Iconology; or a Collection of Emblematical Figures; containing four hundred and twenty-four remarkable subjects, moral and instructive; in which are displayed the beauty of Virtue and deformity of Vice  

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A loose translation and adaptation of Iconologia by Cesare Ripa (c. 1560 - c. 1622), by Georg Richardson.

Full text of first volume

and was produced in 1977 by microfilm -xerography by University Microfilms International Ann Arbor, Michigan, U.S.A. London, England 1 1 1 1 1 i

so9726 9p33147 Ripa, Cesare I C O N O L O GY; DR, À Ĉ O Í E C T İ ON OF E MBLÉMATICAL FIGURE S ; CONTAINING FOUR HUNDRED AND TWENTY - FOUR REMARKABLE SUBJECTS , MORAL AND INSTRUCTIVE ; IN WHICH ARE DISPLAYED THE BEAUTY OF VIRTUE AND DEFORMITY OF Vice. THE FIGURES ARE ENGRAVED BY THE MOST CAPITAL Artists, FROM ORIGINAL DESIGNS ; WITH EXPLANATIONS FROM CLASSICAL AUTHORITIES . B Y GÉÓRGE RICHARDSON, ARCHITECT. IN T WO V O L U M E S. VOLUME FIRST. L 0 N D 0 . N: PRINTED FOR THE AUTHOR, BY G. SCOTT. M DCC LXXIX . .. OHLLN R52 フ 77 vo

1 1 1 6 SUBSCRIBERS.

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His Majeſty GEORGE III . King of Great BRITAIN , &c. Ti 2bdiin ,tv * to se TTL

  • HE Right Honourable the Earl of Aldborough. William Drake, Eſq. L. L. D. The Right Honourable the Earl ofAntrim, Matthew Duane, Eiq. F. R. S. The Right Honourable the Lord Arundel of Wardour. Thomas Dummer, Eſq.

The Royal Academy. Richard Dalton, Eſq . F. A. S. Antiquarian , Keeper of Robert Adam, Eſq. F. R. S. Architect to their Majeſties. Drawings, Medals, &c. to His Majeſty. James Adam , Eſq. F. R. S. Architect to His Majeſty's George Dance, Eſq. R. A. Architect to the City of Board of Works. London , David Allan, Eſq. Painter. Joſeph Frederick Wallet Des Barres, Eſq . The Reverend Charles De Coetlogon, A. M. The Right Honourable the Earl of Belborough. John Devall, Elg. Maſon to His Majeſty's Board of Works. The Right Honourable the Earl of Briſtol. The Right Honourable the Earl of Bute. Mr. Dodley, Bookſeller, Pal ! Mail. The Right Honourable William Burton, Eſq. Mr. John Donuweil , Architect. Frederick Barnard , Esq. Librarian 10 His Majeſty. Melirs. Ducíbury and Co. Porcelanc Manufacturers to Francis Bartolozzi, Esq. R.A.Engraver to His Majeſty. His Majeſty. Mr. Balfour, Boukreller, Edinburgh . John Bogle, Eſq. Painter . The Right Honourable the Earl of Eglingtounci . Matthew Bolton, Eſq. Birmingham . Mr. Chriſtopher Ebdon, Architect. Mr. Bull , Bookſeller, Bath . Mr. Edmondſon , Painter to Her Majeſty. Edward Burch , Eſq. R. A. Sculptor. Mr John Elcock Carver. Mr. Joseph Barney, Painter, Birmingham. William Emes, Eſq. Derbyſhire. Mr. Thomas Bell . Mr. Elliot, Bookſeller, Edinburgh. Mr. Boydell , Printſeller. Mr. Elmfly, Bookſeller, Strand. Meſſrs. Brown, Seal Engravers, Pall Mall. Mr. James Eves, Builder, Weſtminſter . Mr. Brown, Builder, Edinburgh. The Right Honourable the Earl Ferrers. The moſt Honourable the Marquis of Carmarthen . John Fothergill, M. D. F. R. S. The Right Honourable the Lord John Cavendith . Captain Thomas Forreſt. The Honourable Nathaniel Curzon, Eſq, Mr. Robert Faulder, Bookſeller. Sir John Chiceſter, Bart . Mr. Lawrence Fell, Cabinet Maker. Sir William Chambers, R. A. Treaſurer to the Royal Academy, Comptroller to His Majeſty's Works. His Grace the Duke of Gordon. Ms. Caldwali , Engraver. The Right Honourable the Earl Gower. John Carr, Eſq . Architect, York. Sir William Guiſe, Bari . Thomas Carter, Eſq. Staçuary. Alexander Goldic, Eſq. Hammerſmith . Charles Catton , Eſq. R. A. Painter. Mr. James Gandon, Architect. Mr. Thomas Chippend le, Cabinet Maker. John Gorham, Eſq. Surveyor. J. Baptiſt Cipriani, Eſq. R. A. Painter. Edward Gray, Eſq. Builder. Thomas Clark , Eſq. Plaiſterer to His Majeſty's Board Valentine Green, Eſq . Mezzotinto Engraver to His of Works. Majeſty, and the Elector Palatinc. Henry Clay, Esq. Birmingham, Japanner to His Majeſty. A. Greffe, Esq. Painter. Mr. Thomas Cooley, Architect, Dublin. Charles Grignion, Eſq . Engraver. Kenton Couſe, Eſq. Architect, Secretary to His Ma jeſty's Board of Works. The Right Honourable the Lord Viſcount Hampden. M:, Cowen, Bookſeller, Dublin. The Honourable Sir William Hamilton, K. B. Mr. John Cowic, Parliament Street. Richard Hulle, Ela . Mr. Richard Cox, Plaiſterer. William Hunter, M , D. F. R and A. S. Phyſician ex Mr. James Craig, Arcbitect, Edinburgh . traordinary toHer Majeſty , and Profeſſor of Ana. Mr. Alexander Cumming, Watchmaker, New Bond tomy to the Royal Academy. Street John Hunter, Eſq. F. R. S. Surgeon extraordinary to His Majeſty. His Grace the Duke of Dorſet. Mr. Richard Haddril, Plaiſterer, Canterbury , The Right Honourable the Earl of Donegall . John Ha!!, Eſq. Engraver. The Right Honourable Sir Lawrence Dundas, Bart. John Hamilton, Eſq. F. S. A. Painter. Thomas Dundas, Eſq. F. R. S. William Hamilton, Eſq . Painter, Peter Delme, Elg. Mr. Harris, Sculptor. Foleo lampa NOG.IE F 143 (1) 192347 S U BSCRIBER S. Meſſrs. Hartie, Builders . Sir William Robinſon , Bart. Mr. Hatchett, Coach Maker to their Royal Ilighneſſes James Rymer , Eſq. S. R. N. the Dukes of Glouceſter and Cumberland . Biaggio Rebecca, Eſq. Painter. Richard Hayward, sq. Sculptor . George Romney, Esq. Painter. Mr. Charles Hay, Builder, Norfolk . Meſſrs. Richardſon and Urquhart, Bookfellers, Mr. Thomas Hunter, Builder, Fetter Lane. Melirs. William and Patrick Richardſon . Mr. Archibald Robertſon . Richard Jupp, Eſq. Architect . Mr. James Robſon , Bookſeller. Melrs. Jee and Eginton , Birmingham . Mr. Edward Robbins, Plaiiterer, Dublin. Mr. William Ince, Cabinet Maker. Mr. Thomas Rogers, F. S. A. Architect. John Johnſon , Eſq. Architect. Mr. Roſe , Maſter of the Academy at Chiſwicki Joſeph Roſe, Junior, Eſq. Plaiſterer. John Kenrick , Eſq. Mr. Spirijione Roma, Painter. Anthony Kuck, Eiq. Architect, Glouceſter Shire. The Right Honourable the Earl of Shelburne . His Grace the Duke of Leinter. The Right Honourable the Lord Scarſdale. The Right Honourable and Right Revd. Dr. Richard William Seward , Efg. Hurd, the Lord Biſhop of Litchfield and Coventry. Paul Sandby, Esq. K. A. Painter. Miſs Lowther, Mr. Sharp , Engraver. Sir Egerton Leigh , Bart. Archibalú Shiells, Eſq. Edinburgh . Mr. Thomas Lee, Surveyor . Mr. Jaines Shiells, Lambeth , Treaſurer to the Guardian Thomas Live: ton, Eſg. Architect . Society. Meſſrs. Sayer and Bennett, Printſellers. His Grace the Duke of Montague. Mr. George Scott , Printer. The Right Honourable the Earl of Mansfield , Lord Mr. Smith, Dublin. Chict Juſice of England. George Stewart, Eſq. Architect. The Right Honourable the Lord Melbourne. Mr. Swinney, Bookicher, Birmingham . The Honourable Charles Martham , L. L. D. Sir Herbert Mackworth, Bart . The Right Honourable the Lord Templetown: Thomas Major. Eig. Engraver to His Majeſty. P. J. Taffaert, Eſq. F. S. A. Painter. David Martin, E19. F. S. A. Painter. James Taſie, Eſq. Modeller. John Millar, M. D. Mr. Ifaac Taylor, F. S. A. Engraver and Bookſeller, Mr. Merril, Bokfeller, Cambridge. Secretary to the Royal incorporated Society of Mr. Edward Malpas, Engraver. Artiſts . John Francis More, E19. Sculptor. Meſſrs. Torre, Printſellers. Mr William Moore, Goldſmith, Pater -nofter Row. William Tyler, Eſq. R. A. Sculptos. Mr. Rob: rt Morion, Architect . Mr. William Thomas, Surveyor. Mr. John Murray, Book ſeiler. Mr. William Turton, Cabinet Maker. Joſeph Nollekers, Eſq. Sculptor. Mr. Van Gelder, Sculptor. Mr. Thomas Nath , Cabinet Maker. Mr. George Nicol, Bookſeller. Sir Rowland Wynne, Bart. Sir Clifton Wintringham , Bart . F. R. S. Phyſician to Mr. Thomas Owen , Architect, Dublin. His Majeſty. William Weddell, Eſq. The Righi Honourable the Earl Percy. Alexander Wedderburne, Eſq, Attorney Genera! to His John Paradiſe , El;. F. R. S. L. L. D. Majelly. John Prkis , Esq . Benjamin Weſt, Eſq. R. A. Hiſtorical Painter to His V. i ! liam Patous , Elg. Majeſty. Robert Pigell, Esq . Mr. Walker, Engraver. James Puille , Eſq. Architect. Mr. John Walker, Carver and Princfeller. James Paine, Junior, Eſq. F. S. A. Sculptor. Mr. Richard Weſtmacoat, Sculptor. Edward Peany, Esq. R.A. Profeſſor of Painting to the Mr. John Wilkinſon, Architect. Royal Academy. Mr. James Wilton , Maſter of the Academy in Portland Mr. Thoinas Penrole, Architect, Dublin. Street. Mr. Joſeph Pickford , Architect, Derby. Mr. Winwood, Birmingham . Mr. Joho Plaw , architect. Mr. Willon, Pookſeller, Dublin. Mr. Prince, Bookſeller, Oxford . Willian Woollett, Eſq. F. S. A. Engraver to His Majeſty, Stephen Wright, Eſq. Maſter Malon, and Deputy Suse The Right Honcurable the Earl of Radnor. veyor to His Majesty's Works. The Kiglie Honourable the Lord Rivers. Mr. Thomas Wright, Printer. Sir Matuicw White Rijley, Bart . Samuel Wyatt, Liq. Architect. Sir Joshua Reynolds, R. A. Painter, PreGident of the Royal Academy, Anthony Zucchi, Eſq. Painter. COLLECTION A Τ Ι ο Ν :! OF EMBLEMATICAL FIGURES, M OR A L AND INSTRUCTI V E ;. Chiefly compoſed from the Iconology of CAVALIERE CES ARE RIPA, PERUGINO : E X H I BI TI N G The Elements and CELESTIAL BODIES, SEASONS and Months of the Year, Hours of the Day and Night, QUARTERS of the World, the principal Rivers, the Four Ages, the Muses, the SENSES, ARTS, SCIENCES, DISPOSITIONS of the MIND, Virtues and Vices, AS REPRESENTED BY The Ancient EGYPTIANS, GREEKS, ROMANS, and Modern ITALIANS. Containing upwards of Four Hundred human Figures, engraved from original Deligns, with their Expla nations ; Illuſtrated by Variety of Authorities from Claſſical Authors : TO G E T H E R WITH An Introductory Diſcourſe on the Science of I CON 0 L O G Y. The whole collected and arranged BY GEORGE RICHARDSON, ARCHITECT. LONDO N: PRINTED FOR THE EDITOR, M DCC LXXVII. ܗܘܐ ܠܡ ܕ ܡܪܶܘܬܵܐ ܕܣܗ ܝܐܕܕܝܪܬܐܝܦܕܘܕܬ ܗܘ ܫܩ ܠܬܝܙܗܒܙܫܐ ܕܡܫܣܢܗ ܐܣܬܐ ܢܢ ܠܐ ܘܘܝܪܐ ܢ ܗ ܬ݁ܚܶܝܗ ܒܫܕܘܗܝ : & ( ܕܩܗܗ ܡܘܝܗ ܗܝܐܬܐܫܘܪܬ ܘܕܐܘܗܛܬܐ ܚܚܙܗܣܢܗ .& ܘܬܐܐ ܘܬ ܂܃ ܃ ܕ ܕ ܕ ܐ ܙܗ .ܤ ܕܬܬܐ A * "ܫܰܪܐ ܕܐܝܬ ܗܘܐ . ܚܕ݂ ܕ݁ܬ݁ܺܝܗ܂ ܬ Bals HE 10 fr ET 1100 Rov . mm ran) Clape TO THE ez T

