Appendix I.

Previous
Henry Green

COINCIDENCES BETWEEN SHAKESPEARE AND WHITNEY IN THE USE AND APPLICATION OF WORDS NOW OBSOLETE, OR OF OLD FORM.

N.B. After the words the References are to the pages and lines of Whitney’s Emblems; in the Dramas to the act, scene, and line, according to the Cambridge Edition, 8vo, in 9 vols. 1866.

Accidentes p. vi. line 2 yet they set them selues a worke in handlinge suche accidentes, as haue bin done in times paste.
p. vii. l. 21 this present time behouldeth the accidentes of former times.
Tempest, v. 1. 305 And the particular accidents gone by.
1 Hen. IV. i. 2, 199 And nothing pleaseth but rare accidents.
W. Tale, iv. 4, 527 As the unthought-on accident is guilty.
affectioned p. vi. l. 5 one too much affectioned, can scarce finde an ende of the praises of Hector.
Twelfth N. ii. 3, 139 An affectioned ass.
L. L. Lost, i. 2, 158. I do affect the very ground.
aie, or aye p. 21, l. 7 With theise hee lines, and doth rejoice for aie.
p. 111, l. 12 Thy fame doth liue, and eeke, for aye shall laste.
M. N. Dr. i. l. 71 For aye to be in shady cloister mew’d.
Pericles, v. 3, 95 The worth that learned charity aye wears.
Tr. and Cr. iii. 2, 152 To feed for aye her lamp and flames of love.
alder, or elder p. 120, l. 5 And why? theise two did alder time decree.
2 Hen. VI. i. l. 28 With you my alder, liefest sovereign.
Tr. and Cr. ii. 2, 104 Virgins and boys, mid-age and wrinkled eld.
Rich. II. ii. 3, 43 — which elder days shall ripen.
amisse p. 211, l. 16 That all too late shee mourn’d, for her amisse.
Hamlet iv. 5, 18 Each toy seems prologue to some great amiss.
Sonnet cli. 3 Then gentle cheater urge not my amiss.
Sonnet xxxv. 7 Myself corrupting, salving thy amiss.
annoyes p. 219, l. 9 His pleasures shalbee mated with annoyes.
Rich. III. v. 3, 156 Guard thee from the boar’s annoy!
Tit. An. iv. 1, 50 — root of thine annoy.
3 Hen. VI. v. 7, 45 — farewell, sour annoy!
assaie p. 34, l. 13 But when the froste, and coulde, shall thee assaie.
p. 40, l. 3 With reasons firste, did vertue him assaie.
1 Hen. IV. v. 4, 34 I will assay thee; so defend thyself.
Hamlet, ii. 2, 71 Never more to give the assay of arms against your majesty.
a worke p. vi. l. 2 They set them selues a worke in handlinge.
2 Hen. IV. iv. 3, 108 for that sets it a-work.
K. Lear, iii. 5, 6 set a-work by a reproveable badness.
Baie, or baye p. 213, l. 3 Wherefore, in vaine aloude he barkes and baies.
p. 191, l. 4 And curteous speeche, dothe keepe them at the baye.
Cymb. v. 5, 222 — set the dogs o’ the street to bay me.
J. CÆs. iv. 3, 27 I had rather be a dog, and bay the moon.
T. of Shrew, v. 2, 56 Your deer does hold you at a bay.
2 Hen. IV. i. 3, 80 — baying him at the heels.
bale p. 180, l. 7 A worde once spoke, it can retourne no more,
But flies awaie, and ofte thy bale doth breede.
p. 219, l. 16 Lo this their bale, which was her blisse you heare.
1 Hen. VI. v. 4, 122 By sight of these our baleful enemies.
Coriol. i. 4, 155 Rome and her rats are at the point of battle;
The one side must have bale.
bane or bayne p. 141, l. 7 Euen so it happes, wee ofte our bayne doe brue.
p. 211, l. 14 Did breede her bane, who mighte haue bath’de in blisse.
Tit. An. v. 3, 73 Lest Rome herself be bane unto herself.
M. for M. i. 2, 123 Like rats that ravin down their proper bane.
Macbeth, v. 3, 59 I will not be afraid of death and bane.
banne p. 189, l. 10 And in a rage, the brutishe beaste did banne.
Hamlet, iii. 2, 246 With Hecate’s ban thrice blasted.
1 Hen. VI. v. 4, 42 Fell, banning hag, enchantress, hold thy tongue!
2 Hen. VI. iii. 2, 319 Every joint should seem to curse and ban.
betide p. 9, l. 2 Woulde vnderstande what weather shoulde betide.
3 Hen. VI. iv. 6, 88. A salve for any sore that may betide.
T. G. Ver. iv. 3, 40. Recking as little what betideth me.
betime p. 50, l. 1 Betime when sleepe is sweete, the chattringe swallowe cries.
Hamlet, iv. 5, 47 All in the morning betime.
2 Hen. VI. iii. 3, 285 And stop the rage betime.
bewraye p. v. l. 30 bewrayeth it selfe as the smoke bewrayeth the fire.
p. 124, l. 5 Theire foxes coate, theire fained harte bewraies.
1 Hen. VI. iv. 1, 107 Bewray’d the faintness of my master’s heart.
K. Lear, ii. 1, 107 He bewray his practice.
3 Hen. VI. i. 1, 211 Whose looks bewray her anger.
bleared p. 94. l. 7 What meanes her eies? so bleared, sore, and redd.
T. of Shrew, v. 1, 103 While counterfeit supposes blear’d thine eyne.
M. Venice, iii. 2, 58 Dardanian wives with blear’d visages.
bloodes p. 99, 1. 18 Can not be free, from guilte of childrens bloodes.
Cymb. i. 1, 1 Our bloods no more obey the heavens than our courtiers.
broache p. 7, l. 2 And bluddie broiles, at home are set a broache.
Rom. and J. i. 1, 102 Who set this ancient quarrel new abroach?
2 Hen. IV. iv. 2, 14 Alack what mischiefs might he set a broach.
budgettes p. 209, l. 10 The quicke Phisition did commaunde that tables should be set
About the misers bed, and budgettes forth to bring.
W. Tale, iv. 3, 18 If tinkers may have leave to live,
And bear the sow-skin budget.
Carle p. 209, l. 5 At lengthe, this greedie carle the Lythergie posseste.
Cymb. v. 2, 4 — this carl, a very drudge of nature’s.
As Like it, iii. 5, 106 And he hath bought the cottage and the bounds
That the old carlot once was master of.
carpes p. 50, 1. 3 Which carpes the pratinge crewe, who like of bablinge beste.
K. Lear, i. 4, 194 — your insolent retinue do hourly carp and quarrel.
1 Hen. VI. iv. 1, 90 This fellow here, with envious carping tongue.
catch’de p. 77, l. 6. Yet, with figge leaues at lengthe was catch’de, & made the fisshers praie.
Rom. and J. iv. 5, 47 But one thing to rejoice and solace in,
And cruel death hath catch’d it from my sight!
cates p. 18, l. 9 Whose backe is fraighte with cates and daintie cheare.
p. 202, l. 12 And for to line with Codrvs cates: a roote and barly bonne.
T. of Shrew, ii. 1, 187 My super-dainty Kate, all dainties are all Kates.
1 Hen. VI. ii. 3, 78 That we may taste of your wine, and see what cates you have.
C. Errors, iii. 1, 28 But though my cates be mean, take them in good part.
caytiffe p. 95, l. 19 See heare how vile, theise caytiffes doe appeare.
Rom. and J. v. 1, 52 Here lives a caitiff wretch.
Rich. II. i. 2, 53 A caitiff recreant to my cousin Hereford.
clogges p. 82, l. 9. Then, lone the onelie crosse, that clogges the worlde with care.
Macbeth, iii. 6, 42 You’ll rue the time that clogs me with this answer.
Rich. II. i. 3, 200 Bear not along the clogging burden of a guilty soul.
cockescombe p. 81, l. 5 A motley coate, a cockescombe, or a bell.
M. Wives, v. 5, 133 Shall I have a coxcomb of frize?
K. Lear, ii. 4, 119 She knapped ’em o’ the coxcombs with a stick.
consummation p. xi. l. 23 wee maie behoulde the consummatiÕ of happie ould age.
Cymb. iv. 2, 281 Quiet consummation have.
Hamlet, iii. 1, 63 ’Tis a consummation devoutly to be wish’d.
corrupte p. xiv. l. 19 too much corrupte with curiousnes and newfanglenes.
1 Hen. VI. v. 4, 45 Corrupt and tainted with a thousand vices.
Hen. VIII. i. 2, 116 the mind growing once corrupt,
They turn to vicious forms.
corse p. 109, l. 30 But fortie fiue before, did carue his corse.
W. Tale, iv. 4, 130 Like a bank, for love to lie and play on; not like a corse.
Rom. and J. v. 2, 30 Poor living corse, clos’d in a dead man’s tomb.
create p. 64, l. 1 Not for our selues alone wee are create.
Hen. V. ii. 2, 31 With hearts create of duty and of zeal.
K. John, iv. 1, 107 Being create for comfort.
Deceaste p. 87, l. 13 Throughe Aschalon, the place where he deceaste.
Cymb. i. 1, 38 His gentle lady—deceas’d as he was born.
delight p. xiii l. 37 Lastlie, if anie deuise herein shall delight thee.
Hamlet, ii. 2, 300 Man delights not me.
Much Ado, ii 1, 122 None but libertines delight him.
dernell p. 68, l. 2 The hurtfull tares, and dernell ofte doe growe.
1 Hen. VI. iii. 2, 44 ’Twas full of darnel; do you like the taste?
K. Lear, iv. 4, 4 Darnel, and all the idle weeds that grow.
determine p. x. l. 9 healthe and wealthe—determine with the bodie.
Coriol. iii. 3, 43 Must all determine here?
Coriol. v. 3, 119 I purpose not to wait,—till these wars determine.
distracte p. 102, l. 17 Which when hee sawe, as one distracte with care.
K. Lear, iv. 6, 281 Better I were distract: so should my thoughts be severed from my griefs.
2 Hen. VI. iii. 3, 318 My hair be fix’d on end as one distract.
doombe p. 30, l. 4 Wronge sentence paste by Agamemnons doombe.
As Like it, i. 3, 79 Firm and irrevocable is my doom, which I have pass’d upon her.
Rom. and J. iii. 2, 67 Then, dreadful trumpet, sound the general doom.
doubt p. 148, l. 3 The boye no harme did doubt, vntill he felt the stinge.
Rich. II. iii. 4, 69 ’Tis doubt he will be.
Coriol. iii. 1, 152 More than you doubt the change on’t.
dulcet p. 128, l. 11 And biddes them feare, their sweet and dulcet meates.
As Like it, v. 4, 61 According to the fool’s bolt, Sir, and such dulcet diseases.
Twelfth N. ii. 3, 55 To hear by the nose is a dulcet in contagion.
dull p. 103, l. 12 For ouermuch, dothe dull the finest wittes
Hen. V. ii. 4, 16 For peace itself should not so dull a kingdom.
Sonnet ciii. l. 8 Dulling my lines and doing me disgrace.
Eeke, or eke p. 2, l. 8 Before whose face, and eeke on euerye side.
p. 45, l. 10 And eke this verse was grauen on the brasse.
M. N. Dr. iii. l. 85 Most brisky juvenal, and eke most lovely Jew.
All’s Well, ii. 5, 73 With true observance seek to eeke out that.
M. Wives, ii. 3, 67 And eke Cavaleiro Slender.
englished Title, l. 5 Englished and Moralized.
M. Wives, i. 3, 44 — to be English’d rightly, is, I am Sir John Falstaff’s.
ercksome p. 118, l. 4 With ercksome noise, and eke with poison fell.
T. of Shrew, i. 2, 181 I know she is an irksome brawling scold.
2 Hen. VI. ii. 1, 56 Irksome is this music to my heart.
erste p. 194, l. 20 As with his voice hee erste did daunte his foes.
As Like it, iii. 5, 94 Thy company, which erst was irksome to me.
2 Hen. VI. ii. 4, 13 That erst did follow thy proud chariot wheels.
eschewed p. vii. l. 19 examples—eyther to bee imitated, or eschewed.
M. Wives, v. 5, 225 What cannot be eschew’d, must be embraced.
eternised p. ii. l. 32 — learned men haue eternised to all posterities.
2 Hen. VI. v. 3, 30 Saint Alban’s battle won by famous York
Shall be eterniz’d in all age to come.
euened p. 131, l. 6 If Ægypt spires, be euened with the soile.
K. Lear, iv. 7, 80 To make him even o’er the time he has lost.
Hamlet, v. 1, 27 Their even Christian.
extincte p. iv. l. 32 deathe—coulde not extincte nor burie their memories.
Othello, ii. 1, 81 Give renew’d fire to our extincted spirits.
Rich. II. i. 3, 222 — be extinct with age.
Facte p. 79, l. 22 Thinke howe his facte, was Ilions foule deface.
M. for M. v. 1, 432 Should she kneel down in mercy of this fact.
2 Hen. VI. i. 3, 171 A fouler fact did never traitor in the land commit.
fardle p. 179, l. 9 Dothe venture life, with fardle on his backe.
Hamlet, iii. 1, 76 Who would fardels bear, to groan and sweat under a weary life?
W. Tale, v. 2, 2 I was by at the opening of the fardel.
falls p. 176, l. 7 Euen so, it falles, while carelesse times wee spende.
J. CÆs. iii. 1, 244 I know not what may fall; I like it not.
feare p. 127, l. 11 Who while they liu’de did feare you with theire lookes.
Ant. and C. ii. 6, 24 Thou canst not fear us, Pompey, with thy sails.
M. for M. ii. 1, 2 Setting it up to fear the birds of prey.
fell p. 3, l. 12 Hath Nature lente vnto this Serpent fell.
M. N. Dr. v. 1, 221 A lion-fell, nor else no lion’s dam.
2 Hen. VI. iii. 1, 351 This fell tempest shall not cease to rage.
filed p. 30, l. 5 But howe? declare, Vlysses filed tonge
Allur’de the Iudge, to giue a Iudgement wronge.
Macbeth, iii. 1, 63 If’t be so, for Banquo’s issue have I fil’d my mind.
fittes p. 103, l. 11 Sometime the Lute, the Chesse, or Bowe by fittes.
Tr. and Cr. iii. 1, 54 Well, you say so in fits.
floate p. 7, l. 10 This, robbes the good, and setts the theeues a floate.
J. CÆs. iv. 3, 220 On such a full sea are we now afloat.
Macbeth, iv. 2, 21 But float upon a wild and violent sea.
foile p. 4, l. 10 And breake her bandes, and bring her foes to foile.
Tempest, iii. 1, 45 Did quarrel with the noblest grace she ow’d,
And put it to the foil.
fonde p. 223, l. 7 Oh worldlinges fonde, that ioyne these two so ill.
M. for M. v. 1, 105 Fond wretch, though know’st not what thou speak’st.
M. N. Dr. iii. 2, 317 How simple and how fond I am.
forgotte p. 5, l. 7 Yet time and tune, and neighbourhood forgotte.
Othello, ii. 3, 178 How comes it, Michael, you are thus forgot?
Rich. II. ii. 3, 37 That is not forgot which ne’er I did remember.
foyles p. xvii. l. 18 Perfection needes no other foyles, suche helpes comme out of place.
1 Hen. IV. iv. 2, 207 That which hath no foil to set it off.
fraies p. 51, l. 6 Unto the good, a shielde in ghostlie fraies.
1 Hen. IV. i. 2, 74 To the latter end of a fray, and the beginning of a feast.
M. Venice, iii. 4, 68 And speak of frays, like a fine bragging youth.
frende p. 172, l. 14 As bothe your Towne, and countrie, you maye frende.
Macbeth, iv. 3, 10 As I shall find the time to friend.
Hen. VIII. i. 2, 140 Not friended by his wish.
frettes p. 92, l. 1 The Lute ... lack’de bothe stringes, and frettes.
T. of Shrew, ii. 1, 148 She mistook her frets.
fustie p. 80, l. 6 Or fill the sacke, with fustie mixed meale.
Tr. and Cr. i. 3, 161 at thi s fusty stuff,
The large Achilles ... laughs out a loud applause.
Gan p. 156, l. 3 At lengthe when all was gone, the pacient gan to see.
Macbeth, i. 2, 54 The thane of Cawdor began a dismal conflict.
Coriol. ii. 2, 112 — the din of war gan pierce his ready sense.
ghoste p. 141, l. 5 Beinge ask’d the cause, before he yeelded ghoste.
1 Hen. VI. i. 1, 67 — cause him once more yield the ghost.
Rich. III. i. 4, 36 — often did I strive to yield the ghost.
ginnes p. 97, l. 3 For to escape the fishers ginnes and trickes.
Twelfth N. ii. 5, 77 Now is the woodcock near the gin.
2 Hen. VI. iii. 1 Be it by gins, by snares.
gladde p. 198, l. 10 And Codrvs had small cates, his harte to gladde.
3 Hen. VI. iv. 6, 93 — did glad my heart with hope.
Tit. An. i. 2, 166 The cordial of mine age to glad my heart!
glasse p. 113, l. 6 An acte moste rare, and glasse of true renoume.
Twelfth N. iii. 4, 363 I my brother know yet liuing in my glasse.
C. Errors, v. 1, 416 Methinks you are my glass, and not my brother.
J. CÆs. i. 2, 68 So well as by reflection, I, your glass.
Rich. II. i. 3, 208 Even in the glasses of thine eyes I see thy grieved heart.
glosse p. 219, l. 17 O loue, a plague, thoughe grac’d with gallant glosse.
L. L. Lost, ii. 1, 47 The only soil of his fair virtue’s gloss.
Hen. VIII v. 3, 71 Your painted gloss discovers,—words and weakness.
gripe p. 75, l. 2 Whose liuer still, a greedie gripe dothe rente.
p. 199, l. 1, 2 If then, content the chiefest riches bee,
And greedie gripes, that doe abounde be pore.
Cymb. i. 6, 105 Join gripes with hands made hard with hourly falshood.
Hen. VIII. v. 3, 100 Out of the gripes of cruel men.
guerdon p. 15, l. 10 And shall at lenghte ActÆons guerdon haue.
Much Ado, v. 3, 5 Death in guerdon of her wrongs.
1 Hen. VI. iii. 1, 170 — in reguerdon of that duty done.
guide p. 33, l. 5 And lefte her younge, vnto this tirauntes guide.
Timon, i. 1, 244 Pray entertain them; give them guide to us.
Othello, ii. 3, 195 My blood begins my safer guides to rule.
guise p. 159, l. 9 Inquired what in sommer was her guise.
Macbeth, v. 1, 16 This is her very guise; and, upon my life, fast asleep.
Cymb. v. 1, 32 To shame the guise o’ the world.
Hale, hal’de p. 71, l. 2 In hope at lengthe, an happie hale to haue.
p. 37, l. 10 And Ajax gifte, hal’de Hector throughe the fielde.
1 Hen. VI. v. 4, 64 Although ye hale me to a violent death.
Tit. An. v. 3, 143 Hither hale that misbelieving Moor.
1 Hen. VI. ii. 5, 3 Even like a man new haled from the rack.
happe p. 147, l. 13 So ofte it happes, when wee our fancies feede.
p. 201, l. 29 Wherefore, when happe, some goulden honie bringes?
T. of Shrew, iv. 4, 102 Hap what hap may, I’ll roundly go about her.
Rom. and J. ii. 2, 190 His help to crave, and my dear hap to tell.
harmes p. 183, l. 7 In marble harde our harmes wee always graue.
1 Hen. VI. iv. 7, 30. My spirit can no longer bear these harms.
Rich. III. ii. 2, 103. None can cure their harms by wailing.
hatche p. 180, l. 9 A wise man then, selles hatche before the dore.
K. John, i. 1, 171 In at the window, or else o’er the hatch.
K. Lear, iii. 6, 71 Dogs leap the hatch and all are fled.
haughtie p. 53, l. 7 In craggie rockes, and haughtie mountaines toppe.
1 Hen. VI. iv. 1, 35 Valiant and virtuous, full of haughty courage.
hauocke p. 6, l. 6 Till all they breake, and vnto hauocke bringe.
J. CÆs. iii. 1, 274 Cry “Havock,” and let slip the dogs of war.
K. John, ii. 1, 220 Wide havock made for bloody power.
heste p. 87, l. 10 And life resigne, to tyme, and natures heste.
Tempest, i. 2, 274 Refusing c009">p. 95, l. 6 Theise weare the two, that of this case did scanne.
Othello, iii. 3, 248 I might entreat your honour to scan this thing no further.
Hamlet, iii. 3, 75 That would be scann’d; a villain kills my father.
scape p. 24, l. 4 And fewe there be can scape theise vipers vile.
K. Lear, ii. 1, 80 the villain shall not scape.
sillye p. 194, l. 7 For, as the wolfe, the sillye sheep did feare.
3 Hen. VI. ii. 5, 43 — looking on their silly sheep.
Cymb. v. 3, 86 there was a fourth man in a silly habit.
sith p. 109, l. 3 And sithe, the worlde might not their matches finde.
3 Hen. VI. i. 1, 110 Talk not of France, sith thou hast lost it all.
Othello, iii. 3, 415 But, sith I am enter’d in this cause so far.
sithe p. 225, l. 6 For, time attendes with shredding sithe for all.
L. L. Lost, i. 1, 6 That honour which shall bate his scythe’s keen edge.
Ant. and C. iii. 13, 193 I’ll make death love me, for I will contend
Even with his pestilent scythe.
skante p. 199, l. 8 And, whilst wee thinke our webbe to skante.
Ant. and C. iv. 2, 21 Scant not my cups.
K. Lear, iii. 2, 66 Return, and force their scanted courtesy.
skap’d p. 153, l. 1 The stagge, that hardly skap’d the hunters in the chase.
3 Hen. VI. ii. 1, 1 I wonder how our princely father scap’d.
Hamlet, i. 3, 38 Virtue itself ’scapes not calumnious strokes.
soueraigne p. 161, l. 8 But that your tonge is soueraigne, as I heare.
Coriol. ii. 1, 107 The most sovereign prescription in Galen is but empyric.
spare p. 60, l. 5 Vlysses wordes weare spare, but rightlie plac’d.
As Like it, iii. 2, 18 As it is a spare life look you.
2 Hen. IV. iii. 2, 255 O give me the spare men, and spare me.
square p. 140, l. 8 Each bragginge curre, beginnes to square, and brall.
Ant. & C. iii. 13, 41 Mine honesty and I begin to square.
Tit. An, ii. 1, 99 And are you such fools to square for this?
stall’d p. 38, l. 10 And to be stall’d, on sacred iustice cheare.
All’s Well, i. 3, 116 Leave me; stall this in your bosom.
Rich. III. i. 3, 206 Deck’d in thy rights, as thou art stall’d in mine.
starke p. ix. l. 31 whose frendship is frozen, and starke towarde them.
1 Hen. IV. v. 3, 40 Many a nobleman lies stark and stiff.
Rom. and J. iv. 1, 103 Shall stiff, and stark and cold, appear like death.
stithe p. 192, l. 5 For there with strengthe he strikes vppon the stithe.
Hamlet, iii. 2, 78 And my imaginations are as foul as Vulcan’s stithy.
Tr. and Cr. iv. 5, 255 By the forge that stithied Mars his helm.
swashe p. 145, l. 5 Giue Pan, the pipe; giue bilbowe blade, to swashe.
Rom, and J. i. 1, 60 Gregory, remember thy swashing blow.
As Like it, i. 3, 116 We’ll have a swashing and a martial outside.
Teene p. 138, l. 14 Not vertue hurtes, but turnes her foes to teene.
L. L. Lost, iv. 3, 160 Of sighs, of groans, of sorrow, and of teene.
Rom. and J. i. 3, 14 To my teen be it spoken.
threate p. 85, l. 11 And eke Sainct Paule, the slothful thus doth threate.
Rich. III. i. 3, 113 What threat you me with telling of the king?
Tit. An. ii. 1, 39 Are you so desperate grown to threat your friends?
Vndergoe p. 223, l. 3 First, vndergoes the worlde with might, and maine.
Much Ado, v. 2, 50 Claudio undergoes my challenge.
Cymb. iii. 5, 110 — undergo those employments.
vnmeete p. 81, l. 12 And fooles vnmeete, in wisedomes seate to sitte.
M. for M. iv. 3, 63 A creature unprepar’d, unmeet for death.
Much Ado, iv. 1, 181 Prove you that any man convers’d with me at hours unmeet.
vnneth p. 209, l. 5, 6 At lengthe, this greedie carle the Lethergie posseste:
That vnneth hee could stere a foote.
2 Hen. VI. ii. 4, 8 Uneath may she endure the flinty streets.
vnperfe

