Shakespeare and the Emblem Writers / an exposition of their similarities of throught and expression, preceded by a view of emblem-literature down to A.D. 1616

by Henry Green

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.

THE TEMPEST
VOL.	PAGE.	ACT.	SC.	LINE.	DEVICE OR SUBJECT.	PAGES.
I.	20	I.	2	387	Appreciation of music	[116]
	36	II.	2	7	Ape and miser’s gold	[488]
	48	III.	2	135	Hands of Providence. Plate XVI.	[489]
	50	III.	3	21	Unicorn	[373]
	50	III.	3	21	Phœnix	[373], [385]
	50	III.	3	22	Phœnix, type of oneliness	[234], [236]
	53	III.	3	95	Laurel, type of conscience	[422], [424]
	54	IV.	1	1	Thread of life	[454], [455]
	57	IV.	1	110	Diligence and idleness	[145], [146]
	64	V.	1	21	rarer action in virtue	v462#
THE TWO GENTLEMAN OF VERONA.
I.	112	II.	6	24	a swarthy Ethiope	[162]
	121	III.	1	153	Phaeton	[285], [286]
	129	III.	2	68	Orpheus and harp	[273], [274]
	135	IV.	2	38	Gem in ring of gold	[418], [419]
	143	IV.	4	87	The Fox and Grapes	[310], [312]
THE MERRY WIVES OF WINDSOR.
I.	177	I.	3	64	East and West Indies	[351], [352]
	186	II.	1	106	Actæon and hounds	[275], [276]
	190	II.	2	5	Gemini,—Zodiac. Plate XIII.	[353], [355]
	196	II.	2	187	Shadows fled and followed	[466], [468]
MEASURE FOR MEASURE.
I.	296	I.	1	28	Hen eating her own eggs	[411], [412]
	303	I.	2	158	Zodiac, signs of. Plate XIII.	[353], [354]
	324	II.	2	149	Gold on the touchstone	[175], [180]
	327	II.	4	1	Student entangled in love	[441]
	334	III.	1	6	Idiot-fool, and death, Holbein’s Simulachres	[472]
	334	III.	1	17	Sleep and death, Holbein’s Simulachres	[469], [470]
	340	III.	1	175	Gem in ring of gold	[417], [418]
THE COMEDY OF ERRORS.
I.	411	II.	1	97	Eagle renewing its feathers	[369]
	417	II.	2	167	Elm and vine	[307], [309]
	425	III.	2	27	Sirens and Ulysses	[253], [254]
	429	III.	2	131	America	[351], [352]
	437	IV.	2	53	Time turning back	[473]
	455	V.	1	210	Circe transforming men	[252]
MUCH ADO ABOUT NOTHING.
II.	22	II.	1	214	Withered branch	[181]
	69	V.	1	4	Water through a sieve	[329], [331]
	75	V.	1	170	Adam hiding	[415], [416]
LOVE’S LABOUR’S LOST.
II.	97	I.	1	1	Ruins and writings	[443], [444]
	97	I.	1	4	Time leading the Seasons. [Plate XVII.]	[491]
	114	II.	1	56	Bear, cub, and Cupid	[349], [350]
	138	IV.	2	100	Oak and reed, or osier	[315], [316]
	144	IV.	3	97	Rose and thorn	[333], [334]
	144	IV.	3	111	Juno but an Ethiope were	[162]
	151	IV.	3	308	Bacchus	[247], [249]
MIDSUMMER NIGHT’S DREAM.
II.	204	I.	1	168	arrow with a golden head	[404]
	205	I.	1	180	Astronomer and magnet	[335], [336]
	206	I.	1	232	Bear, cub, and Cupid	[349]
	215	II.	1	148	Appreciation of melody	[116]
	216	II.	1	155	Cupid and Death	[401], [404]
	216	II.	1	173	Drake’s ship	[413], [415]
	216	II.	1	181	Ape and miser’s gold	[488]
	217	II.	1	194	Astronomer and magnet	[335], [336]
	218	II.	1	227	Daphne changed to a laurel	[296], [297]
	218	II.	1	231	Gelding’s Ovid used	[244]
	225	II.	2	145	Countryman and serpent	[197], [198]
	239	III.	2	200	Coats in heraldry	[218], [220]
	240	III.	2	237	Ape and miser’s gold	[488]
	241	III.	2	260	Snake on the finger	[342], [343]
	250	IV.	1	37	Vine and elm	[307], [309]
	258	V.	1	1	Æsop	[302]
	258	V.	1	12	The poet’s glory	[379], [380]
MERCHANT OF VENICE.
II.	280	I.	1	50	The two-headed Janus	[139], [140]
	281	I.	1	77	The world a stage	[133]
	281	I.	1	77	The world a stage. Plate XV.	[407], [410]
	284	I.	1	161	Golden fleece and Phryxus	[229], [230]
	286	I.	2	24	The old man prophesying	[213], [215]
	286	I.	2	4	Lottery	[208], [209]
	296	II.	1	11	Lottery	[208], [209]
	312	II.	7	4	A casket scene	[150]
	312	II.	7	20	“golden mind,” “golden bed”	[404]
	313	II.	7	62	Casket scene	[150]
	318	II.	9	63	Casket scene	[151]
	319	II.	9	79	Moth and candle	[151], [153]
	325	III.	2	41	Insignia of Poets	[218], [219]
	328	III.	2	115	A painter’s power	[112]
	345	IV.	1	75	The mountain pine	[476]
	347	IV.	1	124	Envy, description of	[432], [433]
	360	V.	1	54	Appreciation of melody	[116]
	361	V.	1	70	Power of music	[271], [273]
AS YOU LIKE IT.
II.	391	I.	3	69	Juno’s swans, Golding’s Ovid	[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 Phœnix	[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	I.	3	182	Cupid and the sieve	[329], [330]
	132	II.	1	40	“cicatrice an emblem of war”	[9]
	133	II.	1	59	The Fox and the Grapes	[310], [311]
	201	V.	3	5	Niobe’s children slain	[292], [293]
TWELFTH NIGHT.
III.	223	I.	1	9	Actæon and the hounds	[277], [278]
	224	I.	1	33	“The rich golden shaft”	[404]
	225	I.	2	10	Arion and the dolphin	[280], [282]
	231	I.	3	127	Zodiac,—Taurus. Plate XIII.	[353], [355]
	234	I.	5	50	Mottoes,—Latin, &c.	[138]
	240	I.	5	214	Power of judging artistic skill	[113]
	257	II.	5	15	A turkey-cock	[357]
	257	II.	5	27	A turkey-cock	[357]
	265	III.	1	68	Snatches of French	[163]
	271	III.	2	73	New map with the Indies	[352]
	285	III.	4	340	Whitney’s Introduction	[464]
THE WINTER’S TALE.
III.	323	I.	2	115	The wounded deer	[398], [400]
	371	IV.	1	7	Old Time, power of	[473]
	382	IV.	4	116	Proserpina,—see Ovid	[244]
	383	IV.	4	135	Poetic ideas, or symbolical imagery	[379]
	420	V.	2	8	“Julio Romano”	[110]
	422	V.	3	14	Description of statuary	[109]
	423	V.	3	18	Sleep and death, Holbein’s Simulachres	[469], [470]
	424	V.	3	63	Description of statuary	[189]
KING JOHN.
IV.	17	II.	1	134	Hares biting a dead lion	[305], [306]
	26	II.	1	373	Theatre of human life. Plate XIV.	[405], [406]
	37	III.	1	96	Gold on the touchstone	[177], [180]
	42	III.	1	258	Snake on the finger	[342], [343]
	65	IV.	2	125	Occasion, [259]; or Fortune	[261], [264]
	67	IV.	2	170	Mercury mending a lute	[256], [257]
	76	IV.	3	155	Wind, sun, and traveller	[166]
	91	V.	7	1	The swan, the Poet’s badge	[218], [219]
RICHARD II.
IV.	116	I.	1	202	Wreath of chivalry	[169], [170]
	125	I.	3	129	Envy	[432], [433]
	130	I.	3	275	“no virtue like necessity”	[347]
	131	I.	3	294	“the frosty Caucasus”	[347]
	137	II.	1	53	Wreath of chivalry	[169], [170]
	140	II.	1	120	The Pelican	[393], [396]
	145	II.	1	270	hollow eyes of death	[339]
	164	III.	2	12	Snake in the grass	[340], [343]
	164	III.	2	24	Cadmus and the serpent’s teeth	[245]
	164	III.	2	29	Human dependence	[465]
	165	III.	2	37	Drake’s ship	[413], [415]
	168	III.	2	129	Countryman and serpent	[197], [198]
	179	III.	3	178	Phaeton and the Sun-chariot	[285], [286]
	210	V.	3	57	Countryman and serpent	[197], [198]
FIRST PART HENRY IV.
IV.	317	IV.	1	97	Ostrich with spreading wings	[370]
	318	IV.	1	104	Mercury	[255], [257]
	323	IV.	3	30	Sir Walter Blount	[160]
	337	V.	2	82	Time leading the Seasons. Plate XVII.	[491]
	342	V.	4	25	Hydra slain by Hercules	[374], [375]
SECOND PART HENRY IV.
IV.	392	II.	2	41	Time terminates all	[323]
	405	II.	4	165	Sword with Spanish motto	[137], [138]
	431	IV.	1	70	Occasion, [259]; Fortune	[261], [264]
	450	IV.	4	103	Hands of Providence. Plate XVI.	[489]
	453	IV.	5	35	Sleep and Death, Holbein’s Simulachres	[469], [470]
	454	IV.	5	75	Bees	[361], [364]
	474	V.	3	136	Prometheus chained	[266], [358]
KING HENRY V.
IV.	491	I.	Chor.	5	Diligence and idleness	[145], [146]
	493	I.	1	35	Hydra slain by Hercules	[374], [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	[469]
	68	IV.	1	188	Chaos,—discord	[450], [453]
	71	IV.	3	17	Prometheus bound	[266], [268]
	72	IV.	3	47	Prometheus bound	[267], [268]
	78	IV.	6	46	Icarus and his ill fortune	[288], [291]
	80	IV.	7	60	Order of St. Michael	[227]
	80	IV.	7	60	Order of the Golden Fleece	[227], [228]
	82	IV.	7	92	Phœnix	[386], [388]
	86	V.	3	30	Circe	[252]
SECOND PART HENRY VI.
V.	129	I.	4	16	Ban-dog	[484]
	132	II.	1	1	Falconry	[366], [367]
	145	II.	3	45	Pine-trees in a storm	[477]
	153	III.	1	55	Fox and Grapes	[310], [312]
	153	III.	1	69	Jackdaw in peacock’s feathers	312
	158	III.	1	224	Snake in the grass	[340], [341]
	162	III.	1	343	Countryman and serpent	[197], [198]
	162	III.	1	360	The porcupine	[231], [232]
	168	III.	2	125	Bees	[361], [363]
	171	III.	2	232	Conscience	[421], [422]
	174	III.	2	310	Envy	[432], [433]
	182	IV.	1	83	The pelican	[393], [394], [397]
	185	IV.	2	27	Thread of life	[454], [455]
	197	IV.	7	49	Latin proverb, “bona terra,” &c.	139
	206	IV.	10	23	Ostrich eating iron	[233], [234]
	213	V.	1	143	Bear and ragged staff	[237], [239]
	215	V.	1	196	Bear and ragged staff	[237], [240]
	217	V.	2	28	The game of chess	[320]
	217	V.	2	28	French proverb, “La fin couronne,” &c.	[320]
	218	V.	2	45	Æneas and Anchises	[191], [192]
THIRD PART HENRY VI.
V.	244	I.	4	16	Phaeton	[285], [286]
	245	I.	4	35	Phœnix	[385], [386], [388]
	245	I.	4	39	Leash of proverbs	[318]
	252	II.	1	50	Cupid felling a tree	[324]
	252	II.	1	68	Human skull	[337], [339]
	271	II.	6	10	Phaeton	[285], [287]
	280	III.	2	48	Many drops pierce the stone	[324]
	281	III.	2	51	Inverted torch	[171], [173], [174]
	284	III.	2	153	Bear, cub, and Cupid	[349], [350]
	285	III.	2	188	Countryman and serpent, Sinon	[197], [200]
	309	IV.	4	32	Olive branch and laurel crown	[223]
	312	IV.	7	24	Fox and Grapes	[310], [312]
	319	V.	1	34	Atlas	[245]
	319	V.	1	54	Wrongs on marble	[458], [461]
	324	V.	3	1	Four wreaths on a spear	[221], [222]
	325	V.	4	1	Ships sailing	[435], [436], [438]
	329	V.	5	25	Æsop	[303]
	332	V.	6	18	Icarus	[288], [290]
KING RICHARD III.
V.	473	I.	1	1	“Sun of York”	[223]
	580	IV.	2	8	Gold on the touchstone	[177], [180]
	583	IV.	2	65	D. O. M.	[464]
	606	IV.	4	418	The phœnix	[385], [389]
	615	V.	2		Sir James Blount	[160]
	617	V.	3	30	Sir James Blount	[160]
	625	V.	3	181	Laurel, type of conscience	[422], [425]
KING HENRY VIII.
VI.	3	Prol.		15	A motley coat	[485]
	45	II.	3	60	Gem in a ring of gold	[418], [419]
	46	II.	3	75	Gem in a ring of gold	[418], [420]
	56	III.	1	1	Orpheus and his harp	[271], [274]
	76	III.	2	372	Laurel, type of conscience	[422], [424]
	79	III.	2	446	D. O. M.	[465]
	84	IV.	1	81	Emblems literally	[9]
	87	IV.	2	27	Wrongs on marble	[458], [459]
	88	IV.	2	77	Swan, the Poet’s badge	[218], [219]
	103	V.	3	10	D. O. M.	[464]
	104	V.	3	43	Envy	[432], [433]
	114	V.	5	28	Phœnix	[385], [390]
TROILUS AND CRESSIDA
VI.	130	I.	1	94	Daphne	[295], [296]
	134	I.	2	100	Epithet golden	[403], [404]
	142	I.	3	33	Ship sailing forward	[436], [439]
	142	I.	3	33	Perseus’ horse	[299], [300]
	142	I.	3	39	Pegasus	[143]
	143	I.	3	49	Oak and reed, or osier	[315], [316]
	144	I.	3	75	Bees	[360], [361], [363]
	144	I.	3	75	Chaos	[449], [451]
	155	I.	3	391	Ban-dog, or Mastiff	[483]
	164	II.	2	81	Paris and Helen	[463]
	164	II.	2	92	Paris and Helen	[463]
	168	II.	3	9	Mercury	[255], [257]
	169	II.	3	18	Envy	[432], [433]
	175	II.	3	189	Cancer,—Zodiac. Plate XIII.	[353], [355]
	177	II.	3	237	Milo	[297]
	178	II.	3	240	Milo	[244], [344]
	191	III.	2	169	Astronomer, magnet, polestar	[335], [337]
	198	III.	3	145	Active exertion demanded	[378]
	201	III.	3	196	Hand of Providence	[489]
	228	IV.	5	183	Pegasus	[299], [300]
	230	IV.	5	223	Setting sun	[323]
	247	V.	3	37	“kindness befitting a lion”	[282]
	253	V.	5	11	Sagittary,—Zodiac. Plate XIII.	[353], [355]
	259	V.	9	21	Hares biting a dead lion	[304], [305]
	261	V.	11	16	Niobe and her children	[292], [294]
CORIOLANUS.
VI.	287	I.	3	7	Wreath of oak	[224], [225]
	304	I.	9	58	Wreaths of victory	[221], [225]
	312	II.	1	109	Wreath of oak	[224], [226]
	323	II.	2	84	Wreath of oak	[224], [225]
	344	III.	1	161	D. O. M.	[465]
	369	IV.	1	44	Gold on the touchstone	[175], [177], [181]
	380	IV.	5	100	Sword on an anvil	[325], [326]
	403	V.	2	102	Oak and reed, or osier	[315], [316]
	407	V.	3	101	Great Roman names	[201]
	411	V.	3	206	Great Roman names	[201]
TITUS ANDRONICUS.
VI.	450	II.	1	5	The zodiac. Plate XIII.	[353]
	451	II.	1	14	Prometheus chained	[266], [268]
	451	II.	1	18	Sirenes	[253], [254]
	456	II.	2	1	Tabley Old Hall, chimneypiece	[131]
	459	II.	3	55	Actæon and hounds	[277], [279]
	472	III.	1	12	“to write in the dust”	[461]
	483	III.	2	9	Theatre of human life. Plate XIV.	[405], [406]
	490	IV.	1	85	Wrongs on marble	[458], [460]
	490	IV.	1	102	Wrongs on marble	[458], [460]
	492	IV.	2	18	Conscience, power	[420]
	501	IV.	3	52	The zodiac. Plate XIII.	[353], [354]
	522	V.	2	192	Progne	[193]
	527	V.	3	85	Countryman and serpent,Sinon	[200]
ROMEO AND JULIET.
VII.	23	I.	4	4	Cupid hoodwinked	[329], [331]
	30	I.	5	41	Gem set in gold	[418], [420]
	42	II.	3	90	Venus dispensing Cupid from his oaths	[327]
	58	II.	4	187	Astronomer and magnet	[187], [335]
	59	II.	5	8	Doves and winged Cupid	[245]
	72	III.	2	1	Phaeton	[285], [286]
	75	III.	2	69	Snake in the grass	[340], [341]
	84	III.	3	126	Dispensing from oaths	[327], [328]
	117	V.	1	15	Time and eternity, symbol. Plate XVII.	[492]
	124	V.	3	61	D. O. M.	[464]
	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	[398], [399]
	375	III.	2	73	Wrongs on marble	[458], [459]
	384	IV.	1	12	Three-cornered world	[351], [352]
	389	IV.	3	21	Dog baying at the moon	[269], [270]
	396	IV.	3	213	Occasion. Plate XII.	[259], [260]
	409	V.	3	80	Wreath of victory	[221], [224], [226]
	413	V.	5	25	Death of Brutus	[202], [203]
MACBETH.
VII.	438	I.	5	61	Snake in the strawberry	[340], [341]
	442	I.	7	44	“I dare not,” “I would”	[376]
	444	II.	1	7	D. O. M.	[464]
	454	II.	2	71	Sleep and death, Holbein’s Simulachres	[469], [470]
	454	II.	3	67	Gorgon, Golding’s Ovid	[244]
	459	II.	4	10	Falconry	[366], [368]
	467	III.	2	22	“After life’s fretful fever he sleeps well”	[492]
	512	V.	5	19	Theatre of life. Plate XIV.	[405], [406]
	512	V.	5	24	Time leading on the Seasons. Plate XVII.	[491]
HAMLET.
VIII.	14	I.	2	71	Time leading the Seasons. Plate XVII.	[491]
	35	I.	5	13	The porcupine	[231], [232]
	63	II.	2	295	“Man a God to man”	[283], [284]
	79	III.	1	62	Theatre of life. Plate XIV.	[405], [406]
	79	III.	1	60	Sleep and death, Holbein’s Simulachres	[469], [470]
	79	III.	1	70	Death’s praises, life’s evils	[471]
	80	III.	1	76	Fardel on a swimmer	[481]
	97	III.	2	259	The wounded stag	[398], [399]
	111	III.	4	53	The herald Mercury	[255], [256], [258]
	111	III.	4	55	A poet’s artistic description	[112]
	117	III.	4	205	Cannon bursting	[344], [345]
	127	IV.	4	33	The camel and his driver	[283]
	135	IV.	5	135	The pelican	[393], [394], [396]
	145	IV.	7	84	Pegasus	[143], [144]
	153	V.	1	73	Human skull	[337], [338]
	154	V.	1	86	Human skull	[337], [338]
	158	V.	1	191	Human skull	[337], [339]
	164	V.	2	8	Drake’s ship	[413], [414]
KING LEAR.
VIII.	280	I.	4	93	Child and motley fool	[485]
	295	I.	5	33	“why seven stars”	[356]
	307	II.	2	73	King-fishers	[392], [393]
	317	II.	4	61	Ants and grasshopper	[148], [149]
	320	II.	4	129	Prometheus and the vulture	[266], [358]
	342	III.	4	68	Pelican	[393], [394], [396]
	366	IV.	1	64	Hands of Providence. Plate XVI.	[489]
	416	V.	3	171	our pleasant vices, &c.	[425]
OTHELLO.
VIII.	477	II.	1	129	“Old fond paradoxes”	[474]
	498	II.	3	290	Hydra slain by Hercules	[374], [375]
	500	II.	3	326	Symbols	[2]
	505	III.	1	47	Occasion. Plate XII.	[259], [261], [265]
	512	III.	3	145	Confidence kept back	[434]
	513	III.	3	159	Calumny	[434]
	574	V.	2	7	Light; the Canoness	[469]
	581	V.	2	146	Swan	[218]
	586	V.	2	249	Swan	[213], [216], [218], [220]
ANTONY AND CLEOPATRA.
IX.	38	II.	2	201	Appreciation of art	[113]
	40	II.	2	245	The lottery	[208], [211]
	48	II.	5	95	Narcissus at the stream	[205], [206]
	60	II.	7	101	Bacchus	[246], [247]
	64	III.	2	7	The Phœnix	[381], [387], [389]
	100	III.	13	195	Ostrich, or estridge	[371], [372]
	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. Plate XVII.	[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 phœnix	[234], [235], [236]
	183	I.	6	15	The phœnix, “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	[170], [171], [173]
	343	II.	2	33	Quod or qui me alit	[170], [174]
	344	II.	2	36	Gold on the touchstone	[175], [177]
	344	II.	2	43	Withered branch	[181], [183]
	345	II.	3	9	Wreath of victory	[223], [224]
	366	III.	2	26	Man a God to man	[283], [284]
	375	IV.	Intr.	12	Envy	[432], [433]