many wir with the most oberteede Sire UnderYour Majestypis maspirina Citromages t. ( belir o have in a short perint,maile a pirapuifshitherto unknownin this lountry : fost audianering to a degree of perfection ,which may Schuuksepi bistrzody : The most eminenteMasters /Incientand Movern, having alunys astori) avzunintunæ wrth the Srunce of Tomboy fuentually nopiary tuihe study the fine ex lito; The t'dutor of thepillowing it'ork, haswith this laws attempted to render iusepil in an English Prof. The dyprotution which Your.Napisy Meyristy has boru buen maar graciously pleciza to bestow on this templ,mustavér impropsavith ile most tinty marks of Grotitude.? the Ilind of Tire wr Majesty' Faithful and Dereited Siljet and Jewend, George Richardson AMO PITTORALIAN 2 P R E F A C E. T " HE celebrated Cavaliere Ripa with indefatigable ſtudy made a collection of the Emblematical Figures of the ancient Egyptians, Greeks and Ro mans, and publiſhed them together with others of his own invention . The ancients, delighted with tlieſe images, ingeniouſly concealed under them the myſteries of nature and philoſoply, of divinity and religion . The prophets veiled their facred oracles with enigma's ; Our Saviour himſelf compriſed moſt of his divine myſteries in parables . The invention of this ſcience is aſcribed to the Egyptians , from whiom Pytha goras formed his fymbolical compoſitions ; and Plato derived the greateſt part of his doctrine from thoſe Hieroglyphick Figures . The Iconology of Cavaliere Ripa, was originally printed in quarto at Rome, 1593; without figures, and reprinted there with figures 1603 ; another edition was begun at Florence 1608, and finiſhed at Siena 1613 : It was reprinted four different times at Padua in 1614: 1618, 1625 , and 1630 ; and was publiſhed at Venice in 1645 and 1669. The figures in theſe editions are wooden cuts , in this they are now deſigns, though the attributes and ſymbols from the original liave been ſtrially retain ed . The Cavaliere Ripa las omitted many of tic figures relative to his expla nations, viz. the Elements, the Monthis, and Seaſons of the Year, the Ilours of the Day and Night, the Rivers , the four Ages, the Mures, tlie ſenſes, ſeveral of the Arts and Sciences, and many of the Virtues and Vices . To ſupply this omiſlion , a figure is annexed to every one of the moſt bcautiful and intereſting ſubjects, which are choſen for this publication . The more complicated explanations of the original are liere (hortened , by re trenching unneceſſary philofophical digreſlions. At the ſame time a few of the duplicates , which appeared of ſufficient conſequence, have been retained . An > మంతునులిమడు1 నుండు తుములు కలవులను అనుకుని నలును చేయు కరు ܝ݁ܶܬ݁ܐܬ݁ܒ ܗ݂ܶܘܬ P. R E F AА с Е.. An edition of Cav. Ripa's Iconology was printed in French at Paris 1644, in one volume folio, and at the ſame place it was publiſhed in quarto 1681 . A book of Emblems under the title of Iconology from different authors , was publiſhed in 1759 , by Jean Baptiſte Boudard, Profeſſor of the Royal Academy at Parma, in three ſmall volumes folio , in French and Italian ; and was recom mended to the world by that Academy ; the principal materials of that book were evidently taken from the works of Cavaliere Ripa , but the explanations there, though ingenious, are rather too much abbreviated . In 1764, The Iconology of Cavaliere Ripa was republiſhed in Perugia, by Ab bot Ceſare Orlandi, and by him lengthened out to five voluines in quarto, by adding a number of Emblems, of his own invention , and interſperſing a great znany long quotations from ſacred and profane writers , not contained in the original. In the Italian editions of this work, the fubjects are placed alphabetically and interſperſed amongſt the letter-preſs, but in this, they are claſſed , and many of the Virtues and Vices contraſted , on purpoſe to give to the explanations and prints , a more ſtriking oppoſition and variety. A few Emblems have been compoſed for this edition to render the new arrangement more complete. Neither labour nor expence have been ſpared to make this, a more elegant work of its kind, than has ever yet appeared . The emblematical explanations of Cav. Ripa were thought ſo remarkably in genious, that the Editor was induced to attempt an Engliſh edition of this uſeful and entertaining work. It has been generally regarded as a good Model on this ſubject, botli at home and abroad (having been tranſlated into no leſs than ſeven different languages * ) as being uſeful in the Study of Medals, Coins, Statues, Bafreliefs, Paintings and Prints. The attempt, he imagined, would be agreean ble, not only to Artiſts and the Virtuoſi, but to all thoſe who delight in Allego ry . They will , perhaps, find here many new and agreeable ideas , which might not have otherwiſe occurred . The Spence's Polymetis, Dial . XVIII. P R E F A cC E. అను ముందుకు సుమునుముందు ముందు తనవంతు కుకు కు కు కు కుముందుఎంత మంచి మనం అనుకులకు ముందుకాల మందు యమును The Pagan Mythology, the Saintly calender, and the Metamorphoſes of Ovid , have furniſhed , during many ages , the principal ſubjects (with a few ex ceptions) that have employed the pencils of our moſt eminent painters. Theſe ſubjects have been ſo often repeated under different modifications, that they are quite exhauſted , and are become more or leſs a ſurfeit to the wcaried connoif ſeur . It is therefore neceſſary to enlarge the compaſs of this ſublimc art, and to make it extend to thoſe objects that do not fall within the province of our external ſenſes. This may appear, at the firſt ſight , an extraordinary attempt, and be even looked upon by many as a romantic one ; but it will be found, upon a cloſer examination , not only that painting may be thus extended, but allo,' that its higheſt perfection conſiſts in this method of employing it . That this elegant and ſublime art hias been ſo employed, appears evident from ſeve ral examples on record, which prove that the Grecian painters aimed at this kind of perfection . Parrhaſius is ſaid to have drawn , in this manner , the cha racter of a whole people , and to have repreſented happily in one piece, that mixture of benevolence and cruelty , levity and obſtinacy, bravery and effemi nacy , that diſtinguiſlied the Athenians. If ſuch a complex repreſentation was poſſible, it could only be effected by thic ſuccours of allegory, by thic mcans of emblems and figures that expreſſed univerſal ideas . A painter who looks beyond his paleitte, and extends his view beyond the nar row ſphere by which his art is actually circumſcribed , muſt naturally be defi tous of a repertory ; where he may find ſenſible images, that repreſent, with truth and preciſion, inviſible qualities and objects. There has not indeed ap peared hitherto any complete collection of this kind ; the attempts that have been made to form ſuch a collection have not been numerous. The well- inſtructed artiſt knows what ſuccour is to be derived , here, from the Iconology of Ripa . The great Rubens, whoſe enterpriſing genius could not be confined within the narrow circle of heathen fables and chriſtian legends, launched out into the fublime

  • Abbe Winkelman , on painting and ſculpture, Letter VII.

அட மாகா கான் . கயமனம் PR E FAA C E. ſublime region of allegory, and made bolder ſteps toward this kind of perfece tion , than the moſt eminent painters of modern times . The Gallery of Lux enburg, the moſt capital work of this noble artiſt , and the ceiling of the ban quetting houſe at Whitehall, Mew the ſpirit and intrepidity with which he de parted from the beaten track , and expatiated in the avia Pieridum loca . We have nothing ſince Rubens, more excellent in this kind, than the cupola of the Imperial library at Vienna, painted by Gran . The Deification of Hercules, painted by Le Moine, at Verſailles , and deſigned as an allegorical repreſentation of the fame and exploits of Cardinal Flcury, is extolled in France, beyond all meaſure, and boaſted of as the nobleſt compoſition imaginable ; but it is much inferior to the beautiful and judicious productions of the German painter alrea dy mentioned. The artiſts, whoſe genius leads them to the allegorical ſpecies of painting, would require a repertory, or work , in which all the ſenſible figures and ſymbols, under which, in different ages, abſtract ideas and qualities have been poetically repreſented , were carefully collected . The materials of ſuch a collection muſt be derived from a variety of ſources, from Mythology, Poetry, the occult Phi loſophy, Gems, Medals, and otlier monuments of antiquity . A collection of this nature, might be divided into various claſſes, and the artiſt might draw from this magazinc, repreſentations and ſymbols, which by an ingenious mo dification , he might happily apply to the ſubjects lie ſhould have occaſion to treat . Thus, a new path would be opened to the imitation of the ancients, and the productions of modern artiſts would diſcover the noble and elevated taſte of antiquity . An aſſiduous ſtudy of allegory, would be the moſt effectual means of render ing the ornaments that adorn the ſides and ceilings of the apartments of the great, expreſſive and ſignificant : it would enable the artiſt to ſuit his decorati ons to the place be deſigns to embelliſh , and to a variety of circumſtances relam tiye

Abbe Winkelman, on painting and ſculpture, Letter VII,

P R E É A c E. tive to both the apartment and the pomelor ; would thus render his art fingu larly entertaining, and intelligible to reaſon , taſte and judgment. It is true, great care is requiſite to guard againſt a pedantic fiffneſs in alluſions of this kind ; but when affectation and pedantry are avoided , ſuch alluſions form the moſt agrecable connections. The artiſt here muſt reſemble the character Ho race gives of the poet who knows -Reddere perfonæ convenientia cuique. All the fine arts have a double purpoſe ; they are deſtined both to pleaſe and to inftrue ; and this conſideration has engaged many eminent artiſts to introduce bißorical or moral repreſentations even in their landſcapes. The pencil of the painter , like the pen of the philoſopher, ouglit to be always directed by reaſon and good ſenſe . He muſt preſent to the underſtanding and judgment of the ſpectator, ſomething more than is offered to the external eye ; and in this at tempt he will ſucceed perfectly, if he knows the right uſe of allegory, and is dexterous enough , to employ it as a tranſparent veil, which ratlicr covers than conceals his thoughts. Has he choſen a ſubject ſuſceptible of poetical expreſſion In ſuch a caſe, liis art will inſpire him , and kindle in his ſoul the divine flame that Prometheus is ſaid once to have brought by ſtealth froin the celeſtial regions. . ๕. นพ .ไห iend a นอนนอน น้า คมผนัง astา จ