Sambucus, 1564. p. 15.

II.

SUBJECTS OF THE EMBLEM-IMPRESE AND ILLUSTRATIONS, WITH THEIR MOTTOES AND SOURCES.

The * denotes there is no device given in our volume.
ass="c011" colspan="4">*Crowns, Three, one on the Sea.
124 Aliamque moratur Drummond’s Scotland, Ed. 1655.
*Crucifix and kneeling Queen. 123 Undique Drummond’s Scotland, Ed. 1655.
Cupid and Bear (see Bear, Cub, and Cupid). 348
Cupid and Death 401 De morte et amore: Iocosum Whitney’s Emb. Ed. 1586, p. 132.
401 ” ” Alciat, Emb. Ed. 1581.
403 De Morte et Cvpidine Peacham’s Min. Ed. 1612, p. 172.
Cupid blinded, holding a Sieve. 329 Perriere’s Th. Bons Engins, 1539, p. 77.
*Cupid felling a Tree. 324 “By continuance” VÆnius, Ed. 1608, p. 210.
Daphne changed to a Laurel. 296 Aneau’s Picta Poesis, Ed. 1551, p. 47.
Dedication page. v Alciat’s Emb. Ed. 1661, Title-page.
Diana. 3 Qvodcvnqve petit, conseqvitvr Symeoni’s Ovid, Ed. 1559, p. 2.
Diligence and Idleness. 145 Perriere’s Th. Bons Engins, Ed. 1539, Emb. 101.
146 Otiosi semper egentes Whitney’s Emb. Ed. 1586, p. 175.
Dog baying at the Moon. 270 Beza’s Emb. Ed. 1580, Emb. 22.
269 Inanis ineptis Alciat, Emb. 164, Ed. 1581, p. 571.
269 ”” Whitney’s Emb. Ed. 1586, p. 213.
270 Despicit alta Canis Camerarius, Ed. 1595, p. 63.
Dolphin and Anchor. 16# Propera tarde Symeoni’s Imprese, Ed. 1574, p. 175.
16 Giovio’s Dialogo, Ed. 1574, p. 10.
D. O. M. 464 Domino Optimo Maximo Whitney’s Emb. Ed. 1586, Frontispiece.
*Doves and winged Cupid. 245 Corrozet’s Hecatomg. Ed. 1540, f. 70.
Drake’s Ship. 413 Auxilio diuino Whitney’s Emb. Ed. 1586, p. 203.
Eagle renewing its Feathers. 368 Renovata ivventvs Camerarius, Emb. 34, Ed. 1596.
*Eclipses of Sun and Moon. 124 Ipsa sibi lumen quod invidet aufert. Drummond’s Scotland, Ed. 1665.
Elephant and undermined Tree. 196 Nusquam tuta fides Sambucus’ Emb. Ed. 1564, p. 184.
196 ”” Whitney’s Emb. Ed. 1586, p. 150.
Elm and Vine 307 Amicitia etiam post mortem durans. Alciat, Emb. 159, Ed. 1581, p. 556.
480
Map of inhabited World. 351 Partium ??? ?????????? symbola. Sambucus’ Emb. Ed. 1564, p. 113.
Medeia and the Swallows. 189 Ei qui semel sua prodegerit, aliena credi non oportere. Alciat, Emb. 54, Ed. 1581.
190 ”” Whitney’s Emb. Ed. 1586, p. 33.
Mercury and Fortune. 255 Ars Naturam adiuuans Alciat, Emb. Ed. 1551, p. 107.
Mercury charming Argus. 123 Eloquium tot lumine clausit. Drummond’s Scotland, Ed. 1665.
Mercury mending a Lute. 256 Industria naturam corrigit. Sambucus’ Emb. Ed. 1564, p. 57.
256 ”” Whitney’s Emb. Ed. 1586, p. 92.
Michael, St., Order of 227 Immensi tremor Oceani Paradin’s Dev. Her. Ed. 1562, p. 12.
*Milo caught in a Tree 344 Qvibvs rebvs confidimvs, iis maxime evertimvs. Le Bey de Batilly, Ed. 1596, Emb. 18.
Moth and Candle (see Butterfly). 151
Motley Fool (see Child). 484
Mouse caught by an Oyster. 130 Captiuus ob gulam Alciat, Emb. 94, Ed. Paris, 1602, p. 437.
130 ”” Whitney’s Emb. Ed. 1586, p. 128.
130 Freitag’s Myth. Eth. Ed. 1579, p. 169.
Narcissus viewing himself. 294 ???????? Alciat, Emb. 69, Ed. 1581, p. 261.
295 Amor sui Whitney’s Emb. Ed. 1586, p. 149.
295 Contemnens alios, arsit amore sui. Aneau’s Picta Poesis, Ed. 1552, p. 48.
Nemesis and Hope (see Hope). 182
Niobe’s Children slain 292 Superbia Alciat, Emb. 67. Ed. 1581, p. 255.
293 SuperbiÆ vltio Whitney’s Emb. Ed. 1586, p. 13.
Nun or Canoness 469 Holbein’s Simulachra, &c., Sign. liiij. 1538.
Oak and Reed, or Osier. 315 Vincit qui patitur Whitney’s Emb. Ed. 1586, p. 220.
314 ????? ????, or victrix animi equitas. Junius’ Emb. Ed. 1565.
Occasion. Pl. XII. 265 Dum Tempus labitur, Occasionem fronte capillatam remorantur. David’s Occasio, Ed. 1605. p. 117.
Occasion, or Opportunity. 259 In occasionem. ?????????????. Alciat, Emb. Ed. 1551, p. 133.
David, ed. 1601.

