[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.”