1 Co Ν Τ Ε Ν Τ S. | 1 B O O K F I R S T: 21 Plate . Page. 1. The Word Beginning Il. The Elements, Fire, Air, Earth and Water III. The Spring and Autumnal Equinoxes, the Sunimer & Winter Solſtices 4 IV. The Winds, the Eaſt, Weſt, North and South Winds 6 V. The Seaſons, the Spring, Summer, Autumn and Winter 9 VI. The Months, March ; April , May and June 13 VII. July, Auguſt, September and October 15 VIII. November, December, January and February 17 IX. The Times of the Day, the Morning and Evening Twilights, Day and Night 18 X. The Hours, the firſt, ſecond, third and fourth Hours of the Day XI. The fifth, fixth , ſeventh and eighth Ditto 23 XII. The ninthi, tentlı, eleventh and twelfth Ditto 25 XIII. The firſt, ſecond , third and fourth Ilours of the Niglit 26 XIV . The fifth , fixth , ſeventh and eighth Ditto XV . The ninth , tenth , cleyenth and twelfth Ditto 29 XVI. The Quarters of the World, Europe, Aſia , Africa and America XVII. The Rivers, Danube, Ganges, Nile and Plata 33 XVIII. Thames, Tiber, Indus and Niger XIX. Cities and Countries, London , Rome, Britannia and Italy XX. The Four Ages, the Golden , Silver, Brafen and Iron Ages XXI. Tbe Mufes, Clio , Euterpe, Thalia and Melpomene 43 XXII. Polyhymnia, Erato, Terpſichore and Urania 44 XXIII. The Nufe Calliope , Heroick Virtue, Poetick Fury and Genius XXIV. Propitious Augury, Inauſpicious Augury, Fate and Freewill 1 28 30 36 38 41 46 ਲਸ ਹਾਈ ਕਵਾਂ ਚ ਛ ਅਤੇ ਕਲਾ ,ਸ. ਮਲ ਲੱਗੇ : ਭਾਲਾਸਾਹੀ,ਪਰ ਆਸਾਖਲਾ ਫਾਰ ਜਛ ਛ fair is a hua ,ਕੋਲ IN DE X. to the FIGURES and LETTER PRess. Book FIRST. Figures. Pages, 59 Africa 32 2 Air 28, 29 41 , 42 33 14 31 48 38 16 10 , 12 1 39 38 73, 74 , 75,76 Ages, the Golden , Silver, Brazen and Iron 60 America 18 April 58 Alia 89, 90 Augury, Propitious and Inaufpi cious 21 Auguſt 15 Autumn, the Beginning, the Word 71 Britannia 85 Calliope, the Muſe 77 Clio , the Muſe 61 Danube, the River 31 Day 26 December 3 Earth, the Element of Ć 6. 6 Equinoxes, the Spring and Au tumnal 82 Erato , theMuſe 57 Europe 78 Euterpe, the Muſe 46 20 43 33 19 17 3 Figures Pages 45, 46, 47, 48 Hours of the Night, i, ii, iii, iv , 26, 27, 28 49, 50, 51 , 52 Ditto V , vi,vä , viii, 53 , 54 , 55, 56 Ditto ix , x, xi, xii. 29, 30 27 January 17 67 Indus, the River 37 69 Italy 40 21 July 15 20 June 15 72 London, the city of 17 March 13 19 May 14 30 Melpomene, the Muſe 44 68 Niger, the River 32 Night 63 Nile, the River 34 25 November 17 24 October 16 64 Plata, the River 35 81 Polyhymnia, the muſe 44 70 Rome, the City of 23 September 26 7 8 Solſtices, the Summer and Winter 5 , 6 13 Spring, the 9, 11 : 14 Sumner, the 10 , 12 83 Terpſichore, the Muſe 45 79 Thalia, the Muſe 43 65 Thames, the River, 36 66 Tiber, the River 29, 30 Twilights, the Morn. and Evening 84 Urania, the Muſe 45 86 Virtue, heroick 4 Water, the Element of 9, 10, 11, 12 Winds, the four 6, 7, 8, 9 36 Winter, the 11 , 12 4, 5 45 30 43 91 Fate 48 18 2 - 49 37 18, 19 28 February i Fire, the element of ga Frocwill 87 Fury, poetick 62 Ganges, the River 88 Genius 33, 34, 35, 36 Hours of the Day, i, ii , iii , iv . 37, 38, 39, 40 Ditto V, vi, vii, viii. 41, 42, 43, 44 Dicco ix , x, xi, xii. 46 34 47 21 , 22, 23 23, 24 , 25 46 25, 26 dom parit. . an urn . E R R Α Τ Α . Page 3. Por magnaja& ata, read magnæ ja &tate, for lapideſque, road lapides, for Hæc tellus cadem paret, read Nec tellus c2 14. After Ovid , read Lib. IV. de Faft. is. Fig. 20, fór in hay fields, read in corn fields, for tribucre , read tribuille. After Ovid, read Lib. V. de fal. 4. Fig. 4. For leaning upon an urn , read pouring water out of 13. For abortu , read ab ortu . 26. After Ovid, read Lib. IV . de Fart. 6. For Eurus, read Euros. 31. Pig. 57, for the is ftanding, riad lhe is fitting. 7. Fig. 12, for preſſing the watery clouds, nad carrying an ura 32. For penderar, read penderet . under the left arm , with another upon the right ſhoulder, 33 Fig. 60, for in the left hand he holds a bow , and in the righe out of which low great quantities of water, - After Ovid, a bunch of arrows, read in the right band le dolds a bow , muud Lib. IV. de Faft . and in the left a bunch of arrows, 1. For ſcraque trahunt , read ſeroque tenent. 40. For male, read maio . 9 for contenderat, read conicenderar. 41. For Panchi, riad Panchaia. Jo. For ferunt, rent ferunt, for Lib. IV, read Lib. I. 42. For erupit, read irrupit, 11. For ſparfis per, road ſparius quogus, for ligno, read ligna. 45. For craio, rowd Eration . AN INTRODUCTORY DISCOURSE UPON THE S CI Ε Ν C E OF II CON O L O GY. T THE Art of perſonifying the Pallions, Arts, Sciences, Diſpoſitions of the Mind , Virtues, Vices , &c . is called Iconology ;-it is a ſpecies of poeticalaſliſtance in vented by the ingenious Artiſt, to give force and expreſſion to the ſubjects of which he treats . But this art can only have place in ſubjects of fabulous hiſtory, which are drawn from ſome poetick fiction ; or ſuch as are ſuſceptible of allegory : of this the glory which adorns moſt of the pictures of devotion, is an example . The ſubjects which are taken from facred or profanc hiſtory ſhould be treat ed with the ſimplicity and truth which is admired in the writings of thoſe who have deſcribed tlıcm . This rule is authenticated in the works of Raphael and the judicious Pouſſin . As the moſt agreeable ſubjects in painting are thoſe in which poetry can be in troduced , that is to ſay, fictions taken from Mythology, or Allegories drawn from Iconology ; it may be neceſſary to explain the different parts which com poſe this ſcience , and to diſtinguiſh llieroglyphicks from Emblems, Emblems from Attributes, and Attributes from Symbols. To begin with the explanation of the term Iconology , it is derived from two Greek words, which ſignify ſpeaking pictures , or diſcourſe of images. Mythology is thc name of Pagan Thcology , which teaches us to diſtinguiflı b the అనుమతులు ఈపండుము ము ము ము ముందు ఆ తలు... - 1- - - - - -- -అతడుతనను కాలు -ఈ నాలు [ ii ] thie fabulous divinities ; thus, Jupiter characteriſed by thunder and the Eagle; Juno by the Peacock ; Venus by Doves or Swans, and more particularly by the famous Girdle deſcribed by Homer, are the figures of Mythology . Faith , Hope and Charity ; Hatred and Fury, are diſinguiſhed by their proper Attributes, and are the figures of Iconology. Mythology draws its origin from the ancient heathen Teachers, who were o bliged to invent ſome viſible mode of inſtruction , adapted to the extreme igno rance of the people . Iconology draws hers from poets and orators , who adorned their diſcourſe with figurative reaſoning, and increaſed the force of their argu ments by adopting ſuch ſenſible attributes , as beautified the Virtues which they ex tolled , and rendered the Vices more odious which they debaſed . This manner of giving force and expreſſion , generally had a good effect upon the people , and in particular on the lovers of the fine arts, who underſtood their value and utility, as by them they have an opportunity of forming a new ſort of creation , exhibite ing characters and expreſſions, and illuſtrating facts, which without them could only be faintly explained by words. The knowledge of hieroglyphicks ſprung from the fages of Egypt, who in vented them to expreſs the doctrines of their religion , as alſo their moral and political ſciences . The hieroglyphicks were ſometimes repreſentations of hu man figures, but more frequently thoſe of different animals, of fruit or flowers, according to the ſubject they meant to exhibit. They alſo made uſe of various geometrical figures, which were all well known by the wiſe men of that inge nious.nation, whoſe employment it was to explain them : for this purpoſe they were engraven upon their pyramids and obeliſks which the people held in great veneration . The invention of eniblems took its riſe from the ſtudy of hierogly phicks ; an emblem being properly an hieroglyphick device , by wliich ſome moral inſtruction is underſtood ; for example , the Pelican nouriſhing her young, is an emblematical device , moral and inſtructive, which denotes, the love of parents to their children , or that of a ſovereign to his ſubjects. Peace ſetting Ad 1 1 1 fily known. t iii ) ſetting fire to a troplıy of arms, and Mutting the gates of the temple of Janus, while Diſcord ſtands chained and frantick , arc hiſtorical emblems, becauſe they ſerve for monuments that are erected , or for medals which are ſtruck , on ac count of ſome memorable action intereſting to a whole nation . An emblem frequently explains itſelf without the help of writing, but ſome times has need of a motto or inſcription to explain it . When an emblem ferves to characteriſe an iconological figure, it becomes an attribute : if this attribute has any relation to a moral or myſtical dogma, it is changed to a ſymbol. Theſe are diſtinctions which hitherto have been but lit tle attended to , and will here be explained. When it is required to paint a fabulous divinity , it is neceſary to have re courſe to mythology, to ſelect the proper attributes ; when a paſlion , a virtue or a vice is perſonified , they are then furniſhed by Iconology . The attributes are diſtinctions, invented to render every figure the more ea Thoſe given to the heatlien deities are ſo fixed by cuſtom , that the artiſt has no room to deviate from them . The moſt violent paſſions, the moſt eſtimable virtues , and the moſt deteſtable vices, have alſo their proper at tributes ; for example, Anger is always known by the torch and drawn ſword ; Faith, Hope and Charity, are diſtinguiſhed by the chalice, the anchor and the burning heart, and cannot be miſunderſtood when accompanied by theſe ſym bolick marks, :) Attributes, however, do not at all times ſufficiently characteriſe an icono logical figure, the ingenious painter has fill other means to ſtrengthen and diſtin guiſh them with forçe and propriety , viz . the ſtudy and knowledge of the paſſi ons incident to the human mind which is properly called Expreſſion. Thele for the moſt part ſhew themſelves in the outward appearance of the perfon, and particu larly in the lineaments of the face, which for this reaſon is called the mirrour of the ſoul. Anger, beſides the attributes from Iconology, ſhould not only be cha racteriſed by the agitated action , but alſo by the alteration of the fea The virtues on the contrary , ſhould be repreſented in calm and tranquil tures . [ iv ] tranquil attitudes , their amiable and graceful features Should expreſs the peace which fill the mind of thoſe where they reſide . Thus, tlie characteriſtick of Faith , is the reſignation expreſſed by her affable and ſubmiſſive look ; that of Hope by the deſire marked in the attention viſible in all the features , and parti cularly by the vivacity of the cyes ; that of Charity is deſcribed by the tender and compaſſionate look , and by the glowing complexion that marks the ardcnt love which animates Charity. To return to the attributes, they are of two forts, animate and inanimate ; the firſt of theſe are of different animals; the inſtinct, nature and properties of which having been diſcovered and attentively examined by naturaliſts, has given occaſion to pocts and artiſts to avail themſelves of their utility : from thence the peacock has been acknowledged to be the attribute of pride . The Wolf of ra pine, and the tyger of cruelty, &c . The inanimate attributes, are fruits, flowers and trees of different ſpecies, which may be applied with propriety, after having conſulted the beſt authors on thcir qualities : beſides theſe , muſical inſtruments, arms, books and the various utenſils belonging to the different arts , are employed. Amongſt the animals, fome of them ſerve as attributes to different and even oppoſite ſubjects ;. for example, the lion is an attribute to Anger , and alſo to Clemency and Generoſity. To jullify this apparent contradiction , let us conſider , that the ancients were of opinion that animals poſſeſſed not only pali but even a kind of reaſon ; thus obſerving, that nothing is more terrible than the rage of a lion ; they have therefore.given it for an attribute to anger ; but they have painted this animal in the character of mildneſs, when applied as an attribute to clemency and to generoſity ; ſuppoſing him to have a greatneſs. of mind, which may in ſome meaſure be compared with theſe gifts of the hum man ſoul. This may alſo be inferred from the natural ellect of the two virtucs, the property of which is to mitigate the moſt ferocious temper, and to triumph over the moſt envenomed hatred . Symbols are thoſe attributes which have relation to myſtery, to morality and ons, to ( v ) . to dogma ; thus, green is the ſymbolick colour of Hope ; white of Purity , and red of Charity ; the lamb and the dove, are the ſymbols of Meekneſs and of Inno cence . ad After explaining the various parts which compoſe Iconology, it remains to Now , that this ſtudy leads to the knowledge of Allegory, wlicther in Painting or in Poetry Allegory in Poetry is a figurative manner of deſcribing by choice expreſions, a ſenſe different from what is wrote, the trutlı of which is hid under a sus tranf parent veil . Allegory is made uſe of in painting for the niore clearly expreſling a great ſubject when the moſt intereſting and patlıctick circumſtances cannot be deſcrib ed in the geſture or countenance , or when they cannot be introduced at one point of time: this enables an artiſt to illuſtrate an extenſive grand ſubject with few figures, and ſometimes with one only ; the ancients obſerved this in the compoſitions of their medals ; on one ſide was the name and portrait of the hero ; on the reverſe was one or two allegorical figures, ſometimes only one ſimple emblem , explaining upon what account they were ſtruck. By this means, the greateſt events have been allegorically characteriſed and come to our knowledge, by the help of the judicious interpretations of the learned . Although the ſtudy of Iconology would ſeem to be only uſeful to the compoſi tion of medals, or that of ſtatues, which adorn publick monuments, it more oyer, ſerves for hiſtorical pictures, where allegory can be introduced . Let us in the next place endeavour to ſhow the neceſſity of poetick expreſſion in painting, and the uſe a painter ought to make of the light that he receives from poetry Poetry without doubt , ſhould be regarded as the Queen of the liberal arts ; lier enthuſiaſm warms and animates the genius, thence thoſe have a miſtaken noti on , who pretend that certain actions may be rendered more forcible in painting than in poetry . The poet has attributes, fymbols and epithets, which cannot be employed but in poetry, and give ſuperior ſtrength to his images. The painter wlio is reſtricted to a limited number of attributes and ſymbols, can on с ly The poet t vi ) ly expreſs fuperficially the exterior of the paſſions upon the canvas . prepares the reader by gradation to the moment of the cataſtrophe, which ſhould moſt ſurpriſe him . But the painter is conſtrained to affect him by the juſt expreſſion at the very moment. They cannot ſo eaſily in painting diſcover the interior of the mind, nor exhibit the various affections and paſſions, which an nimate the different actors that concur in the general compoſition of a ſubject; theſe advantages are reſerved for poetry Since poetry therefore, is the Queen of theArts , the Artiſts ſhould neglect nothing in their power to imitate the perfections of their ſovereign ; the more they have comprehended her beauty, the more force and energy they have given to their works. They have ſtudied the value and properties of Hieroglyphicks, Emblems and Attributes , from which they have learned , as well as the poets, to mingle allegory in their compoſitions. However , the wiſeſt of them have uſed this aſſiſtance with moderation , becauſe they have ſeen the danger of becoming obfcure, by inclining too much to fiction . Allegory is not then permitted but in ſubjects drawn from fable or from cer It is then the genius of the painter ſhould be ſeized with the enthuſiaſm of the poet, and Mould uſe all his efforts to give to his picture an e qual energy with the poetical deſcription which he has for his guide. if for example , he repreſents the horrors of the ſack of Troy , and would chooſe the moment wherein Venus diſcovers herſelf to her fon , whom ſhe ſtops while he was meditating to revenge the misfortunes of llion by the death of Helen , the painter ſhould reveal all that Venus revealed to Æneas ; Neptune with re doubled ſtrokes of his trident, overturns the ramparts of Troy ; Juno enraged with a ſword in her hand , calling the enemies to the Scean gate ; Pallas with her Spear ſeated in a cloud upon the ſummit of the citadel ; and Jupiter himſelf animating the Greeks, and irritating the gods againſt the unfortunate Trojans. Theſe intereſting paſſages, reunited and well managed, joined to the horrors of the night, the maſſacre and the flames, will give a force of expreſſion to the picture, little inferior to the awful deſcription of Virgil. lo This is the beſt manner a painter can profit by the alliſtance of poetry ; but if tain poems. 2 it í vii ] it happens that divers epiſodes have preceded in the poem ; the moment the painter las choſen his ſubject, it may then be proper to add a pictoreſqne epi Tode, to facilitate its explanation . We may ſee the neceſſity of this in the feaſt given by Dido to Æncas, on his arrival at Carthage: Virgil paints this Queen ſeated at table oppoſite to thic Trojan Prince , and ca relling the young Afcanius upon her knee. This action is natural but not inte-. reſting. A Princeſs as tender as Dido may careſs with eagerneſs the ſon of a He ro, to whom ſhe is attached by a ſtrong inclination , but the poet having already told that love , aſſuming the Mape of Aſcanius, aſliſted the deſign of his mother ; the painter, in order to render the ſubject clear, muſt make this god to be known , without having any of the uſual ſigns from mythology to diſtinguiſh him . The Artiſt then has no other expedient than to paint Venus on a light cloud , attentive to the progreſs of her ſonſ and ſhewing the ſatisfaction of theſe two di rinities, by the mutual underſtanding in their looks . We may hence ſee the neceſſity of a pictoreſque epiſode , which the painter is obliged ſometimes to add , even to ſubjects otherwiſe rich enough in them felves. Let us now paſs on to thoſe intereſting ſubjects in poetry , which become dry in painting, and have therefore much occaſion for epiſodes. This is a field wherein the painter may diſplay the fire of his genius. Talſo in Canto 12. of Jeruſalem Delivered , gives us an example of this in the baptifin and death of Clorinda. This ſubject ſo affecting in the poetical recital, offers nothing to the pictoreſque compoſer, but two figures near the walls of an ample city : Clorinda dying and Tancred in diſtreſs . The expreſſion of tlie faces alone is not ſufficient to expreſs tlic pathetick of the ſubject: the paint er muſt therefore have recourſe to all the ſtrength of his art if he would approaclı to the genius of the poet ; he may take the advantage of Aurora ſcarcely riſen , and leave enough of darkneſs in the picture to expreſs the horrors of the fatal moment ; and if he adds the epiſode of ſome Angels, one of which holding a crown of flowers, while others are drawing aſide the clouds , to let paſs a celeſtial ray of light directed to the heroine, he will then be near the idea of the poct. Dir parea : s'apre il Ciel ; lo vado in pace . . పండు గుంతలు ఆ వంక ఒక జంపను wasgiven . . ... ! EXPL Α Ν Α Τ Ι Ο Ν OF THE E M B LL EMATICAL FIGURES, WITH THEIR A T T R İ BU TES AND S Y M B O L S. mantan PLAT E I. The Beginning ISS repreſented, a young man having only a piece of white drapery acroſs his middle, which flows down from his ſhoulders ; he holds the image of nature in his right hand , and with the other, a picture of the Greek letter Alpha ; and is ſurrounded by clear and reſplendent rays from the ſtarry heaven . The white drapery denotes the purity of the beginning, which proceeds from the greatneſs, goodneſs, and purity of the Creator. The image of nature is made an attribute, nature being according to Ariſtotle the principle of motion and reſt. † The picture with the letter A , is very ex preſlive of the beginning of all things , being the firſt of the alphabet, and the firſt of the vowels, without which , no word can be articulated, nor idea explained. A The • Principium profecto, et fimpliciſſimum eſſe debet, et optimum , nihil autem vel unitate ſimplicius, vel bo nitate melius. Neque etiam unitas melior bonitatc, neque bonitas unitate ſimplicior. Marcilius Ficinus, Cap. 8. + Sit principium motus, et quictis in eo in quo cft. Ariſtotle, EΕ ΧX pΡ Ε Α Ν Α Τ Ι Ο Ν OF THE The reſplendent rays denote the infinite power of omnipotence, from whom all things have their eſſence , knowledge, and actions. The ſtarry heaven ſignifies the power of the planets in the ſublunary world, on bodies under their influence. The word Beginning, may have different analogical ſignifications ; firſt, the cauſe and origin of things ; ' it alſo ſignifies a particular commencement, that is , the firſt part of all things, whereby it may be diſtinguiſhed from the middle and the end. t It likewiſe ſignifies the firſt principle of the univerſe , from whence all things ſprung, which is the ſupreme good , being in himſelf the true and only !beginning, from whom , and by whom , all natural bodies have their origin . PL Α Τ Ε ΙΙ. The Elements . Fig . 1 . FIRE. This element is expreſied by the figure of a young woman, of a lively colour , dreſſed in red, having the drapery in different folds, in form of a flame; ſhe holds a vaſe full of fire , with a Salamander in it , illuminated by the rays of the ſun ; in her right hand ſhe holds Jupiter's thunder ; her feet are ſuſpended in the air to ſhow her lightneſs ; under them are tle winds which blow beneath the regions of fire . According to Ariſtotle and other naturaliſts, the Salamander lives in the fire. It is therefore made an attribute to this element; this animal reſembles the Lize ard , but its tail is ſhorter, and its ſkin more ſpotted . Vulcan and Veſta were reckoned the god and goddeſs of fire , by the ancients. Fig. Onde il principio di mia morte nacque. Petrarch . + S'al principio reſponde il fine, e'l mezzo. Petrarch , Plato , Lib. De uno omnium principii, Pastes hæ ſunt principium , medium , et finis termini cujuslibet. EMBLEMATICAL FIGURES. 5 Fig. 2 . AIR . Is perſonified by a Nymph ; by her ſide is a Peacock ; Me holds a Camelion in her hand, and is ſurrounded by the clouds and rainbow ; her drapery is a liglit and tranſparent azure, and her hair is ſcattered by the wind . The peacock is an attribute to this element, as it was conſecrated to Juno, goddeſs of the air. It is the opinion of ſome, that the Camelion lives upon the air only, but this is contradicted by others, who affirm , that it lives on flies, beetles, worms, and ſuch inſects ; it is a quadruped, and reſembles a Lizard , has no ears, a creſt on its head, a long ſquat tail , and only three toes to each foot. Fig. 3. EARTH. The ordinary attribute to earth , is a Lion , ſhe is repreſented a matron ſitting upon a globe, with a cornucopia in one hand, and a ſceptre in the other ; ſhe has a mural crown upon her head (inſtead of which , the painter may introduce a garland of fruit and flowers ) ; her garinents may either be green , or of an earthy colour, decked with various hcrbs and flowers. She is repreſented a matron , being called by the poets, the mother of all ani mals. 7. The globe denotes the ſpheroid of the earth , the tree, the cornucopia with fruits and flowers, denote the produce of the earth . † The mural crown upon her head alludes to the buildings for the accommodation of the inhabitants. Fig. • Boudard's Iconology. + Oſaquc poſt tergum magna jactata parentis Magna parens terra eſt, lapideſque in corpore terra Olla reor dici, jacere hos poſt terga jubemur. Ovid. Metam , Lib. I. Hæc tellus eadem parei cmnia, vitibus illa Convenit, hæc oleis, hic bene farra virent. Ovid. Lib. I. De Arte Amandi, 4 E X PLAN A TION OF THE Fig. 4. WATER . This element is characteriſed, a woman crowned with marſhy reeds, (or ſhe may have a crown of gold upon her head ). The veſtment is the colour of the waves of the ſea, ſhe is ſitting on a rock at the fliore, leaning upon an urn , out of which ſprings abundance of water , and various kinds of fiſhes ; ſhe holds a ſcep tre in her riglt hand, and part of a Mip is introduced at a diſtance . This element has a crown and ſceptre, being reckoned to have predominance over the other three , and one of the moſt neceſſary to human life; it is ſaid by He fiod tlie poet, to conſume the eartlı , to extinguiſh fire, to aſcend above the air, and falling down upon the earth , to cauſe every thing grow that is needful for the uſe of man ; from whence it was held ſo much in veneration among the anci ents, that it was uſed for their moſt folemn oaths, according to the 6th book of Virgil's Æneid, and confirmed by Tomaſo Tomai's idea of the garden of the world . Cap. 24. 1 PLATE III. Fig. 5. The SPRING EQUINOX. Is ſo called , from the days and nights being of an equal length , and is repre ſented a young woman, dreſſed in white on the right ſide , and black on the left, ſhe has a broad blue girdle about her waiſt, with ſtars upon it , ſhe holds the ſign of the Ram under the right arm , and in her left hand, a garland of various flowers ; to her feet are two wings anſwering to the reſpective colours of her veſt ment. She is painted young, as this equinox happens in March, which was the month that anciently began the year, and from which is taken the epacts, the dominical letters, and other celeſtial computations . The white part of the veſtment is for the day, and the black for the night; the azure coloured girdle repreſents the circle made by the equinox. The ſign of EMBLEMATICAL 5 FIGURES. of the ram denotes, that the ſun entering this fign , makes the ſpring equinox. The garland of flowers in her left hand, alludes to the return of the fine ſeaſon . The wings to her feet denote the velocity of time, and the courſe of the ſigns ; the white is for the velocity of the day , and the black for that of the night. Fig . 6. The AUTUMNAL EQUINOX .