III.

REFERENCES TO PASSAGES FROM SHAKESPEARE, IN THE ORDER OF THE PLAYS AND POEMS OF MACMILLAN’S EDITION, 1866, AND TO THE CORRESPONDING DEVICES AND SUBJECTS OF THE EMBLEMS TREATED OF IN THIS WORK.

N. B. The subjects printed in italics have no corresponding device.

006@50006-h@50006-h-15.htm.html#Page_244" class="pginternal">244
393 I. 3 120 Ganymede, Golding’s Ovid 244
394 II. 1 29 The wounded stag 397, 398
400 II. 4 43 Sword broken on an anvil 326, 327
405 II. 7 13 A motley fool 485
406 II. 7 43 “A motley coat” 485
409 II. 7 136 Theatre of human life. Plate XIV. 405, 406
409 II. 7 137 Theatre of human life 133, 405
409 II. 7 139 The seven ages of man. Plate XV. 407, 409
427 III. 3 67 Hawking 366, 368
442 IV. 3 15 The Phoenix 234, 236
THE TAMING OF THE SHREW.
III. 10 Ind. 2 41 Hawking 366, 367
10 Ind. 2 47 Mythological pictures by Titian 114
10 Ind. 2 47 Cytherea, Io, Daphne, Apollo 115
10 Ind. 2 52 Jupiter and Io 246
10 Ind. 2 55 Daphne and Apollo 296, 297
23 I. 2 24 Two Italian sentences 163
45 II. 1 338 Beautiful furniture described 112
67 IV. 1 174 Falconry 366, 367
78 IV. 3 165 “honour peereth in the meanest habit.” Plate XVI. 490
ALL’S WELL THAT ENDS WELL.
III. 112 I. 1 76 Symbolical imagery 377
119 I. 2 58 Bees,—and native land 361, 365
123 I. 3 73 A lottery 208, 210
127 375
502 I. 2 178 Bees 360, 362
538 III. 4 1 Snatches of French 163
543 III. 6 20 Image of Fortune 261, 262
544 III. 6 44 Thread of life 454, 455
549 III. 7 10 Pegasus 141, 142
550 III. 7 54 French and Latin proverb 144
552 III. 7 130 The mastiff praised 483
555 IV. 1 3 “goodness out of evil” 447
555 IV. 1 9 Time irrevocable. Plate XVII. 491
564 IV. 1 256 Sound sleep of the slave 147
574 IV. 4 2 Snatches of French 163
582 IV. 7 82 Human dependence 465
588 IV. 8 100 Human dependence 465
591 V. 1 13 Turkey-cock 357, 358
596 V. 2 48 Evils of war 147
598 V. 2 107 Snatches of French 163
FIRST PART HENRY VI.
V. 8 I. 1 127 “A Talbot! a Talbot!” 207
14 I. 2 129 Halcyon days 392
20 I. 4 49 Adamant on the anvil 347, 348
25 I. 6 6 Adonis’ gardens, Golding’s Ovid 243
29 II. 1 78 The cry, “A Talbot! a Talbot!” 207
32 II. 3 11 The cry, “A Talbot! a Talbot!” 207
33 II. 3 36 A picture gallery named 114
36 II. 4 30 Rose and thorn 333, 334
40 II. 5 28 Death
126 V. 3 111 Theatre of human life. Plate XIV. 405, 406
TIMON OF ATHENS.
VII. 228 II. 1 28 Jackdaw in borrowed plumes 312, 314
245 III. 3 1 Gold on the touchstone 175, 177, 180
254 III. 5 31 Wrongs on marble 458, 459
263 III. 6 103 Timon’s intense hatred 427, 428
265 IV. 1 35 The extravagance of Timon’s hatred 429
269 IV. 3 18 The extravagance of Timon’s hatred 429
270 IV. 3 51 The extravagance of Timon’s hatred 429
288 IV. 3 473 The extravagance of Timon’s hatred 429
269 IV. 3 25 Gold on the touchstone 175, 177, 178
281 IV. 3 317 Mention of many animals 375
281 IV. 3 324 Mention of many animals 376
281 IV. 3 331 The unicorn 371, 373
283 IV. 3 377 Gold on the touchstone 177, 178
305 V. 4 69 Timon’s epitaph 430
JULIUS CÆSAR.
VII. 322 I. 1 68 Jackdaw in borrowed plumes 312, 313
326 I. 2 107 Æneas and Anchises 191, 193
329 I. 2 192 Characteristics of Brutus and Cassius 205
334 I. 3 5 Oak and reed, or osier 315, 316
347 II. 1 203 Unicorn 371, 372
363 III. 1 58 Astronomer and magnet 335, 336
368 III. 1 205 The wounded stag 109 IV. 6 5 Map, “three-nooked world” 351, 353
118 IV. 12 3 Medeia, swallows on her breast 190
123 IV. 14 46 Lamp, or torch of life 456
132 IV. 15 84 Lamp of life 456
150 V. 2 277 Time’s and eternity’s emblems. PlateXVII. 491
151 V. 2 305 Chimney-piece at the Old Hall, Tabley 131
CYMBELINE.
IX. 167 I. 1 130 The eagle renewing its feathers 369
183 I. 6 12 The phoenix 234, 235, 236
183 I. 6 15 The phoenix, “Arabian bird” 387, 390
184 I. 6 30 Ape and miser’s gold 488
185 I. 6 46 Contrasts of epithets 474
191 I. 6 188 Jewels and ornaments of rare device 8
207 II. 4 68 Adornments of Imogen’s chamber 111
212 II. 5 33 Envy 432, 433
226 III. 4 57 Countryman and serpent, Sinon 197, 208
240 III. 6 31 Diligence and idleness 145, 147
253 IV. 2 172 Pine-trees in a storm 477
257 IV. 2 259 The oak and reed, or osier 315
PERICLES PRINCE OF TYRE.
IX. 325 I. 2 102 Thread of life 454, 455
343 II. 2 17 The Triumph Scene 158, 159
343 II. 2 19 A black Ethiope 160
343 II. 2 27 Spanish motto 162
343 II. 2 30 Wreath of chivalry 168, 169
343 II. 2 32 Inverted torch Hesius, 1536.
Per cÆcum videt omnia punctum.

