belgique). He was only about thirty when this portrait was done, but his sufferings as a traveller (see Bibliography) would alone account for his weary look. The inscription belonging to it runs_:—

"_Tristia sive secunda fluant, in utrumque parato Dulce mihi in libris vivere, dulce mori est._"

TOURING IN 1600

"Che Dio voglia che V. S. abbia pazienza di leggerla tutta."

_Pietro della Valle, "Il Pellegrino."_

TOURING IN 1600