Is allegorically painted in the form of an old man, dreſſed in the ſame manner

with the preceding figure; he holds the ſign of Libra , or a pair of ſcales in one hand, it being the ſign of the Zodiack, in which the ſun enters at the com mencement of the autumnal equinox, in the month of September. With the other hand , he holds a bunch of grapes, and other fruit produced in that ſeaſon . At his feet are wings, ſimilar to the preceding figure. One half of the balls in the ſcales being white, and the other half black, allude to the day and night, which are at that time of an equal length ; that is alſo un derſtood by theequal balance of the ſcales. He is painted old, as the ſeaſon of the year is then far advanced. Fig. 7. The ESTIVAL, or SUMMER Solstice. In the ſummer folſtice the ſun enters the tropick of Cancer, and is at the greateſt diſtance from the equator ; the days are then at thcir utmoſt length , and the nights at the ſhorteſt . This is repreſented a young man almoſt naked , to de note the heat of the ſeaſon . The drapery is a purple colour, and the figure is in a retreating attitude ; becauſe at the time of the folſtice, the ſun ſeems to turn back. The garland of the ears of corn on his head diſtinguiſhes the folftice ; the blue Zone, with nine ſtars, and the ſign of Cancer in the middle , denote, that the ſun entering this ſign of the Zodiack makes the tropical point, which happens in June. He holds the ſign of Cancer in his left hand , and a globe in his right, one fourth part of which is dark, and the other three are luminous, denoting the length of the day, and the ſhortneſs of the night . He has four wings to his feet, two to the right, and one to the left, are white, the fourth is black ; they lignify the motion B of 1 6 EXPLANATION OF THE I of timein its revolving courſe ; the three white ones denote' the ſuperiority of the day over the night .. He is painted young, becauſe the ſun having paſſed from the firſt point of Aries, and entered that of Cancer, has then made only one quarter of his revolution. Fig . 8. The HYEMAL , or Winter Solstice . 1 Is perſonified an old man dreſſed in fur , to denote the rigour of the ſeaſon , when the ſun enters the tropic of Capricorn ; it is this ſituation that cauſeth the days to be ſhort , and the nights at their utmoſt length ; which is indicated by the globe in his left land , one quarter of it being luminous, and the reſt obſcure . The blue zone about his legs with the twelve ſtars, and the ſign of Capricorn upon it , which ſign he holds alſo under his right arm, are diſtinctive marks of this tropick. The four wings to his feet, as in the other ſolſtice , ſignify the quick motion of time; three of which are black, the white wing to the right, as the light ſurpaſſes the darkneſs . He is painted old, becauſe the ſun having made his revolution from Aries, and approached to Capricorn, has then made three quar . ters of his courſe . He holds the globe in his left had, becauſe the fun at this time is on the left hand, towards the antarctick pole. P L A T E IV. The WINDS . Fig. 9. The East Wind. Is called Eurus, and is painted a young man of a mooriſh complexion , in alluſion to the Ethiopian country, from whence it comes. He is in the attitude of flying, with wings to his ſhoulders, as ſigns of its velocity The ſtar Lucifer above his head , alludes to that bright ſtar appearing at the dawn of the day. He holds a cup Cæruleus pluviam denunciat igneus Eurus. Virgil's Georgics, Lib. I. Jamque jugis ſummz furgebat Lucifer ide, Ducebatquc diem --- Virgil's Æneid, Lib , II. EMBLEMATICAL FIGURE S. 7 cup of incenſe in his right hand, and a ſtring of pearls in his left, and about his middle is a girdle of the ſame, to denote that theſe jewels , aromatics and bal ſams are produced in the Eaſt . Fig. 10. The WEST WIND. This is called Zephyrus by the poets, and is repreſented a young man of a come ly aſpect, with the Evening Star above his head ; he holds a Swan under his left arm , in the action of ſinging ; he has a bunch of poppies in his hand, is crowned with a garland of flowers, and dreſſed in a violet colour, becauſe the light dimi niſhes at the going down of the ſun . * The weſt wind is favourable to vegetati on ; for this reaſon, he is crowned with a garland of various flowers. It is remarked by Philoſtratus, that when the weſt wind blows, the Swans ſing more agreeably than at other times. The poppies in his hand are the ſymbol of . Sleep , and proper to the night. + Fig . 11 . The North Wind. · Boreas is expreſſed a ſtern old man of a brown complexion, his wings are in great agitation ; his head is partly covered with ſnow, and his beard confuſed with ice ; he holds a ſharp dagger in his hand, alluding to the ſharpneſs of the nor thern clime . Pauſanias repreſents his feet like the tail of a ſerpent. Ovid in his fixth book of Metamorphoſes, deſcribes the impetuoſity of this wind . Fig. 12. The South Wind. Auſter is repreſented an old man in a flying attitude , with his arms extended preſſing the watery clouds, his wings and beard alſo diſſolve in rain . This wind is originally cold and dry, but palling by the torrid Zone in coming to us , changes sob ) 3,45 *, PINII ) , w ) 1:i .' is its Nec color ullus erat rebus , tenebriſque malignis et cælum, et terras nox circumfuſa tenebat . Pontanus, + Interea placidam redimita papavere frontem , Nox venit, et ſecum ſomnia nigra trahit. Ovid's Metamorphoſes, Lib. IV. 8' Ε x Ρ ΙL A NATION Ν Α Τ Ν OF THE its nature , and becomes warm , and the humours which the ſun draws up in the. ſouth, by means of this wind, diſſolve in warm and abundant ſhowers. There is mention made of many winds , but the four principal ones are only here deſcribed , according to the diſtinction made by Ovid, in his firſt book of Metamorphoſes. A duplicate Deſcription ofthe Winds. The Eaſt Wind is repreſented in the figure of a boy, of ſingular beauty and fair complexion , elegantly dreſſed in red, with fringes of pearl round his veſtment, girded with a blue Zone; upon which are the oriental ſigns of Aries, Leo and Sa gittarius. He holds a bunch of flowers in one hand, and an incenſe pot in the other ; above his head is the morning ſtar, and on the back ground appears the riſing ſun ; whoſe clear and reſplendent rays make the fields ſmile, the birds ſing, and cheers all nature. He is dreſſed in red, becauſe according to Boccacio, while the van pours riſe from the earth , at the ſun riſing, he is at that time of a red colour. The WEST WIND. Is expreſſed an old man dreſſed in purple, with a blue Zone round his middle, with the occidental ſigns, Gemini, Libra and Aquarius, with the evening ſtar Hefa perus above his head ; his right hand points to the ſetting fun, which appears in the Weſt. The air is cloudy, and the bats are flying, to denote the evening, aca cording to Ovid . " He is painted old , becauſe the day having almoſt gone its courſe, and the ſun being in the Weſt, is on the decline. The NORTH WIND. Is repreſented an old man of a ſtern aſpect, and fair complexion, in white armour, in the attitude of drawing a ſword ; from his ſhoulders traverſly hangs, a blue girdle , • Peraguntq ; levi ſtridore querelas tectaque non ſylvas celebrant, lucemque peroſa , nocte volant, ſeraque trahunt a veſpere nomen . Ovid. Metam . Lib. IV. E M B L E Kİ ATİC A · FIGURE S. 9 girdle, upon which is Cancer , Scorpio and Piſces, the three northern ligns of the Zodiack. He is looking up to the northern conſtellations, of the greater and leſler bear. The air is cloudy and dark , from which the ſnow and ice fall. He is dreſſed in armour, and of a ſtern aſpect, to ſhow the bravery and warlike diſpo ſition of the people who inhabit the northern clime. " The South Windi . Is characteriſed by a young moor; ſurrounded witli refpilendeni rays of the fun ; his garments are of a flaming red , partaking of yellow ; he is girded with a blue Zone; on which are Taurus , Virgo and Capricorn , the ſouthern ſigns of the Zo diack. In his right hand he holds a bunch of arrows, and in the other a branch of Lotus with the leaves and flowers . The red drapery and the arrows allude to the heat of the fun , which penetrates to the vitals of the carth at mid-day. The Lotus, according to Theophraſtus, is a wonderful plant, found at the bottom of the Euphrates, it riſes with the ſun , at mid - day it is upright with its leaves open, and as the ſun declines, it withdraws and retires to its watery bed . The fulgent rays of the ſun denote his being in the middle of the firmament, and then ſhines with ardent leat. + PLATE V. The SEASONS OF THE YEAR : Fig. 13. The SPRING . This firſt and moſt agreeable ſeaſon , is allegorically repreſented by the figure of a young girl crowned with myrtle , the has various flowers in one hand, and a gara land of roſes in the other, with ſome animals by her ſide, at play. C She

  • Nemica naturalmente di pace

Naſce una gente, a cui il morire non dole . Una parte del monde a che fi giace, Mai ſempre in ghiaccio, e in gelate revi, Tutta lontana dal cammin del ſole. La ſotto i giorni nubilofi, e brevi. Petrarch + Sol medium cæli conſenderat igneus orbem. Virgil's Æneid, Lib. VIII. 10 Ε Χ Ρ Ι Α Ν Α Τ Ι Ο Ν OF THE She is painted young, becauſe the earth at this ſeaſon is full of generative hur mours, from which ſpring fruits , flowers, herbs and trees . The figure is crown ed with myrtle from the authority of Horace. " The flowers and the animals at play, are agreeable to Ovid . + Fig. 14. The SUMMER . This ſecond ſeaſon is repreſented by a healthy young woman, dreſſed in yellow coloured drapery, crowned with the cars of corn , holding a lighted torch in one hand, and a ſickle in the other . Sheaves of corn are introduced at a diſtance. She is painted a healthy young woman, becauſe the earth is then in a perfect ſtate to ripen the flowers produced by the ſpring. I The ears of corn allude to its being the principal fruit produced in this ſeaſon , and the colour of the drapery is in ſimilitude to the ripened corn ; the lighted torch alludes to the heat of the ſun in ſummer . § Fig . 15. The AUTUMN.: The third ſeaſon is painted a woman richly dreſſed, with a garland of vines on her head ; ſhe holds a cornucopia full of fruits in her right hand, and a bunch of grapes in the other . She is painted a woman, as in this ſeaſon the earth is dif poſed

  • Nunc decet aut viridi nitidum caput impedire myrto

Aut flore, terræ quem ſerunt ſolutæ . Horace, Lib. I. Ode IV. , + Et tepidum volucres concentibus aere mulcent. Ludit et in pratis , luxuriatque pecus, &c. Ovid, Lib. IV. De faftis. Tranſit in æftatem, poft ver, robuſtior annus . Fitque valens juvenis, neque enim robuſtior ætas. Ulla nec oberior, neque magis ardens ulla eft. Ovid's Metamorphoſes, Lib. XV. Ś Cum vero in vallos lurgit nema'us hiatus, Exoriturque canis, latratque canicula flammas. Et rapit igne ſuo, geminatque incendia lolis, Quæ ſubdente facem terris radiolque movente. Manilius, Lib. V.

