A CHAPTER ON EMBLEMS.
"An history of emblems in all languages, with specimens of the poetry and engravings, accompanied by some account of the authors, would be a very interesting contribution to our literature." Thus speaks the author of a work remarkable for interest, information, and elegance of taste, viz., Lives of Sacred Poets, by Robert Willmott, Esq.; and truly such a work would be a great desideratum were the idea here suggested efficiently carried out.
In our own, and in other languages, many beautiful poems—some of them very gems—exist, attached to, and written on some of "the most ridiculous prints that ever excited merriment." A tasteful collection of the more beautiful poems, with some spirited woodcuts, or engravings to accompany them, would form a beautiful volume. This, however, is a suggestion different from, and secondary to, Mr. Willmott's.
Emblems, figures, symbols, &c., constitute a vast ocean of associations which all enter on, all understand, all sympathise with more or less. They enrich our language, enter into our commonest thoughts and conversation, as well as our compositions in poetry and prose.
Often the clearest ideas we have on abstruse points are derived from them, e.g. the shamrock or trefoil is an emblem of the Blessed Trinity. Nothing perhaps helps us to comprehend the resurrection of the body, and in a glorified state through preserving its identity, as the apostle's illustration and emblem of the growth of corn.
In a work on the subject it would be desirable to keep the classical, artistic, political, and other emblems apart from the sacred and moral, &c.
I must now say a few words on a book of emblems, entitled Schola Cordis, sive Aversi a Deo Cordis, ad eumdem reductio et instructio, Authore Benedicto Haefteno, Antv. 1635. (This Benedict Haeften was also the author of Regia Via Crucis, published at Antwerp the same year as the above, in 2 vols. 8vo., I think, and afterwards translated into French.) This work suggested Schola Cordis, or the Heart of itself gone away from God, brought back again to Him and instructed by Him, in XLVII emblems: London, printed for M. Blunder at the Castle in Cornhill, 1647, 12mo. pp. 196. The authorship of this English Schola Cordis is generally attributed to Christopher Harvie, the author of The Synagogue. (Vide Lowndes, and a note in Pickering's edition of George Herbert.) The second edition was printed in 1674, third in 1675, fourth in 1676.
Now, Mr. Tegg in 1845 printed an edition of this Schola Cordis as the production of Francis Quarles; what was his authority I know not, he certainly did not attempt to give any.
The last three books of Quarles's Emblems contain forty-five prints, all from Herman Hugo's Pia Desideria, which has that number of emblems. Quarles sometimes translates, sometimes paraphrases Hugo, and has a good deal of original matter. His first two books are not in Hugo's work, and I do not know whence they are derived; nearly all the cuts contain a globe and cross.
Herman Hugo had the talents and versatility which characterise his order (the Order of Jesus), "he was a philosopher, a linguist, a theologian, a poet, and a soldier, and under the command of Spinola is said to have performed prodigies of valour." He was the author of De prima Scribendi Origine et Universa Rei Literariæ Antiquitate, an excellent work; and of De Militia Equestri antiqua et nova amongst others. His Book of Emblems was first published at Antwerp, 1624. It is divided into three books, viz.,
Pia Desideria.
1. Gemitus {A } Pœnitentis.
2. Vota {ni } Sanctæ.
3. Suspiria {mæ} Amantis.
Each book contains fifteen emblems. The principal editions are, Antv. 1624, ed. princeps; Antv. 1628, 1632; Græcii, 1651; Lond. 1677, sumptibus Roberti Pawlet, Chancery Lane. This London edition contains only verse, whereas all the other editions contain metre and prose before each picture, the prose being far the better of the two. The only prose that Pawlet's edition has is a motto from one of the Fathers at the back of each picture.
There are two or three English translations. I have seen but one, a miserable translation of the verse part, I suppose from Pawlet's edition. There are short notices of emblems in the Retrospective Review, ix. 123-140.; Critical Review, Sept. 1801 (attributed to Southey); see also Willmott's Lives of Sacred Poets (Wither and Quarles); Cæsar Ripa's Iconologia, Padua, 1627; and Alciati Emblemata, Lugd. 1614. The Fagel Library, Trinity College, Dublin, has a fine copy of the first edition of the Pia Desideria, and upwards of sixty books of emblems, principally Dutch.
P.S.—When I penned the above I was not aware that any mention of the School of the Heart had been made in "NOTES AND QUERIES." I find in Southey's fourth Common-place Book that he quotes from the School of the Heart as Quarles's. He has the following note on Quarles's Emblems: "Philips erroneously says that the emblems are a copy from Hermannus Hugo." I know not what Philips exactly intended by the word "copy;" but if any one doubts what I have before said respecting these Emblems, let him compare Hugo and Quarles together. I forgot to give the title of the first edition of Hugo: Pia Desideria Emblematis, Elegiis et Affectibus, SS. Patrum Illustrata, vulgavit Boetius a Bolswert, Antv. 1624. Also the title of our English translation: Pia Desideria; or, Divine Addresses, in three books, written in Latin by Herm. Hugo, Englished by Edm. Arwaker, M.A., Lond. 1686, 8vo., pp. 282., dedicated to the Princess Anne of Denmark, with forty-seven plates by Sturt.
MARICONDA.