"A Direct Sphere hath both the Poles of the World in the Horizon ... It is called a Direct Sphere, because all the Celestial Bodies, as Sun, Moon, and Stars, &c. By the Diurnal Motion of the Primum Mobile, ascend directly Above, and descend directly Below the Horizon. They that Inhabit under the Equator have the Sphere thus posited."
"An Oblique Sphere hath the Axis of the World neither Direct nor Parallel to the Horizon, but lies aslope from it."
"A Parallel Sphere hath one Pole of the World in the Zenith, the other in the Nadir, and the Equinoctial Line in the Horizon."
[209] Page 136, line 1. Page 136, line 1. præsenti.—The editions of 1628 and 1633 read sequenti, to suit the altered position of the figure.
[210] Page 137, line 24.
Page 137, line 28. atque ille statim.—The Stettin editions both wrongly read illi.
[211] Page 139. There is a curious history to this picture of the blacksmith in his smithy striking the iron while it lies north and south, and so magnetizing it under the influence of the earth's magnetism. Woodcuts containing human figures are comparatively rare in English art of the sixteenth century; a notable exception being Foxe's Acts and Monuments with its many crude cuts of martyrdoms. The artist who prepared this cut of the smith took the design from an illustrated book of Fables by one Cornelius Kiliani or Cornelius van Kiel entitled Viridarium Moralis Philosophiæ, per Fabulas Animalibus brutis attributas traditæ, etc. (Coloniæ, 1594). This rare work, of which there is no copy in the British Museum, is illustrated by some 120 fine copper-plate etchings printed in the text. On p. 133 of this work is an etching to illustrate the fable Ferrarii fabri et canis, representing the smith smiting iron on the anvil, whilst his lazy dog sleeps beneath the bellows. The cut on p. 139 of Gilbert gives, as will be seen by a comparison of the pictures just the same general detail of forge and tools; but the position of the smith is reversed right for left, the dog is omitted, and the words Septrenio and Auster have been added.
In the Stettin edition of 1628 the picture has again been turned into a copper-plate etching separately printed, is reversed back again left for right, while a compass-card is introduced in the corner to mark the north-south direction.
In the Stettin edition of 1633 the artist has gone back to Kiliani's original