-- É M B L E MATICAL FIGU Ř E S. II poſed to beſtow the fruits already ripened by the heat of the ſummer. * The rich dreſs, the garland , cornucopia , vines and other fruits, fignify the plenteous pro duce of this ſeaſon , for the uſe of mortals . RE Fig. 16. The WINTER . The laſt ſeaſon of the year is expreſſed by the figure of a wrinkled old man, warming himſelf at the fire, dreſſed partly in cloath , and partly in fur. He is old and wrinkled, as winter is the laſt ſtage of the year ; and thc earth is then di veſted of its natural heat for vegetation , and becomes cold and melancholly. + The dreſs is taken from the authority of Horace. I Aduplicate Deſcription of the Seaſons, as painted at Florence : The SPRING . Three girls with their fair locks, adorned with pearls and other jewels , crowned with garlands of different flowers. The firſt repreſents March , which has the ſign of Aries ; the ſecond April , and has the ſign of Taurus; the third May, with the ſign of Gemini. All their dreff eg

  • Excipit autumnus, pofito fervore juventæ

Maturus, mitiſque inter juvenemque ſenemque ; Temperie medius, ſparſis per tempora canis . Ovid's Metamorphoſes, Lib. XV. + Inde ſenilis hyems tremulo venit horrida paſſu ; Aut fpoliata ſuos, aut, quos habet alba capillos. Ovid's Metamorphoſes, Lib. XV. | Vides, ut alta ſtet nive candidum Soracte ; nec jam ſuſtineant onus Sylvæ laborantes, geluque Flumina conſtiterint acuto. Diſſolve frigus, ligno ſuper foco Large reponens atque benignius, Deprome quadrimum Sabina, O Thaliarche merum diota. Horace, Lib. I. Odc LX . 12 E X PL ΑA NATION Ν Α Τ Ι ο Ν O É , THE es are green, adorned with various flowers, which they alſo hold in their hands; each of them have golden buſkins on their legs . Flora crowned with flowers, which ſhe alſo holds in her hands, repreſents this ſeaſon according to the ſecond book of Ovid's Metamorphoſes. The SUMMER . Three young women crowned with the ears of corn ; the firſt repreſents June, with the ſign of Cancer, the ſecond July, with the ſign of Leo, and the third Au guſt, with the ſign of Virgo. The colour of their veſtments is yellow interlaced with lillies, each of them with golden buſkins on their legs . The ancients uſed to repreſent the Summer by a figure of Ceres, in the dreſs of a matron , with the ears of corn , poppies and other attributes . The AUTUMN. 1 Three women having their heads adorned with jewels, vines and other fruit ; the firſt is September, with the ſign of Libra, the ſecond October, with the ſign of Scorpio , and the third November, with the ſign Sagittarius. Their dreſſes are light purple , having fringes of the ſame fruits as their gar lands, with golden buſkinson their legs . Autumn may be repreſented by Pomona, by a Bacchant, or by Bacchus with grapes. The WINTER .

Is repreſented by three old women with purple veils on their heads, upon which is ſeen the hoar froſt and the ſnow. The firſt is December, holding the ſign of Capricorn ; the ſecond January , with that of Aquarius, and the third February, with the ſign of Piſces. Their dreſs a dark purple, loaded with ſnow , hoar froſt and ice, and their buſkins beſpangled with the ſame. Vulcan EM B.L EMATICAL ITICAL FIGURES. 13 Vulcan at the forge, and Æolus with the winds, alſo characteriſed this laſt ſeaſon of the year. The MONTHS. The reader will obſerve, that the fruits and flowers mentioned as the produce of each month , is according to the clime of Italy ; the artiſt is therefore at liberty to introduce thoſe fruits and flowers which are the natural produce of the country where the ſubjects are repreſented . Ρ Ι Α Τ Ε VI. Fig. 17. MARCH . Is characteriſed by a young man of a ſprightly aſpect, dreſſed in armour, with an helmet on his head ; with wings at his ſhoulders (as have all the other months). In one hand he holds the ſign of Aries, adorned with the flowers of the almond tree ; in the other, he holds a cup containing the fruit of the ballace tree , aſpa ragus and lupines , or other fruits produced in this month . This month is painted of a ſprightly aſpect, and in armour, becauſe it was den dicated by Romulus to Mars. The ſign of Aries denotes the beginning of the year . The wings allude to the continued courſe of the month. † A horſe is introduced , becauſe in this month it is mentioned they are inclined to propogate. The ſpade alludes to the proper ſeaſon, to dig about the roots of the vine . D Fig. ' . Ma poi che il ſol nel' animal diſcreto Che portó Friſo, illumino la sfera. E Zeffiro tornó ſoave, e lieto A rimenar, il dolce primavera. Arioſto . + Volano gl' anni, i meſi, i giorni, el orc . Petrasch .

  • Pliny, Lib. VIII. cap . 42.

14 EXPLANATION OF THE Fig. 18 . APRIL Is repreſented by the figure of a young man crowned with myrtle ; and is dreſſed in green , allufive to the fields ſending forth their verdure : in his right hand he holds the ſign of Taurus, adorned witli violets and various other ſpring flowers ; with his left hand he holds a baſket containing almonds, and other fruits : produced in this month . The garland of myrtle, and the animals at a diſtance denote, that this plant was dedicated to Venus by the ancients, and that at this time, plants and animals are ſtrongly quickened in a generative ſenſe . * This month is called April , from the opening of the earth , which ſends forth her riches with ſparkling beauty. + Fig . 19. May . This pleaſant month is repreſented by a young man dreſſed in green , embroie dered with various flowers , with a garland of the fame upon his head. In his right hand he holds the ſign of Gemini, adorned with white and red roſes, and in the other a fythe, alluding to the mowing of the hay. The hay rick , and baſket containing ſtrawberries, cherries, peaſe, and other fruits, are introduced, as being the natural productions of this month . The green flowered dreſs and the garland fignifies the gayneſs of the fields, the hills, and the general face of the country in this month . It was called Maia by the Latins, from Roinulus having divided the people into two parts, the major and minor, the former with wiſdom and council to govern the

  • L'aria, l'acqua, la terra é di amor piena Ogni animal d' amor ſi riconſiglia. Petrarch ,

+ Aprilem memorant ab aperto tempore dictum . Ovid. Zeffiro torna, e'l bel tempo simena E i fiori e l'erbe, ſua dolce famiglia, & c. Petrarch , Son . 426 Un bel fiorito et dilettoſo Maggio. Sannazzaro . E'M B L E NÍ A TICAL FIGURES: 15 the republick , and the latter with arins to defend it . Others are of opinion it had its appellation from Maia, the mother of Mercury: Fig. 20. Jünë. This month is painted under tlie image of a young man in a lighter dreſs thiari the preceding figure , to indicate the commencement of the ſummer heat. He is repreſented in hay fields, with a ſickle or ſcythe in one hand, and holds the ſign of Cancer in the other, adorned with the ripening ears of corn , having a garland of the fame upon his lead . The particular fruits of this month may alſo be introduced with propriety. It had its appellation from a temple of the goddeſs Juno ; others are of opinion it took its name from Junius Brutus, who expelled Tarquin the kingdom on the firſt of this month . Ε Ι Α Τ Ε vii. Fig. 21. july. The exceſſive heat in this month is characteriſed by the faint aſpect withi wliicli this figure is repreſented, and the lightneſs of his dreſs, which is of an orange colour, denoting the ripened corn . In one hand he has the ſign of Leo for an attribute, decorated with the ears of corn ; in the other hand, lie holds a baſket with melons, pears , nuts, and other fruits, the produce of the country, and is crowned with the ears of corn . This month was named in honour of Julius Ceſar , the dictator , wlio was born the twelfth of this month ; before that it was called Quintile, being the fifth from March . Fig . • Hinc ſua majores tribuere vocabula Majo. Junius a juvenum nomine dictus adeft. Ovid. 16 EXPLANATION OF THE Fig. 22 • AUGUST. Is repreſented a young man of a lively aſpect, dreſſed in ſhining drapery, crown ed with damaſk roſes, jeſſamine and gilly flowers. In one hand he has the ſign of Virgo, and in the other, a baſket with pears, plumbs, figs, nuts and al monds, produced in this month . This month was conſecrated by the ſenate, in honour of Auguſtus, who was then for the firſt time made conſul, triumphed three times in Rome, ſubjected Egypt to the power of the Roman people, and put an end to the civil war. Fig. 23 SEPTEMBER This figure is dreſſed in purple, of a chearful countenance , with a garland of millet and of pannick upon his head . In one hand he holds the ſign of Libra, and in the other a cornucopia with grapes, figs, peaches , and other fruits the produce of this month. He is dreſſed in purple, being reckoned the prince of the months, by producing a copious proviſion of all the neceſſaries of life . This month was for ſome time called Germanicus, from the emperor of that name, and September , from being the ſeventh after March. Fig. 24• OCTOBER Is repreſented a young man dreſſed in a carnation coloured robe , crowned with a garland upon his liead of oak ſprigs, enriched with acorns . In one hand he holds the ſign of Scorpio , and in the other, a baſket with medlars , muſhrooms, and cheſnuts . The robe is painted of a cheſnut colour, becauſe the ſun declining in the winter ſolſtice , the juices of the plants begin to ſhrink, and their leaves become of this tint. This month was called Domitian, from the emperor of that name, but after wards was cancelled by a decree of the Roman fenate. PLATE EMBLEMATICAL FIGUR E S. 17 P LA T E VIII. Fig. 25 NOVEMBER This month is alſo repreſented by a young man , whoſe drapery is the colour of the leaves when they begin to witler ; round his head is a garland of olives with the berries ; the ſign of Sagittarius is in his right hand ; the baſket by his ſide with turnips, radiſies , cabbages, and other plants, ſignify the product of this month . The garland of olivesis a ſign of their maturity, and the time of their being ga thered . This month is ſo called, from its being the ninth from March ; and the following month is ſo named from its being the tenth from it . 1 Fig. 26. DECEMBER . Is characteriſed by a young man of an auſtere aſpect, this figure has more dra pery than the preceding one, and is dreſſed in black . In one hand he holds thic ſign of Capricorn, and in tlıe other a hatchet ; this being the time according to Palladio, to cut down timber, as the virtue of the trees at that time, concentres in the trunks , and for that reaſon , are more durable for different purpoſes . + In place of the hatchet, a cup full of truffles may be introduced, as they are in this month found in great quantities, and in the greateſt perfection . This figure is painted of an auſtere afpect (as are alſo the two following montlıs) and is dreſſed in black ; the carth at this time is bereft of all its ornaments, and for this reaſon lie is repreſented without a garland. Fig. 27. JANUARY. The rigour of the ſeaſon in this month , requires this figure to be entirely cloath ed, in a white mantle ; becauſe in this month the earth is frequently covered withi E ſnow .

  • Palladio, Lib. XII De re ruſtica.