POEMS.

VENUS AND ADONIS.
VOL.	PAGE.	LINE.	SONNET.	DEVICE OR SUBJECT.	PAGES.
IX.	436			Dedication	[475]
RAPE OF LUCRECE.
IX.	544	1723		The chimney-piece, Tabley Old Hall	[133]
	515	869		Occasion or opportunity. Plate XII.	[259], [264]
	537	1513		Countryman and serpent, Sinon	[197], [200]
SONNETS.
IX.	578	1	55	Ruins and writings	[443], [445]
	583	1	65	Ruins and writings	[443], [445]
A LOVER’S COMPLAINT.
IX.	638	92		Phœnix	[381], [385], [389]
THE PHŒNIX AND THE TURTLE.
IX.	671	21		Phœnix	[381], [385], [388]
	671	25		Phœnix with two hearts	[384]
	671	37		Phœnix with two hearts	[384]
	672	53		Phœnix’ nest	[23], [381], [389]

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 pœnam 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 gratiâ plena, dominus tecum, [46];
• A vous entier: j’en suis contente, [45].
• 3. Æschylus, on Symbol, p. [2];
  • Swan, [213].
• 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];
  • Brasidas, [194];
  • Swan, [213];
  • Prometheus, [267];
  • Actæon, [276];
  • Narcissus, [295];
  • Daphne, [296];
  • Skull, [337];
  • Chaos, [449].
• 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];
  • [Plate VI.], [46];
  • Description of, [46], [47].
• 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 œconomica, 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, [67];
  • Manuel, [90];
  • Dinet, [94];
  • Van Visscher, [98].
• Blanchet’s Apologues orientaux, [17].
• Blandford, Catalogue of emblem books, [35], [55].
• Blomfield’s Norfolk, Lottery, [208].
• Bohn’s Holbein, ed. 1858, Lottery, [207];
  • Edward VI., [121].
• Boissard quoted, Satan’s fall, [132], [133];
  • Bacchus, [247];
  • Bear and whelp and Cupid, [349];
  • Human life, [405].
  • See Messin, [Emblemes].
• Brucioli’s Trattato della sphera, 1543, Zodiac, [Plate XIII]., [353].
• Brunet’s Manuel du libraire, [39];
  • Speculum humanæ salvationis, [43];
  • Dyalogus Creaturarum, [51];
  • Ecatonphyla, [55];
  • Todtentanz, [56];
  • Figures du vieil Test., [63];
  • Turnierbuch, [68];
  • Figures of the Bible, [73];
  • Giovio, &c., [78];
  • Spelen van sinne, [81];
  • Hoffer, [81]; &c.
• Bryan’s Dict. of Engravers, Zainer, [56];
  • Boissart, [94];
  • Van Veen, [96].
• Brydges, Egerton, Res literariæ, [78], [100].
• 4. Bacchus, by Boissard, and Microcosme, [247];
  • Alciat, Whitney, [248];
  • Shakespeare, [249].
• Badges, traced by Giovio, [14];
  • Of ancient usage, [14];
  • Augustus, [15];
  • Titus, [16].
• Ban-dog, Sir T. More, Spenser, [481];
  • Sambucus, [482];
  • Whitney, [483];
  • Shakespeare, [484].
• Barrel with holes, Paradin, Whitney, [332].
• Bear and ragged staff, Whitney, [236], [239];
  • traced to the Earls of Warwick, [237], [239];
  • Shakespeare, [239].
• Bear and cub, Boissard, [349];
  • Tronus Cupidinis, [348];
  • Shakespeare, [350].
• Beauchamp, Thos. and Richd., their monuments, [237].
• Beccafumi’s designs for seven ages, [407].
• Bed of state, with emblems by Mary Stuart, [123], [126];
  • at Hinckley, [126].
• Bees, types of good government, Horapollo, [358];
  • Alciat, [360];
  • King bee, Plato, Xenophon, Virgil, [359];
  • Types of love for native land, Whitney, [361];
  • Commonwealth, Shakespeare, [362]-364.
• Bellerophon and Chimæra, Alciat and Shakespeare, [299], [300].
• Bird caught by an oyster, [130];
  • In a cage, and hawk, [124].
• Black Ethiope reaching at the sun, [123], [160]–162;
  • No exact resemblance found, Reusner, [160], [161].
• Blount’s crest, an armed foot in the sun, [166];
  • Families of Blounts, [160].
• Bodily signs emblematical, [17].
• Bodleian library, its block-books, [49].
• Bona of Savoy, the Phœnix her device, [234].
• Brasidas and shield, Aneau and Whitney, [194], [195].
• Bridgewater gallery, Diana bathing, [111].
• Britain, emblem literature known in, [119]–137.
• Brutus, death of, Alciat and Whitney, [201], [202];
  • Shakespeare, [203], [204];
  • Characteristics of Brutus and Cassius, Shakespeare, [204], [205].
• Bullogne, Godfrey of, his impresa, [123].
• Butterfly and candle, Paradin, [151];
  • Corrozet, Camerarius, Vænius, [152];
  • Symeoni, [153];
  • Shakespeare, [153];
  • Boissard, [152].

C.