GENERAL INDEX,

ARRANGED ACCORDING TO FOUR SUBJECTS:
1. EMBLEM WRITERS PREVIOUS TO A.D. 1616.
2. PROVERBS, SAYINGS, AND MOTTOES.
3. WORKS QUOTED OR REFERRED TO.
4. MISCELLANEOUS REFERENCES.
A.
  • A, O. L. Linacre’s Galen, Paris, 1538, p. 105;
  • O. L. Nef des folz, f. xvi., Paris, 1499, p. 188;
  • O. L. Alciat’s Emblems, 2, Paris, 1534, p. 377.
  • 1. A. Bruck, Emb. mor. et bellica, 1615, p. 95;
    • Emb. politica, 1618, pp. 34, 97.
  • Æsop, Fables, Latin and German, 1473; Italian, 1479; Greek, 1480; French and English, 1484; Spanish, 1489; thirty other editions before 1500, p. 51.
  • Aesticampianus, Tabula Cebetis, 1507, pp. 12.
  • A. Ganda, Spiegel van vrouwen, 1606, p. 98;
    • Emblemata amatoria nova, 1613, p. 98.
  • Alberti, Ecatonphyla, 1491; French, 1536, p. 55.
  • Alciat, Andrew, Emblematum libellus, 1522, p. 69;
    • Emb. liber, 1531, its size compared with ed. 1621, p. 69;
    • in the interval above 130 editions; French, 1536; German, 1542; Spanish and Italian, 1549; English (?), 1551, p. 70;
    • Commentators, 70;
    • arms or device, 211.
  • Aleander, Explicatio antiq. fabulÆ, &c., 1611, pp. 95, 97.
  • AltorfinÆ, Emb. anniversaria, 1597, p. 94.
  • Amman, Biblical figures, Heraldry, &c., 1564, p. 85.
  • Ammirato, Il rota overo dell’ imprese, 1562, pp. 79, 81.
  • Aneau, French Alciat, 1549, p. 70;
    • Picta poesis, and L’imagination poetique, 1552, p. 76.
  • Angeli, Astrolabium planum, 1488, p. 42.
  • Anjou, La joyeuse et mag. entrÉe, 1582, p. 87.
  • Apocalypse, a block-book, 48, 49.
  • Arias Montanus, Hum. salutis monum., 1572, pp. 88, 89.
  • Ars memorandi, a block-book, about 1410, p. 45.
  • Astronomical MS., about 1330, Chetham Library, 41.
  • Austria, Don John of, On Sambucus, 1572, p. 86.
  • 2. Aliamque moratur, 124;
  • Altera securitas, 124;
  • Amicitia etiam post mortem durans, and AmicitiÆ immortali, 307;
  • Amor certus in re incerta cernitur, 179;
  • Amoris jusjurandum poenam non habet, 328;
  • Amor vincit omnia, 7;
  • Anchora speme, 185;
  • Armat spina rosas, mella tegunt apes, 333;
  • Ars naturam adjuvans, 255;
  • Ars rhetor triplex movet, &c., 141;
  • Au navire agitÉ semble le jour de l’homme, 437;
  • Auri sacra fames quid non? 480;
  • Auxilio divino, 413;
  • Ave grati plena, dominus tecum, 46;
  • A vous entier: j’en suis contente, 45.
  • 3. Æschylus, on Symbol, p. 2;
  • Æsop’s Fables, low estimate of by Shakespeare, 302;
    • Antwerp, ed. 1593, p. 313;
    • Jackdaw and fine feathers, 312.
  • Aikin’s General Biography: Champier, 63;
    • Joachim, 67;
    • Pierius, 80.
  • Alciat, characterised, 69;
    • quoted, Janus, 139–40;
    • Hope, 182;
    • Æneas and Anchises, 191;
    • Medea and Progne, 191;
    • Brutus 201;
    • Zisca, 206;
    • Swan, 213;
    • Insignia of poets, 218;
    • Phrixus, 229;
    • Sirens, 253;
    • Mercury and Fortune, 255;
    • Occasion, 259;
    • Prometheus bound, 266;
    • Dog and moon, 270;
    • ActÆon, 275;
    • Arion, 280;
    • Phaeton, 285;
    • Icarus, 288;
    • Niobe, 292;
    • Narcissus, 295;
    • Pegasus, 299;
    • Several fables, 303;
    • Friendship after death, 307;
    • Bees, 360;
    • Cupid and death, 401;
    • Envy, 431;
    • Ship-sailing, 435;
    • Student entangled in love, 440.
  • Amboise, 1620, named by Menestrier, 79.
  • Ames’ Antiquities of printing names an English version of Alciat, 70.
  • Anacreon, the swan, 214.
  • Aneau, or Anulus quoted: Progne, 193;
  • Animals, artistic books of, 1560–1586, p. 85.
  • ArchÆologia, lottery, 208;
    • Ages of man, 406.
  • Aristotle, the head an index of the mind, 129;
    • Halcyon’s nest, 391.
  • Arundel MS., ages of man, 406.
  • AthenÆ (Cantab. ii. p. 258), Spenser, 87.
  • Augustine, S., Confessions, 426.
  • Aulus Gellius, Androcles and lion, 281.
  • Ayscough, 461.
  • 4. Achilles, shield of, 20.
  • ActÆon, referred to by Alciat, 275;
    • Shakespeare, Aneau, Sambucus, 276;
    • PalÆphatus, Ovid, Whitney, 278;
    • and Shakespeare, 279.
  • Adam hiding, by Shakespeare, Whitney, 416;
    • Montenay and Stamm Buch, 416.
  • Adam’s apple, reference to Milton, Plate X., 132.
  • Adamant, indestructibility: Le Bey de Batilly and Pliny, 347;
    • Shakespeare, 348.
  • Æneas, his shield, 20;
    • and Anchises, by Alciat and Whitney, 191;
    • Shakespeare, 193.
  • Albret, Madame, Queen of Navarre, 88.
  • Aldi, 1490–1563, device, 16;
    • Horapollo, 1505, p. 64.
  • Alphonso V., ancestor of Don Juan Manuel, 1575, p. 90.
  • America and West Indies ignored, 350, 352.
  • Androcles and the lion, 281.
  • AntefixÆ, of Etruscan art, 19.
  • Ants and grasshopper, by Freitag, 148;
    • and Whitney, 148.
  • Ape and miser’s gold, by Cullum, 128;
    • Paradin, Whitney, and Symeoni, 486;
    • Shakespeare, 488.
  • Apollo and the Christian muse, Le Bey de Batilly, 379;
    • Shakespeare, 380.
  • Appendices, I. 497, II. 515, III. 531–542.
  • Architecture and statuary excluded, 11.
  • Argonauts and Jason, 229;
    • Shakespeare, 230.
  • Arion, by Alciat, 280;
    • Whitney, &c., 281;
    • Shakespeare and Microcosm, 282, 283.
  • Arms on Queen Mary’s bed, 123, 124.
  • Arran, earl of, 1549; patron of Aneau, 108, 121.
  • Arrow wreathed on a tomb, Paradin, 183.
  • Art, Shakespeare’s exquisite judgment of, 108–117.
  • Ascencian printing press, 1511, p. 63.
  • Ass and wolf, 53, 54.
  • Astronomer and magnet, Sambucus, 335;
    • Whitney, 335;
    • Shakespeare, 336.
  • Athenian coin, 8.
  • Atkinson’s gem, Picta Poesis, 76.
  • Atlas, by Giovio and Shakespeare, 245.
  • Augustus, his emblem, 15.
B.
  • 1. Badius, Stultif. navic. fatuarum mul., 1500, 1502, p. 61;
    • Nef des folles, &c., 1501, p. 62;
    • Account of, 63.
  • Balsat, Nef des princes, &c., 1502, p. 63.
  • Barclay, Shyp of folys of the worlde, 1509, 1570, pp. 57, 65, 91, 119;
    • Mirrour of good maners, 1570, p. 58.
  • Bargagli, 79;
    • Dell’ Imprese, 1589, p. 87.
  • Bedford Missal, MS., 1425, p. 44.
  • Beham’s Bible figures, 1536, p. 72.
  • Bellerophon, of Lust tot wysheyd, 1614, p. 98.
  • Belloni, Discorso, 1601, p. 92.
  • Bernardetti, Giornata prima, &c., 1592, pp. 79, 92.
  • Beza, Icones, accedunt emb., 1581, p. 88.
  • Bible figures, 1503, p. 63;
    • 1536, p. 72.
  • Biblia pauperum, 1410–1420, p. 45;
  • Biblische historien, 1551, p. 73.
  • Billyng, Five wounds of Christ, MS., 1400, ed. 1814, p. 41.
  • Block-books: Biblia pauperum, Plate VI., 45–47;
    • Book of Canticles and the Apocalypse of S. John, 48;
    • Ars memorandi, 45, 48;
    • Historia S. Joan. Evangelist., sold for 415l., not for 45l., Plates VII. and VIII., 49;
    • Print, Plate XV., 407.
  • Bocchius, Symbol. Quest., libri v. 1555, p. 77.
  • Boissard, Theatrum vitÆ humanÆ, 1596, p. 31;
    • Shawspiel Menschliches lebens, 1597, p. 97;
    • Fall of Satan, Plate XI., 133;
    • Human life a theatre, Plate XIV., 405.
  • Boissart, Mascarades recueillies, 93, 94.
  • Bol, Emb. evang. ad XII. signa, 1585, p. 88.
  • Boner, German fables, about 1400, ed. 1461, p. 50.
  • Borcht, Ovid’s Metamorphoses, 1591, p. 94.
  • Boria, Emprese morales, 1581, p. 90.
  • Brandt, Narren schyff, 1494; Stult. navis, before 1500, Plate IX., ed. 1497, p. 57;
    • Nef des fols, 57;
    • Flemish version, 1504, Two English, 1509, p. 57;
    • Hortulus animÆ, MS., ed. 1498, p. 58.
  • Broecmer, Embl. moralia et oeconomica, 1609, pp. 95, 97.
  • Brosamer, Biblische historien, 1551, p. 73.
  • Bynneman, Van der Noot’s theatre, 1569, p. 91.
  • 2. BeaultÉ compaigne de bontÉ, 418;
  • Bella Maria, 125;
  • Bona terra, mala gens, 139;
  • Breue gioia, 152;
  • Brevis et damnosa voluptas, 152.
  • 3. Bacon’s Adv. of learning, 1.
  • Bateman’s ed. Five wounds of Christ, 40.
  • Bellay’s Cupid and death, 1569, p. 400;
    • Dog, 482;
    • Emblem writing, 136.
  • Berjeau’s Biblia pauperum, ed. 1859, pp. 45, 48.
  • Beza, quoted, Phrixus, 230;
    • Dog and moon, 270;
    • Engineer and petard, 344.
  • Biographie Universelle, Boner, 50;
    • Zainer, 55;
    • Badius, 63;
    • Shoeufflein, 5.
    • Custom, a guide for Emblems, 37.
    D.
    • 1. Dance of Death. See Holbein.
    • Danse Macabre, ed. 1485, p. 56.
    • Dalle Torre, Dialogo, 1598, p. 92.
    • Daniell, Worthy Tract of Paulus Iouius, 1585, p. 77.
    • David, Virtutis spectaculum, 1597;
      • Veridicus christianus, 1601;
      • ChristelÜcke, 1603;
      • Occasio arrepta, neglecta, 1605;
      • Pancarpium marianum, 1607;
      • Messis myrrhÆ et aromatum, 1607;
      • Paradisus sponsi et sponsÆ, 1607;
      • Duodecim specula, 1610, p. 95;
      • Occasio, quoted in illustration, Plate XII., 265.
    • Daza Pinciano, Alciat in Spanish, 1549, p. 70.
    • De Bry, T., Stam und wapenbuch, 1593, p. 32;
      • Emb. nobilitate et vulgo scitu digna, 1592, and Emblemata secularia, 1593, p. 94;
      • Emb. sec.—rhythmis Germanicis, 1596, p. 97;
      • Pourtraict de la cosmog. morale, 1614, p. 94.
    • De la Perriere, Theatre des bons engins, 1539;
      • Les cent considerations d’amour, 1543;
      • Les considerations des quatre mondes, 1552;
      • La Morosophie, 1553, p. 74.
    • De Montenay, EmblÊmes ou devises chrestiennes, 1574, pp. 87, 88.
    • De Passe, 96;
      • Metamorphose?n Ouid., 1602, p. 95;
      • Speculum heroicum—Homeri, 1613, p. 36;
      • Original drawings at Keir, about 1600, p. 177;
      • Quoted, PhaËton, 284;
      • Daphne, 296;
      • Tronus Cupidinis, 348.
    • Derendel, Historyke Portreatures, 1553, pp. 73, 119.
    • De Romieu, Le Pegme de P. Covstav, 1560, p. 77.
    • De Soto, Emblemas moralizadas, 1599, p. 99.
    • Desprez, ThÉatre des animaux, &c., 1595, p. 93.
    • Destructori? vitiorum (Dyalog. Creat.), 1509, p. 52.
    • Dialoges of creatures moralyzed, 1520, pp. 52, 119, 303.
    • Dinet, Les cinq livres des hieroglyph., 1614, p. 94.
    • Dolce, Le prime imprese del conte Orlando, 1572;
      • Dialogo, 1575, p. 86.
    • Domenichi, Ragionamento, 1556, 1574, pp. 77, 78.
    • Doni, I mondi; I marmi; La moral filosofia, 1552, 1553, p. 76.
    • Droyn, La grÃt nef des folz, 1498, 1579, pp. 57, 87.
    • Dupont, Satyriques grotesques, 1513, p. 67.
    • Durer, 8.htm.html#Page_463" class="pginternal">463–496.
  • Emperors:—Maximilian I., 1517, pp. 67, 68;
    • Charles V., 1517, p. 68;
    • Maximilian II., 1564, p. 85;
    • Rodolph II., 1576, pp. 85, 89, 96;
    • Matthias, and Ferdinand II., 96.
  • End crowns all; or the end makes all equal, Shakespeare, Messin, Whitney, Perriere, 320;
    • Illustrated by chess, Perriere, 320;
    • Corrozet, 321, 322;
    • Whitney and Shakespeare, 323.
  • Engineer hoist with his own petar, from Beza and Le Bey de Batilly, 344;
    • Shakespeare, 345.
  • Envy, from Whitney, Alciat, 431, 432;
    • Shakespeare, 433.
  • Estridge, ostrich, or falcon? Paradin, 370;
    • Shakespeare, 371.
  • Eternity, emblem of, 37;
    • in Plate XVII., 491;
    • Horapollo, 491;
    • Shakespeare, 492.
F.
  • F, O. L., Nef des folz, Paris, 1499, xxv., p. vii.
  • 1. Fables, German, about 1400, p. 50. See Boner.
  • Fabrici, Delle allusioni, imprese & emblemi, 1588, p. 87.
  • Faerno, FabvlÆ centvm, 1565, pp. 85, 303, 310, 311;
    • quoted, Fox and grapes, 311.
  • Farra, Settenario dell’ humana riduttione, 1571, pp. 79, 86.
  • Feyrabend, Stam und wapenbuch, 1579, p. 90.
  • Figures du vieil Test. & du nouuel, 1503, p. 63.
  • Figures of the Bible, 73.
  • Fiorino, Opera nuova, &c., 1577, p. 86.
  • Flemish books of emblems, passim, and, 90, 97.
  • Franceschino, Hori Apollinis selecta hieroglyphica, 1597, p. 94.
  • Fraunce, Insignium armorum emblematum, &c., 1588, p. 89.
  • Freitag, Mythologia ethica, 1579, p. 88;
    • Viridiarium mor. phil. per fabulas, 1594, p. 94.
  • Frellonius, Holbein’s Historiarum veteris instrumenti, 1547, p. 72.
  • French Emblem-books, passim, and, 87, 93.
  • Furmerus, De rerum usu et abusu, 1575, p. 88;
    • Hands of Providence, Plate XVI., 489.
  • 2. Facunda senectus, 215;
  • Faire tout par moyen, < , Whitney, 208;
  • Hawk on a mummy case, its meaning, 26.
  • Hawsted and Hardwick, emblems there, 127–130.
  • Hen eating her own eggs, Whitney, Sambucus, 411;
    • Shakespeare, 412.
  • Henry II. of England, 50.
  • Henry II. of France, his impresa, 123, 125, 127.
  • Henry VIII., collection of pictures, 111, 114;
    • his impresa, 124.
  • Heraldic Emblems, 212–240;
    • in three divisions;—
    • I. Poetic Heraldry, 212–221:—
      • The swan singing at death, Horapollo, 213;
      • Virgil, Horace, Pindar, Anacreon, 214;
      • On death poets take the form of swans, Ovid, Plato, 214;
      • type of old age eloquent, Aneau, 215;
      • of the simplicity of truth, Reusner, 215;
      • fine thought by Camerarius, 217;
      • insignia of poets, Alciat and Whitney, 218;
      • Shakespeare combines various of these emblems, or of their spirit, 219–221;
      • Shakespeare’s beautiful comparison of heraldry, 221.
    • II. Heraldry of Reward for heroic achievements, 221–230:—
      • Wreath of chivalry, Whitney, Camerarius, 222;
      • Shakespeare, 223;
      • Victors’ crowns, Paradin, 224;
      • Eschenburg, 224;
      • Shakespeare, 225–227;
      • Honours from sovereign princes, Shakespeare, Talbot, 226;
      • Order of St. Michael, Paradin, 227;
      • Order of the golden fleece, Paradin, 228;
      • Argonauts, Whitney, 229;
      • Phrixus, Alciat, 229;
      • Whitney, 230;
      • Beza, 230;
      • Shakespeare, 230.
    • III. Imaginative Devices, 231–240:—
      • Porcupine, Giovio, 231;
      • Camerarius, 232;
      • Shakespeare, 232;
      • Ostrich and iron, Giovio, 233;
      • Camerarius, 234;
      • Shakespeare, 234;
      • Phoenix, Lady Bona of Savoy, Paradin, 234;
      • Giovio, 235;
      • Shakespeare, 236;
      • Bear and ragged staff, Whitney, 236;
      • Dugdale, 237;
      • Dudley, 238;
      • Shakespeare, 239.
  • Heraldry, Emblems its language, 14, 17, 82;
    • Its close connection with Emblems, 212;
    • Beautiful comparison from, 2 g="la">Mens immota manet, 335;
    • Me pompÆ provexit apex, 158, 168;
    • Merces anguina, 198;
    • ?????? ???????????? ?????????, 155;
    • Moderata vis impotenti violentia potior, 166;
    • Mort vivifiante, 185;
    • Much rain wears the marble, 324;
    • Multiplication de proces, 374;
    • Mulier umbra viri, 468;
    • Murus Æneus, sana conscientia, 423.
    • 3. Magnat, On flower signs, 1855, p. 18.
    • Martin, Shakespeare’s seven ages, 1848, p. 407.
    • Menestrier, Philosophia and Judicium, 1595, pp. 78, 79.
    • Microcosm, quoted:—Fortune, 263;
    • Mignault, quoted:—Symbols, Coats of Arms, and Emblems, ed. 1581, or 1608, p. 2;
      • Narcissus, 295;
      • Hares and dead lion, 304, 305.
    • Milton, Emblem, 9;
      • Paradise Lost, curiously portrayed in Adams appel, 1642, p. 132;
      • in Boissard’s Theatrum, The fall of Satan, Plate XI., 133.
    • Moerman quoted, Wolf and ass, 53, 54.
    • Moine’s Devises, Roy des abeilles, 363.
    • Montalde, P. Horatius, 79.
    • More, Sir T., quoted, 120, 461, 481.
    • Motley, Dutch Republic, 81, 82.
    • Mulgrave, Voyage to the North Sea, 348.
    • 4. Maidens, Hindoo and Persian, and flowers, 18.
    • Manchester Free Library, Faerno’s Fables, 1565, p. 85.
    • Man, like a wolf, 281;
      • like a god, 283.
    • Man measuring his forehead, 129.
    • Man swimming with a burden, from Perriere, 480;
      • Whitney, 480;
      • Shakespeare, 481.
    • Man’s greatness, Coustau, 283;
      • Reusner and Shakespeare, 283, 284.
    • Manuscript Emblem-books, Macaber, 39;
      • Astronomical, 41;
      • Speculum humanÆ salvationis, 42, 44;
      • Bedford Missal, 44;
      • Hortulus animÆ, 58;
        • , 250;
      • Sirens, 253;
      • Mercury and Fortune, 255;
      • Mercury and the lute, 256;
      • Mercury, 257, 258;
      • Fortune, or occasion, and opportunity, 258–260;
      • Fortune, 261;
      • Fortune on the rolling stone, 263;
      • Occasion, 263–265;
      • Prometheus bound, 265–269;
      • The dog baying at the moon, 270;
      • Orpheus, 271–274;
      • ActÆon and the hounds, 274–279;
      • Arion, 279–281;
      • The contrary sentiment, 281–283;
      • Phaeton, 284–287;
      • DÆdalus and Icarus, 287–291;
      • Niobe, 291–294;
      • Narcissus, 294–296;
      • Daphne, 296, 297;
      • Milo, 297;
      • Pegasus, 298–300.
  • Mythology, a fruitful source of illustrations, 241;
    • Open to every one, 242;
    • Ovid the chief storehouse, 242.
ss="pginternal">164;
  • Poetarum gloria, 379;
  • Ponderibus virtus innata resistit, 124;
  • Porta hÆc clausa erit et non aperietur, 47;
  • Post amara dulcia, 332;
  • ??? ??????? ????????, 213;
  • ??? ???? ????????? ???????, 358;
  • Precipitio senza speranza, 124;
  • Precium non vile laborum, 228;
  • Principis bona imago, 143;
  • Principis clementia, 360;
  • Pro lege et grege, 394;
  • Propera tarde, 16;
  • Prudentes vino abstinent, 249;
  • Pur reposer, 7.
  • 3. PalÆphatus, on ActÆon, 278.
  • Paradin, quoted,—Ape and miser’s gold, 501;
    • Arrow wreathed on a tomb, 183;
    • Barrel full of holes, 332;
    • Butterfly and candle, 151;
    • Fleece, golden, 228;
    • Gold on the touchstone, 175;
    • Leafless trees and rainbow, 128;
    • Michael, order of St., 227;
    • Ostrich with stretched wings, 370;
    • Phoenix, 234, 385;
    • Snake on the finger, 342;
    • Stag wounded, 399;
    • Wheat among bones, 184;
    • Wreath of chivalry, 169;
    • Wreath of oak, 224;
    • Wrongs on marble, 458.
  • Penny CyclopÆdia, on Pericles, 168;
    • on the plays of Henry VI., 238;
    • Unicorn, 372.
  • Percy Reliques, Dragon, 373.
  • Pfister, earliest printed book on scriptural subjects, 1462, p. 45;
    • Earliest German book, 1461, p. 50.
  • Pindar, on Symbol, 2.
  • Plantin, 1564–1590, fifty editions of Emblem-books, 85.
  • Plato, the swan, 214;
    • king-bee, 359.
  • Plautus, “life to me,” 161.
  • Plutarch, Timon of Athens, 430;
    • Carking, 468.
  • Priestley, Lectures on History—on Grecian coins, 13.
  • Proclus, Seven ages of man, 407.
  • 4. Painters referred to, Romano, 110;
  • Palm-tree, a device on Queen Mary’s bed, Zodiacus christianus, 1618, p. 353.
  • Sambucus, quoted:
    • —ActÆon, 277;
    • Astronomer, 335;
    • Ban-dog, 482;
    • Child and motley fool, 484;
    • Elephant, 196;
    • Forehead, 129;
    • Hen eating her own eggs, 411;
    • Laurel, 422;
    • Mercury and lute, 256;
    • Pine-trees in a storm, 475;
    • Ship on the waves, 435;
    • Time flying, 466;
    • Timon, 427;
    • World, map of, 351.
  • Schiller, Werke, 199.
  • Schlegel, on Pericles, 157.
  • Shakespeare quoted, by way of allusion, or of reference to:
    • —Æsop’s Fables, 303;
    • ActÆon, 276, 279;
    • Adam hiding, 416;
    • Adamant, 348;
    • Æneas and Anchises, 191;
    • Ape and miser’s gold, 488;
    • Apollo and the Christian muse, 379;
    • Argonauts and Jason, 230;
    • Arion, 283;
    • Astronomer and magnet, 356;
    • Atlas, 245;
    • Bacchus, 249;
    • Ban-dog, 484;
    • Bear and ragged staff, 237–240;
    • Bear and cub, 349, 350;
    • Bees, 361–365;
    • Bellerophon and chimÆra, 300;
    • Brutus, 201–205;
    • Butterfly and candle, 153;
    • Cadmus, 245;
    • Cannon bursting, 345;
    • Casket scenes, 149–154, 186;
    • Cassius and CÆsar, 193;
    • Chaos, 451–453;
    • Child and motley fool, 485;
    • Chivalry, wreath of, 168;
    • Circe, 252;
    • Cliffords, 192;
    • Clip the anvil of my sword, 327;
    • Commonwealth of Bees, 362–365;
    • Conscience, power of, 421;
    • Coriolanus, 201;
    • and his civic crowns, 226;
    • Coronation scene, 9;
    • Countryman and serpent, 197;
    • Cupid blinded, 331;
    • Cupid in mid-air, 404;
    • Daphne, 297;
    • Death, 469;
    • Dog baying the moon, 269;
    • Dogs not praised, 2;
    • Device, 8;
    • Emblem, 9.
  • Shepheards calender, Spenser, 134–137, 186.
  • Siegenbeek, Geschiedenis der Nederlandsche letterkunde, 82.
  • Smith, Dictionary of Greek and Roman Antiquities, 10.
  • Sotheby, Principia typographica, 1858, pp. 48, 49.
  • Spenser, ideas of devices, 8;
    • Early sonnets, 88;
    • Visions, 134;
    • Shepheards calender, 134, 136, 185;
    • Ban-dogs, 481.
  • Stamm Buch, 1619, Adam hiding, 416.
  • Statius, badges, 47.
  • Suetonius, Tiber. CÆsaris vita, 5.
  • Symbola divina et humana, 1652, p. 176.
  • Symeoni, quoted:—Ape and miser’s gold, 486;
    • Butterfly and candle, 153;
    • Chaos, 448;
    • Creation and confusion, 35;
    • Diana, 3;
    • Dolphin and anchor, 16;
    • Forehead shows the man, 129;
    • Inverted torch, 171;
    • Phaeton, 284;
    • Serpent’s teeth, 245;
    • Wounded stag, 398;
    • Wrongs on marble, 457.
  • Syntagma de symbolis, 2.
  • 4. Saint Germain, fair at, imprese, 124, note.
  • Salamander, impresa of Francis I., 123, 125.
  • Satan, fall of, Boissard, 1596, Plate XI., 132, 133.
  • Satire in Emblems, 33.
  • Saviour’s adoption of a human soul, VÆnius, Plate II., 32.
  • Savoy, duke of, his impresa, 124;
    • Madame Bona of, her device, 235.
  • Sepulchre and cross, Diana of Poitiers, 183.
  • Serpent and countryman, Freitag, Reusner, 197;
    • Serpent in the bosom, Shakespeare, 198.
  • Seven ages of man, Arundel MS., 406;
    • Hippocrates, Proclus, Antonio Federighi, Martin, Lady Calcott, 407;
    • Block-print described, Plate XV., 407, 408;
    • Shakespeare, 409, 410.
  • Shadow, fled and pursued, Whitney, 467;
    • Shakespeare, 468.
  • Shield untrustworthy. See Brasidas.
  • Shields of Achilles, Hercules, Æneas, &c., 20.
  • Ship, with m les@50006@50006-h@50006-h-5.htm.html#Page_57" class="pginternal">57, 65, 119.
  • Whitney, Choice of Emblemes, 1586, pp. 91, 120.
  • Willet, Sacrorum Emblematum Centuria, 1598, pp. 99, 100, 119, 120.
  • Wohlgemuth, Libri cronicarum, 1493, p. 56.
  • Wyrley, True use of armorie, 1592, pp. 99, 100.
  • 2. Wat den mensch aldermeest tot’ conste verwect?, 82;
  • Where the end is good, all is good, 437;
  • With manie blowes the oke is ouerthrowen, 324.
  • 3. Walcott, Sacred ArchÆology, 1868, p. 27.
  • Waller, master-bee, 363.
  • Wedgwood, Life of, fictile ornament, 19.
  • Whitney, Fac-simile Reprint, 1866, p. 172;
    • Emblems quoted by Knight to illustrate Hamlet, 396.
  • Whitney, quoted:—Definition of Emblems, 6;
    • ActÆon, 278;
    • Adam hiding, 416;
    • Æneas bearing Anchises, 191;
    • Ants and grasshopper, 148;
    • Ape and miser’s gold, 128, 487;
    • Arion and the dolphin, 281;
    • Astronomer and magnet, 335;
    • Bacchus, 248;
    • Ban-dog, 483;
    • Barrel with holes, 332;
    • Bear and ragged staff, 236;
    • Bees, 361, 364;
    • Brasidas, 195;
    • Brutus, 202;
    • Chaos, 450;
    • Child and motley fool, 484;
    • Circe, 251;
    • Cupid and death, 402;
    • Diligence and idleness, 146;
    • Dog baying the moon, 270;
    • D. O. M., 464;
    • Drake’s ship, 413;
    • Elephant, 196;
    • Elm and vine, 308;
    • Envy, 432;
    • Fame armed with a pen, 446;
    • Fardel on a swimmer, 480;
    • Fleece, golden, 229, 230;
    • Forehead, 129;
    • Fox and grapes, 311;
    • Gold on the touchstone, 178;
    • Hares and dead lion, 305;
    • Harpocrates, silence, 208;
    • Hen eating her own eggs, 412;
    • Hope and Nemesis, 182;
    • Icarus, Ex literarum studiis immortalitatem acquiri.

