[174] They are now in the library of Earl Spencer.

[175] I will describe this singular specimen of old art as briefly and
    perspicuously as I am able.  It consists of an impression, in pale
    black ink—­resembling very much that of aquatint, of a subject cut
    upon copper, or brass, which is about seventeen inches in height (the
    top being a little cut away) and about ten inches six-eighths in
    width.  The upper part of the impression is in the shape of an obtusely
    pointed, or perhaps rather semicircular, gothic window—­and is filled
    by involutions of forms or patterns, with great freedom of play and
    grace of composition:  resembling the stained glass in the upper parts
    of the more elaborated gothic windows of the beginning of the
    fifteenth century.  Round the outer border of the subject, there are
    seven white circular holes, as if the metal from which the impression
    was taken, had been nailed up against a wall—­and these blank
    spots were the result of the aperture caused by the space formerly
    occupied by the nails.  Below, is the subject of the crucifixion.  The
    cross is ten inches high:  the figure of Christ, without the glory, six
    inches:  St. John is to the left, and the mother of Christ to the right
    of the cross; and each of these figures is about four inches high.  The
    drawing and execution of these three figures, are barbarously puerile. 
    To the left of St. John is a singular appearance of the upper
    part of another plate, running at right angles with the
    principal, and composed also in the form of the upper portion of a
    gothic window.  To the right of the virgin, and of the plate, is the
    “staggering” date abovementioned.  It is thus:  M.cccc.xxx.  This date is
    fixed upon the stem of a tree, of which both the stem and the branches
    above appear to have been scraped, in the copper, almost
    white—­for the sake of introducing the inscription, or
    date.  The date, moreover, has a very suspicious look, in regard
    to the execution of the letters of which it is composed.  As to the
    paper, upon which the impression is taken, it has, doubtless,
    much of the look of old paper; but not of that particular kind, either
    in regard to tone or quality, which we see in the prints
    of Mechlin, Schoen, or Albert Durer.  But what gives a more “staggering
    aspect” to the whole affair is, that the worthy Derschau had
    another copy of this same impression, which he sold to Mr.
    John Payne, and which is now in the highly curious collection of Mr.
    Douce.  This was fortunate, to say the least.  The copy purchased by
    myself, is now in the collection of Earl Spencer.