• C, O. L., Alciat, 38 Ant., 1581, p. [497].
• 1. Caburacci, Trattato ... di fare le imprese, 1580, pp. [79], [86].
• Callia, Emb. sacra, e libris Mosis excerpta, 1591, p. [94].
• Camerarius, Symb. et emblematum, &c., 1590, p. [89].
• Camilli, Imprese—co i discorsi, &c., 1586, p. [87].
• Canticles, book of, a block-book, [48].
• Capaccio, Delle imprese trattato, 1592, pp. [34], [85].
• Caputi, La pompa, 1599, p. [92].
• Cartari, Imagini dei Dei degli antichi, 1556, p. [79].
• Cebes, Tablet of, B.C. 390, p. [12];
  • Editions various, 1497–1507, pp. [13], [68];
  • De Hooghe’s and another’s delineation, Plates I. and I. b, [13], [68].
• Champier, La nef des dames vertueuses, 1503, p. [63].
• Chartier, Les blasons de vertu par vertu, 1574, pp. [87], [88].
• Chiocci, Delle imprese, 1601, pp. [79], [92].
• Cimolotti, Il superbi, 1587, p. [87].
• Clamorinus, Thurnier-buch, 1590, p. [90].
• Clemens of Alexandria, Stromata, [21].
• Cœlius, Emblemata sacra, 1589, p. [89].
• Combe, Emblems, about 1594, p. [120].
• Compost des bergers, 1500–1705, p. [42].
• Contile, Ragionamento ... delle imprese, 1574, pp. [79], [86].
• Coörnhert, Recht ghebruyck ende misbruyck, 1585, p. [90].
• Corrozet, Hecatomgraphie, 1540, and other works, [74].
• Cory, Hieroglyphics of Horapollo Nilous, 1840, pp. [22], [24].
• Costalius, Pegma, cum nar. phil., 1555, p. [77].
• Costerius, Ὁ Μικρόκοσμος, 1584, p. [98].
• Coustau, Le pegme, avec les nar. phil., 1560, p. [77].
• Crosse, His covert, MS. about 1600, with reasons for that date, [100].
• 2. Canis queritur nimium nocere, [482];
• Canis reversus ad suum vomitum, &c., [144];
• Captivus ob gulam, [130];
• Cavendum à meretricibus, [250];
• Certe tu vita es mihi, [161];
• Christus bajulat crucem, [43];
• Come l’oro nel foco, [179];
• Cominus et eminus, [231];
• Coney, so doth struggle in the net, [319];
• Conscientia integra laurus, [422];
• Consequitur quodcunque petit, [3];
• Consilio & virtute chimæram superari, &c., [299];
• Constantia comes victoriæ, [436];
• Contraria industriæ ac desidiæ præmia, [148];
• Cosi troppo piacer conduce à morte, [153];
• Cosi vivo piacer conduce à morte, [#151];
• Creatione et confusione del mondo, [35];
• Creavit dominus novum super terram, &c., [47];
• Cucullus non facit monachum, [138];
• Cum larvis non luctandum, [305];
• Curiositas fugienda, [267].
• 3. Calendrier et compost des bergers, 1705, p. [42].
• Callimachus, Perjuria ridet amantum, [328].
• Cambridge Works of Shakespeare, 1863, 1866, p. [157].
• Centifolium stultorum, 1707, p. [33].
• Chaucer, use of the word Emblem, [7].
• Chrysostom, God loved and hated in man, [281].
• Cicero, use of the word Emblem, [5].
• Collier, J. Payne, Phœnix’ nest, 1593, reprint, [380].
• Cotgrave’s Dictionary, Emblema [1].
• Cowden Clarke’s Concordance, [388].
• Cudworth’s Intellectual System, ed. 1678, pp. [2], [103].
• Cullum, Sir John, History and antiquities of Hawsted, 1813, p. [127].
• 4. Cadmus, alluded to in Rich. II., [245].
• Calcott, Lady, account of the seven ages of man inlaid on the pavement, Siena, [407].
• Calumny, Shakespeare, [434].
• Camel and his driver, [283].
• Camerarius, quoted for,—Butterfly and candle, [151];
  • Dog and moon, [270];
  • Eagle renewing youth, [369];
  • Elm and vine, [307];
  • Falconry, [366];
  • Jackdaw in fine feathers, [312];
  • Laurel and lightning, [423];
  • Ostrich, [234];
  • Pelican, [394];
  • Stag wounded, [398];
  • Swan, [217];
  • Turkey and cock, [357];
  • Unicorn, [372];
  • Wheat among bones, [184];
  • Wreaths on a spear, [223].
• Cannon bursting, Beza and Shakespeare, [344].
• Casket scenes, emblematical, [149]–154, [186].
• Cassius and Cæsar in the Tiber, [193].
• Cervantes and Shakespeare died in 1616, [318].
• Chaos, Ovid, Symeoni, [448];
  • Aneau, Whitney, [449], [450];
  • Shakespeare, [451], [453].
• Charles I., his fine collection of paintings, [111].
• Charles V. emperor, the Tewrdannckh dedicated to him in 1517, p. [68].
• Chatterton, Dr., on choice of a wife, [210].
• Chess, emb. of life and equality in the grave, Perriere, [320];
  • Corrozet, [321].
• Child and motley-fool, Whitney, Sambucus, [484];
  • Shakespeare, [485];
  • Drant, [486].
• Chivalry, wreath of, Paradin, Shakespeare, [169].
• Cholmeley, knight, Sir Hughe, [320].
• Christian art, fulness of its emblems, [26].
• Christian love, the soul, and Christ, Plate II., [32].
• Circe, Alciat, [250];
  • Whitney, Horace, Reusner, [251];
  • Shakespeare, [252].
• Classification of the correspondencies and parallelisms, [187].
• Cliffords, father and son, [192].
• Clip the anvil of my sword, Shakespeare, [325];
  • Perriere, [326];
  • Whitney, and meaning, [327].
• Closet adorned with emblems, [127].
• Coats of arms, often imaginative, [236].
• Coincidences of Whitney and Shakespeare in the use of words, [478], [479], [497]–514.
• Coincidences and parallelisms in heraldic emblems, [240].
• Coins and medals often emblematical, [13].
• Columbus, tribulations on marble, [461].
• Commonwealth of bees, Whitney and Shakespeare, [361]–365.
• Compress, difficulty to, [101].
• Conclusion, Shakespeare acquainted with Emblem-books, [495].
• Confidence kept back, Shakespeare, [434].
• Conscience, power of, Horace, [420];
  • Vænius, [421];
  • Shakespeare, [421], [424], [425].
• Coörnhert’s device of Providence making poor and making rich, Plate XVI., [489].
• Coriolanus, [201];
  • his civic crowns, [225].
• Coronation scene, Anne Bullen’s, [9].
• Correspondence of Whitney and Shakespeare in words, [477]–479, [497]–514.
• Corrozet, quoted, Butterfly and candle, [152];
  • Chess, [321];
  • Doves and Cupid, [245];
  • Fortune, [261];
  • Gem in gold, [418];
  • Hydra, [374];
  • Icarus, [289];
  • Sun and wind, [165].
• Corser of Stand, Rev. T., Historia S. Joan, sold for 415l., p. [49];
  • De Sole et Luna, [52];
  • Figures du vieil Test. et du nouuel, [63];
  • Alciat of 1531 p. [69];
  • Dance of Death, [71];
  • Crosse his covert, MS., [100].
• Cotton, Richard, Esquier, of Combermere, 1586, p. [360].
• Countryman and serpent, Freitag, Reusner, [197];
  • Shakespeare, [198].
• Coustau, Camel and driver, [283];
  • Silence, [209];
  • Orpheus, [271];
  • Ruins and writings, [442].
• Crab and butterfly, Symeoni, [15].
• Creation and confusion, Ovid, Plate III., [35].
• Crescent moon, Giovio, [125], [127].
• Crests of ancient times, [14]–16.
• Crowns, civic and others, [221], [224].
• Cupid felling a tree, [324];
  • Blinded, Perriere and Shakespeare, [329], [331];
  • and Bear, Boissard, [349];
  • Tronus Cupidinis, [348];
  • Cupid and Death, Alciat, [400];
  • Whitney, [401];
  • Haechtan, [400];
  • Peacham, [403];
  • Cupid in mid-air, Shakespeare, [404].
• Curtius, a silver emblem ornament, [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];
  • Metamorphoseωn 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].
• Destructoriũ 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, Ehrenpforte, 1515; Tewrdannckh, 1517; and Triumphwagen, 1522, p. [67].
• Dutch Emblem-books, passim, and [90], [97].
• Duvet, L’apocalypse figurée, 1561, p. [81].
• Dyalogus creaturarum, 1480, p. [51];
  • French ed. 1482, English, 1520, p. [51].
• 2. Dabit Deus his quoque finem, [124];
• Dederitne viam Casusve Deusve, [123];
• Defecit in dolore vita mea, &c., [131];
• De more et amore, [401];
• De Morte et Cupidine, [403];
• Descendet dominus sicut pulvia in vellus, [47];
• Despicit alta canis, [270];
• Dives indoctus, [229];
• Divesque miserque, [31];
• D. O. M., [464];
• Dominus tecum virorum fortissime, [47];
• Dominus vivit et videbit, [416];
• Donec totum impleat orbem, [123], [127];
• Dum ætatis ver agitur, consule brumæ, [148];
• Dum tempus labitur, occasionem fronte capillatam remorantur, [265];
• Dum transis, time, [128];
• Durate et vosmet rebus servate secundis, [125].
• 3. De Bry, Icones virorum illustrũm, [85].
• De la Perriere, quoted for,—Chess emb. of life, [320];
  • Cupid blinded and sieve, [329];
  • Diligence, [145];
  • Fardel, [495];
  • Janus, [140];
  • Occasion, [258];
  • Sword broken on anvil, [326];
  • Thorns on the rose, [332].
• Democritus, Golden sentences, [13].
• De Montenay, quoted, Adam hiding, [416];
  • Fearlessness, [440];
  • Good out of evil, [447].
• Dibdin, Bibliographical Antiquarian, [58];
  • Bibliomania, [51], [137];
  • Bibliogr. Decameron, [45];
  • Bibliotheca Spenseriana, [48];
  • Tour, [57].
• Dict. Greek and Roman Antiquities, [20].
• Diodorus Siculus, History, [20].
• Donne, Elegy, Flowers, [18].
• Doré, Drawings for Elaine, [30].
• Douce, Dissertation, ed. 1833, pp. [56], [71];
  • Remarks on Macaber, [56];
  • Illustrations of Shakspeare and of Ancient Manners, 1807, pp. [106], [167], [172];
  • Holbein’s Images, ed. 1858, p. [121].
• Drake, Shakspeare and his Times, [106], [107], [238];
  • on Falconry, [365];
  • Timon of Athens, [426].
• Drant, Horace’s Art of Poetry, 1567, p. [486].
• Drayton, Baron’s Wars, 1598, names, emblems, impresas, hieroglyphics, [132].
• Drummond, History of Scotland, 1655, p. [123];
  • Letter to Benjamin Johnson, Emblems on a bed of state, [123]–125;
  • Other letters naming devices or emblems, [124].
• Dryden’s opinion of the Pericles, [157].
• Dugdale, Antiq. of Warwickshire, [237].
• Du Vondel, illustrious poet of Holland, [98].
• 4. Daphne to a laurel, Aneau, Ovid, [296];
  • Shakespeare, [297].
• Death, its mention by Shakespeare, [339], [469].
• Death and sleep, [469–471].
• Death’s praises,—life’s evils, [471].
• Dedalus and his sons, [287].
• Diana, emblem and symbol in one, [3].
• Diana of Poitiers, dedication to, [3], [172].
• Dice an emblem of life, Le Bey de Batilly, [322].
• Diligence and idleness,—Perriere, [145];
  • Whitney, [146];
  • not followed by Shakespeare, [147].
• Direct References to Emblems, six in the Pericles, [156]–188.
• Di Terra Nova, Duke, emblem, [125].
• Division into three parts of Emblem-books, from 1500 to 1564, p. [60];
  • into two parts, from 1564 to 1615, p. [84].
• Dog baying the moon, Shakespeare and Alciat, [269];
  • Whitney and Camerarius, [270];
  • Beza, [271].
• Dogs not praised by Shakespeare, [145], [483].
• Dolphin and anchor, Symeoni and Giovio, [16];
  • The device of Titus, and of the Aldi, [16].
• D. O. M., Whitney and Shakespeare, [464], [465].
• Doubtful if certain books are Emblem-books, [51], [55].
• Doves and winged Cupids, Shakespeare and Corrozet, [245].
• Drake, Sir Francis, compared to Jason, [229].
• Drake’s ship, Whitney, [413];
  • Shakespeare, [414].
• Drawing and device or emblem, their difference, [49].
• Drinking bout of Antony and his friends, [246].
• Droppes manie pierce the stone, &c., Whitney, [324];
  • Shakespeare and Vænius, [324]
• Dudley, Ambrose, earl of Warwick, died 1589, p. [238].
• Dudley, Robert, earl of Leycester, died 1588, p. [238];
  • Whitney’s Emblems dedicated to him, [239].
• Dupes emblematised, [33].
• Dust, to write in, Sir T. More, [461];
  • Shakespeare, [460], [461].

E.