      Alciat, ed. 1534, p. 45.

      BRADBURY, EVANS, AND CO., PRINTERS, WHITEFRIARS.

      1.See the Olympica, 12. 10: “s????? p?st?? ?f? p?????? ?s?????.” Also Æschylus, Agamemnon, 8: “?a? ??? f???SS? ?ap/d?? t? s?????.”

      2.Syntagma De Symbolis, &c., per Clavdivm MinoËm, Lvgdvni, M.DC.XIII. p. 13: “Plerique sunt non satis acuti, qui Emblema cum Symbolo, cum Ænigmate, cum Sententia, cum Adagio, temerÈ & imperitÈ confundunt. Fatemur Emblematis quidem vim in symbolo sitam esse: sed differunt, inquam, vt Homo & Animal: alterum enim hÎc maximÈ generaliÙs accipi, specialiÙs verÒ alterum norut omnes qui aliquid indicii habeant.”

      3.“La Vita et Metamorfoseo:” “A Lione, per Giouanni di Tornes,” 8vo, 1559, pp. 2, 3.

      4.

      ... “????? d’ ??e ????? ?p????
      ????t????.”

      5.

      ... “s??pt??? d? ?? ?a?e ?e??
      ????? ?e?s????.”

      6.

      ... “??a? ???p??sa?, ?te ? a?t?? ?e ???????
      ????? a???e??? da??? ??ess? ???s??.”

      7.Philemon Holland names the work of art, “A broad goblet or standing piece,”—“with a device appendant to it, for to be set on and taken off with a vice.”

      8.Now the property of his grandson, Mr. Henry Yates Thompson, of Thingwall, near Liverpool.

      9.“Quidam ... . scriptos eos (scilicet locos) memoriÆque diligentissime mandatos, inpromptu habuerent, ut quoties esset occasio, extemporales eorum dictiones, his, velut Emblematibus exornarentur.”—Quint. Lib. 2, cap. 4.

      10.So the note in illustration quotes from Gower, Conf. Am. f. 190,

      “Upon the gaudees all without
      Was wryte of gold, pur reposer.”

      11.See Smith’s Dictionary of Gk. and Rom. Ant., p. 377 b, article Emblema.

      12.See the Author’s Introductory Dissertation, p. x, to the Fac-simile Reprint of Whitney’s Emblems.

      13.See Plate I., containing De Hooghe’s engraving, reproduced on a smaller scale.

      14.“Il portar queste imprese fu costume antico. Gio. Non È punto da dubitare, che gli antichi vsassero di portar Cimieri & ornamenti ne gli elmetti e ne gli scudi: perche si vede chiaram?te in Vergil, quÃdo fa il Catalago delli genti, che v?nero in fauore di Turno contra i Troiani, nell’ ottauo dell’ Eneida; Anfiarao ancora (come dice Pindaro) alla guerra di Thebe porto vn dragone nello scudo. Statio scriue similmente di Capaneo & di Polinice; che quelli portÒ l’ Hidra, e queste la Sfinge,” &c.

      15.See Gabriel Symeon’s Devises ov Emblemes Heroiqves et Morales, ed. À Lyon, 1561, pp. 218, 219, 220.

      16.See Paolo Giovio’s Dialogo, p. 10, and Symeon’s Devises Heroiques, p. 220. Also Le Imprese del. S. Gab. Symeoni, ed. in Lyone 1574; from which, p. 175, the above device is figured.

      17.i.e., the space left between one of the sides of a bed and the wall. Employed figuratively, this word relates to a custom which has passed away, when people betook themselves to the alcove or sleeping room of their friends to enjoy the pleasure of conversation.

      18.Herodotus, in the Melpomene, bk. iv. c. 131.

      19.So in the autumn and winter which preceded Napoleon’s return from Elba, the question was often asked in France by his adherents,—“Do you like the violet?” and if the answer was,—“The violet will return in the spring,” the answer became a sure revelation of attachment to the Emperor’s cause. For full information on Flower signs see Casimir Magnat’s TraitÉ du Langage symbolique, emblÉmatique et religieux des Fleurs. 8vo: A. Touzet, Paris, 1855. In illustration take the lines from Dr. Donne, at one time secretary to the lord keeper Egerton:—

      “I had not taught thee then the alphabet
      Of flowers, how they devisefully being set
      And bound up, might with speechless secresy
      Deliver errands mutely and mutually.”—Elegy 7.

      20.See also “Real Museo Borbonico,” Napoli Dalla Stamperia Reale, 1824. Vol. i. tavola viii. e ix. Avventura e Imprese di Ercoli. Vol. ii. tav. xxviii. Dedalo e Icaro. Vol. iii. tav. xlvi. Vaso Italo-Greco depinto. Vol. v. tav. li. Vaso Italo-Greco,—a very fine example of emblem ornaments in the literal sense.

      21.“?f??e? d’ a?t?? pe?? t?? t?a????? e? ???s?? ???se?? ??t?e??? ??d??? t?? p???te??? ?????, ? p??s????e??? ???T????.”

      22.

      Iliad, xviii. 478, “???e? d? p??t?sta s???? ??a te st?a???te,—”
      ””_482, “???e? da?da?a p???? ?d???s? p?ap?dess??.”

      23.See Kenrick’s Ancient Egypt under the Pharaohs, vol. i. p. 291.

      24.See the Stromata of Clemens, vi. 633,—where we learn that it was the duty of the Hierogrammateis, or Sacred Scribe, to gain a knowledge of “what are named Hieroglyphics, which relate to cosmography, geography, the action of the sun and moon, to the five planets, to the topography of Egypt, and to the neighbourhood of the Nile, to a record of the attire of the priests and of the estates belonging to them, and to other things serviceable to the priests.”

      25.“Ori Apollinis Niliaci, De Sacris notis et sculpturis libri duo,” &c. “Parisiis: apud Jacobum Keruer, via JacobÆa, sub duobus Gallis, M.D.LI.” Also, Martin’s “Orus Apollo de Ægypte de la sygnification des notes hieroglyphiques des Ægyptiens: Paris, Keruer, sm. 8vo, 1543.”

      26.Horapollinis Niloi Hieroglyphica, 8vo, pp. xxxvi. and 446: “Amstelodami, apud J. Muller et Socios, MDCCCXXXV.”

      27.The Hieroglyphics of Horapollo Nilous, sm. 8vo, pp. xii. and 174: “London, William Pickering, MDCCCXL.”

      28.Horapollo’s Hieroglyphica, by Conrad Leemans, bk. i. c. 13, p. 20:—?? ?st??a ???f??te? d????s?. Te?? d? ????s??? s?a????te?, ? e?a?????, ? t?? p??te ??????, ?st??a ????af??s?? ?e?? ??, ?pe?d? p?????a ?e?? t?? ????? p??st?sse?, ? t?? ?st???? ?a? t?? pa?t?? ??s?? ????s?? ??te?e?ta?? d??e? ??? a?t??? d??a ?e??, ?d?? ???? s??est??a?? ??a????? d?, ?pe? ?a? a?t? ?? ?st????? ???????a? s???stata?? t?? d? p??te ??????, ?pe?d? p?????? ??t?? ?? ???a??, p??te ???? ?? a?t?? ?????e???, t?? t?? ??s?? ???????a? ??te???s?.

      29.Horapollo, bk. i. c. 1.

      30.Bk. i. c. 10.

      31.Bk. i. c. 17–19.

      32.Bk. ii. c. 58, 94, 118.

      33.For a further and very interesting account of the Emblems of Christian Art, reference may be made to a work full of information,—too brief it may be for all that is desirable,—but to be relied on for its accuracy, and to be imitated for its candid and charitable spirit:—Sacred ArchÆology, by Mackenzie E.C. Walcott, B.D., 8vo, pp. 640: London, Reeve & Co. 1868.

      34.“Ex Officina Christophori Plantini, Architypographi Regij, 1588.”

      35.See Brunet’s Manuel du Libraire, vol. v. col. 476–483, and col. 489; also vol. iv. col. 1343–46.

      36.Sold at the Duchess of Portland’s sale in 1789 to Mr. Edwards for £215,—and at his sale in 1815 to the Duke of Marlborough for £637 15s. See Dibdin’s “Bibliomania,” ed. 1811, p. 253; and Timperley’s Dictionary of Printers and Printing, ed. 1839, p. 93.

      37.One of the earliest and most curious of the Block-books, Biblia Pauperum, has been reproduced in fac-simile by Mr. J. Ph. Berjeau, from a copy in the British Museum.

      38. Mr. Humphreys reads “Pluviam sicut arida tellus;” but in this, as in two or three other instances in this pl. 2, and p. 40, a botanical lens will show that the readings are those which I have given. I desire here to express to him my obligation for the courteous permission to make use of pl. 2, p. 40, of his work, for a photolith (see Plate VI.), to illustrate my remarks.

      39.To follow out the subject of the Biblia Pauperum, or of Block-books in general, the Reader may consult Sotheby’s Principia typographica, The Block-Books, &c., 3 vols. 4to, London, 1858; Dibdin’s Bibliotheca Spenseriana, 4 vols. London, 1814, 1815; or Berjeau’s Biblia Pauperum, a fac-simile with an historical introduction, 4to: TrÜbner, London, 1859.

      40.As in Nourry’s Lyons editions of 1509 and 1511, where the title given is, “Destructoriu vitiorum ex similitudinu creaturarum exemploru appropriatiÕe per modum dialogi,” &c.; lge. 4to, in the Corser Library, from which we take—De Sole et Luna.

