[139] The vintage about Vienna should seem to have been equally
    abundant a century after the above was written.  In the year 1590, when
    a severe shock of earthquake threatened destruction to the tower of
    the Cathedral—­and it was absolutely necessary to set about immediate
    repairs—­the liquid which was applied to make the most
    astringent mortar, was WINE:  “l’on se servit de vin, qui
    fut alors en abondance, pour faire le platre de cette batise.”
    Denkmahle der Baukunst und Bildneren des Mittelalters in dem
    Oesterreichischen Kaiserthume.  Germ.  Fr. Part iii. p. 36. 1817-20.

[140] There is a good sized (folded) view of the church, or rather
    chiefly of the south front of the spire, in the “Vera et Accurata
    Delineatio Omnium Templorum et Caenobiorum” of Vienna, published by
    Pfeffel in the year 1724, oblong folio.

[141] This head has been published as the first plate in the third
    livraison of the ECCLESIASTICAL ANTIQUITIES of Vienna—­accompanied by
    French and German letter-press.  I have no hesitation in saying that,
    without the least national bias or individual partiality, the
    performance of Mr. Lewis—­although much smaller, is by far the most
    faithful; nor is the engraving less superior, than the drawing,
    to the production of the Vienna artist.  This latter is indeed
    faithless in design and coarse in execution.  Beneath the head, in the
    original sculpture, and in the latter plate, we read the inscription
    M.A.P. 1313.  It is no doubt an interesting specimen of sculpture of
    the period.

[142] Vol. ii. p. 312-313.

[143] There is a large print of it (which I saw at Vienna) in the line
    manner, but very indifferently executed.  But of the last, detached
    group, above described, there is a very fine print in the line manner.

[144] See p. 245 ante.

[145] As in that of the Feast of Venus in the island of
    Cythera:  about eleven feet by seven.  There is also another, of
    himself, in the Garden of Love—­with his two wives—­in the peculiarly
    powerful and voluptuous style of his pencil.  The picture is about four
    feet long.  His portrait of one of his wives, of the size of life,
    habited only in an ermine cloak at the back (of which the print is
    well known) is an extraordinary production ... as to colour and
    effect.

[146] I am not sure whether any publication, connected with this
    extraordinary collection, has appeared since Chretien de Mechel’s
    Catalogue des Tableaux de la Galerie Imperiale et Royale de
    Vienne; 1784, 8vo.:  which contains, at the end, four folded
    copper-plates of the front elevations and ground plans of the Great
    and Little Belvederes.