• E, O. L. of uncertain origin, [241];
• O. L. from Plato’s works, 710; Francfort, 1602, p. [346];
• O. L., Dial. of Creatures, 62, ed. 1520, p. [463].
• 1. Ecatonphyla, 1491, centiesme amour, 1536. p. [55].
• Ehrenpforte, or triumphal arch, about 1515, p. [67].
• Emb. Amat., Afbeeldinghen, 1611, p. [98].
• Emblemata Evang. ad XII. signa, 1585, p. [88].
• Emblesmes sur les actions—du Segnor Espagnol, 1608, p. [93].
• Emblematum Philomilæ Thiloniæ Epidigma, 1603, p. [95].
• Emblem-books, in the tabulated forms, [86]–99:—
  • Dutch or Flemish, 1585, p. [90];
    • 1603–1614, pp. [97], [98].
  • English, 1569–1586, p. [91];
    • 1591–1612, p. [99].
  • French, 1568–1588, p. [87];
    • 1595–1614, pp. [93], [94].
  • German, 1576–1590, p. [90];
    • 1596–1611, p. [97].
  • Italian, 1566–1589, pp. [86], [87];
    • 1592–1609, p. [92].
  • Latin, 1568–1590, pp. [88], [89];
    • 1591–1615, pp. [94], [95].
  • Spanish, 1575–1589, p. [90];
    • 1599–1615, p. [99].
• Emblem-books, in Greek; Tablet of Cebes, B.C. 390, pp. [12], [68];
  • Clemens of Alexandria, about A.D. 300, Stromata, [21];
  • Epiphanius, A.D. 367, p. [28];
  • Horapollo, originally Egyptian, about A.D. 400, p. [22];
  • translated into Greek by Philip, about A.D. 550, p. [22].
• English Emblem-books down to Willet, 1598, p. [119];
  • passim, [91], [99]–101.
• Epiphanius, A.D. 367, Physiologus, 1587, p. [28].
• Estienne, Henri, Anthologia gnomica, 1579, pp. [88], [89].
• 2. Eadem inter se, [384];
• Ecce, ancilla domini, fiat mihi, [46];
• Ecce ascendimus Hierosolimam, [66];
• Ecce virgo concipiet et pariet filium, [46];
• Ei qui semel sua prodegerit, aliena credi non oportere, [189];
• Εἴξας νικᾶ, [314];
• Eloquentia fortitudine præstantior, [164];
• Eloquium tot lumina clausit, [123];
• En ma fin git mon commencement, [123];
• Erant signa in sole et luna, [48];
• Esto tiene su remedio y non yo, [398];
• Ex domino servus, [276];
• Ex malo bonum, [447];
• Ex maximo minimum, [337].
• 3. Engravers, named, and referred to:—
  • Amman, Jost, 1564, pp. [74], [85].
  • Avibus, Gaspar ab, 1558, p. [80].
  • Bernard, Solomon, 1560, pp. [36], [73].
  • Bewick, Thomas, 1789, p. [71].
  • Boissart, Robert, 1590, p. [94].
  • Bonasone, Giulio, 1555, p. [77].
  • De Bry, Theodore, 1592, pp. [96], [348].
  • ” John Theod., p. [96].
  • ” John Israel, p. [96].
  • De Hondt, Jost, 1606, p. [98].
  • De Hooghe, Romyn, 1670, p. [13].
  • De Jode, Gerard, 1584, p. [53].
  • De Passe, Crispin, 1611, pp. [95], [97], also pp. [57], [177].
  • Durer, Albert, 1509, pp. [65], [67], [73].
  • Duvet, John, 1561, p. [81].
  • Feyrabend, Sigismund, about 1581, p. [90].
  • Fortoul, 1832, p. [71].
  • Holbein, Hans, 1538, pp. [71], [72].
  • Koster, Laurens, 1410, p. [46].
  • Lützenberge, Hans, 1538, p. [72].
  • Marcolini, Ant. Franc., 1552, p. [76].
  • Pytheus, named by Pliny, [5].
  • Raimondi, Marc Ant., 1516, p. [67].
  • Sadeler, Ægidius, 1600, pp. [96], [98].
  • Sadeler, John, [96].
  • Sadeler, Raphael, [96].
  • Schlotthauer (Dance of Death), 1832, p. [71].
  • Shaeufflein, Hans, 1517, p. [67].
  • Solis, Virgil, 1555, p. [77];
    • 1560, p. [74].
  • Stimmer, Tobias, 1576, p. [90].
  • Stimmer, John Chr., 1591, p. [90].
  • Van der Borcht, 1591, p. [95].
  • Van Veen, or Vænius, Otho, 1607, p. [96].
  • Van Veen, Gilbert, 1607, p. [96].
  • Veneziano, Zoan And., 1500, p. [55].
• Eschenburg’s Manual class. lit., 1844, pp. [7], [224].
• 4. Eagle renewing its youth, Camerarius, [368];
  • Shakespeare, [369], [370].
• Edward VI., Emblem-books belonging to him, [121].
• Egerton, Lord Chancellor, and Thomas Wilbraham, [467].
• Elephant and undermined tree, Sambucus and Whitney, [196].
• Elizabeth, Queen, devices, [124];
  • prayer-book, [137];
  • lottery, [208];
  • phœnix, [390];
  • flattered by Shakespeare, [404].
• Elm and vine, Alciat and Boissard, [307];
  • Whitney and Camerarius, [308];
  • Vænius and Shakespeare, [309].
• Ἔμβλεμα, ἐνβαλλεῖν, pp. [4], [5], [6].
• Emblem defined, Cotgrave, Quarles, and Bacon, [1];
  • Whitney, [6];
  • Shakespeare, [9];
  • origin, [9];
  • definition seldom strictly observed, [30].
• Emblems, original meaning, [4];
  • Chaucer, [7];
  • kept by Shakespeare and Milton, [9];
  • changes of meaning, [4];
  • classical and modern meaning, [4], [5], [11].
• Emblem and Symbol, confounded, [1];
  • difference, [2];
  • united, [2], [3];
  • affinity of, [6].
• Emblem, the word introduced into Latin, [5];
  • opposed by Tiberius, [5];
  • used by Cicero and Quinctilian, [5].
• Emblema nudum, or bare, without a device or picture, [13], [51];
  • in Shakespeare, [149]–154.
• Emblem Artists and Artificers, [5], [20]. See also [Engravers].
• Emblem Authors, number before 1616, p. [102];
  • men of literature and mental power, [102];
  • estimate in which they were held, [103];
  • introduce fables, [303].
• Emblem-books our theme, [11];
  • preceded by writings, [119];
  • three large collections, accessible for this work, at Keir, Stand, and Thingwall, [86];
  • number composed from 1564 to 1590, pp. [91], [92];
  • number of original texts and versions, 770, before 1616, p. [102];
  • illuminated MS., [38]–45, [50];
  • block books, [46]–50.
• Emblem Literature,—applied with great latitude; what appears essential to it, [31];
  • Instances: proverbs and witty sayings, scenes from history, armorial bearings, [31];
  • celebration of events, devotion and satire, [32], [33];
  • politics, [34];
  • classic poets, [34]–36;
  • great latitude in using the phrase, Emblem Literature, custom the general guide, [37];
  • includes ornamental devices in books, [38];
  • architecture, sculpture, and painting too extensive to be included, [38];
  • known in Britain, [119]–137;
  • bed of state, with emblems wrought by Mary, Queen of Scots, [123]–125;
  • ancient bed at Hinckley, [126];
  • painted closet at Hawsted, [127]–130;
  • ancient hall at Lower Tabley, [131];
  • Drayton’s testimony, 1598, p. [132].
• Emblems,—raised or carved figures and designs, a crust or framework, a mosaic, figured ornaments, [9], [10];
  • devices on smooth surfaces; any drawing representative of thought, character, &c.; a species of hieroglyphics, [11];
  • coins and medals, [13];
  • heraldry, [14]–17;
  • signs, [17]–19;
  • fictile ornamentation, [19], [20];
  • works by the silversmith, [20];
  • hieroglyphics, [21]–26;
  • Christian art, [26], [27].
• Emblems classified—by Whitney into three kinds, [187];
  • for this work into eight divisions, [188]:
    • —historical, [188]–211;
    • heraldic, [212]–240;
    • mythological, [241]–301;
    • for fables, [302]–317;
    • for proverbs, [318]–345;
    • for objects in nature, [346]–376;
    • for poetic ideas, [377]–410;
    • moral and æsthetic, [411]–462;
  • miscellaneous, [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, [289];
• Fatuis levia commitito, [484];
• Feriunt summos fulgura montes, [475];
• Festina lente, [15];
• Ficta ejus quod haberi nequit recusatio, [310];
• Finis coronat opus, [437];
• Fortiter et feliciter, [221];
• Fortitudo ejus Rhodum tenuit, [124];
• Fortuna virtutem superans, [202];
• Fortunæ comites, [124];
• Frons hominem præfert, [129];
• Fronte nulla fides, [129];
• Fructus calcata dat amplos, [124];
• Frustra, [329], [331].
• 3. Farmer, Dr., on Pericles, [156].
• Flintner, Nebulo nebulonum, 1620, p. [65].
• Freitag, quoted for,—
  • Mouse caught by an oyster, [130];
  • Ants and grasshopper, [148];
  • Countryman and serpent, [197];
  • Fox and grapes, [309];
  • Phœnix, [381];
  • Sun, wind, and traveller, [166];
  • Turkeycock and cock, [356].
• 4. Fables: doubtful if strictly emblems, [51];
  • The best emblem writers introduce them, [303];
  • A floating literature, interchanged throughout the world, [302];
  • Shakespeare’s estimation of them, [303];
  • Early editions, [303].
• Fables, emblems illustrative of, [302]–317;
  • Fly and candle, [151]–153;
  • Sun, wind, and traveller, [164]–167;
  • Elephant and tree, [196];
  • Countryman and serpent, [197];
  • Hares biting the dead lion, [304]–306;
  • Elm and vine, or elm and ivy, [307]–309;
  • Fox and grapes, [309]–312;
  • Jackdaw in fine feathers, [312]–314;
  • Oak and reed, [314]–316.
• Facts in Nature, emblems from, and from the properties of animals, [346]–376:
  • —Frosty Caucasus, [346];
  • Adamant on the anvil indestructible, [347];
  • Bear, cub, and Cupid—natural affection, [348]–350;
  • The inhabited, or three-cornered world, [351]–353;
  • Signs of the zodiac, [353]–356;
  • The cock and turkeycock, [356]–358;
  • The vulture, [358];
  • Bees, types of a well governed people, and of love for our native land, [358]–365;
  • Falconry, [365]–368;
  • Eagle renewing its feathers, [368];
  • Ostrich with outspread wings, [370];
  • Unicorn, type of faith undefiled, [371]–373;
  • Hydra slain by Hercules, [373]–375;
  • Various animals named, [375], [376].
• Falconry, from Dr. Drake, [365];
  • Camerarius and Giovio, [366];
  • Shakespeare, [367], [368].
• Fame armed with a pen, from Junius and Whitney, [445], [446];
  • Shakespeare, [444], [445].
• Fardel on a swimmer, [480], [481].
• Ferdinand II., emperor, [96].
• Fictile ornamentation, [19], [20].
• Fin couronne les œuvres, from Shakespeare, [320]–323.
  • See [End].
• Firmin Didot, [40].
• Flower language, emblematical, [18].
• Fly and candle. See Butterfly.
• Forehead, index of the mind, [129].
• Fortune, from Corrozet, [261]. See [Occasion].
• Fox and grapes, from Freitag, [310];
  • Faerni, [310];
  • Whitney, [311];
  • Shakespeare, [311], [312].
• Francis I., impresa, [123], [125], [126].
• Friendship after death, [307].
  • See [Elm and Vine].
• Frosty Caucasus, [346].

G.

• G, O. L., an altered C, from Linacre’s Galen, Paris, 1538, p. [543].
• 1. Ganda. See [À Ganda].
• German Emblem-books, passim, and, [90], [97].
• Geschlechtes Buch, editions 1550, 1580. p. [75].
• Geyler, Navicula sive speculum fatuorum, 1511, and Navicula penitentiæ, 1511, several reprints before 1520, —the first book with the imperial privilege, [66];
  • Two German translations, [66];
  • Latin version of Narren Schyf, 1498, p. [66].
• Giovio, Dialogo dell’ imprese, or Ragionamento, 1555, p. [77];
  • 1574, pp. [14], [15], [16];
  • English version, 1585, p. [77];
  • Menestrier, [79].
• Giovio, Symeoni, and Domenichi, Dialogo dell’ imprese, &c., 1574, p. [78];
  • Twenty-seven editions between 1553 and 1585, p. [78].
• Glissenti, Discorsi morali, &c., 1609, pp. [92], [93].
• Golding, Ovid’s Metamorphoses, 1565, p. [243].
• Goulart, Les vrais pourtraits, 1581, p. [87].
• Grapheus, Entry of Philip of Spain, 1550, p. [75].
• Grevin, Emblemes d’ Adrian la Jeune, 1568, p. [87].
• Guazzo, Dialoghi piacevoli, 1585, p. [87].
• Gueroult, Premier livre des emblemes, 1550, p. [75].
• Guillim, A display of heraldry, 1611, pp. [99], [120].
• Gulden, Den gulden winckel, 1613, p. [98].
• Guzman, Triumphas morales, 1557, p. [90].
• 2. Gang forward; I am ready, [14];
• Giuramento sparso al vento, [328].
• 3. Gale’s Opus mythol., [13].
• Gentleman’s Magazine, [126], [208].
• German book—the first in pure German,—a book of fables printed in 1461, p. [50].
• Giovio, quoted from,—
  • Alciat’s device, [211];
  • Atlas, [245];
  • Crescent moon, [125], [127];
  • Dolphin and anchor, [16];
  • Falconry, [365];
  • Kingfisher, [392];
  • Ostrich and iron, [233];
  • Phœnix, [235];
  • Salamander, [125], [126].
  • Giovio and Symeoni, quoted,—Porcupine, [231];
  • Wrongs on marble, [457].
• Golding’s Ovid, 1567, p. [243];
  • Shakespeare indebted to it, [243];
  • The epithet golden, [400].
• Gough, on the Bedford missal, 1794, p. [44].
• Gower’s Conf. am.—pur reposer, [7].
• Green’s Never too late, 1610, p. [128].
• 4. Gem in a ring of gold, by Corrozet, [418];
  • Shakespeare, [419], [420].
• Gemini, [355].
• Geography, [350]–353;
  • more correct, [415].
• Glance only, at times, to emblem subjects by Shakespeare, [269], [317].
• Glyptic art as exemplified in hieroglyphics, [21]–26.
• Gold on the touchstone, by Paradin, [175];
  • Whitney, [178];
  • Crispin de Passe, [177];
  • Shakespeare, [175], [180];
  • Vænius, [179].
• Golden, the epithet, Douce, Sidney, Golding’s Ovid, [400];
  • Bellay, Alciat, [400];
  • Whitney, [401];
  • Peacham, Whitney, [403];
  • Shakespeare, [404].
• Golden fleece, order of, [228].
• Gonsaga, Hanibal, saying on surrendering his sword and himself, [138].
• Good out of evil, Shakespeare and Montenay, [447].
• Gravella, Cardinal, his impresa, [125, note].
• Greatest out of least, from Anulus, [337];
  • Whitney, [338];
  • Shakespeare, [338], [339].
• Grecian coins, [13].

H.

• H, O. L., Nef des folz, xv., Paris, 1499, p. [187];
  • Monogram, H. G., a construction, preface, [xii].
• 1. Haller, Chartiludium logicæ, 1507, p. [64].
• Held, Alciat in German, 1542, p. [70].
• Hesius, Emblemata sacra, 1581, p. [88].
• Hillaire, Speculum Heroicum ... Homeri, 1613, pp. [36], [95].
• Historia S. Joan. Euangelist., block-book, 1420, p. [49];
  • MS. of, belonged to Henry II., [49].
• Histories of Joseph, Daniel, Judith, and Esther, earliest printed book with text and engravings, 1461, p. [45].
• Hoffer’s Icones catecheseos, 1560, p. [81].
• Holbein, Les simulachres & Historiees faces de la mort, 1538, pp. [72], [350], [487];
  • Previous to 1600 at least fifteen editions, [72];
  • Historiarum veteris instrumenti icones, 1538, p. [72];
  • Spanish, ed. 1543, English, ed. 1549, within the century twelve other editions, [73];
  • The canoness or nun, [469];
  • Sleep and death compared, [469], [470];
  • Wrong done to the soul, [433];
  • Praises of death, evils of life, [470], [471];
  • The last judgment, and escutcheon of death, [470].
• Hollar, Dance of death, 1790, p. [56].
• Homeri, Speculum heroicum. See [Hillaire].
• Horapollo, account of, [22];
  • De sacris notis et sculpturis, 1551, example, the Phœnix, [22], [23];
  • Other examples from Leemans and Cory, [24]–26 (see [Leemans] and [Cory]);
  • First printed edition by Aldus, 1505, Latin, French, Italian, and German, before 1535;
  • sixteen other editions before 1616, p. [64].
• Horatii Emblemata, 1607 and 1612, p. [36].
• Horozco, Emblemas morales, 1589, Symbolæ sacræ, 1601, p. [90].
• Hortinus, Icones, 1585, p. [88];
  • Emblemata sacra, 1589, p. [89].
• Hortulus rosarum, 1499, p. [58].
• Hunger, Alciat, Cum rhythmis Germanicis versus, 1542, p. [70].
• 2. Heart of Jesus the well of everlasting life, [40];
  • Homines voluptatibus transformantur, [250];
  • Homo homini Deus, [283];
  • Homo homini lupus, [280], [283];
  • His ornari aut mori, [222].
• 3. Haechtan’s Parvus mundus, 1579, p. [400].
• Hallam, on Pericles, [157].
• Halliwell, on Astron., MS., Chetham Library, [42].
• Haslewood, reprint Dialogues of Creatures, 1816, p. [303].
• Hawkins’ Η ΠΑΡΘΕΝΟΣ, 1633, p. [383].
• Heraldry, ornamental, 16th century, 1868, p. [14].
• Herodotus, the Scythian arrow, mouse, &c., [18];
  • the phœnix, [382].
• Hesiod, shield of Hercules, [20].
• Hessells on Spelen van sinnen, [81], [82].
• Hippocrates, Seven ages of man, [406].
• Holbein’s Simulachres, the canoness, [469];
  • Heath and sleep, [469];
  • Death and fool, [472].
• Holland’s Pliny, a work of art by Pytheus, to be put on or taken off,—a literal Emblem, [5];
  • Hardnesse of a diamant, [348];
  • The phœnix, [382];
  • Halcyones, [391].
• Homer, Iliad, shield of Achilles, [20];
  • Word Emblem illustrated, [4];
  • Death not unbecoming the defender of his country, [222];
  • Insults to Hector’s dead body, [304];
  • Odyssey, Circe, [250].
• Hood’s Miss Kilmansegg, to illustrate “golden,” [403].
• Horace, conscience, [420], [421];
  • Circe and Sirens, [251];
  • Pine-trees in a storm, [490];
  • The swan, [214];
  • Time leading the seasons, [490].
• Horapollo, quoted, Bees, [358];
  • Hawk on mummy case, [26];
  • Lamp burning, [456];
  • Phœnix, [23];
  • Star, [25];
  • Swan, [213];
  • Thread of life, [454].
• Humphrey’s Hist. of art of printing, 1867, p. [43];
  • Plates from block-books, Biblia pauperum, [43], [46];
  • Ars memorandi, [45];
  • Dance of death, [469].
• 4. Halcyon. See [Kingfisher].
• Hands of Providence, by Furmer and Coornhert, [Plate XVI.], [489];
  • Shakespeare, [489].
• “Happe some goulden honie brings,” Whitney, [364];
  • Shakespeare, [365].
• Hares biting a dead lion, Iliad, Alciat, Shakespeare, [304];
  • Alciat, Whitney, [305];
  • Reusner, [306];
  • Shakespeare, [306].
• Harpocrates, Silence, Whitney, [208];
  • Pegma, [209].
  • See [Lottery].
• 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];
    • Phœnix, 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, [220].
• Heraldry of poetry, [212]–221.
• Heraldry of heroic achievements, [221]–230.
• Heraldry of imaginative devices, [231].
• Hercules, his shield, [20].
• Hieroglyphics, their emblem character, [21], [25];
  • Subjects, [21], [26];
  • Examples, [24], [26];
  • Meanings of several, [26].
• Hinckley, bed at, with emblems, [126], [127].
• Historical Emblems, [188]—211:—
  • Medeia, Alciat, Whitney, [189], [190];
  • Æneas and Anchises, Alciat and Whitney, [191], [192];
  • Shakespeare, [192];
  • Progne, Aneau, Shakespeare, [193], [194];
  • Sinon, illustrated from Brasidas and his shield, Aneau, [194];
  • Whitney, [195];
  • The elephant and undermined tree, Sambucus, [196];
  • Countryman and viper, Freitag, [197];
  • Shakespeare, [198];
  • Siege of Antwerp, Whitney, [199];
  • Sinon often alluded to by Shakespeare, [200];
  • Coriolanus, [201];
  • Death of Brutus, Alciat, Whitney, [201];
  • Shakespeare, [203], [204];
  • Characteristics of Brutus and Cassius, [204], [205];
  • Formidable after death, Alciat, Whitney, [205];
  • Shakespeare, [207];
  • The lottery, video et taceo, Whitney, [208];
  • Costalius, [209];
  • Shakespeare, [209]–211.
• Hives of bees, [371]. See [Bees].
• Homo homini lupus, Whitney, Chrysostom, [281];
  • Androclus and the lion, [281];
  • Shakespeare, [282].
• Homo homini Deus, Coustau, [283];
  • Reusner, [283];
  • Shakespeare, “in apprehension how like a god,” [284].
• Honours from sovereign princes, [226].
• Hope, illustrated by Alciat, Paradin, Whitney, and Sambucus, [182]–185;
  • Camerarius, [184];
  • Spenser, [185].
• Human life a theatre, Plate XIV., [405].
• Hunterian Museum, Glasgow, the Tewrdannckh, [67].
• Hydra slain by Hercules, Corrozet, [374];
  • Shakespeare, [375].