      Lyons ed. 1511.

      41.The Title is “Apologi Creatvrarvm;” “Vtilia prudenti, imprudenti futilia. G. de Jode excu. 1584.”

      42.An English translation, with wood engravings, appeared about the time of Shakespeare’s birth, it may be a few years earlier:—The Tryumphes of Fraunces Petrarche, “translated out of Italian into English by H?rye Parker knyght, lorde Morley,” sm. 4to.

      43.See Brunet’s Manuel, iii. c. 85, and i. c. 1860; Biog. Universelle, “Zainer;” Timperley’s Dictionary of Printers, p. 197; and Bryan’s Dict. of Engravers, p. 918.

      44.Langlois in his Essai, pp. 331–340, names thirty-two editions previous to A.D. 1730.

      45.Be lenient, gentle Reader, if you chance to compare the above translation with the original; for even should you have learned by heart the two very large 4to volumes of Forcellini’s Lexicon of all Latinity, I believe you will find some nuts you cannot crack in the Latin verses of Jodocus Badius.

      46.For a very good account of Joachim’s supposed works, consult a paper in Notes and Queries, September, 1862, pp. 181–3, by Mr. Jones, the excellent Librarian of the Chetham Library, Manchester; and for an account of the man, Aikin’s General Biography, v. pp. 478–80.

      47.The “Ehrenpforte,” or Triumphal Arch, about 1515, and the “Triumphwagen,” or Triumphal Car, A.D. 1522, both in honour of Maximilian I., are among the noblest of Durer’s engravings; but the Biographie Universelle, t. 33, p. 582, attributes the engravings in the “Tewrdannckh” to Hans Shaeufflein the younger, who was born at Nuremberg about 1487; and with this agrees Stanley’s Dict. of Engravers, ed. 1849, p. 705. There are other works by Durer which, it may be, should be ranked among the Emblematical, as Apocalypsis cum Figuris, Nuremberg, 1498; and Passio Domini nostri Jesu, 1509 and 1511. It is, however, now generally agreed that Durer designed, but did not engrave, on wood. See Stanley, p. 224.

      48.Belonging to one of the earlier editions, or else as an Imagination of the Tablet itself, is a wonderfully curious woodcut, in folio, of which our Plate 1. b is a smaller fac-simile.

      49.The title is rather conjectured than ascertained, for owing, as it is said, to Alciat’s dissatisfaction with the work, or from some other cause, he destroyed what copies he could, and not one is now of a certainty known to exist. For solving the doubt, the Editor of the Holbein Society of Manchester has just issued a note of inquiry to the chief libraries of Europe, EnquÊte pour dÉcouvrir la premiÈre Edition des EmblÊmes d’AndrÉ Alciat, illustre Jurisconsulte Italien. Milan, A.D. 1522.

      50.A copy was in the possession of the Rev. Thos. Corser, and has passed through the hands of Dr. Dibdin and Sir Francis Freeling; also another copy is at Keir, Sir William Stirling Maxwell’s; both in admirable condition.

      51.Clarissimi viri D. AndreÆ Alciati Emblematum libellus, uigilanter recognitus, et ià recens per Wolphgangum Hungerum Bauarum, rhythmis Germanicis uersus. Parisiis, apud Christianum Wechelum, &c., Anno M.D.XLII.

      52.“Omnia AndreÆ Alciati V. C. Emblemata. Adiectis commentariis, &c. Per Clavdivm Minoim Diuionesem. AntverpiÆ, Ex officina Christophori Plantini, Architypographi Regij, M.D.LXXIII.;” also, “Editio tertia multo locupletior,” M.D.LXXXI.

      53.“Emblemata v. Cl. AndreÆ Alciati—notulis extemporarijs Laurentij Pignorij Patauini. Patauij, apud Pet. Paulum Tozzium, M.DCXIIX,” sm. 8vo.

      54.The Holbein Society of Manchester have just completed, May, 1869, a Photo-lithographic Reprint of the whole work, with an English Translation, Notes, &c., by the Editor, Henry Green, M.A.

      55.La tres admirable, &c., entrÉe du Prince Philipe d’Espaignes—en la ville d’Anvers, anno 1549. 4to, Anvers, 1550.

      56.North’s translation of Plutarch’s Lives, we may remark, was the great treasury to which Shakespeare often applied in some of his Historical Dramas; and we may assume that other productions from the same pen would not be unknown to him.

      57.“Petri Costalii Pegma Cum narrationibus philosophicis.” 8vo, Lvgdvni, 1555.

      “Le Pegme de Pierre Covstav auec les Narr. philosophiqves.” 8vo, A Lyon, M.D.LX.

      58.The dates have been added to Menestrier’s list.

      59.A friend, Mr. Jan Hendrik Hessells, now of Cambridge, well acquainted with his native Dutch literature, informs me the “Spelen van Sinnen (Sinnespelen, Zinnespelen) were thus called because allegorical personifications, Zinnebeildige personen (in old Dutch, Sinnekens), for instance reason, religion, virtue, were introduced.” They were, in fact, “allegorical plays,” similar to the “Interludes” of England in former times.

      60.As “Wat den mensch aldermeest tot’ conste verwect?”—What most of all awakens man to art?

      61.The works to which a k is appended are all in the very choice and yet most extensive collection of Emblem-books at Keir, made by the Author of The Cloister Life of Charles V., Sir William Stirling Maxwell, Bart.; c, in the Library formed by the Rev. Thomas Corser, Rector of Stand, near Manchester; t, in that of Henry Yates Thompson, Esq., of Thingwall, near Liverpool. I have had the opportunity, most kindly given, of examining very many of the Emblem-works at Keir, and nearly all of those at Stand and Thingwall. The three collections contained at the time of my examination of them 934, 204, and 248 volumes, in the whole 1386 volumes. Deducting duplicates, the number of distinct editions in the three libraries is above 900. Where I have placed a v, it denotes that the sources of information are various, but those sources I possess the means of verifying. I name these things that it may be seen I have not lightly nor idly undertaken the sketch which I present in these pages.

      62.First printed at Lyons in 1498.

      63.Since the above was written I have good reasons for concluding that the fact is very much understated. I am now employed, as time allows, in forming an Index to my various notes and references to Emblem writers and their works: the Index so far made comprises the letters A, B, C, D (very prolific letters indeed), and they present 330 writers and translators, and above 900 editions.

      64.We select an instance common to both Holbein and Shakespeare; it is pointed out by Woltmann, in his Holbein and his Time, vol. ii. p. 23, where, speaking of the Holbein painting, The Death of Lucretia, the writer says,—“The costume is here, as ever, that of Holbein’s own time. The painter reminds us of Shakespeare, who also conceived the heroes of classic antiquity in the costume of his own days; in the Julius CÆsar the troops are drawn up by beat of drum, and Coriolanus comes forth like an English lord: but the historical signification of the subject nevertheless does in a degree become understood, which the later poetry, with every instrument of archÆological learning, troubles itself in vain to reach.”

      It may be noted that in other instances both Wornum, the English biographer of Holbein, and Woltmann, the German, compare Holbein and Shakespeare, or, rather, illustrate the one by the other.

      65.As when Cooper, at the tomb of Shakespeare, describes it,—

      “The scene then chang’d from this romantic land,
      To a bleak waste by bound’ry unconfin’d,
      Where three swart sisters of the weird band
      Were mutt’ring curses to the troublous wind.”

      66.Act v. sc. 3, lines 14–84, Cambridge edition, vol iii. pp. 422–25.

      67.The ivory statue changed into a woman, which Ovid describes, Metamorphoses, bk. x. fab. viii. 12–16, is a description of kindred excellence to that of Shakespeare:

      “SÆpe manus operi tentantes admovet, an sit
      Corpus, an illud ebur: nec ebur tamen esse fatetur.
      Oscula dat, reddique putat; loquiturque, tenetque;
      Et credit tactis digitos insidere membris:
      Et metuit, pressos veniat ne livor in artus.”

      68.“Julio was an artist of vigorous, lively, active, fearless spirit, gifted with a lightness of hand which knew how to impart life and being to the bold and restless images of his fancy.” The same volume, pp. 641–5, continues the account of Romano.

      69.“An important one,” says Kugler, “at Lord Northwick’s, in London.”

      70.Two of Titian’s large paintings, now in the Bridgewater Gallery, represent “Diana and her Nymphs bathing.” (See Kugler, vol. ii. p. 44.)

      71.See Drake’s Shakspeare and his Times, vol. ii. p. 119.

      72.See D. Franz Kugler’s Handbuch der Geschichte der Malerei, vol. ii. pp 44–6.

      73.The subjects of the “nyne pageauntes,” and of their verses, are—“Chyldhod, Manhod, Venus and Cupyde, Age, Deth, Fame, Tyme, Eternitee,” in English; and “The Port” in Latin.

      74.Thus to be rendered—

      While Elizabeth, as king, did reign,
      England the terror was of Spain;
      Now, chitter-chatter and Emblemes
      Rule, through our queen, the little James.

      75.Through Mr. Jones, of the Chetham Library, Manchester, I applied to D. Laing, Esq., of the Signet Library, Edinburgh, to inquire if the bed of state is known still to exist. The reply, Dec. 31st, 1867, is—

      “In regard to Queen Mary’s bed at Holyrood, there is one which is shown to visitors, but I am quite satisfied that it does not correspond with Drummond’s description, as ‘wrought in silk and gold.’ There are some hangings of old tapestry, but in a very bad state of preservation. Yesterday afternoon I went down to take another look at it, but found, as it was getting dark, some of the rooms locked up, and no person present. Should, however, I find anything further on the subject, I will let you know, but I do not expect it.”

      76.This mode of naming the motto appears taken from Shakespeare’s Pericles, as—

      “A black Æthiop, reaching at the sun:
      The word, Lux tua vita mihi.”

      77.In two other Letters Drummond makes mention of Devices or Emblems. Writing from Paris, p. 249, he describes “the Fair of St. Germain:”—

      “The diverse Merchandize and Wares of the many nations at that Mart;” and adds, “Scarce could the wandering thought light upon any Storie, Fable, Gayetie, which was not here represented to view.”

      A letter to the Earl of Perth, p. 256, tells of various Emblems:—

      “My noble Lord,—After a long inquiry about the Arms of your Lordships antient House, and the turning of sundry Books of Impresaes and Herauldry, I found your V N D E S. famous and very honourable.”

      “In our neighbour Countrey of England they are born, but inverted upside down and diversified. Torquato Tasso in his Rinaldo maketh mention of a Knight who had a Rock placed in the Waves, with the Worde Rompe ch’il percote. And others hath the Seas waves with a Syren rising out of them, the word Bella Maria, which is the name of some Courtezan. Antonio Perenotto, Cardinal Gravella, had for an Impresa the sea, a Ship on it, the word Durate out of the first of the Æneades, Durate et vosmet rebus servate secundis. Tomaso de Marini, Duca di terra nova, had for his Impresa the Waves with a sun over them, the word, Nunquam siccabitur Æstu. The Prince of Orange used for his Impresa the Waves with an Halcyon in the midst of them, the word, Mediis tranquillus in undis, which is rather an Embleme than Impresa, because the figure is in the word.”

      78.See device at a later part of our volume.

      79.See Symeon’s Deuises Heroiques & Morales, edition, 4to, Lyons, 1561, p. 246, where the motto and device occur, followed by the explanation, “Ceux qui ont escrit de la Physiognomie, & mesme Aristote, disent parmy d’autres choses que le front de l’homme est celuy, par lequell’ on peut facilement cognoistre la qualitÉ de ses moeurs, & la complexion de sa nature,” &c.

      80.It may be named as a curious fact that a copy of Alciat’s Emblemes en Latin et en Francois Vers pour Vers, 16mo, Paris, 1561, contains the autograph of the Prolocutor against Mary Queen of Scots, W. Pykerynge, 1561, which would be about five years before Mary’s son was born, for whom she wrought a bed of state. The edition of Paradin, a copy of which bears Geffrey Whitney’s autograph, was printed at Antwerp in 1562; and one at least of his Emblems to the motto, Video et taceo, was written as early as 1568.

      81.In some of the more elaborate of Plantin’s devices, the action of “the omnific word” seems pictured, though in very humble degree,—

      “In his hand
      He took the golden compasses, prepared
      In God’s eternal store, to circumscribe
      This universe, and all created things:
      One foot he centred, and the other turn’d
      Round through the vast profundity obscure.”—Par. Lost, bk. vii.

      82.Derived from Joachim du Bellay (who died in 1560 at the age of thirty-seven), the excellence of whose poetry entitled him to be named the Ovid of France. There is good evidence to show that Du Bellay was well acquainted with the Emblematists, who in his time were rising into fame.

      83.Dibdin, in his Bibliomania, p. 331, adduces an instance; he says, “In the Prayer-Book which goes by the name of Queen Elizabeth’s, there is a portrait of her Majesty kneeling, upon a superb cushion, with elevated hands, in prayer. This book was first printed in 1575, and is decorated with woodcut borders of considerable spirit and beauty, representing, among other things, some of the subjects of Holbein’s Dance of Death.”

      84.Amplified by Whitney, p. 108, Respice, et prospice, “Look back, and look forward.”

      “The former parte, nowe paste, of this my booke,
      The seconde parte in order doth insue:
      Which, I beginne with Ianvs double looke,
      That as hee sees, the yeares both oulde, and newe,
      So, with regarde, I may these partes behoulde,
      Perusinge ofte, the newe, and eeke the oulde
      And if, that faulte within vs doe appeare,
      Within the yeare, that is alreadie donne,
      As Ianvs biddes vs alter with the yeare,
      And make amendes, within the yeare begonne,
      Even so, my selfe suruayghinge what is past;
      With greater heede, may take in hande the laste.”

      85.We subjoin the old French,—

      “Le Dieu Ianus iadis À deux visages,
      Noz anci?s ont pourtraict & trassÉ,
      Pour demÕstrer que l’aduis des g?s sages.
      VisÉ?[e/]? au futur aussi bien qu’ au passÉ,
      Tout temps doibt estrÉ?[e/]? en effect cÕpassÉ,
      Et du passÉ auoir la recordance,
      Pour au futur preueoir en providence,
      Suyuant vertu en toute qualitÉ.
      Qui le fera verra par euidence,
      Qu’il pourra viure en grÃd tranquillitÉ.”

      86.The illustration we immediately choose is from Sym. cxxxvii. p. cccxiiii. of Achilles Bocchius, edition Bologna, 1555, with the motto—

      “Ars rhetor, triplex movet, ivvat, docet,
      Sed PrÆpotens est veritas divinitvs.
      Sic monstra vitior, domat prvdentia.”
      Rhetoric’s art threefold, it moves, delights, instructs,
      But powerful above all is truth of heaven inspired.
      So the monsters of our vices doth wisdom’s self subdue.

      87.See Les Emblemes de Maistre Andre Alciat, mis en rime franÇoyse, Paris, 1540.

      88.The device, however, of this Emblem is copied from Symeoni’s Vita et Metamorfoseo d’Ovidio, Lyons, 1559, p. 72; as also are some others used by Reusner.