+ Palladio, Lib. XIII. De re ruſtica. Ε Χ Ρ Ι Α Ν Α Τ Ι ΟON 0 F тн Е 18 ſnow . The figure is repreſented young, and holds the ſign of Aquarius for an at tribute, as the rain and ſnow at this time fall in abundance. This month was added to the year of Romulus, by Numa Pompilius, and took · its name from Janus . 1 Fig. 28. FEBRUARY. This month is characteriſed a young man dreſſed in cloudy coloured drapery, from the frequency of the rain and gloomy ſky. He holds the ſign of Piſces , becauſe the ſun in paſſing this celeſtial ſign, denotes the month , and as the fiſh is an aquatile animal, it alludes to the humidity from the rain at this period . Numa Pompilius named this month from the fevers that were common at that time, or from Februus, a cuſtom among the antient Romans of celebrating the ob ſequies ofthe dead. The FOUR TIMES OF THE DAY. PL. A TE IX. Fig. 29. The MORNING TWILIGHT. 1 Is ſo called from the ſliort ſpace of time which precedes the ſun riſing, and is perſonified a naked young boy, of a brown complexion, with wings of the fame colour, and the morning ſtar appearing above his head ; le is in a flying atti tude, to denote the velocity of this interval. In one hand he holds a vaſe turned downwards, out of which iſſues minute drops of water, denoting the dew in ſum mer, and the hoar froſt in winter .. With the other hand he holds a lighted torch ,

  • Rimaſe dietro il lito, e la meſchina

Olimpia che dormia ſenza deſarſe Finché l'aurora la gelata brina Dalle dorate ruote in terra ſparſc. Arioſo E MBLEMATICAL FIGUR E 5. 19 torch turned backwards, ſignifying that the twilight is a me{ Tenger from leaven . The ſwallow is flying in the air, which is remarkable for its ſinging in the twi light. " Fig. 30. The Evening Twilight. Is ſo called from the ſhort ſpace of time that follows the ſetting fun , and is alſo repreſented a young boy of a brown complexion, in the precipate action of flying towards the Weſt, with tlie evening ſtar Heſperus above his head , which pre cedes the night ; le holds a bat in his left hand with its wings extended , in the other he holds a dart, and others are ſeen in the air, that he has already thrown, denoting, the vapours from the earth drawn up by the power of the ſun , and their falling when he withdraws. The figure flying down towards the Weſt, fignifies the effect of the evening twilight. The ſtar above his head , which appears after the ſetting fun , was the ſign of the evening twilight amongſt the Egyptians. † The bat is an attribute as it is generally ſeen at this time in the ſummer evenings. Fig. 31 . The Day. Is repreſented by an allegorical figure of a graceful aſpec? dreſſed in white , with wings at his ſhoulders to indicate the celerity of time. He has a lighted torch in one Ad Hirundinem Quibus loquax , quibuſnam Te plectam , hirundo, pænis ? Tibi, quod ille tereus Fecifie fertur olim ? Utrum ne vis volucres Alas tibi recidam ? Imam ſecemve linguam ? Nam tu quid ante lucem Meas ſtrepens ad aures E ſomniis beatis Mihi rapis Batthylum ? Anacreon's lyrick poem . Incipit ardentes Phæbus producere flammas, Spargere ſed rubicunda dies, tam triſtis hirundo. Argutis reditura cibos immittere nidis. Incipit, et molli partitos ore miniſtrat. Seneca, Ep. 122 . It Pierius Valerianus. Lib. 46. . 20 Ε Χ Ρ Ι Α Ν Α Τ Ι ο Ν ο Ε Τ Η Ε one hand , and a bunch of flowers in the other. He is crowned with the licrb Ornithogalus which accompanies the day, by beginning to open at ſun riſing and to ſhut at his going downı. Day may be repreſented with a peacock, lụaving its tail ſhut in ſuch a manner as to hide the eyes of the feathers, becauſe in the day the ſtars are inviſible, which are typified by the eyes of the peacock's tail . Fig. 32. The Night . The goddeſs of the Shades, faid by the poets to be the daughter of Chaos, wife to Erebus, and the mother of Fraud , " is painted a woman of a dark complexion crowned with poppies , has two large black wings, and is dreſſed in black adorned with bright ſtars. In her right arm ſhe holds a ſleeping boy of a fair complexion , and in the other, a ſleeping boy of a dark complexion . She is painted of a dark complexion, becauſe her appearance is ſuch , t and is crowned with poppies, as they induce fleep and quiet repoſe, the proper effect of night. # She has large black wings as her fiadow overſpreads the earth . § Her black dreſs adorned with ſtars, is not without its ſplendour. | The children in her arms of a pallid and black complexion , denote death and ſleep , | their feet dif torted , fignify that death is Swift, and bereaves us of life, and that ſeep dea prives

  • Nox peperit momum, & ærumnam dolore plenam ;

Peperit præterea, et nemeſin , cladem mortalibus hominibus, Nox pernicioſa, poſt hancque fraudem enixa eſt, & amicitiain . Heſiod . + Erebo creata fuſcis crinibus nox te invoco. Varro Quiete gaudens, & quiete multi ſomni, læta dilectabilis, Oblivione tradens curas, bonaque laborem quietem habens. Orpheus's hymn of the night. Interea placidam redimita papavera frontein Nox venit. Ovid lib. 4. Falti. § Nox ruit, & fuſcis tellurem amplectitur alis . Virgil lib . 8 . Umbraque telluris tenebras induxerat orbi. Ovid's Metam . lib. 15 . | Audi beata Dea nigrum ſplendorem habens aftris lucens. Orpheus Ora pallor albus inficit. Horace Animas ille evocat Orco Pallentis. Virgil Æneid, Lib. 4. E MBLEMATICAL FIGUR E S. 21 .prives us ofmotion, as the mind is then buried in obſcurity. They are conſi dered as brothers in the arms of their mother, t from the ſimilitude that ſleep las to death . b L Α Τ Ε Α AT X. The Hours of the Day. The hours are miniſters of the ſun , and every one of them is a leader to the ſo lar ſtar, $ they are divided into twenty -four. Twelve to the day, and twelve to the night. The hours of the day commence at ſun riſing, and the hours of the night at his ſetting . Fig. 33. The First Hour of the DAY. Is repreſented under the image of a young woman, of a fair complexion, on her forehead is a tuft of her golden locks ſcattered by the wind , and on the hind part her hair is diffuſed and hoary, to ſignify that an hour completes its courſe in a ſhort ſpace of time. She is dreſſed in red , alluding to the apparent colour of the ſun at its riſing, | ſhe has wings to her ſhoulders, and is painted in a flying poſture. In her right hand (or where the intelligent painter may think proper ) ſhe bears F the • Arma fluunt ; eratque niger per nubila ſomnus. Statius . + Lemnum pervenit in civitatem divini Thoantis Ubi fomno obviam venit fratri mortis . Homer's Iliad, Lib. XIV. Frater enim genitus es oblivionis , mortiſque. Orpheus.

  1. Stulte quid eſt fomnus, gelidæ niſi mortis imago ? Ovid.

§ A dextra lævaque dies, et menſis et annus Sæculaque, et poſitæ ſpatiis æqualibus hora. Ovid's Metam . Lib. II. Præfideo foribus cæli cuin mitibus horis. Homer. || Nox ubi tranſierit cælumque rubeſcere primo Cæperit. Ovid, Lib. IV. De Falti. Cum polo Phæbus roſeis quadrigis Lucem ſpargere cæperit. Boetius, Lib. II. metr. 3 . 22. Ε x Ρ Ι Α Ν ΑΑ Τ Ι ο Ν ο F Τ Η Ε the ſign of the ſun, and in the other a bunch of red and yellow flowers opening in the bud. She is painted young, ſmiling, and holding a bunch of flowers, becauſe the clear and reſplendent rays of the ſun enliven nature , make the fields to ſinile, the flow ers to open , and the birds to ſing. The Mort dreſs, the wings, and the flying attitude, fignify the velocity of the hours. The hours according to the ancients, were governed by the planets, therefore the figure of this hour holds the ſign of the ſun for an attribute . Fig. 34. The Second Hour of the Day. Is repreſented a young woman with wings , as in the preceding figure, the hair in the laine form and colour, but the fore locks not quite ſo fair . Her dreſs is fhort and of a golden colour, ſurrounded with ſome clouds and dew, becauſe the ſun in this hour draws up the vapours from the earth , more or leſs, according to the humidity of the preceding night. † She holds the ſign of Venus in her right hand, and a turnſol in her left, which continually follows the courſe of the ſun . The ſignification of the hair , and the wings, is already explained in the former figure which will likewiſe ferve for all the following hours. Fig. Jungere equos, Titan velocibus imperat horis Juſſa dea celeres peragunt. Ovid's Metam . Lib. II. Che volan le ore, i giorni, gli anni, ci meſe. Petrarch . + Sed nocte fugata Læſum nube diem jubar extulit. Lucan, Lib. V. Donec flammiferum tollentes æquore currum Solis equi ſparſere diem, jamque orbe renato Dilverat nubelas Titan ſenſimque fuebat. Caligo in terras nitido reſoluta ſereno . Et Sil . Ital. Lib. v. Jam premit aſtra dies humiliſque ex æquore Titan Rorantes evoluit equos, et athere magno Sublatum curru pelagus cadit. Et Stat. I. Achil. EMBLEMATICAL FIGUR E s . 23 Fig. 35. The THIRD IIOur of the Day . The hair of this figure is blackiſh ; the dreſs is a mixture of white and red , but moſtly of the former ; from which is inferred , that the light of the day encreaſes in proportion as the ſun riſes on our horizon . She holds the ſign of Mercury in one hand, and with the other a fun dial , the gnomon and ſhadow ſhow this hour . Fig. 36. The Fourth Hour of the Day. This hour is the moſt proper to gather ſimples, ſuppoſing the fun to have ſuf ficiently exſiccated the humidity of the night. f In the right hand ſhe holds the ſign of the inoon , and with the other the flower Hyacinth . She is dreſſed in white, the ſun having diſlipated the vapours, the day becomes clear . Hyacinthus was a boy beloved by Apollo , who by accident killed him , and then turned him into a Hyacinth , as the ſtory is related in the tenth book of Ovid's Metamorphoſes . PLP L A T E ' XI. Fig. 37. The Fifth IIOur of the Day. This hour immediately precedes mid -day, and is repreſented dreſſed in white, with a mixture of orange colour, as the ſun approaches to the meridian le be comes the more reſplendent. This figure holds the ſign of Saturn in one hand , and + -Ut folet aer Purpureus fieri, cum primum aurora movetur ; Et breve poſt tempus candeſcit, ſolis abortu . Ovid's Metam. Lib. VI. Cum puro nitidiſſimus orbe Oppoſita ( peculi referitur imagine Phæbus. Ovid's Metam. Lib. IV. Redditur extemplo flagrantior æthere lampas, Et tremula infuſo reſplendent cærula Phæbo. Et. Sil . Ital . Lib. XII. 2. మీనం అంటుందిఈ 4 అ ం ంప లు నుండి ముందుకుఅడుగడుగులకుముందుముందు తనకుమారు 24 E X PL A NATION OF THE The ſtory and in the other a turnfol, which is mentioned by Pliny * and Varro. of this flower is related by Ovid, in his fourth book of Metamorphoſes. Fig. 38. The Sixth Hour of the Day. This figure is repreſented of a more ſpirited aſpect than the former ones ; the arms are naked , buſkins on the legs. The colour of her veſtment is a ſhining red. The ſun being in the middle of the heavens, gives the greateſt light and heat. † With the right hand Me holds the ſign of Jupiter, and in the other a bunch of Lotus. Naturaliſts have obſerved that this plant, which grows in the Eu phrates, follows the courſe of the ſun , by riſing from the water, as the ſun aſcends - to the meridian, and then gradually retires as he goes down. Pliny ſays, that this plant reſembles the bean , with white flowers, and the fruit like poppies. Fig. 39. The Seventh Hour of the Day. The ſun having paſt the meridian, begins to decline , therefore this hour is dreſſed in orange colour, which participates a little of red . She holds the ſign of Mars in one hand, and in the other a branch of lupines. According to Pliny, this plant follows the courſe of the ſun , and in cloudy wea ther indicates the hour to the inhabitants of the country. I Fig . Miretur hoc, qui non obſervat quotidiano experimento herbam unam, quæ vocatur Helitropium abeuntem ſolem intueri ſemper omnibus horis cum co verti vel nubilo obumbrante. Pliny, Lib. I. cap. 41 . Nec minus admirandum quod fit in Noribus, quos vocant Helitropia, ab eo quod ſolis ortum mane ſpectant, et cjus iter ita ſequuntur ad occaſum , ut ad eum ſemper ſpectent. Varro. + Sol medium cæli conſcenderat igneus orbem . Virgil's Æneid, Lib. VIII . Quaque dies medius flagrantibus æftuat horis. Lucan, Lib. I. Phaetonte ſudat Acthen Exarſitque dies, et hora lalios Interiungit equo meridiana. Martial, Lib. III. Nec ullius que feruntur natura aſſenſu terræ mirabilior eft : primum omnium cum ſole quotidic circumagitur, horaſque agricolis etiam nubilo demonftrat. Pliny, Lib. XVIII. cap . 14. Jam pron EMBLEMATICAL FIGURES 25 s. Fig. 40. The Eight Hour of the Day. To follow the order of the diminution of light, as hias been obſerved in the auga mentation of it , this hour is dreſſed in orange and white coloured drapery. She holds the ſign of the ſun , and a fun dial , on which the eight hour is indicat ed. The colour of the veſtment denotes, that ſo much as the hours advance, the light declines , which will ſerve as an explanation for the colours of the garinents , to the following hours. Ρ Ε Α Τ Ε XII. Fig. 41 The Ninth Hour of the Day. İn alluſion to the courſe of the ſun, the hours from his riſing to mid-day , are in elevated attitudes ; for the ſame reaſon , the hours in ſucceſſion from mid-day to evening, may be repreſented inclining to the horizon . This hour is dreſſed in a citron coloured veſtment, and holds the ſign of Venus in one hand, and in the other a branch of olives . This tree changes its leaves at the ſummer ſolſtice , according to the obſervations of Pliny and other authors. 1 Fig. 42 The Tentu Hour of the DAY, Is dreſſed in yellowiſh coloured drapery, with a mixture of brown, the holds the ſign of Mercury in one hand, and a branch of poplar in the other. This tree has the ſame ſignification with the olive, mentioned in the preceding ſubject, for this cauſe it is called the Sun Tree by Pontanus . G Fig. • Phaetontias arbor, Fundit ore novo, & c . - Meaning the Poplar, uit i nie die laaste dal bati burime to time weare in the sentenza . 26 Ε Χ Ρ Ε Α Ν Α ΤriΙ Ο Ν Ο Υ T H E Fig. 43. The ELEVENTH Hour of the Day. This hour being nearer to the cloſe of the day than the preceding ones , her drapery is a dark yellow, ne holds the ſign of the moon in the right hand, and with the left a clepſydra, or water dial , which indicates the hours without the help of the ſun , as mentioned by Cicero . This dial anciently limited the time to the declamation of the orators. + Fig. 44. The Twelfth Hour of the Day. This laſt hour being in an attitude to precipitate herſelf behind the horizon , in dicates the going down of the ſun , and is mentioned by Silius Italicus . † The dra pery is a violet colour inclining to black. She holds the ſign of Saturn in the right hand , and with the other a branch of the weeping willow, which according to Pliny, has the ſame property of the poplar. The hours of the night are repreſented with butterfly wings, in flying atti tudes, after the ſame manner with thoſe of the day : the difference between them conſilts moſtly in their attributes, and the colour of their veſtments. P L Α . Τ Ε . XIII . Fig. 45. The First Hour of the Night. The dreſs of this firſt hour, is a blackiſh colour, ſuch as that ofthe horizon in time of the evening twilight, or rather of various colours, ſignifying the repercuſſion of Quid igitur, inquit, convenit cum ſolarium , vel deſcriptum , aut ex aqua contempleris. Cicero, II. De natura Deor. + At hunc non declamatur aliquis ad clepſydram , latrare docucrat. Cicero, V. De Orat. Septem clepſydras magna tibi voce potenti Arbiter invitus, Cæciliane, dedit . Martial, Lib. VI.

