long for these pages), which, from the inscription at the end, appears
to have been printed in the Castle of Stakelberg, in 1519. It is a
half length, in a hat, under a kind of portico, with two shields at
the upper corners: the inscription beneath is in white letters on
a black ground. It occurs near the end of the volume; in which is
another spirited woodcut, representing the murder.

The other two cotemporary portraits occur in the "Expostulatio,"
before noticed. The largest of these, at the end of the volume, is
in armour, crowned with laurel, and holding a sword, looking toward
the left. This is but indifferently copied, or rather followed, in
Tobias Stimmer's rare and elegant little volume, _Imagines Viror.
Liter. Illust._, published by Reusner and Jobinus, Argent. 1587, 12mo.

I have never seen a good modern representation of this remarkable man,
who devoted the whole energies of his soul to the sacred cause of the
truth and freedom, and the liberation of his country and mankind from
the trammels of a corrupt and dissolute Church; and, be it remembered,
that he and Reuchlin were precursors of Luther in the noble work,
which entitles them to at least a share in our gratitude for the
unspeakable benefit conferred by this glorious emancipation.

Ebernburg, the fortress of his friend, the noble and heroic Franz von
Sickingen, Hutten called the _Bulwark of Righteousness_. I had long
sought for a representation of Sickingen, and at length found a medal
represented in the _Sylloge Numismatum Elegantiorum_ of Luckius, fol.
Argent, 1620, bearing the date 1522.

Hutten's life is full of romantic incident: it was one of toil and
pain, for the most part; and he may well have compared his wanderings