      89.In Troilus and Cressida, act i. sc. 3, l. 39, vol. vi. p. 142, we read,—

      “Anon beheld
      The strong-ribb’d bark through liquid mountains cut,
      Bounding between the two moist elements,
      Like Perseus’ horse.”

      90.The description and quotations are almost identical with the Whitney Dissertations, pp. 294–6.

      91.See Whitney’s Fac-simile Reprint, plate 32.

      92.In the work of Joachim Camerarius, just quoted, at p. 152, to the motto, “Violentior exit,”—The more violent escapes, p. 99,—there is the device of Gnats and Wasps in a cobweb, with the stanza,—

      “Innodat culicem, sed vespÆ pervia tela est:
      Sic rumpit leges vis, quibus hÆret inops.”
      “The gnat the web entangles, but to the wasp
      Throughout is pervious; so force breaks laws,
      To which the helpless is held bound in chains.”

      93.Thus to be rendered into symmetrical lines of English,—

      “The Sun, the eye of heaven, with beams the world illumes,
      And the pale Moon afar scatters black night.
      So virtue, the soul’s sun, our pining senses illumes,
      And genial faith dispels the darkness of the mind.
      If virtue to the mind,—so leading the way to virtue shines
      Faith in her purity: nothing can be brighter than this.
      The golden splendour of virtue and faith, O Philip,
      Throwing out beamings, shows to thee paths to the sky.
      This in truth is the Sun of life, and the one Light-bringer,
      This in truth the Moon which by shining drives away night.
      While in thy mind these lights thou seest on high,—of the world
      The darkness and terrors untrembling thou dost behold.
      Sun and Moon and the Light-bringer flash light to their orbs,
      And the while on thee shine, too, virtue and faith.”

      94.Of cognate meaning is Messin’s motto in Boissard’s Emblems, 1588, pp. 82–3, “Plvs par vertv qve par armes,”—Plus virtute quÀm armis,—the device being a tyrant, with spearmen to guard him, but singeing his beard because he was afraid of his barber,—

      “Et vuyde d’asseurance, il aymoit fier
      La faÇon de son poil au charbon, qu’au barbier
      Tant l’injustice au coeur ente de meffiance.”

      95.See Penny CyclopÆdia, vol. xxi. p. 343, where the Pericles and eight other plays are assigned “to the period from Shakspere’s early manhood to 1591. Some of those dramas may possibly then have been created in an imperfect state, very different from that in which we have received them. If the Titus Andronicus and Pericles are Shakspere’s, they belong to this epoch in their first state, whatever it might have been.” See also Knight’s Pictorial Shakspere, supplemental volume, p. 119, where, as before mentioned, the opinion is laid down,—“We think that the Pericles of the beginning of the seventeenth century was the revival of a play written by Shakspere some twenty years earlier.”

      96.It may be mentioned that Paradin describes five other Roman wreaths of honour.

      97.Symeoni, in 1559, dedicated “All’ Illustrissima Signora Duchessa di Valentinois,” his “Vita et Metamorfoseo d’Ovidio,” 8vo, containing 187 pages of devices, with beautiful borders.

      98.“Nella giornata de Suizzeri, rotti presso À Milano dal RÈ Francesco, Monsignor di San Valiere il Vecchio, padre di Madama la Duchessa di Valentinoys, e Capitano di cento Gentil’huomini della Casa del RÈ, portÒ vno Stendardo, nel quale era dipinto vn torchio acceso con la testa in giÙ, sulla quale colaua tanta cera, che quasi li spegneua, con queste parole, Qvi me alit, me extingvit, imitando l’impresa del RÈ suo Padrone: cio È, Nvtrisco et extingvo. È la natura della cera, la quale È cagione che ’l torchio abbrucia stando ritto, che col capo in giÙ si spegne: volendo per ciÒ significare, che come la bellezza d’vna Donna, che egli amaua, nutriua tutti i suoi pensieri, cosÌ lo metteua in pericolo della vita. Vedesi anchora questo stendardo nella Chiesa de Celestini in Lyone.”

      99.See Essays Literary and Bibliographical, pp. 301–2, and 311, in the Fac-simile Reprint of Whitney’s Emblemes, 1866.

      100.“Si pour esprouuer la fin Or, ou autre metaus, lon les raporte sus la Touche, sans qu’on se confie de leurs tintemens, ou de leurs sons, aussi pour connoitre les gens de bien, & vertueus personnages, se faut prendre garde À la splendeur de leurs oeuures, sans s’arrester au babil.”

      101.See Symbola Diuina & Humana Pontificvm, Imperatorvm, Regvm, 3 vols. folio in one, Franckfort, 1652.

      102.This original drawing, with thirty-four others by the same artist, first appeared in Emblemata Selectiora, 4to, Amsterdam, 1704; also in Acht-en-Dertig Konstige Zinnebeelden,—“Eight-and-thirty Artistic Emblems,”—4to, Amsterdam, 1737.

      103.Or it may be a few years later. The drawings, however, are undoubted from which the above woodcut has been executed.

      104.This Emblem is dedicated to “George Manwaringe Esquier,” son of “Sir Arthvre Menwerynge,” “of Ichtfeild,” in Shropshire, from whom are directly descended the Mainwarings of Oteley Park, Ellesmere, and indirectly the Mainwarings of Over-Peover, Cheshire.

      105.The phrase is matched by another in Much Ado about Nothing (act ii. sc. 1, l. 214, vol. ii. p. 22), when Benedict said of the Lady Beatrice, “O, she misused me past endurance of a block! an oak but with one green leaf on it would have answered her.”

      106.“The sixth device,” say the Illustrations of Shakespeare, by Francis Douce, vol. ii. p. 127, “from its peculiar reference to the situation of Pericles, may, perhaps, have been altered from one in the same collection (Paradin’s), used by Diana of Poitiers. It is a green branch springing from a tomb, with the motto, ‘Sola vivit in illo,’”—Alone on that she lives.

      107.“Frvmentorvm ac leguminum semina ac grana in terram projecta, ac illi quasi concredita, certo tempore renascuntur, atque multiplices fructus producunt. Sic nostra etiam corpora, quamvis: jam mortua, ac terrestri sepulturÆ destinata, in die tamen ultima resurgent, & piorum quidem ad vitam, impiorum vero ad judicium.”... “Alibi legitur, Spes vna svperstes, nimirum post funus.”

      108.

      “Swallows have built
      In Cleopatra’s sails their nests: the augurers
      Say they know not, they cannot tell; look grimly
      And dare not speak their knowledge.”
      Ant. & Cleop., act 4, sc. 12, l. 3.

      109.

      “Nec, si miserum fortuna Sinonem
      Finxit, vanum etiam mendacemque improba finget.”
      “Talibus insidiis, perjurique arte Sinonis,
      Credita res: captique dolis, lachrymisque coactis,
      Quos neque Tydides, nec LarissÆus Achilles,
      Non anni domuÊre decem, non mille carinÆ.”
      “fatisque DeÛm defensus iniquis,
      Inclusos utero Danaos et pinea furtim
      Laxat claustra Sinon.”

      110.The text of Sambucus is dedicated to his father, Peter Sambukius.

      “Dvm rigidos artus elephas, dum membra quiete
      Subleuat, assuetis nititur arboribus:
      Quas vbi venator didicit, succidit ab imo,
      Paulatim vt recubans belua mole ruat.
      Tam leuiter capitur duri qui in proelia Martis
      Arma, viros, turrim, tergore vectat opes.
      Nusquam tuta fides, nimium ne crede quieti,
      SÆpius & tutis decipiere locis.
      Hippomenes pomis SchoeneÏda vicit amatam,
      Sic Peliam natis Colchis acerba necat.
      Sic nos decipiunt dedimus quibus omnia nestra:
      Saltem conantur deficiente fide.”

      111.

      “A snake worn out with cold a rustic found,
      And cherished in his breast doth rashly warm;
      Thankless the snake inflicts a fatal wound,
      And life restored requites with deadly harm.
      If badly benefits thou dost intend,
      Simple of heart and good within thy mind,—
      No benefits suppose them in their end,
      But deeds of evil and of evil kind.
      To serve the thankless is a sinful thing,
      And wicked they who wilfully give pain;
      Whatever with free soul of good thou bring,
      This rightfully thou may’st account true gain.”

      112.Schiller’s Werke, band 8, pp. 426–7. “Die Regierung dieser Stadt war in allzu viele HÄnde vortheilt, und der stÜrmischen Menge ein viel zu grossen Antheil daran gegeben, als dasz man mit Ruhe hÄtte Überlegen mit Einsieht wÄhlen und mit Festigkeit ausfÜhrenkÖnnen.”

      113.As Whitney describes him (p. 110, l. 27),—

      “Augustus eeke, that happie most did raigne,
      The scourge to them, that had his vnkle slaine.”

      114.

      “His soldiers spying his undaunted spirit,
      A Talbot! a Talbot! cried out amain,
      And rush’d into the bowels of the battle.”

      1 Henry VI., act. i. sc. 1, l. 127.

      115.See Gentleman’s Magazine, 1778, p. 470; 1821, pt. 1, p. 531; and ArchÆologia, vol. xix. pt. 1, art. x. Also, Blomfield’s Norfolk, vol. v. p. 1600.

      116.

      “But a prince slow for punishments, swift for rewards;
      To whomsoever he grieves, how often is he forced to be severe.”

      117.

      “If as often as men sin his thunderbolts he should send,
      Jupiter, in very brief time, without arms will be.”

      118.

      “The Heraulte, that proclaims the daie at hande,
      The Cocke I meane, that wakÉs vs out of sleepe,
      On steeple highe, doth like a watchman stande:
      The gate beneath, a Lion still doth keepe.
      And why? theise two, did alder time decree,
      That at the Churche, theire places still should bee.
      That pastors, shoulde like watchman still be preste,
      To wake the worlde, that sleepeth in his sinne,
      And rouse them vp, that longe are rock’d in reste,
      And shewe the daie of Christe, will straighte beginne:
      And to foretell, and preache, that light deuine,
      Euen as the Cocke doth singe, ere daie doth shine.
      The Lion shewes, they shoulde of courage bee
      And able to defende, their flocke from foes:
      If rauening wolfes, to lie in waite they see:
      They shoulde be stronge, and boulde, with them to close:
      And so be arm’de with learning, and with life,
      As they might keepe, their charge, from either strife.”

      119.See also Ecl. ix. 29, 36.

      120.See also Carm. iv. 3. 20.

      121.The same author speaks also of the soft Zephyr moderating the sweet sounding song of the swan, and of sweet honour exciting the breasts of poets; and presents the swan as saying, “I fear not lightnings, for the branches of the laurel ward them off; so integrity despises the insults of fortune.”—Emb. 24 and 25.

      122.Paradin’s words and his meaning differ; the Civic crown was bestowed, not on the citizen saved, but on the citizen who delivered him from danger.

      123.Consequently there is an anachronism by Shakespeare in assigning the order of St. Michael to “valiant Lord Talbot, Earl of Shrewsbury,” who was slain in 1453.

      124.The name of Lord Talbot, Earl of Shrewsbury, does not occur in the list which Paradin gives of the twenty-four Knights Companions of the Golden Fleece.

      125.Paradin’s text:—“Ma Dame Bone de Sauoye mere de Ian Galeaz, Duc de Milan, se trouuant veufe feit faire vne Deuise en ses Testons d’vne Fenix au milieu d’vn feu auec ces paroles: Sola facta, solum Deum sequor. Voulant signifier que comme il n’y a au monde qu’vne Fenix, tout ainsi estant demeuree seulette, ne vouloit aymer selon le seul Dieu, pour viure eternellement.”

      126.See Penny CyclopÆdia, vol. xxi. p. 343: “We have no doubt that the three plays in their original form, which we now call the three Parts of Henry VI., were his,” i. e. Shakespeare's, “and they also belong to this epoch,” i. e. previous to 1591.

      127.Or Parvus Mundus, ed. 1579, where the figure of Bacchus by Gerard de Jode has wings on the head, and a swift Pegasus by its side, just striking the earth for flight.

      128.It is curious to observe how in the margin Whitney supports his theme by a reference to Ovid, and by quotations from Anacreon, John Chrysostom, Sambucus, and Propertius.

      129.To the device of the Sirens, Camerarius, Ex Aquatilibus (ed. 1604, leaf 64), affixes the motto, “Mortem dabit ipsa volvptas,”—Pleasure itself will give death,—and with several references to ancient authors adds the couplet,—

      “Dulcisono mulcent Sirenes Æthera cantu:
      Tu fuge, ne pereas, callida monstra maris.”
      i.e.
      “With sweet sounding song the Sirens smooth the breeze:
      Flee, lest thou perish, the crafty monsters of the seas.”

      130.Shakespeare’s “goddess blind” and his representation of blind Love have their exact correspondence in the motto of Otho VÆnius, “Blynd fortune blyndeth loue;” which is preceded by Cicero’s declaration, “Non solÙm ipsa fortuna cÆca est: sed etiam plerumque cÆcos efficit quos complexa est: adeÒ vt spernant amores veteres, ac indulgeant nouis,”—

      “Sometyme blynd fortune can make loue bee also blynd,
      And with her on her globe to turne & wheel about,
      When cold preuailes to put light loues faint feruor out,
      But ferwent loyall loue may no such fortune fynde.”

      131.Well shown in Whitney’s device to the motto, Veritas inuicta,—“Unconquered truth” (p. 166),—where the Spirits of Evil are sitting in “shady cell” to catch the souls of men, while the Great Enemy is striving—

      “with all his maine and mighte
      To hide the truthe, and dimme the lawe deuine.”

      132.

      “Lvnarem noctu, vt speculum, canis inspicit orbem:
      Seq. videns, altum credit inesse canem,
      Et latrat: sed frustra agitur vox irrita ventis,
      Et peragit cursus surda Diana suos.”

      133.

      “Irrita vaniloquÆ quid curas spicula linguÆ?
      Latrantem curatne alta Diana canem.”

      134.See Ovid’s Metamorphoses, bk. x. fab. 1, 2.

      135.For pictorial representations of the wonders which Orpheus wrought, see the Plantinian edition of “P. Ovidii Nasonis Metamorphoses,” Antwerp, 1591, pp. 238–243.

      136.See Ovid’s Metamorphoses, bk. iii. fab. 2; or the Plantinian Devices to Ovid, edition 1591, pp. 85, 87.

      137.In the beautiful Silverdale, on Morecambe Bay, at Lindow Tower, there is the same hospitable assurance over the doorway, “Homo homini lupus.”

      138.The device by Gerard de Jode, in the edition of 1579, is a very fine representation of the scene here described.

      139.May we not in one instance illustrate the thought from a poet of the last century?—

      “Who, who would live, my Nana, just to breathe
      This idle air, and indolently run,
      Day after day, the still returning round
      Of life’s mean offices, and sickly joys?
      But in the service of mankind to be
      A guardian god below; still to employ
      The mind’s brave ardour in heroic aims,
      Such as may raise us o’er the grovelling herd,
      And make us shine for ever—that is life.”—Thomson

      140.For other pictorial illustrations of PhaËton’s charioteership and fall, see Plantin’s Ovid (pp. 46–49), and De Passe (16 and 17); also Symeoni’s Vita, &c., d’Ovidio (edition 1559, pp. 32–34).