I.

• I, O. L., Giovio’s Ragionamento, Venetia, 1556, p. [30];
• O. L., Alciat’s Diverse Imprese (p. 2), Lyons, 1551, p. [84].
• 1. Ieucht, Den nieuwen Ieucht spieghel, 1610, p. [98].
• Italian emblem-books, passim, and, [86], [92].
• 2. Iddio, perche é vecchio, fa suoi al suo essempio, [136];
• Il caos, [448];
• Il fine corona l’opere, [437];
• Illicitum non sperandum, [182];
• Il mal me preme et mi spaventa Peggio, [124];
• Immensi tremor oceani, [227];
• Importunitas evitanda, [327];
• Impotentis vindictæ fœmina, [193];
• Improba siren desidia, [252];
• In astrologos, [288];
• In avaros vel quibus melior conditio ab extraneis offertur, [280];
• In divitem indoctum, [229];
• Industria naturam corrigit, [256];
• Ingenio superat vires, [126];
• In hac spe vivo, [159], [181], [185];
• In morte vita, [185];
• In occasionem, [259];
• In receptatores sicariorum, [275];
• In sinu alere serpentem, [199];
• Insonti qui insidias struit, ipse perit, [54];
• In spe fortitude, [182];
• In statuam Bacchi, [248];
• In studiosum captum amore, [441];
• In temerarios, [285];
• Invidiæ descriptio, [432];
• Ipsa sibi lumen quod invidet aufort, [124];
• Isaac portat ligna sua, [43].
• 3. Image or symbol of St. Matthew, [48].
• 4. Icarus and ill-fortune, Alciat, [288];
  • Whitney, [288];
  • Corrozet, [289];
  • Shakespeare, [291].
• Idiot-fool and death, Holbein and Shakespeare, [472].
• Index, General, [543–571].
• Indian hieroglyphics, [18].
• Industry. See [Diligence and Idleness], [145].
• Introductory lines,—
  • Whitney, D. O. M., [464];
  • Shakespeare, [464].
• Inverted torch,—
  • Shakespeare, Symeoni, [171];
  • Paradin, Whitney, [173];
  • Shakespeare, [170];
  • Vænius, [171];
  • Corrozet, [175].
• Io, [245]. See [Jupiter].

J.

• 1. Joachim, Abbot, died 1201;
  • editions 1475, 1515, Prophetia dello Abbate Joachimo circa le Pontefici & Re, [67].
• Joan. S., Euangelist., block-book. See [Historia].
• Jodelle, Recueil, 1558;
  • Austriacis gentis imagines, 1558, 1569, 1573, p. [80].
• John, Don, of Austria, Notes on Alciat, 1572, p. [86].
• Joseph, Daniel, Judith and Esther.
  • See [Histories of], [45].
• Jovius. See [Giovio.]
• Junius, Emblemata, 1565;
  • and 10 others, [86].
• 2. Jam satis, [128];
• Jus hospitalitatis violatum, [357];
• Juvenilia studia cum provectiori ætate permutata, [381].
• 3. Jode, Gerard de, [89], [282], [298], [313].
• Johnson and Steevens’ Shakspeare, [483].
• Johnson, Dr., [426].
• Jones, Mr., Chetham Library, on Joachim, [67], [123].
• Jonson’s testimony to Shakespeare, [496].
• Junius, quoted:—
  • Fame armed with a pen, [446];
  • Oak and reed, [314];
  • Pelican and young, [395];
  • The caged cat and the rats; The crocodile and her eggs, [303].
• 4. Jackdaw in fine feathers, Camerarius, Æsop, Microcosme, Shakespeare, [313].
• James VI. of Scotland, Beza’s emblems, [122];
  • Epigram on, [122].
• Janus, two-headed, Alciat, Whitney, [139], [140];
  • Shakespeare, [140].
• Jar, with Emblems, named by Pliny, [5].
• Jason, [229], [230].
• Jove laughs at lovers’ perjuries, Shakespeare, [327];
  • Van Veen, Callimachus, Tibullus, [328];
  • Shakespeare, [328].
• June, illustration from Spenser, ed. 1616, p. [136].
• Jupiter and Io, Symeoni, Ovid, Shakespeare, [245], [246].

K.

• K, O. L., Plato’s Works (p. 153), Francfort, 1602, p. [212].
• 1.Kalendrier des Bergers, MS., 1330, p. [42];
• Kindred works in Latin, Italian, and German, 1475, p. [42].
• 3. Kenrick’s Anc. Egypt, p. [21].
• King’s Vale Royal, [211].
• Knight’s Pictorial Shakspere, [156];
  • Acknowledging Shakespeare’s acquaintance with Whitney, [396].
• Kugler’s Handbuch de geschichte der malerei, Berlin, 1847, pp. [110], [111], [114].
• 4. Katherine, Queen of France, her emblem, [128].
• Keir, near Dunblane, N. B., its library:
  • —Astrolabium planum, 1488, p. [42];
  • Alciat’s Emblems, 1531, p. [69];
  • Entry of Philip of Spain into Antwerp, 1549, p. [75];
  • Gueroult’s Premier livre des emblemes, 1550, p. [75];
  • Doni’s Emblem Works, 1552, 1553, p. [76];
  • Remark, [86];
  • Guillim’s Heraldry, [100];
  • Thirty-five original Emblem Drawings by Crispin de Passe, [177].
• King-emperor, or master-bee, [359]–363.
• Kingfisher, Halcyon-days, Ovid, Aristotle, and Pliny, [391];
  • Giovio, Shakespeare, [392].
• Knowledge of Emblem-books in Britain, [119]–137.
• Koster of Haarlem, about 1430, p. [43];
  • Earliest engraver of block-books, 1410–1420, p. [45].

L.

• L, O. L., Camerarius (i. 35), Norimberg, 1605, p. #383;
  • O. L., David’s Veridicus Christianus (70), Antverpiæ, 1606, p. [60].
• 1. L’Anglois, Discours des hierog. Égyptiens, 1583, p. [87].
• Le Bey de Batilly, Emblemata, 1596, p. [94].
• Leemans, Horapollinis Niloi Hierogl., 1835, examples from, pp. [24], [25].
• Lefevre, Emblemes de Maistre A. Alciat, 1536, p. [70].
• Le Vasseur, Devises des Emp. Rom., 1608, p. [93];
  • Devises des Rois de France, 1609, p. [93].
• Libri cronicarum, 1493, p. [56].
• Locher, Stultifera navis, before 1500, Plate IX., [57].
• Lonicer, J. A., Stand und Orden, 1585, p. [90];
  • Venatus et aucupium icon., 1582, p. [88].
• Lonicer, Ph., Insignia sacræ Cæsaræ maj., 1579, p. [88].
• Lydgate’s Dance of Macaber, about 1430, p. [56];
  • Hollar’s account, 1790, quoted, [56].
• 2. La fin couronne les œuvres, [139], [320], [322];
• La fin nous faict tous egaulx, [321];
• La force d’eloquence, [273];
• La guerre doulce aux inexperimentez, [152];
• Latet anguis in herba, [340];
• La vie de Memoire, [444];
• Le chien est retourné à son propre vomissement, et la truie lavée au bourbier, [144];
• Loues triall, [179];
• Lucet et ignescit, sed non rubus igne calescit, [64];
• Lux tua vita mea, [160];
• Lux tua vita mihi, [160];
• L’ymage de Fortune, [261].
• 3. Langhorne’s Plutarch, Timon, [430].
• Le Bey de Batilly, quoted:—Adamant on anvil, [347];
  • Apollo and Christian Muse, [379];
  • Milo caught in a tree, [344];
  • Life like a game of dice, [322].
• Lindsay, Lord, Christian Art, [293];
  • Seven Ages, [407].
• 4. Labour in vain:—Cupid and sieve, Perriere, [329];
  • Shakespeare, [330];
  • A tun with holes, Paradin, Whitney, [331], [332].
• Laing, D., letter, 1867, Queen Mary’s bed, [123], [note].
• Lamp-burning, Horapollo, Shakespeare, [456].
• Land-jewels of the Netherlands, what, [83].
• Languages, snatches of, by Shakespeare, [163].
• Laurel, safety against lightning, Sambucus, [422];
  • Whitney, Camerarius, [423];
  • Shakespeare, [424], [425].
• Life, its seven ages, Plate XV., [407].
• Life, evils of, Holbein’s Simulachres, Shakespeare, [471].
• Limbert, Stephen, of Norwich School, [461].
• Limner’s art in Emblems, [38].
• Loft, Capel, his opinion of Shakespeare, [106], [107].
• Logomaniacs, reproved by Cudworth, [103].
• Lorrain, Card. of, his impresa, [124].
• Lottery of 1569, Whitney, [208];
  • Shakespeare, [209]–211.
• Louis XI., Order of St. Michael in 1469, p. [227];
  • his impresa, [231].
• Louis XIV., history of, in medals, &c., [13].
• Love, its transforming power, Shakespeare, [349].

M.

• M, O. L., Linacre’s Galen, f. 35, Paris, 1538, p. [119].
• 1. Macaber, Dance of, 14th century, p. [39];
  • ed. 1484, p. [39];
  • La Danse Macabre, 1485, and several other editions, [56].
• Mansion, Dialogue des creatures moralizie, 1482, p. [52].
• Manuel, El conde Lucanor, 1575, p. [90].
• Marquale, Diverse imprese, 1547, p. [70].
• Martin, Orus Apollo de Ægypte, 1543, p. [22].
• Mercerius, Emblemata, 1592, p. [94].
• Mercier, Horapollo, 1551, p. [22].
• Messin, Boissard’s Emblêmes, 1588, pp. [87], [164], [307], [320], [383], [444].
• Microcosme, le, 1562, p. [247].
• Mignault, or Minos, Emblemes d’Alciat, 1583, p. [70];
  • Omnia Andreæ Alciati Emblemata. Adj. comm., 1573 and 1581, pp. [71], [79].
• ΜΙΚΡΟΚΟΣΜΟΣ, Parvus mundus, 1579 and 1592, pp. [88], [267].
• Modius, Liber ordinis eccl. origo, 1585, and Pandectæ triumphales, 1586, pp. [88], [89].
• Moerman, Apologi creaturarum, 1584, pp. [53], [88];
  • De Cleyn Werelt, [98].
• Montenay. See [De Montenay].
• More’s “pageauntes,” 1496, p. [120].
• Murner, Chartiludium logicæ, 1507, p. [64];
  • Narren Beschwörung, 1512, 1518, p. [65].
• 2. Maleficio beneficium compensatum, [197];
• Malè parta, malè dilabuntur, [128], [502];
• Manie droppes pierce the stone, [324];
• Materiam superabat opus, [124];
• Maulvaise nourriture, [175];
• Mea sic mihi prosunt, [124];
• Medio occidet die, [124];
• Mediis tranquillus in undis, [125], [note];
• Mens immota manet, [335];
• Me pompæ provexit apex, [158], [168];
• Merces anguina, [198];
• ΜΙΚΡΟΝ ΦΡΟΝΤΙΣΑΝΤΕΣ ΣΩΚΡΑΤΟΥΣ, [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];
  • Prometheus, [267];
  • Arion, [280];
  • Milo, [298].
• 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];
  • Crosse, [100];
  • Eng. Alciat, [101].
• Map of the world, Sambucus, [351];
  • Shakespeare, [352].
• Marble, writings on, [457]–462.
• Marcus Curtius, [5].
• Marquetry or mosaic work, in Emblems, [4].
• Mary of Lorrain, her impresa, [123].
• Mary, queen of Scotland, educated in France, 1548, p. [121];
  • Bed of state wrought by her with many emblems, [123];
  • Account of it, [123]–125.
• Matthias, emperor, [96], [97].
• Maximilian I., Tewrdannckh attributed to him, 1517, p. [67];
  • Ehrenpforte and Triumphwagen in his honour, [67].
• Maximilian II., patron of Sambucus, [85].
• Maxwell. See [Stirling-Maxwell].
• Mead, Dr., his copy of the Dance of Death, [40].
• Medeia and the swallows, as shown by Alciat, [190];
  • Whitney, [190];
  • Shakespeare, [192].
• Mercury and fortune, Alciat, [255];
  • Mercury charming Argus, Drummond, [123];
  • Mercury mending a lute, Sambucus, Whitney, [256];
  • Shakespeare, [257], [258].
• Metrical renderings or translations:
  • Diana, [3];
  • the Fool, [34];
  • Wolf and ass, [54];
  • Oarsman’s cry, [61], [62];
  • Epigram on James I., [122];
  • Janus, [140];
  • Diligence, [145];
  • Sun of the soul, [161];
  • Sun and wind, [165];
  • Inverted torch, [171];
  • Money, [178];
  • Hope, [184];
  • Snake, [198];
  • Drums, [206];
  • Wreaths, [222];
  • Porcupine, [232];
  • Courage, [233];
  • Lady Bona, [235];
  • Wine, [249];
  • Sloth, [251];
  • Fortune, [255], [262];
  • Prometheus, [266];
  • Dog and moon, [271];
  • Eloquence, [272];
  • Assassin, [276];
  • Actæon, [277];
  • Arion, [280];
  • Man to man a god, [283];
  • Phaeton, [285];
  • Daphne, [297];
  • Pegasus, [299];
  • Insult to Hector, [304];
  • Dead lion, [306];
  • Elm and vine, [308];
  • False feathers, [312];
  • Ash and reed, [314];
  • Cupid and the sieve, [330];
  • Mind unmoved, [335];
  • Adamant, [348];
  • Wasps, [360];
  • Falcon, [367];
  • Renewed youth, [369];
  • Unicorn, [372];
  • Law’s delay, [374];
  • Glory of poets, [380];
  • Phœnix, [383];
  • Alcyone, [391];
  • King-fisher, [392];
  • Pelican, [394], [395];
  • Wounded stag, [398];
  • Theatre, [405];
  • State of man, [408];
  • The hen, [411];
  • Beauty, [419];
  • Integer vitæ, [421];
  • Laurel, [422];
  • Timon, [428];
  • Constancy, [436];
  • Cupid and a ship, [437];
  • Chaos, [448], [449];
  • Wrongs on marble, [457];
  • We flee what we follow, [467];
  • Ban-dogs, [482];
  • Riches and poverty, [489].
• Michael, St., order of, 1469, p. [227].
• Milo, in a tree, De Batilly, [344];
  • Bull-bearing, Shakespeare;
  • Microcosm, [296].
• Minerva superintending the Argo, [20].
• Minnesingers, or troubadours, remains of, 1461, p. [50].
• Miscellaneous Emblems:
  • Words and forms of thought, Paris and Helen, [463];
  • D. O. M., [464], [465];
  • Time flying, &c., [466]–468;
  • Shadows fled and pursued, [468];
  • Death and sleep, [469]–471;
  • Death’s fool, [471];
  • Old time, [473], [474];
  • Similarity of dedications, [475];
  • Pine-trees in a storm, [475]–477;
  • Correspondencies in words, [477]–479;
  • Man swimming with a burden, [480];
  • Ban-dogs, [481]–483;
  • Child and motley fool, [484];
  • Ape and miser’s gold, [487];
  • Hands of Providence, [489];
  • Time leading the seasons, [491];
  • Eternity, [491].
• Montgomerie, Earl of, Shakespeare’s dedication to, [122].
• Moral and æsthetic Emblems, allusions to, Corrozet, Montenay, Le Bey de Batilly, Shakespeare, [411]–462:
  • —Things at our feet, [411]–413;
  • Drake’s ship, [413]–415;
  • Adam in the garden, [415], [416];
  • Gem in a ring of gold, [417]–420;
  • Conscience, [420]–422;
  • Laurel, safety of, against lightning, [422]–425;
  • Pleasant vices, [425];
  • Timon of Athens, [426]–431;
  • Envy, [431]–433;
  • Ship tossed on the sea, [434]–440;
  • Student in love, [440]–442;
  • Ruins and writings, [443]–445;
  • Fame armed with a pen, [446];
  • Good out of evil, [447];
  • Il Caos, [448];
  • Chaos, [449]–454;
  • Thread of life, [454], [455];
  • Lamp burning, [456];
  • Wrongs on marble, [457]–461;
  • Write in dust, [461];
  • Higher morality, [462].
• Moth and candle, [151]–153. See [Butterfly].
• Motley fool and child, [499].
• Mouse caught in an oyster, Alciat, Whitney, Freitag, [130].
• Mulcaster, of Merchant Tailors’ school, 1561, p. [100].
• Music, Shakespeare’s appreciation of, [116].
• Mythological characters, Emblems for, [241]–301:
  • —Instances, [243], [244];
    • Milo, [244];
    • Cupid’s wings, [245];
    • Cadmus, [245];
    • Atlas, [245];
    • Jupiter and Io, [245];
    • Bacchus, [246]–248;
    • Circe, [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].

