{ 262 10 0
{ 300 0 0

_Fragment dated 1637._

..........hony Vandike Kn't p't of 1200_li._
for......... 300 0 0

..........le Seur Sculpter p't of 720_li._
.................Statues and Images 300 0 0

_Fragment dated 1640._

..........in satisfaction for his greate
Losses by his greate and extraordinary
disbursem'ts vpon assignem'ts and
other charges 4000 0 0

S'r Job Harby and S'r John Nulles,
Kn'ts, for soe much paid to the King
of Denmke for redempion of a greate
Jewell, and to liquidate the accompts
betwixt his Ma'ty and the said King 25000 0 0

Hubrecht le Seur in full of 340_li._ for }
2 statues in brasse, the one of his late } 100 0 0
Ma'ty, and the other of our now } 70 0 3
Souerainge lo: King Charles[3] }

More to him 60_li._, in p't of 120li. for a
bust of brasse of his late Ma'ty, and
40_li._ for carrying and erecting 2
figures at Winchester 100 0 0

Richard Delamair for making divers }
Mathematicall Instruments, and } 100 0 0
other services } 68 0 0

[Footnote 3: Qy. the statue now at Charing Cross.]

* * * * *{318}

QUERIES.

QUERIES ON OUTLINE.

The boundary between a surface represented and its background received
two different treatments in the hands of artists who have the highest
claims on our respect. Some, following the older painters as they were
followed by Raphael and Albert Durer, bring the surface of the figure
abruptly against its background. Others, like Murillo and Titian, melt
the one into the other, so that no pencil could trace the absolute limit
of either. Curiously enough, though for very obvious reasons, the
Daguerreotype seems to favour one method, the Calotype the other. Yet,
two Calotypes, in which the outlines are quite undefined, coalesce in
the Stereoscope, giving a sharp outline; and as soon as the mind has
been thus taught to expect a relievo, either eye will see it.

But if you look at your face in the glass, you cannot at once (say at
three feet distance) see the outlines of the eye