  1. Jamque diem ad metas defeſlis Phæbus olympo

Impellebat equis, fuſcabat & helperus umbra. Paulatim infufa properantem ad littora currum , Silius Italicus, Lib. II. E M B L E MATICAL FIGURE S. 27 2 And of the rays of the ſun at his going down in the weſt . • She holds the ſign of Jus piter in one hand, and in the other a bat. * The appearance of this animal, denotes the approach of night: Fig. 46. The Second Ilour of the Nigut: This figure holds the ſign of Mars in one hand, and with the other an owl. The drapery of this figure is of a duſky colour, near to black , becauſe the farther the ſun is removed from the hemiſphere, the more are objects rendered obſcure; † and of courſe the draperies of the hours of the night in ſucceſſion , becoine darker. Fig. 47 : The Third IIOur of the Nicht: The veſtment of this figure is black ; ſhe holds the fign of the ſun as low as the can, denoting by this action , that the ſun is ſet : and in the other hand ſhe holds an owl for an attribute , but of a different ſpecies from the antecedent one, it hava ing a kind of beard at its beak, as deſcribed by Ovid and Pliny. S Fig. Frangebat radios humili jam pronus olympo Phæbus, et Oceani penetrabile litus anhelis Pomittebat cquis Statio , II . Achille. Suſpecta varius occidens fecit freta. Seneca. + Jamque dies exactus erat, tempuſque ſubibat, Quod tu nec tenebras, nec poſſes dicere lucem, Sed cum luce tamen dubiæ confinia noctis. Ovid's Metam . Lib. IV. | Vertitur intereà cælum, et quit occano nox, Involvens umbrà magnà terramque polumque. Virgil, Æneid, II. $ -Soluſque ex omnibus illud Aſcalaphus vidit : quem quodnam dicitur Orphne, Inter avernales haud ignotiſſima Nymphas Ex Acheronte ſuo furvis peperiſſe ſub antris . Vidit : et indicio reditum crudelis ademit. Ingemuit regina Erebi, teſtemque profanunt Fecit avem , ſparſumq ; caput Phlegethontide lympha In roſtrum , et plumas, et grandia lumina vertit. Ovid's Metam . Lib . V. Bubo funebris, et maximé abominatus publicis præcipuè auſpiciis deſerta incolit, nec tantum deſolata, ſed dura etiam , et inacceſla , noctis monſtrum nec cantu aliquo vocali, ſed gemitu. Pliny, Lib. X. cap. 22. 28 Ε x Ρ Ι Α Ν Α Τ Ι ο Ν OF THE Fig. 48. The Fourth Hour of the Night. The drapery of this figure is a clearer black than the preceding one, becauſe all the luminous bodies that enlighten the night, appear with the greater luſtre, as the ſun deſcends beneath the horizon .. She holds the ſign of Venus in one hand, and an hour glaſs in the other. PL Α Τ Ε XIV. Fig. 19. The Fifth Hour of the Night. The attributes given to this fifth hour, are Mercury in one hand , and a bunch of poppies in the other, to indicate that ſleep at this time of night, has great pow er : the property of this herb is deſcribed by Ovid . * The drapery is the ſame colour with that of the preceding figure. Fig. 50. The Sixth Hour of the Night. The black habit of this hour, marks the power of the ſhades, and the tem porary abſence of the ſenfes, while the body is inwrapped in ſleep . The ſign of the moon is in one hand, and a cat under the left arm : this animal has a viſive faculty in the night, by enlarging or contracting the pupil of the eye, according as ſhe perceives light to increaſe or diminth. + Fig.

  • Interea placidam redimita papavere frontem

Nox venit, et ſecum ſomnia nigra trahit. Ovid, Lib. IV. Faſt. 6. Spargens humida mella, foporiferumque papaver. Virgil, Æneid, IV . + Modo nox magis ipfa tacebat Solaque nigrantes laxabant altra tenebras. Statius, Lib. XIL. Theb, Fele foror Phæbi, nivea Saturnia vacca, Piſce Venus latuit. Ovid's Metam , Lib. V. EMBLEMATICAL FIGURES. 29 Fig. 51. The Seventh Hour of the Night. The apparel of this female figure is a dark blue , partaking of black ; ſhe holds the ſign of Saturn in the right hand, and a badger under the left arm . This ſleepy animal is a ſuitable attribute, and denotes this hour to be in the middle of the night, as ſleep then reigns with univerſal ſivay, as deſcribed by the poets . Fig. 52. The Eight Hour of the Niget . The allegorical figure of this lour holds the ſign of Jupiter, the colour of the drapery is blue , but not ſo dark as the laſt, ſhe has a dormouſe for an attribute, it being a ſleepy animal, and is mentioned by Martial. † P L A T E Xv. Fig. 53 The Ninth Hour of the Night . The veſtment of this hour is a violet colour, becauſe it approaches to the morn ing ; with one hand ſhe holds the ſign of Mars, and with the other, an horned owl , a bird of the night. H Fig .

  • Nox erat ; et placidum carpebant feſta foporem Corpora per terras, filvæque et fæva quierant

Æquora : cum medio volvuntur fidera lapſu, Cum tacet omnis ager : pecudes, pictæque volucres. Virgil, Æneid, IV. Nox ubi jam media eft : fomnofq ; filentia præbent ; Et canis, et variæ conticuiſtis aves. Ovid, Lib. V. Fast. -Tacito nox atra Copore Cuncta per et terras, et læti ſtagna profundi Conſiderat. Sil. Ital. Lib. VIII. + Somniculoſos ille porrigit glires . Martial, Lib. V. Tota mihi dormitur hiems, et pinguior illo Tempore ſum , quo me nil nil ſomnus alit . Ib. Lib. XIII, C 50 Ε x Ρ Ι Α NATION Ν Α Τ Ι Ο Ν OF THE Fig. 54. The Tenth Hour of the Night. As this hour is nearer the dawn of day, the figure is dreſſed in a violet coloured drapery, lighter than the preceding figure; ſhe holds the ſign of the ſun in one hand, and with the other, a clock, in the form of a little temple. The tenth hour is Mown on the dial plate , with a bell at top to found the hours . Fig. 55. The ELEVENTH Hour of the Night. A cock is an attribute to this hour, as he always crows before the morning twi light, and announces the approaching day. The figure is dreſſed in blue, holds the ſign of Venus in one hand, and an hour glaſs with the other . Fig. 56. The TWELFTH Hour of the Night. The ſign of Mercury is an attribute to this laſt hour of the night; the drapery is blue, with a mixture of white and violet, becauſe at the approach of day the ob ſcurity of the night declines . She holds a fwan under her arm, the whiteneſs of its feathers being in alluſion to the clearneſs of the day. PLATE XVI. Fig. 57 EUROPE . For learning and arts, the Europeans have been moſt renowned ; all the ſcholaſtic ſciencies they have brought to great perfection, and the invention and improves ment of many uſeful and ingenious arts, particularly navigation , are wholly owing to Ubi oceani perfuſus Lucifer unda, Quem Venus ante alios aſtrorum diligit ignis, Extulit os facrum cælo , tenebraſque reſolvit. Virgil, Æneid, VIII. Rareſcentibus umbris Longa repercuffo nituere crepuſcula Phæbo. Statius, I. Thcb. E M B L E M A TICALFI G U R E S. 31 to the genius and induſtry of the inhabitants in this principal part of the world , which is repreſented by the figure of a matron magnificently dreſſed , having a crown of gold upon her head . She is ſtanding by an elegant temple, indicating the ſanctity of their rcligion , the wiſdom and ingenuity of the inhabitants, and the ex cellency of their government. The horn of plenty in her left hand , containing fruits and flowers, allude to the fertility of the ſoil, throughout the great plenty of corn , cattle , wine, oyl , and all things neceſſary ; not only for ſuſtenance, but even for the luxury of human life . The trophies, the owl upon the books , and the muſical inſtruments and other things lying at her feet, denote her ſuperiority above all other parts of the world , with reſpect to arms, to literature , and all the liberal arts . A horſe is an attribute, and ſignifies the warlike diſpoſition of the inhabi tants ; her embroidered garments of various colours, mark her ſuperior riches ; the crown on her liead is to ſhow thai Europe has always been eſteemed the queen of the world . The name of Europe was taken from Europa, daughter of Agenorus, King of the Phenicians, who was raviſlied and conducted to the iſland of Candia, by Jupiter. Fig. 58. Asia . In many reſpects, Aſia is allowed to be the moſt conſiderable part of the world ; the firſt part that was peopled , the law of God promulgated , the greateſt monarchies had their riſe, moſt of the arts and ſciences owe their origin , and where the Chriſtian religion was firſt preached : And though this part of the world is greater than Europe, it is nevertheleſs reckoned the ſecond in order, perhaps , from the vaſt quantity of deſerts it contains. It is repreſented by a woman richly dreſſed in embroidery , with pearls and other jewels of value, and crowned with a garland of fruits and flowers., In her right hand ſhe holds branches of callia , pepper, and July flowers, and in her left a vaſe of incenſe. The camel by her ſide, is an animal of great ſervice and a native of Aſia . The dreſs embroidered with gold , pearls and other jewels, denote not only 32 E x P LA NATION OF Í HÉ only the value and abundance of them in that country , but alſo alludes to a cuſtont of the inhabitants, who wear various ornaments of this fort. The garland of fruits and flowers, fignify, that Aſia is a temperate climate , ' producing not only every thing neceſſary to human life, but alſo eyery kind of delicacy. The branches of aromatics in her hand, points out the fecundity of the country , and that the dif tributes them liberally to other regions. The vaſe of incenſe, indicates the vari ety of odoriferous ſpices produced in many provinces of Aſia . The name was taken from the nymph Aſia , daughter of Thetis and the Ocean, who held the empire all over afia . Fig . 59. AFRICA . Africa is one of the four parts of the world , and the greateſt peninſula on the globc ; it is reckoned much leſs than Aſia, but near three times as big as Europe. This third part of the world is expoſed to the ſouth , and ſituated moſtly un der the torrid zone, and croſſed by the equator. It is repreſented by the figure of a woman, of a tawny colour, and in a mooriſh dreſs; ſhe is crowned with the trunk of an elephant, ( according to a medal of the emperor Adrian and others) and a lion by her ſide, theſe ſort of animals being natives in that part of the globe : ſhe holds a ſcorpion in her left hand, and a cornucopia in her right, containing the ears of corn , to denote the fertility of the country ; the Africans having two har veſts and two ſummers, according to Bembo. The ſcorpion in her hand alludes to the quantity of venomous creatures that abound in Africa. + The • Nell' odorato, e lucid' oriente La ſotto il yago, e temperato cielo, Vive un liete, e ripoſata gente, Che non l' offende mai caldo, ne' gelo. Bembo. + Namque feras aliis tellus Mauruſia donum, Præbuit, nic ſoli debet ceu victa tributum , Claudian . Cumque ſuper libycas victor penderat arenas, Gorgonei capitis guttæ cecidere cruenta. Ovid's Metam . Lib. IV. > E M B L E N A TICAL FIGUR E S. 33 The name was taken from Afro , a deſcendant from Abraham , according to Joſephus. This country once famous for the propagation of the goſpel , has ſince, becn as ro markable for erroneous opinions. Here it was the Cliriſtian faith was firſt planted by ſome of the ſeventy diſciples : but now, where Mahometaniſin does not prevail, Paganiſm is in general profeſſed and practiſed , with many ridiculous ſuperfitions. Fig. 60. AMERICA . In The fourth and laſt part of the world is repreſented almoſt naked , of a tawny complexion , and a fierce aſpect; has her head and other parts of the body adorn ed with various coloured feathers , according to the cuſtom of the country . the left hand flie holds a bow, and in the right a bunch of arrows, theſe being the arms of both men and women in many of the provinces. The lizard which abounds in that country, is of ſuch an enormous ſize, and of ſuch fierceneſs, that it not only devours other animals, but frequently attacks the inhabitants. The mooſe deer is alſo a notable animal in that part of the world, and may with propria ety be introduced . The beſt part of this very extenſive quarter of the globe is at preſent under the dominion of four European princes, viz . The kings of Spain , Portugal, Great Britain and France. Where the Europeans have not ſpread the knowledge of the Chriſtian faith , the inliabitants are extremely different in their religion , and very much in the dark with reſpect to the knowledge of the true God, and religious worſhip P L Α Τ Ε XVII. Fig. 61. The River DANUBE . Is one of the largeſt rivers in Europe, and is repreſented by the figure of an old man , as in a medal of the emperor Trajan , reſting upon a vaſe, out of which .I . guſhes 34 Ε Χ Ρ Ι Α Ν AΑ Τ Ι Οο Ν Ο Υ ΤT Η Ε guſhes great abundance of water. ' The head of this figure is covered with drapery, becauſe the origin of its ſpring is not certainly known. * - Buſching fays, that it has its courſe in the black foreſt of Suabia ; and divides Bulgaria from Walachia and Moldavia, and alſo bounds Servia to the north . In its vaſt courſe, it receives fixty rivers, moſtly navigable , and empties itſelf with great rapidity into the Eux ine ſea . Fig. 62. The River Ganges. This river is repreſented an old man of an auſtere aſpect, crowned with palms, and pouring water out of a vaſe, with a rhinoceros by his ſide ; this animal is a native of the country where this river glides : he is painted of an auſtere aſpect, alluding to the inhabitants of this part of Aſia being ſtrangers to a poliſhed life, and conſequently an uncivilized people . This is a river of the hither India, in Aſia , riſing in the mountains, which die vides India from Tartary, and running upwards of fifteen hundred miles through the dominions of the great Mogul, empties itſelf into the bay of Bengal. This river is highly eſteemed in India, not only on account of its long courſe , its depth , and the purity of its waters, but the great fanctity which the natives af cribe to them . Several hundred thouſand pilgrims viſit it annually, who pay ho mage to this river, as to a God, and carry their dying friends from remote coun tries, to expire.on its banks, and as ſoon as they die, throw them into the middle of it. The prolific mud left on the ſoil, when the waters retire, renders Bengal the moſt fruitful province in India , for all ſorts of grain . + Fig. 63. The River Nile . This famous river, of Egypt in Africa, riſes in Abyſſinia, or Upper Ethiopia, and diſcharges itſelf into the Mediterranean ſea . It is repreſented in the Vatican at Rome, • Danubius penitis caput occultatus in oris. Auſonio, Epigr. + Syſtem Geog É Ñ B L EMATICAL FIGURE Š . M 35 Rome, in the character of an old man, pouring abundance of water out of an urn ; he holds a cornucopia in his right hand, and is crowned with a garland of fruit and flowers , to denote the fertile plains in Egypt, through which this large river paſſes. The crocodile abounds on the banks of the Nile, and may be intro duced with propriety. The ſphinx was a famous animal of Egypt, and is liere re preſented by the ſide of the river . The boys at play about this figure , may be fix teen in number, to ſignify the fixteen cubits of water ; the height to which the in undation of this river has riſen , according to Pliny. Every year there are great rejoicings, when the Nile riſes to a certain height, their future harveſt de pending on it . This inundation proceeds from the periodical rains annually fall ing within the tropics , where the ſource of the Nile is ſituated ; the flood is alſo increaſed from the high mountains of Ethiopia or Abyſſinia, the waters ſhooting from thence in torrents, and thereby ſwell the river beyond its uſual height. Fig. 64. The River PLATA . Is a large river of Pèru, in South America, which riſes in the province of the fame name, and empties itſelf with aſtoniſhing rapidity into the Atlantick Ocean . This river is not included in the original iconology, but is placed here as a com panion to the three principal ones, in Europe, Aſia and Africa. And is repre ſented alſo by the figure of an old man , reſting upon a vaſe, from which iſſues a torrent of water and is crowned with the branches of the oliander, commonly called the Spaniſh willow, which abounds in that part of the world . The Cinchona or Jeſuits bark tree, which furniſhes Europe with the Peruvian bark, of the ſize a cherry tree, may be properly introduced ; as alſo the lizard , this animal abound ing in that quarter of the globe. The figure of this river holds the bow and arrows, they being commonly uſed by the natives of tlie country, for the ſupport of life, and as inſtruments of defence. PLATE 36 Ε x Ρ Ι Α Ν Α Τ Ι οO Ν OF 1 # E P LL ΑA ΤT ΕE XVIII. Fig. 65. The River THAMES. The Cavaliere Ripa , takes no notice of this rich and navigable river ; conſiſting principally of the united ſtreams of the Iſis and Thame : it is famous all over the world , for the immenſe commerce continually floating upon it . And is arranged here as a companion to the three other remarkable rivers on this plate. It is repreſented by the figure of an aged man, of a vigorous appearance, holding a cornucopia in one hand, and Neptune's trident in the other, with a naval crown upon his head, and fitting by various bales of merchandiſe : he is reſting upon an urn , from which is diſcharged great abundance of water, in alluſion to its vaft magnitude near the German ocean , after it receives the river Medway. The cornucopia containing fruits and flowers, denotes the fruitfulneſs of the country through which it glides. The naval crown upon his head , and Nep tune's trident in his hand, allude to the lower part of this beautiful river, being daily covered with vaſt numbers of Mhips from all nations of the trading world . The ſwan is introduced with great propriety on the banks of this river, as it is the largeſt of the Britiſh birds, and feeds chiefly upon herbs and roots growing in the water, and appears in numerous trains on this river . No bird perhaps makes ſo ineļegant a figure out of the water, or has the command of ſuch beautiful attitudes in that element, as the ſwan . Almoſt every celebrated poet has taken notice of this animal : it was confecrated to Apollo and the Muſes, by the ancients ; it was alſo conſecrated to Venus, probably on account of its extreme whiteneſs. It is difficult to reconcile the accounts of the ancients, with the experience of the moderns, concerning the vocal powers of this bird, becauſe it was ſaid to ſing me lodiouſly when it was near expiring, a tradition generally received , but fabulous.