N.

• 1. Narren Beschwörung, [65]. See [Murner].
• Narren Schyff, 1494, p. [57];
  • Supplied texts for Geyler, [66]. See [Brant].
• Navicula, 1511, p. [66]. See [Geyler].
• Navis stultifera, before 1500, p. [57]. See [Locher].
• Nef des dames vertueuses, 1503, p. [63]. See [Champier].
• Nef des folles, selon les cinq sens, 1501, p. [61].
• Nef des princes, 1502, p. [63]. See [Champier].
• Nestor, Histoire des hommes—de Medici, ed. 1564, p. [80].
• North, Morall philosophie of Doni, 1570 and 1601, pp. [76], [91], [120].
• 2. Ne per morte, [309];
• Nil penna sed usus, [370];
• Nimium rebus ne fide secundis, [476];
• Niuno vecchio, Spaventa Iddio, [136];
• Nobil è quel, ch’ è di virtu dotata, [366];
• Non absque Theseo, [143];
• No pleasure without pain, [333];
• Nous savons bien le temps, [392];
• Nunquam siccabitur æstu, [125], [note];
• Nusquam nisi rectum, [124];
• Nusquam tuta fides, [196].
• 3.
• Nebulo nebulonum, 1620, p. [65]. See [Flintner].
• North’s Plutarch, 1579, Timon of Athens, [426];
  • Epitaph, [430], [431].
• Notes and queries, 1862, p. [67].
• 4.
• Napoleon’s return from Elba, [18].
• Narcissus, from Mignault, Alciat, [294];
  • Aneau, Whitney, Shakespeare, [295], [296].
• Nature, Emblems from facts in, and from properties of animals, [346]–376:
  • —Natural, one of the divisions of emblems, [346];
  • Frosty Caucasus, [346];
  • Adamant indestructible, [347], [348];
  • Bear and cub, power of love, [348]–350;
  • The inhabited world, [350]–353:
  • Zodiac, [353]–355;
  • Turkey, [356]–358;
  • Vulture, [358];
  • Commonwealth of bees, [358]–365;
  • Happe goulden honie bringes, [364];
  • Falconry, [365]–368;
  • Eagle renewing its youth, [369];
  • Ostrich spreading its wings, [370];
  • Unicorn, [371]–373;
  • Hercules and dragon, [373]–375;
  • Various animals, [375], [376].
• Nemesis and hope, [182]. See [Hope].
• Niobe and her children, from Alciat, [292];
  • Aneau, Whitney, Shakespeare, [293].
• Nowell, Dr. Alexander, [395].
• Nun, or canoness, Holbein, [469].

O.

• 1. Occulti academici, &c., 1568. See [Rime].
• Orozco, Emblemas morales, 1610, pp. [31], [99].
• Ovid, Heroidum liber, 1473, p. [242];
  • Metamorphoses, 1480, p. [242];
  • M. cum figuris depictis, 1497, p. [35];
  • Metamorphoses, Spanish, 1494, p. [242];
  • Italian, 1497, p. [242];
  • Metamorphoses, figurato, &c., 1559, pp. [35], [245];
  • Plantin’s ed. 1591, p. [246];
  • Golding’s English translation, 1565 and 1567, pp. [241], [243];
  • La bible des poetes, [242].
• 2.
• Orphei musica, [272];
• Otiosi semper egentes, [146];
• O vita misero longa, [268].
• 3. Oetlinger, Bibliog. biog. univ., [97].
• Ormerod, History of Cheshire, [211].
• Ovid, Metamorphoses, quoted:—Singular subscription, [242];
  • Swan, [214];
  • Circe, [250];
  • Orpheus, [274];
  • Actæon, [278];
  • Phaeton, [284];
  • Niobe, [291];
  • Daphne, [296];
  • Phœnix, [385];
  • Halcyon, [391];
  • Wounded stag, [399];
  • Cupid’s arrow golden, [400];
  • Chaos, [448];
  • 2 Trist., Jove’s thunderbolt, [209].
• 4. Oak and reed, Junius, Shakespeare, Vænius, [315];
  • Whitney, [316].
• Oarsman’s cry, [61], [62].
• Occasion, or opportunity, [258];
  • Alciat, [259];
  • Whitney, [260];
  • Shakespeare, [260], [264], [265];
  • [Plate XII.], [265].
• Old men at death, Shakespeare, [215].
• Old time, Shakespeare, [473].
• Olive and vine, [249]. See [Vine].
• Orange, Prince of, device, [125], [note].
• Order, of St. Michael, [227];
  • Of the golden fleece, [228].
• Ornamentation of houses, Emblems used for, [126]–130, [131].
• Orpheus, Coustau, [271];
  • Reusner, Whitney, [272];
  • Ovid, [274];
  • Shakespeare, [273], [274].
• Ostrich, eating iron, [126];
  • Giovio, [233];
  • Camerarius and Shakespeare, [234];
  • Spreading its wings, Paradin, [370];
  • Whitney and Shakespeare, [370], [371].

P.

• P, O. L., Alciat’s Emb. p. xii., Antverp., 1581, p. [318].
• 1. Palazza, I discorsi imprese, &c., 1577, pp. [79], 86.
• Paracelsus, Prognosticatio, 1536, p. [71].
• Paradin, Quadrins historiques de la Bible, 1555, p. [75];
  • Devises heroiques, 1557, Symbola heroica, 1567, and other editions before 1600, p. [75];
  • English version, 1591, p. [75];
  • Menestrier, 79.
• Parker, Tryumphes of Petrarcke, 1564, p. [55].
• Passæus, 95, 96. See [De Passe].
• Peacham, Minerva Britanna, 1612, pp. [99], 100.
• Percivalle, Versus et emblemata, 1588, p. [79].
• Pergaminus, Dyalogus Creaturarum, written in the 14th century,—editions, Latin, 1480, 1483;
  • French, 1482;
  • and English, 1520, pp. [51], 52, 66.
• Perriere, 60. See [De la Perriere].
• Personé, alluded to by Menestrier, 79.
• Petrarch, Trionphi, 1475, 1510, and 1523, p. [55].
• Pezzi, La vigna del signore, 1589, p. [87].
• Pfintzing, Tewrdannckh, 1517;
  • love adventures of Maximilian I. and Mary of Burgundy, [67], [68].
• Phasianinus, Latin version of Horapollo, 1517, p. [64].
• Philieul, Dialogue des Devises, 1561, p. [78].
• Pierius Valerian, Hieroglyphica, 1556, pp. [24], [80].
• Pignorius, Vetustissimæ tabulæ, 1605, [95];
  • Characters Ægyptii, 1608, pp. [95], [97];
  • and Short notes on Alciat, 1618, p. [71].
• Pinciano, Los Emblemas de Alciato, 1549, p. [70].
• Pinedi, Duodecim symbola in Jobum, 1600, p. [79].
• Pittoni, Imprese di diversi principi, 1566, p. [86].
• Ponce de Leon, Epiphanius, 1587, p. [28].
• Porri, Vaso di verita, 1597, p. [92].
• Porro, Il primo libro, 1589, p. [87].
• 2. Parfaite est l’amitie qui vit après la mort, [307];
• Partium τῆς οἰκουμένης symbola, [351];
• Patria cuique chara, [361];
• Paupertas immerita, [489];
• Pecunia sanguis et anima mortalium, [177];
• Perfidus familiaris, [195];
• Pennæ gloria immortalis, [446];
• Perpolit incultum paulatim tempus amorem, [348];
• Per vincula crescit, [123];
• Peu à peu, [349];
• Φιλαυτία, [295];
• Piena di dolor voda de sperenza, [124];
• Pietas filiorum in parentes, [191];
• Pietas revocabit ab orco, [124];
• Piu por dulzura que por fuerza, [162], [167];
• Plus par doulceur que par force, [165];
• Plus virtute quàm armis, or Plvs par vertv qve par armes, [164];
• Poetarum gloria, [379];
• Ponderibus virtus innata resistit, [124];
• Porta hæc clausa erit et non aperietur, [47];
• Post amara dulcia, [332];
• Πῶς γέροντα μουσίκον, [213];
• Πῶς λαὸν πειθήνιον βασιλεῖ, [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];
  • Phœnix, [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];
  • Rubens, [96];
  • Titian, [111], [114].
• Palm-tree, a device on Queen Mary’s bed, [124].
• Parallelisms and correspondencies between Shakespeare and emblem writers, numerous, [494].
• Pegasus described, [141]–144;
  • Alciat, [299];
  • Shakespeare, [300].
• Pelican, Epiphanius, [393];
  • Camerarius and Reusner, [394];
  • Junius and Whitney, [395];
  • Shakespeare, [396];
  • Note in Knight, [396].
• Pembroke, earl of, dedication to, 1668, p. [122].
• Pericles, accepted as of Shakespeare’s authorship, [156], [157], [158];
  • the triumph-scene, [158];
  • First knight, Lux tua vita mihi, [160]–162;
  • Second knight, Piu por dulzura que por fuerza, [162]–167;
  • Third knight, Me pompæ provexit apex, [168]–170;
  • Fourth knight, Quod me alit, me extinguit, [170]–175;
  • Fifth knight, Sic spectanda fides, [175]–181#;
  • Sixth knight, In hac spe vivo, [181]–186.
• Personification, especially in mythology, [258].
• Perth, earl of, Emblems in a letter to, [124], [note].
• Phaeton, Ovid, [284];
  • Alciat, [285];
  • Symeoni, [284];
  • Shakespeare, [286], [287].
• Philip, duke of Burgundy, 1429, Golden fleece, [228].
• Phœnix, emblem for long life; for returning to friends; restoration after long ages, [23];
  • Oneliness or loneliness, [235], [236];
  • Accounts of, [22], [23], [234]–236;
  • Phœnix’ nest, [380];
  • Emblem of loneliness, Paradin, Giovio, [234], [235];
  • Shakespeare, [236];
  • Emblem of duration, Horapollo, [23];
  • Emblem of new birth, and resurrection, Freitag, [381];
  • Mary of Lorraine, [123];
  • Emblem of oneliness, Paradin and Reusner, [385];
  • Whitney, [387];
  • Shakespeare, [388]–390;
  • Emblem of life eternal, [386].
• Phœnix with two hearts, Hawkins, [383];
  • the Virgin mother and her son, entire oneness of affection, [384];
  • Shakespeare, [384].
• Phryxus, or Phrixus, [229]. See [Golden Fleece].
• Picture writing, [18], [30].
• Picture and short poesie, marks of the Emblem, [31].
• Pilgrim travelling, Cullurn’s Hawsted, [128].
• Pine-trees in a storm, Horace, Sambucus, [475];
  • Whitney, [476];
  • Shakespeare, [477].
• Plate, of emblematical character, [20].
• Pleasant vices, their punishment, [425].
• Poetic ideas, emblems for, [377]–410;
  • Shakespeare’s splendid symbolical imagery, [377];
  • Glory of poets, [379], [380];
  • The phœnix, [381]–383;
  • Phœnix with two hearts, [384];
  • The bird always alone, [384]–390;
  • Kingfisher, [391]–393;
  • Pelican, [393]–398;
  • Wounded stag, [397]–400;
  • Golden, the epithet, [400];
  • Death and Love, [404], [405];
  • Cupid in mid-air, [404];
  • Human life a theatre, [405], [406];
  • Seven ages of life, [407]–410.
• Poet’s badge, Alciat, [218];
  • Whitney, [217];
  • Shakespeare, [219].
• Poet’s glory, [379];
  • Le Bey de Batilly, [380];
  • Shakespeare, [380].
• Politics in emblems, Il Principe, [34].
• Porcupine, Drummond, [124];
  • Giovio, [231];
  • Camerarius, Shakespeare, [232].
• Portcullis, emblem used by Henry VIII., [124].
• Powers granted for noble purposes, Whitney, Shakespeare, [412].
• Printing with blocks, [45]–49;
  • with moveable types, [50].
• Progne or Procne, Aneau, Shakespeare, [193].
• Prometheus bound, Alciat, [266];
  • Aneau, [267];
  • Microcosme, [267];
  • Reusner, Whitney, [268];
  • Shakespeare, [268], [269].
• Proverbs, Emblems in connection with, [318]–345:
  • —Proverbs suggestive of narrative or picture, [318];
    • La fin couronne les œuvres, [320]–322;
    • Manie droppes pierce the stone, &c., [324];
    • To clip the anvil of my sword, [325]–327;
    • Jove laughs at lovers’ perjuries, [328], [329];
    • Labour in vain, [329]–332;
    • Every rose its thorn, [332]–334;
    • True as the needle to the pole, [334]–337;
    • Out of greatest least, [337]–339;
    • A snake in the grass, [340], [341];
    • Who against us? [342], [343];
    • Hoist with his own petar, [343], [344].
• Providence, and girdle, [413] (see [Drake’s ship]);
  • Making poor and enriching, [Plate XVI.], [489].
• Pyramid and ivy, Drummond, [124].