      141.Ovid’s Metamorphoses, by Crispin de Passe (editions 1602 and 1607, p. 10), presents the fable well by a very good device.

      142.See the reprint of The Dialoges of Creatures Moralysed, by Joseph Haslewood, 4to, London, 1816 (Introd., pp. viij and ix).

      143.With the addition of two friends in conversation seated beneath the elm and vine, Boissard and Messin (1588, pp. 64, 65) give the same device, to the mottoes, “AmicitiÆ Immortali,”—To immortal friendship: “Parfaite est l’AmitiÉ qui vit aprÈs la mort.”

      144.“Centvm FabvlÆ ex Antiqvis delectÆ, et a Gabriele Faerno Cremonense carminibus explicatÆ. AntuerpiÆ ex officina Christoph. Plantini, M.D.LXXXIII.” 16mo. pp. 1–171.

      145.See the French version of Æsop, with 150 beautiful vignettes, “Les Fables et la Vie d’Esope:” “A Anvers En l’imprimerie Plantiniene Chez la Vefue, & Jean Mourentorf, M.D.XCIII.” Here the bird is a jay (see p. 117, Du Gay, xxxi); and the peacocks are the avengers upon the base pretender to glories not his own.

      146.Cervantes and Shakespeare died about the same time,—it may be, on the same day; for the former received the sacrament of extreme unction at Madrid 18th of April, 1616, and died soon after; and the latter died the 23rd of April, 1616.

      147.Paralleled in Æsop’s Fables, Antwerp, 1593; by Fab. xxxviii., De l Espriuier & du Rossignol; lii., De l Oyseleur & du Merle; and lxxvii., Du Laboureur & de la Cigoigne.

      148.Identical almost with “La fin covronne l’oevvre” in Messin’s version of Boissard’s Emblematum Liber (4to, 1588), where (p. 20) we have the device of the letter Y as emblematical of human life; and at the end of the stanzas the lines,—

      “L’estroit est de vertu le sentier espineux,
      Qui couronne de vie en fin le vertueux:
      C’est ce que considere en ce lieu Pythagore.”

      149.In the Emblems of Lebens-Batillius (4to, Francfort, 1596), human life is compared to a game with dice. The engraving by which it is illustrated represents three men at play with a backgammon-board before them.

      150.The skeleton head on the shield in Death’s escutcheon by Holbein, may supply another pictorial illustration, but it is not sufficiently distinctive to be dwelt on at any length. The fac-simile reprints by Pickering, Bohn, Quaritch, or Brothers, render direct reference to the plate very easy.

      151.A note of inquiry, from Mr. W. Aldis Wright, of Trinity College, Cambridge, asking me if Shakespeare’s thought may not have been derived from an emblematical picture, informs me that he has an impression of having “somewhere seen an allegorical picture of a child looking through the eyeholes of a skull.”

      152.In Johnson’s and Steeven’s Shakespeare (edition 1785, vol. x. p. 434) the passage is thus explained, “Sir John Suckling, in one of his letters, may possibly allude to this same story. ‘It is the story of the jackanapes and the partridges; thou starest after a beauty till it is lost to thee, and then let’st out another, and starest after that till it is gone too.’”

      153.See a most touching account of a she-hear and her whelps in the Voyage of Discovery to the North Seas in 1772, under Captain C. J. Phipps, afterwards Lord Mulgrave.

      154.“Zodiacvs Christianvs, seu signa 12, diuinÆ PrÆdestinationis, &c., À Raphaele Sadelero, 12mo, p. 126, Monaci CD. DCXVIII.”

      155.See also the Emblems of Camerarius (pt. iii. edition 1596, Emb. 47), where the turkey is figured to illustrate “Rabie svccensa tvmescit,”—Being angered it swells with rage.

      “Quam deforme malum ferventi accensa furore
      Ira sit, iratis Indica monstrat avis,”—
      “How odious an evil to the violent anger may be
      Inflamed to fury.—the Indian bird shows to the angry.”

      156.See also other passages from the Georgics,—

      “Ut, cum prima novi ducent examina reges
      Vere suo.”iv. 21.
      “Sin autem ad pugnam exierint, nam sÆpe duobus
      Regibus incessit magno discordia motu.” iv. 67.

      Description of the kings (iv. 87–99),—

      “tu regibus alas
      Eripe.”iv. 106.

      And,—

      “ipsÆ regem parvosque Quirites
      Sufficiunt, aulasque ei cerea regna refingunt.”iv, 201.

      157.At a time even later than Shakespeare’s the idea of a king-bee prevailed; Waller, the poet of the Commonwealth, adopted it, as in the lines to Zelinda,—

      “Should you no honey vow to taste
      But what the master-bees have placed
      In compass of their cells, how small
      A portion to your share will fall.”

      In Le Moine’s Devises Heroiqves et Morales (4to, Paris, 1649, p. 8) we read, “Du courage & du conseil au Roy des abeilles,”—and the creature is spoken of as a male.

      158.To mention only Joachim Camerarius, edition 1596, Ex Volatilibus (Emb. 29–34); here are no less than five separate devices connected with Hawking or Falconry.

      159.Take an example from the Paraphrase in an old Psalter: “The arne,” i.e. the eagle, “when he is greved with grete elde, his neb waxis so gretely, that he may nogt open his mouth and take mete: hot then he smytes his neb to the stane, and has away the slogh, and then he gaes til mete, and he commes yong a gayne. Swa Crist duse a way fra us oure elde of syn and mortalite, that settes us to ete oure brede in hevene, and newes us in hym.”

      160.The Virgin, in Brucioli’s Signs of the Zodiac, as given in our Plate XIII., has a unicorn kneeling by her side, to be fondled.

      161.The wonderful curative and other powers of the horn are set forth in his Emblems by Joachim Camerarius, Ex Animalibus Quadrupedibus (Emb. 12, 13 and 14). He informs us that “Bartholomew Alvianus, a Venetian general, caused to be inscribed on his banner, I drive away poisons, intimating that himself, like a unicorn putting to flight noxious and poisonous animals, would by his own warlike valour extirpate his enemies of the contrary factions.”

      162.See the fable of the Wolf and the Ass from the Dialogues of Creatures (pp. 53–55 of this volume).

      163.See p. 11 of J. Payne Collier’s admirably executed Reprint of “The Phoenix Nest,” from the original edition of 1593.

      164.There are similar thoughts in Shakespeare’s Phoenix and Turtle (Works, lines 25 and 37, vol. ix. p. 671),—

      “So they loved, as love in twain
      Had the essence but in one;
      Two distincts, division none,
      Number there in love was slain.”

      And,—

      “Property was thus appalled,
      That the self was not the same;
      Single nature’s double name
      Neither two nor one was called.”

      165.Reusner adopts this first line from Ovid’s Fable of the Phoenix (Metam., bk. xv. 37. l. 3),—

      “Sed thuris lacrymis, & succo vivit amomi.”

      166.To render it still more useful, the words should receive something of classification, as in Cruden’s Concordance to the English Bible, and the number of the line should be given as well as of the Act and Scene.

      167.The whole stanza as given on the last page, beginning with the line,—

      “The Pellican, for to reuiue her younge,”

      is quoted in Knight’s “Pictorial Shakspere” (vol. i. p. 154), in illustration of these lines from Hamlet concerning “the kind life-rendering pelican.” The woodcut which Knight gives is also copied from Whitney, and the following remark added,—“Amongst old books of emblems there is one on which Shakspere himself might have looked, containing the subjoined representation. It is entitled ‘A Choice of Emblemes and other Devices by Geffrey Whitney, 1586.’” Knight thus appears prepared to recognise what we contend for, that Emblem writers were known to Shakespeare.

      168.Virgil’s Æneid (bk. xii. 412–414), thus expressed in Dryden’s rendering, will explain the passage; he is speaking of Venus,—

      “A branch of healing dittany she brought:
      Which in the Cretan fields with care she sought:
      Rough is the stem, which wooly leafs surround;
      The leafs with flow’rs, the flow’rs with purple crown’d.”

      See also Joachim Camerarius, Ex Animalibus Quadrup. (ed. 1595, Emb. 69, p. 71).

      169.In Haechtan’s Parvus Mundus (ed. 1579), Gerard de Jode represents the sleeping place as “sub tegmine fagi,”—but the results of the mistake as equally unfortunate with those in Bellay and Whitney.

      170.See “ArchÆologia,” vol. xxxv. 1853, pp. 167–189; “Observations on the Origin of the Division of Man’s Life into Stages. By John Winter Jones, Esq.”

      171.It may be noted that the Romans understood by Pueritia the period from infancy up to the 17th year; by Adolescentia, the period from the age of 15 to 30; by Juventus, the season of life from the 20th to the 40th year. Virilitas, manhood, began when in the 16th year a youth assumed the virilis toga, “the manly gown.”

      172.Soon after Whitney’s time this emblem was repeated in that very odd and curious volume; “Stamm Buch, Darinnen Christliche Tugenden Beyspiel Einhundert ausserlesener Emblemata, mit schÖnen Kupffer-stÜcke geziener:” Franckfurt-am-Mayn, Anno MDCXIX. 8vo, pp. 447. At p. 290, Emb. 65, with the words “Ubi es?” there is the figure of Adam hiding behind a tree, and among descriptive stanzas in seven or eight languages, are some intended to be specimens of the language at that day spoken and written in Britain:—

      “Adam did breake God’s commandement,
      In Paradise against his dissent,
      Therefore he hyde him vnder a tree
      Because his Lorde, him should not see.
      But (alas) to God is all thing euident.
      Than he faunde him in a moment
      And will alwayes such wicked men
      Feind, if they doo from him runn.”

      173.For a fine Emblem to illustrate this passage, see “Horatii Emblemata,” by Otho VÆnius, pp. 58, 59, edit. Antwerp, 4to, 1612; also pp. 70 and 71, to give artistic force to the idea of the “just man firm to his purpose.”

      174.Shakespeare illustrated by parallelisms from the Fathers of the Church might, I doubt not, be rendered very interesting and instructive by a writer of competent learning and enthusiasm, not to name it furore, in behalf of his subject.

      175.Opera, vol. i. p. 649 B, Francofurti, 1620.

      176.Reference might be made also to Whitney’s fine tale, Concerning Envy and Avarice, which immediately follows the Description of Envy.

      177.The original lines are,—

      “Innvmeris agitur Respublica nostra procellis,
      Et spes venturÆ sola salutis adest:
      Non secus ac nauis medio circum Æquore, venti,
      Quam rapiunt; falsis tamq. fatiscit aquis.
      QuÒd si HelenÆ adueniant lucentia sidera fratres:
      Amissos animos spes bona restituit.”

      178.The original lines by Hadrian Junius are,—

      “Oculata, pennis fulta, sublimem vehens
      Calamum aurea inter astra Fama collocat.
      Illustre claris surgit È scriptis decus,
      Feritque perpes vertice alta sidera.”

      179.“A third,” in the modern sense of the word, is just nonsense, and therefore we leave the reading of the Cambridge edition, and abide by those critics who tell us that thread was formerly spelt thrid or third. See Johnson and Steevens’ Shakspeare, vol. i. ed. 1785, p. 92.

      180.Can this be an allusion to Holbein’s Last Judgment and Escutcheon of Death in his Simulachres de la Mort, ed. 1538?

      181.“Cicero dict que Alcidamus vng Rheteur antique escripuit les louanges de la Mort, en les quelles estoient cÕtenuz les nombres des maulx des humains, & ce pour leur faire desirer la Mort. Car si le dernier iour n’amaine extinction, mais commutation de lieu, Quest il plus a desirer? Et s’il estainct & efface tout, Quest il rien meilleur, que de s’ endormir au milieu des labeurs de ceste vie & ainsi reposer en vng sempiternel sommeil.”

      182.For many other instances of similarities in the use of old words, see the Appendix, I. p. 497.

      183.Were it only for the elegance and neat turn of the lines, we insert an epigram on a dog, by Joachim du Bellay, given in his Latin Poems, printed at Paris in 1569,—

      “Latratu fures excepi;—mutus amantes;
      Sic placui domino, sic placui dominÆ.”
      i.e.
      “With barking the thieves I awaited,—in silence the lovers;
      So pleased I the master,—so pleased I the mistress.”

      184.“Tarre,” i.e. provoke or urge; see Johnson and Steevens’ Shakespeare, vol. ix. p. 48, note.

      185.See “Horace his Arte of Poetrie, pistles, and satyres, englished” by Thomas Drant, 410, 1567.

      186.The character, however, of the animal is named in Midsummer Night’s Dream (act ii. sc. 1, l. 181), where Titania may look—

      “On meddling monkey, or on busy ape.”

      187.See woodcut in this volume, p. 37.

      Transcriber’s Note

      The table at the end of this note summarizes any corrections to the text that have been deemed to be printer’s errors. Proper names have been mostly allowed to stand as well, given the vagaries of spelling and translation in the originals, with the exception of Diane of Poi[c]tiers, whose name is consistently spelled without the ‘c’, save in the one instance noted.

      The paragraph at the bottom of p. 19, beginning with ‘For the nature of Fictile ornamentation...’ ends with a double quotation mark which is unmatched. It is not clear where the quotation begins, since the passage seems to be partly paraphrasing. The quotation has been allowed to stand.

      The spelling of the emblem-writer ‘Coelius’ in the General Index disagrees with that given in the table on p. 89 as ‘CÆlius’.

      On p. 39, an illustration serves as a border for the text. This has been approximated here, but, depending on browser settings, may not display correctly.

      On p. 289 and p. 418, the ornate dropcap letters for ‘F’ and ‘L’ on the opening lines of poetry has not been reproduced, but can be seen here.

      The text makes frequent use of now-obsolete contractions, ligatures, and scribal abbreviations. The Greek terminal -os (os??) ligature is rendered here using an inline image.The Greek terminal -os ligature is given simply as ???? The Latin terminal -que (queque) is rendered as ‘q3que’. There is a French terminal ‘e’ which appears with a slash as É. This is rendered as ‘É?[e/]?’.

      The index entry for the Latin phrase MalÈ parta, malÈ dilabuntur includes a reference to p. 502, where it is not mentioned. The emblem associated with the phrase appears on p. 487. The incorrect page reference was retained, but a link is provided to the correct location.

      p. 5 n. 9 [“]Quidam ... Added.
      p. 79 Bartholo[Æm/mÆ]us TaËgius Transposed.
      p. 129 of his temper and inclination.[”] Added.
      p. 174 Pericles, Prince of Tyre,” was first pu[b]lished Added.
      p. 183 n. 106 used by Diana of Poi[c]tiers Removed.
      p. 257 [“]O thou great thunder-darter of Olympus Added.
      p. 271 Of an instrume[u/n]t Corrected.
      p. 545 Brucioli’s Trattato della sphera, 1543, Zodiac, Plate [XIV/XIII]., 353. Corrected.
      p. 562 Pignorius, VetustissimÆ tabulÆ, 1605[, 95]; Added.
      p. 564 Rubens, d[e/i]sciple of VÆnius Corrected.
      p. 565 Servati gratia [av/ciu]is Corrected.
      p. 566 Dramatic c[e/a]reer, 1590–1615 Corrected.





                                                                                                                                                                                                                                                                                                                 

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