Q.

• 1. Quadrins historiques de la Bible, 1553–1583, twenty-two editions in various languages73.
• Quadrins historiques du Genèse, 1553, p. [73].
• Quadrins historiques de l’Exode, 1553, p. [73].
• 2. Quæ ante pedes? [411];
• Quæ sequimur fugimus, nosque fugiunt, [466];
• Quæ supra nos, nihil ad nos, [260];
• Quel che nutre, estingue, [175];
• Que mas puede la eloquençia que la fortaliza, [164];
• Quem nulla pericula terrent, [347];
• Quibus rebus confidimus, iis maxime evertimus, [344];
• Quid nisi victis dolor, [124];
• Qui me alit, me extinguit, [171]–173;
• Quis contra nos? 126, [342];
• Quod in te est, prome, [395];
• Quod me alit, me extinguit, [170], [174];
• Quod nutrit extinguit, [174];
• Quod sis esse velis, [312];
• Quo modo vitam? [456];
• Quo pacto mortem seu hominis exitum? [454];
• Quo tendis? [128].
• 3. Quarles, definition of Emblem, [1].
• Quinctilian, use of the word Emblem, [5].
• 4. Qui or quod, variations in the reading, [174].

R.

• R, O. L., Nef des folz, xlix., Paris, 1499, p. [411];
• O. L., of uncertain origin, p. [531].
• 1. Rabelais, Les songes drolatiques de Pantagruel, 1565, p. [86].
• Rastall, Dialogue of creatures, 1520, p. [51].
• Regiomontanus, or Muller, 1476, p. [42].
• Regiselmus. See [Joachim].
• Reusner, Emblemata 1581, Aureolorum Emblem., 1591, pp. [88], [89], [251].
• Rime de gli academici occulti, 1568, p. [86].
• Rinaldi, Il mostruosissimo, 1588, p. [87].
• Ripa, Iconologia, &c., 1603, 1613, p. [92].
• Riviere, Nef des folz du monde, before 1500, p. [57].
• Rollenhagen, Les emblemes, 1611, p. [95];
  • Nucleus Emblematum, 1613, p. [97].
• Ruscelli, Discorso, 1556, p. [77];
  • Imprese illustri, 1566, p. [78].
• Rüxner, Turnier-buch, 1530, p. [68].
• 2. Rabie succensa, [356];
• Remember still thy ende, [320];
• Renovata juventus, [369];
• Res humanæ in summo declinant, [435];
• Respice et prospice, [139];
• Rompe ch’ il percote, [125];
• Rore madet vellus, Permansit arida tellus, [47];
• Rota vite que septima notatur, [407].
• 3. Rapin, History of England, 1724, p. [122].
• Real museo Borbonico, 1824, p. [19].
• Reusner, quoted:—
  • Circe, [251];
  • Hares and dead lion, [306];
  • Man a god to man, [283];
  • Orpheus and harp, [272];
  • Pegasus, [143];
  • Pelican and young, [394];
  • Phœnix, [385];
  • Prometheus, [268];
  • Serpent and countryman, [197];
  • Sirens, [252];
  • Swan, [215], [216];
  • Unicorn, [371].
• Roscoe, Leo X., [303].
• 4. Recapitulation and conclusions, [492]–495.
• References and coincidences not purely accidental, [494].
• References to passages from Shakespeare, in the order of the plays and poems, and to the corresponding devices and subjects of the Emblems, Appendix iii., [531–542].
• Rhetoric, chambers of, their pursuits and amusements, [81], [82];
  • Extent and nature, [82].
• Rich and poor, [Plate XVI.], [489].
• Rock in waves, Drummond, [125], [note].
• Romano, Julio, works known to Shakespeare, [110];
  • Where there are now works of his, [110], [111].
• Romano, Capitano Girolamo Mattei, [233].
• Rose and thorn, Whitney, Perriere, [333];
  • Vænius, [333];
  • Shakespeare, [334].
• Rubens, desciple of Vænius, [96].
• Rudolph II, [85], [89], [96].
• Ruins and writings, Whitney and Costalius, [444];
  • Shakespeare, [444], [445];
  • Boissard, [449].

S.

• S, O. L., Giovio’s Sent. Imp. 3, Lyons, 1562, pp. [156], [515];
  • O. L., Sambucus (Emb. 232), Antverp., 1564, p. [302].
• 1. Sadeler, Symbola divina et humana, 1600, 1601, p. [95];
  • Theatrum morum, 1608, pp. [95], [96], [97].
• Sambigucius, Interpretatio, 1556, p. [77].
• Sambucus, Emblemata, 1564, and Emblêmes de Jehan Sambucus, 1567, p. [85];
  • Notes by Don John of Austria, 1572, p. [86].
• Sanctius, or Sanchez, on Alciat, 1573, pp. [71], [88].
• Sassus, referred to by Menestrier, [79].
• Sceve, Delie, 1544, p. [75].
• Schopperus, Πανοπλία, 1568, and De omnibus illiberalibus sive mechanicis artibus, 1574, p. [88].
• Schrot, Wappenbuch, 1581, p. [90].
• Scribonius, 1550. See [Graphæus].
• Sevus, referred to by Menestrier, [79].
• Shyp of fooles. See [Watson] and [Barclay].
• Sicile, Le blason de toutes armes, and Le blason des couleurs, 1495, p. [58].
• Simulachres & historiees faces de la mort, 1538, p. [71];
  • Fifteen editions, [72], [471].
• Soto. See [De Soto].
• S. (P.), Heroical devices, 1591, pp. [75], [120].
• Spanish Emblem-books, passim, and, [70], [90], [99].
• Speculum humanæ salvationis, MS., printed about 1430 by Koster, [43];
  • Description of his edition, [43];
  • Many editions and kindred works before 1500, p. [43];
  • Plates [IV.] and [V.], [44].
• Spelen van sinne, allegorical plays, 1539, p. [81].
• Stam und wapenbuch, 1579, p. [31].
• Stimmer, Neue kunstliche figuren Biblischen, 1576, p. [90].
• Stockhamer, commentariola to Alciat, 1556, p. [70].
• Stultifera navis, previous to 1500, Locher, Riviere, Plate IX., [57];
  • Other versions, [57];
  • Badius, [61].
• Symeoni, Vita et Met. d’Ovid., 1559, pp. [3], [35], [79];
  • Devises ou emblemes heroiques et morales, 1561, pp. [15], [16];
  • Imprese, 1574, p. [17];
  • Imprese heroiche et morale, 1562, p. [78];
  • Sententiose imprese, 1562, p. [78].
• 2. Sa virtu m’attire, [123];
• Scelesti hominis imago & exitus, [53];
• Scribit in marmore læsus, [457], [458];
• Scripta manent, [443];
• Servati gratia ciuis, [224];
• Sibi canit et orbi, [217];
• Sic majora cedunt, [366];
• Sic spectanda fides, [159], [175], [178];
• Si Deus nobiscum, quis contra nos?, [342];
• Si fortuna me tormenta, il sperare me contenta, [137], [138];
• Si fortune me tourmente, l’esperance me contente, [138];
• Silentium, [208];
• Sine justitia confusio, [449], [450];
• Sola facta, solum Deum sequor, [234];
• Sol animi virtus, [161];
• Sola vivit in illo, [126];
• Speravi et perii, [130];
• Spes altera vitæ, [1833, #184];
• Spes aulica, [182];
• Spes certa, [182];
• Spiritus durissima coquit, [233];
• Stultitia sua seipsum saginari, [310];
• Stultorum infinitus est, [66];
• Superbia, [292];
• Superbiæ vltio, [293].
• 3. Sadeler, 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, [145], [483];
  • D. O. M., [464], [465];
  • Drake’s ship, [415];
  • Drinking bout of Antony and his friends, [246];
  • Drops pierce the stone, [324];
  • Dust, to write in, [461];
  • Eagle renewing its youth, [369];
  • Elizabeth, queen, [404];
  • Elm and vine, [309];
  • Emblem defined, [9];
  • Emblems without device, [149]–151;
  • End crowns all, [320], [323];
  • Engineer hoist, [345];
  • Envy, [433];
  • Estridge, [371];
  • Eternity, [491], [492];
  • Falconry, [367], [368];
  • Fame armed with a pen, [445], [446];
  • Fin couronne les œuvres, [320]–323;
  • Fortune, [262];
  • Fox and grapes, [311];
  • Frosty Caucasus, [346];
  • Gem in a ring, [419];
  • Golden, [400], [404];
  • Gold on the touchstone, [175], [180];
  • Golden Fleece, [227];
  • Good out of evil, [447];
  • Greatest out of least, [337]–339;
  • Hands of Providence, [489], [490];
  • Happe some goulden honie bringes, [365];
  • Hares and dead lion, [304];
  • Hen eating her own eggs, [412];
  • Heraldry, [222], [223];
  • Homo homini lupus, [280], [283];
  • Homo homini Deus, [283], [284];
  • Hydra, [375];
  • Icarus, [291];
  • Inverted torch, [170];
  • Jackdaw in fine feathers, [313];
  • Janus, two-headed, [140];
  • Jupiter and Io, [246];
  • Jove laughs at lovers’ perjuries, [328];
  • King-fisher, [392];
  • Labour in vain, [331], [332];
  • Lamp burning, [456];
  • Laurel, [422]–425;
  • Lottery, [209]–211;
  • Love’s transforming power, [349];
  • Man with a fardel or burden, [481];
  • Man’s greatness, [284];
  • Map of the world, [351], [352];
  • Medeia, [192];
  • Mercury, [257], [258];
  • Michael, order of St., [227];
  • Milo, [297];
  • Narcissus, [296];
  • Niobe, [293], [294];
  • Oak and reed, [315], [316];
  • Occasion, or opportunity, [260], [264], [265];
  • Old Time, [473];
  • Orpheus, [273], [274];
  • Ostrich, [234], [371];
  • Pegasus, [299], [300];
  • Pelican, [394]–397;
  • Pen, its eternal glory, [447];
  • Pericles,—the triumph scene, [158], [160]–186;
  • Phaeton, [286], [287];
  • Phœnix, [236], [381]–390;
  • Pine-trees, [477];
  • Poet’s badge, [218], [219];
  • Poet’s glory, [379], [380];
  • Porcupine, [232];
  • Powers granted for noble purposes, [412];
  • Progne, [194];
  • Prometheus bound, [268];
  • Romano, Julio, [110];
  • Ruins and writings, [443]–445;
  • Rose and thorn, [333], [334];
  • Serpent in the breast, [198];
  • Seven ages of man, [407]–410;
  • Shadows fled and pursued, [468];
  • Ship in storm and calm, [435]–440;
  • Sirens, [254];
  • Skull, human, [337]–339;
  • Snake in the grass, [341];
  • Snake on the finger, [343];
  • Stag wounded, [397]–400;
  • Student entangled in love, [441];
  • Sun and wind, [160];
  • The setting sun, [323];
  • The swan, [219];
  • Sword on an anvil, [327];
  • Sword with a motto, [138];
  • Testing of gold, [175], [180], [181];
  • Theatre of life, [405], [406];
  • Things at our feet, [411], [412];
  • Thread of life, [454];
  • Time leading the seasons, [491];
  • Timon, [427]–431;
  • Turkey and cock, [357], [358];
  • Unicorn, [371], [372];
  • Vine and olive, [249];
  • Whitney’s dedication lines, [464];
  • Wreath of chivalry, [168];
  • Wreaths, [222];
  • Wreath of oak, [225];
  • Wrongs on marble, [457]–462;
  • Zodiac, signs of, [353].
• Shakespeare, acquainted with languages, [106], [107], [168];
  • with the works of Julio Romano, [110];
  • and of Titian, [115];
  • with Emblems, [137], [158], [186].
  • —Attainments, [106]–116;
    • sufficient for cultivating Emblem literature, [107], [108].
  • —Dramatic career, 1590–1615, pp. [91], [92];
    • An Emblem writer, [148], [154], [493];
    • Genius, [105];
  • Judgment in works of art,—sculpture, [109], [110];
    • ornament, [111];
    • painting, [112]–115;
    • melody and song, [115], [116].
  • —Knowledge of ancient history and customs, [105], [106], [225], [226];
    • Marks of reading and thought, [242];
    • Tendency to depreciate his attainments, [105];
  • Use of term Symbol, [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 mast overboard, Drummond, [124];
  • Ship on the sea, Drummond, [125];
  • Ship tossed by the waves, Sambucus, Whitney, [435];
  • Ship sailing forward, Whitney, Alciat, [436];
  • Boissard, [437];
  • Shakespeare, [438]–440.
• Sieve held by Cupid, [340]. See [Cupid].
• Silent academy at Hamadan, [17].
• Silversmiths, their craft and emblems, [20].
• Similitudes and identities in literature, [302].
• Sinon, [194]–200;
  • Virgil, [194];
  • Whitney, [195], [196], [199];
  • Shakespeare, [200].
• Sirens,—Alciat, [253];
  • Whitney, [254];
  • Shakespeare, [254].
• Six direct references to Emblems in the Pericles of Shakespeare, [156]–186.
• Skiff of foolish tasting, Badius, 1502, p. [61].
• Skull, human, Aneau, Whitney, [337];
  • Shakespeare, [338], [339].
• Snake in the grass, Paradin, Whitney, [340];
  • Shakespeare, [341].
• Snake on the finger, Paradin, [342];
  • Whitney, Shakespeare, [343].
• Soul, its hieroglyphic sign, [25], [26].
• Spanish motto, [162], [164], [167].
• Speculum humanæ salvationis, Plates IV. and V., [44].
• Stag wounded, Giovio and Symeoni, [398];
  • Paradin, Camerarius, Virgil, Ovid, Vænius, [399];
  • Shakespeare, [399], [400].
• Stage, the world a, [409]. See [Seven ages].
• Star, its hieroglyphic meaning, [25].
• Statuary and architecture excluded, [11].
• Stirling-Maxwell, Bart., of Keir, De Bry’s Stam und wapenbuch, 1593, p. [32];
  • ΜΙΚΡΟΚΟΣΜΟΣ, by Costerius, [98]. See also [Keir].
• Stork, emblem of filial piety, &c., [28];
  • Epiphanius and Alciat, [28].
• Student in love, Alciat, Whitney, [441];
  • Shakespeare, [442].
• Subjects of the Emblem Imprese, &c., [515]–530.
• Sun and moon, in dialogue, [52].
• Sun of York, [223];
  • Sun in eclipse, [124];
  • Sun setting, Whitney, [323];
  • Sun, wind, and traveller, Corrozet, [165];
  • Freitag, Shakespeare, [166].
• Swan singing at death, Æschylus, Horapollo, [213];
  • Virgil, Horace, [214];
  • Old age eloquent, Aneau, [215];
  • Pure truth, Reusner, [216];
  • Camerarius, [217];
  • Insignia of Poets, Alciat, Whitney, [218];
  • Shakespeare, [219], [220].
• Sword with motto, [138].
• Sword on anvil, Perriere, [326];
  • Whitney, [327];
  • Shakespeare, [325], [327].
• Sword to weigh gold, Drummond, [124].
• Symbol, more exact use, Pindar, Æschylus, Cudworth, Shakespeare, [2].
• Symbols and Emblems, almost convertible terms, [1];
  • yet a difference, [2].
• Symbolic properties of animals, [28].
• Symbolical imagery, fine example of, [377].

T.

• T, O. L., Nef des Folz. 7, Paris, 1499, p. [xiii].
• 1. Taëgius, referred to by Menestrier, [79].
• Tambaco, Speculũ-paciẽtierum, 1509, p. [65].
• Tasso, Torq., Discorsi del poeme, [79], [92].
• Tasso, Herc., referred to by Menestrier, [79].
• Taurellius, Emblema physico-ethica, 1595, pp. [94], [96].
• Tewrdannckh, in honour of Maximilian I., dedicated to Charles V., splendid volume, [67].
• Théatre des animaux, [93]. See [Desprez].
• Todtentanz, the original editions, 1485 to 1490, not by the Holbeins, [56].
• Trebatius, Latin version of Horapollo, 1515, p. [64].
• Triumphwagen, [67]. See [Durer].
• Troiano, Discorsi delli triomfi, 1568, p. [86].
• Turnier-buch, [68]. See [Durer].
• Typotius, 1601–1603, p. [95]. See [Sadeler].
• 2. ’t Geld vermagalles, [177];
• Temere ac pericvlose, or Temerité dangerevse, [152];
• Tempus irrevocabile, [36], [490];
• Tempus omnia terminat, [323];
• Te stante virebo, [124];
• Time terminates all, [323];
• Trino non convenit orbis, [124];
• True as needle to the pole, [334];
• True as steel, [337].
• 3. Tennyson, Elaine, [30].
• Tibullus, on lovers’ vows, quoted, [328].
• Timperley, Dictionary of printers, 1839, pp. [44], [56].
• Titian, Triumph of truth and fame, [32];
  • his paintings, [111], [114].
• Tod, remarks on Spenser, [137].
• 4. Tabley, Cheshire, ancient hall of the Leycesters, with emblem, [131].
• Talbot, earl of Shrewsbury, [207], [227].
• Theatre, human life, Boissard, Plate XIV., [405];
  • Shakespeare, [406].
• Theological conjecture, a curious, [383].
• Thieves, so triumph, [319].
• Things at our feet, Whitney, Sambucus, [411];
  • Types of powers to be used, Shakespeare, [412].
• Thingwall, the emblem library there, [86].
• Thompson, H. Yates, of Thingwall, [5], [44].
• Thread of life, Horapollo, [454];
  • Shakespeare, [455].
• Time flying, Sambucus, [466];
  • Whitney, [467];
  • Plutarch, [468];
  • Shakespeare, [468], [469];
  • Turning back, Shakespeare, [473].
• Time leads the seasons, Vænius, Horace, Plate XVII., [491];
  • Shakespeare, [491].
• Timon of Athens, Dr. Drake, [426];
  • North, Plutarch, Sambucus, [426], [427];
  • Shakespeare, [428], [429];
  • Epitaph, [430];
  • Mode of death, [431].
• Titus, son of Vespasian, his emblem, [16].
• Tongue with bat’s wings, Cullum and Paradin, [128].
• Tree of life, [126]. See [Arrow wreathed].
• Tree in a churchyard, Drummond, [124].
• Triangle, sun and circle, Drummond, [124].
• Triumph scene in the Pericles, 1589, pp. [160]–186.
• Tronus Cupidinis, De Passe, [348].
• Trophy on a tree, Drummond, [124].
• True as needle, Sambucus, [334];
  • Whitney, [335];
  • Shakespeare, [336];
  • lode stars, [336].
• True as steel, [337].
• True men so yield, [319].
• Truth, an emblem so named, [20].
• Turkeycock, Freitag, Camerarius, [357];
  • Shakespeare, [358].

U.

• 1. Ulloa, Alphonsus, 1561, Menestrier, [79].
• 2. Unde, [124], [note];
  • Undique, [123];
  • Unica semper avis, [385];
  • Unum quidem, sed leonem, [124];
  • Ut casus dederit, [124];
  • Ut parta labuntur, [128];
  • Utilia prudenti, imprudenti futilia, [53].
• 4. Ulysses and Diomed as an emblem, [5].
  • Unicorn, [371];
  • Reusner, Brucioli, Penny Cyclopædia, and Camerarius, [372];
  • Shakespeare, [373].

V.

• 1. Vænius, [93];
  • Zinnebeelden, 1603, p. [98];
  • Q. Horatii Fl. Emblemata, 1607 & 1612, pp. [36], [95];
  • Amorum Emblemata, Latin, English, and Italian, 1608, pp. [95], [99];
  • Amorum Emblemata, Spanish, 1608, pp. [99], [122];
  • Amoris Divini Emblemata, 1615, pp. [32], [99].
• Valence, Emblesmes—du Segnor Espagnol, 1608, pp. [93], [94].
• Valerian, [80]. See [Pierius].
• Vander Noot’s Theatre, &c., 1568, pp. [87], [91].
• Van Ghelen, Flem. trans. Navis stultorum, 1584, p. [90].
• Van Vischer, Sinnepoppen (Emblem play), 1614, p. [98].
• Verdier, trans. into French, Imagini, &c., 1581, p. [87].
• Villava, Empresas Espirituales, &c., 1613, p. [99].
• Virgil Solis, [85];
  • Libellus sartorum, 1555, p. [77];
  • Figures for the New Testament, and Artistic book of animals, between 1560 and 1568, p. [85].
• Volucribus, de, sive de tribus columbis, MS., 13th century, [44].
• 2. Vel post mortem formidolosi, [205];
• Veritas armata, [123];
• Veritas invicta, [264];
• Via, veritas, vita, [462];
• Victrix animi equitas, [314];
• Victrix casta fides, [371];
• Video et taceo, [208];
• Vigilantia et custodia, [210];
• Vina coronal, [101];
• Vincit qui patitur, [315];
• Violentior exit, [154];
• Vipera vim perdet, sine vi pariente puella, [47];
• Virgo salutatur, innupta manens gravidatur, [47];
• Virtuti fortuna comes, [211];
• Vine ut viuas, [444];
• Volat irrevocabile tempus, [36], [494];
• Voluptas ærumnosa, [277];
• Vijt Adams appel Sproot, Ellende Zonde en Doodt, [132].
• 3. Vænius, quoted, Butterfly and candle, [152];
  • Christian Love presenting the soul to Christ, [Plate II.], [32];
  • Conscience, [421];
  • Cupid felling a tree, [324];
  • Elm and vine, [308];
  • Fortune, [263];
  • Rose and thorn, [333];
  • Ship sailing, [437];
  • Time leading the seasons, [Plate XVII.], [490], [491];
  • Two Cupids at work, [179];
  • Venus dispensing Cupid from his oaths, [328];
  • Wounded stag, [399];
  • Amorum Emblemata, Latin, English, and Italian, [179], [437].
• Van der Veen, Adams appel, 1642, [Plate X.], [132].
• Van Hooghe, Frontispiece of Cebes, 1670, p. [13].
• Virgil, Æneid, Bees, [359];
  • Circe, [251];
  • Crests, [14];
  • Shield of Æneas, [20];
  • Sinon, [194];
  • Stag wounded, [398];
  • Swan, [214];
  • L’Eneide de Virgile, Lyons, 1560, p. [36].
• 4. Van Hooft, illustrious Dutch poet, [98].
• Varieties of Emblems, [18];
  • great, [34].
• Vases with emblems, Warwick, [10];
  • Italo-Græco, [19].
• Venus dispensing Cupid from his oaths, [328].
• Verard, 1503, publisher of Les figures, &c., [63].
• Vine and olive, Whitney, Alciat, [249].
• Vine watered with wine, Drummond, [124].
• Volvelle, astrological, [42].
• Vostre, Simon, of Paris, printer, [39].

W.

• W, O. L., Symeoni’s Vita d’ Ovidio, Lyons, 1559, p. [1].
• 1. Watson, Shyppe of Fooles, 1509, pp. [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, [288];
  • Introductory lines, D. O. M., [464];
  • Inverted torch, [173];
  • Janus, [139], [note];
  • Laurel, [423];
  • Lottery in London, [208];
  • Medeia, [190];
  • Mercury and lute, [256];
  • Mouse and oyster, [130];
  • Narcissus, [295];
  • Niobe, [293];
  • Oak and reed, [315];
  • Occasion, [260];
  • Orpheus, [272];
  • Ostrich stretching out its wings, [370];
  • Pelican, [395];
  • Phœnix, [387];
  • Pine-trees in a storm, [476];
  • Prometheus, [267];
  • Rose and thorn, [333];
  • Ruins and writings, [443];
  • Serpent in the bosom, [199];
  • Shadows, [468];
  • Ship tossed by the waves, [435];
  • Ship sailing forward, [436];
  • Sirens, [254];
  • Skull, [338];
  • Snake in the grass, [340];
  • Snake on the finger, [342];
  • Student entangled, [441];
  • Sun setting, [323];
  • Swan, of poets, [217];
  • Sword on an anvil, [327];
  • Time flying, [467];
  • Vine and olive, [249];
  • Wreaths on a spear, [222];
  • Wrongs on marble, [460].
• Wrangham, Plutarch, [431].
• 4. Walker, Rev. T., [462].
• Waves and siren, [125], [note];
  • Waves with sun over them, [125].
• Wheat among bones, Paradin, [183];
  • Camerarius, [184];
  • Boissard and Messin, [185].
• Wheel rolling into the sea, [124].
• Whitehall, collection of paintings there, founded by Henry VIII. and Charles I., [111].
• Who against us? Paradin and Whitney, [342];
  • Shakespeare, [343].
• Wilbraham, Tho., Esq., the old English gentleman, [467].
• William III., history of, in medals, [14].
• Wings and feathers scattered, [124].
• Wolf and ass, a fable, [52]–54.
• Woltmann, Holbein and his time, Death’s fool, [471];
  • Shakespeare’s mistakes as to costume, [106].
• Woodcock, so strives the, with the gin, Shakespeare and Æsop, [319].
• Words and forms of thought, some, the same in Whitney and Shakespeare, [463].
• World, inhabited, three-cornered, earth the centre, Brucioli, [350];
  • Sambucus, [351];
  • No. America, [351], [352];
  • Shakespeare, 52;
  • Three-nooked world, [353].
• World a stage, [133].
• Wreath of chivalry, Paradin, [169];
  • Shakespeare, [168], [170].
• Wreath of oak, Paradin, [224];
  • Shakespeare, [225], [226].
• Wreaths of victory, Whitney, Camerarius, [222];
  • Shakespeare, [222], [223];
  • Paradin, [224].
• Writings remain, Whitney, [443];
  • Boissard, [444];
  • Shakespeare, [444], [445].
• Wrongs on marble, Symeoni, [457];
  • Paradin, [458];
  • Shakespeare, [459], [460];
  • Whitney, [460];
  • Origin of the sentiment, [460];
  • Sir T. More and Columbus, [461];
  • Nobler sentiments, [462].

X.

• Xenophon’s Cyropædia, king bee, [359].

Y.

• Y, the letter, an emblem of life, [320].
• Yates, Joseph B., Alciat, MS., 1610, p. [101];
  • Sketch of Emblem-books, [4], [5];
  • Silver emblem, [5];
  • Dedication Plate to, p. v.

Z.

• Zainer, Das helden buch, 1477, p. [55].
• Zeb, Dr., of the Silent Academy, [17].
• Zinne-beelden, oft Adams appel, [Plate X]., [132].
• Zisca, named by Alciat and Whitney, [206].
• Zodiac, signs of, Sadeler, Brucioli, [Plate XIII]., [353];
  • Shakespeare, [353–355].
• Zuingerus, Icones, 1589, p. [89].

COLOPHON.

Ex literarum studiis immortalitatem acquiri.

Alciat, ed. 1534, p. 45.

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

---

---

[1]. See the Olympica, 12. 10: “σύμβολον πιστὸν ἀμφὶ πράξιος ἐσομένης.” Also Æschylus, Agamemnon, 8: “καὶ νῦν φυλάΣΣΑ λαμπ/δος τὸ σύμβολον.”

[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 norũt omnes qui aliquid indicii habeant.”

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

[4].

... “θύρην δ’ ἔχε μοῦνος ἐπιβλὴς

Εἰλάτινος.”

[5].

... “σκῆπτρον δέ οἱ ἔμβαλε χερὶ

Κήρυξ Πεισήνωρ.”

[6].

... “Νῆας ἐνιπρῆσαι, ὅτε μὴ αὐτὸς γε Κρονίων

Ἐμβάλοι αἰθόμενον δαλὸν νήεσσι θοῇσιν.”

[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 chiaramẽte in Vergil, quãdo fa il Catalago delli genti, che vẽnero 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]. “Εφορει δ’ αυτος περι τον τραχηλον εκ χρυσης ἁλυσεως ηρτημενον ζωδιον των πολυτελων λιθων, ὁ προσηγορευον ΑΛΗΘΕΙΑΝ.”

[22].

Iliad, xviii. 478, “Ποίει δὲ πρώτιστα σάκος μέγα τε στιβαρόντε,—”

” ” _ 482, “Ποίει δαίδαλα πολλὰ ἰδυίῃσι πραπίδεσσιν.”

[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:—Τί ἀστέρα γράφοντες δηλοῦσι. Θεὸν δέ ἐγκόσμιον σημαίνοντες, ἢ εἰμαρμένην, ἢ τὸν πέντε ἀριθμὸν, ἀστέρα ζωγραφοῦσι· θεὸν μὲν, ἐπειδὴ πρόνοια θεοῦ τῆν νίκην προστάσσει, ᾗ τῶν ἀστέρων καὶ τοῦ παντὸς κόσμου κίνησις ἐκτελεῖται· δοκεῖ γὰρ αὐτοῖς δίχα θεοῦ, μηδὲν ὃλως συνεστάναι· ἑιμαρμένην δέ, ἐπεὶ καὶ αὔτη ἐξ ἀστρικῆς οἰκονομίας συνίσταται· τὸν δὲ πέντε ἀριθμὸν, ἐπειδὴ πλήθους ὂντος ἐν οὐρανῷ, πέντε μόνοι ἐξ αὐτῶν κινούμενοι, τὴν τοῦ κὸσμου οἰκονομίαν ἐκτελοῦσι.

[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, “Destructoriũ vitiorum ex similitudinũ creaturarum exemplorũ 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 Hẽrye 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 iã 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 mœurs, & 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 anciẽs ont pourtraict & trassé,

Pour demõstrer que l’aduis des gẽs sages.

Visé̩[e/]̩ au futur aussi bien qu’ au passé,

Tout temps doibt estré̩[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 cœur 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 œuures, 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 prœlia Martis

Arma, viros, turrim, tergore vectat opes.

Nusquam tuta fides, nimium ne crede quieti,

Sæpius & tutis decipiere locis.

Hippomenes pomis Schœneïda 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 Plantiniēne 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 Phœnix Nest,” from the original edition of 1593.

[164]. There are similar thoughts in Shakespeare’s Phœnix 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 Phœnix (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 ‘[Cœlius]’ 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 (

) ligature is rendered here using an inline image.The Greek terminal -os ligature is given simply as

The Latin terminal -que (

) is rendered as ‘q́₃que’. There is a French terminal ‘e’ which appears with a slash as

. This is rendered as ‘é̩[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 pulished	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.