The ancients perhaps, had ſome mythological meaning, in aſcribing melody to

fwans ; for , when Virgil ſpeaks of them figuratively, he aſcribes to them melody, or EMBLE N ATICAL FIGUR E S. 37 or tlie power of muſick ; but when he talks of them as birds, he lays aſide fiction , and, like a true naturaliſt , gives them their real notc . Fig. 66. The River TIBER . This is a famous river in hiſtory, which riſes near the Apponines, and divides Tuſcany from Umbria, and runs tlırough the Pope's dominions in Italy , and after viſiting Rome, falls into the Tuſcan fea . This river is repreſented in different places at Rome, and particularly in the Vatican , by the figure of an old man reſta ing upon an urn , as thoſe already deſcribed, and crowned with laurel in memory of the Roman victories . At his feet are two boys fucking the wolf, being ſignifi cant characters of Romulus and Remus, the founders of Rome. He holds a cornu copia in one hand, and an oar in the other, in alluſion to the fertility of the country , and the Tiber being a navigable river. The tranquil attitude in which he ſits, marks the gentle courſe of its yellow waves . Fig. 67. The River INDUS . Kouli Kan made this river the boundary between India and Perſia , and this was the utmoſt limit of Alexander's conqueſts. It riſes in the mountains which divide Tartary from India . And is characteriſed a ſerious young man , with a crown of fruit and flowers upon his head, to denote the fertility of the ſoil where it paſſes. He holds an urn with one hand, out of which is diſcharged abundance of water : and with the other hand he holds a camel by the bridle ; the camel being an ani mal of domeſtic uſe in that part of Aſia . The Indus receives ſixty other rivers in its courſe, and empties itſelf into the Indian ocean, a little below the city of Tatta . K Fig . Flavus quamTiberis lavit. Horace, Lib. II. Ode III, 58 E x P L Å NÅTION OF THE Fig . 68. The River Niger . As this river is ſituated under the torrid zone, it is repreſented by the figure of a Moor, with rays of lighit ſurrounding liis head ; he is leaning upon an urn , and ſitting by a lion , the moſt remarkable animal in that part of Africa. The ſource of this large river is not certainly known, it runs through Negroland , and empties itſelf into the Antlantick Ocean, by three channels ; the low country between them is annually overflown at the end of ſummer, as Egypt is by the Nile at the ſame time : both inundations proceed from the periodical rains falling within the tropicks. PL A E XIX. Fig. 69. The City of LONDON. This great and flouriſhing city is the metropolis of Great Britain ; and though it is not mentioned in the original iconology by Cav. Ripa, it is here introduced and repreſented by the figure of a matron , having a mural crown upon her head . She holds a cornucopia with hier left hand, and a roll of parchment with the other . She is ſtanding by ſeveral bales of goods, and the anchor of a ſhip , which allude to the vaſt traffick both by ſea and land, of this commercial city . The cornucopia denotes the immenſe riches, and the roll of parchment ſignifies the charter of the city. Upon a ſhield which lays at her feet, is deciphered the city arms ; the mace and the ſword are alſo introduced , as the attributes to this figure. Fig. 70. The City of Rome .. This ancient city was formerly the miſtreſs of the world , and feat of the Roman empire, and is at this day the moſt conſiderable city in the world , with reſpect to the magnificence of its buildings and antiquities , the number of its monuments and curioſities, and the ſingularity of its hiſtorical events. It is repreſented by a female Ė M B L E NÍ A TICÀ L FIGU K E si 39 female figure with an helmet on her head . In one hand Me holds a globe, with an eagle upon it, each of them being the ſymbol of eternity : In the other hand ſhe holdsa ſpear ; at her feet are the Roman faſces, and by her ſide is a ſhield of a circular form , theſe being the warlike inſtruments of the victorious Romans. This famous city is the centre and magazine as it were , of all that is exquiſite in painting, ſculpture, and architecture . It was founded according to fome, ſeven hundred and fifty -three years before the birth of Chriſt, by Romulus the firſt King Fig. 71. BRITANNIA . The iſland of Great Britain was among the ancients eſteemed ſo conſiderable , that they called it Infula Magna, and Cæfar went yet higher, boaſting he had found out another world . This ſubject is not mentioned by Cav. Ripa, but is here in troduced as a companion to Italy, and repreſented by the figure of a graceful woman, ſitting upon a globe , and crowned with oak leaves . She holds a ſpear in one hand, and a branch of the olive tree in the other ; the latter is an emblem of peace, and the former that of war. The cornucopia on the fore ground, is em blematical of the various productions of the country, which is greatly improved by the induſtry of the inhabitants, and their great ſkill in cultivation . The ad vantage of the ſea ſurrounding it , is a ſecurity againſt enemies ; ſo it is alſo againſt the violent colds to which the climate would otherwiſe be expoſed, and doth in a great mcaſure render the fuil fertile ; the vapours not only mollifying the air, and by that means nouriſhing every vegetable ; but they alſo furniſh us with gentle flowers in their proper ſeaſons. The cap of liberty by her ſide, is in alluſion to the happy conſtitution of this country, to the equity of the laws and freedom of the ſub ject. The trident at her feet, ſignifies that Britannia is the ſupreme ruler of the waves . Fig . go Ε Χ Ρ Ι Α Ν Α Τ Ι ο Ν ο Ε Τ Η Ε Fig. 72. Italy. Is characteriſed by the figure of a fine woman in a ſumptuous dreſs, ſitting upon a globe, having a mural crown upon her head , with a ſtar above it ; ſhe holds a cornucopia in her right hand , containing fruits, and a ſcepter in her left . She is repreſented a fine woman , alluding to the beauty of the country , and the excellent things produced therein . * The ſumptuous dreſs alludes to the rivers, delightful lakes and fountains , in this famous country , and the falubrious waters of va rious qualities , and alſo to the numerous mines of marble, metal, and precious ſtones. + The globe and the ſceptre with the Roman enſigns and the crown at her feet, ſignify the dominion the inhabitants of this region have had over other nations, both in arms and in letters . † The mural crown denotes the noble and ſumptuous buildings which adorn the cities and different parts of Italy . $ The

  • Salve, cara Deo tellus ſanctitiffima, ſalve

Tellus tuta bonis, tellus metuenda ſuperbis, Tellus nobilibus multum generoſior oris. Petrarcb . + An mare, quod fuprá, memorem, quodque alluit infra ? An-ne lacus tantos ? Te, Lari maxime, teque Fluctibus & fremitu aſfurgens, Benace, marino ? An memorem portus, lucrinoque addita clauſtra ; Atque indignatum magnis ſtridoribus æquor, Julia qua ponto longé fonat unda refuſo, Tyrrhenuſque fretis immittitur æſtus Avernis ? Virgil's Geor. Lib . II, | Hæc genus acre virum Marſos, pubemque Sabellum , Affuetumque malé Ligurem, Volcoſque verutos Extulit : hæc Decios, Marios, inagnoſque Camillos, Scipiadas duros bello , et te, maxime Cæſar, Qui nunc, extremis Aſiæ jam victor in oris, Imbellem avertis Romanis acribus Indum. Virgil's Georgics, Lib. II. Adde tot egregias urbes, operumque laborem , Tot congeſta manu præruptis oppida ſaxis. Fluminaque antiquos ſubter laveatia muros, Id . Ib. EM B L E MATICAL FIGUR E Š . 41 The cornucopia is alluſive to the abundant production of the ſoil, which by way of eminence, is frequently called the garden of the ivorld . jLj LÀ TE xå. 1 Fig. 73. The Golden Age . Simplicity, cairdour, and ſincerity triumphed in this age of innocence, which is perſonified by an amiable young woman ſtanding by the made of an olive tree ( the ſymbol of peace) in which is a ſwarm of bees . Her golden locks hang upon her ſhoulders in their natural beauty , without art : her dreſs is of gold without ornament, and ſhe holds a cornucopia containing various fruits and flowers. She is painted young , and ſimply dreſſed in gold , ſignifying the purity of that age, when there were no other habitations but under the ſhadow of trees , or in grottos. t Fig. 74 . The SILVER AGE . The ſecond age is repreſented by the figure of a young woman , inferior in beau ty to the preceding onc, indicating the commencement of the alteration in the per fections of human nature. She is dreſſed in embroidered ſilver , and her head dreſs artfully adorned with rows of pearl , ſhe reſts upon a plough , ſtanding by a cottage with the ears of corn in her hand, and ſilver buſkins on her legs, denoting L that

  • Sed neque medorum ſylvæ , ditiffima terra ,

Nec pulcher Ganges, atque auro turbidus Hermus Laudibus Italiæ certent : non Bactra, neque Indi, Totaque thuriferis Panchai pinguis arenis, &c . Virg. Gcor. Lib. II. + Aurea prima fata eſt ætas , quæ vindice nullo Sponte ſua ſine lege fidem re &tumque colebat : Pæna metuſque aberant ; nec vincla minacia colle Ære ligabantur : nec ſupplex turba timebat Judicis ora ſui ; Sed erant fine judice tuti, &c. Ovid's Metam. Lib. I. 42 E x P L A N AT ION OF THE that in this age, they began to cultivate the ground, and contruct humble habia tations for their acommodation . " Fig. 75. The BRAZEN AGE . In the third age factions commenced, and ſelf defence was then neceſſary. t It is expreſſed in a bold attitude, by the figure of a woman richly dreſſed, crowned with an helmet, the creſt of which is the ſkin of a lion's head. She holds a ſpear in the riglit land, and reſts with her left upon a ſhield , and is ſurrounded with elegant buildings, which at that time were then erected . Fig. 76. The Iron Age . In the fourth age was introduced violence and treachery, and is repreſented by the figure of a woman , with a fierce aſpect, dreſſed in armour, having the ſkin of an wolf's head as a crelt to the helmet; ſhe holds a drawn ſword in her right hand, in a fighting poſture, and a ſhield in her left hand, on which is exhibited the figure of Fraud, partly the reſemblance of a man's face, and partly the body of a fyren or ſpotted ſerpent, both of which are the ſymbols of fraud. At her feet are different trophies of war, and part of a fortified city at a diſtance . I The -Subiitque argentea proles, Auro deterior, fulvo preciofior Ære : Jupiter antiqui contraxit tempora veris ; Perque hyemes, æſuſque, et inæquales autumnos. Tum primum ſubiere domos, domus antra fuerunt, Et denſi frutices, et junctæ cortice virgæ. Ovid, Metam. Lib. I. + Tertia poft illam ſucceſſit ahenea proles Sævior ingeniis, et ad horrida promptior arma, Non ſcelerata tamen . Ovid, Metam . Lib . I. I --Deduro eſt ultima ferro Protinus erupit venæ pejoris in ævum Onone nefas, fugere pudor, verumque, fideſque : lo quorum ſubiere locum , fraudeſque, dolique, Inldiæque, et vis, et amor ſceleratus habendi. Ovid's Metam. Lib. I. E M B L E NATICA FIGU R E S. 45 ! The Muſes are nine in number, the offspring of Jupiter and Memory, who dwelt with Apollo, on mount Parnaſſus . P L Α Τ Ε XXI.. Fig • 77•. The Muse CLIO . Is the firſt in order of the Muſes , who preſided over hiſtory, * whoſe name ſig nifies praiſe ; ſhe is repreſented young, with a flowing white robe, and is crowned with a garland of laurels , and holds a trumpet in the right hand, and in the left a book, on which is wrote Herodotus, the Grecian hiſtorian , who dedicated his firſt book to this Muſe . The laurel being an ever- green , denotes hiſtory perpetuating paſt events . Fig. 78. The Muse Euterpe . The name of this Muſe ſignifies joy or pleaſure, and alludes to the fiveet per ſwalions of erudition ; ſhe preſided over muſick, † and is repreſented by a fine young woman gayly dreſſed , crowned with a garland of various flowers, and holds different inſtruments of muſick in both her hands : garlands of flowers were given to the Muſes by the ancients, as attributes to expreſs mirth , and the different ſciences they preſided over. Fig. 79. The Muse THALIA . This third Muſe preſided over comedy and lyrick poetry , # and is repreſented a young woman of a chearful countenance , with a garland of ivy round her head ; ſhe

  • Clio geſta canens tranſacti tempora reddit. Virgil in opuſc. de Muſis.

+ Dulci loquis calanios Euterpe flatibus urget. Ibid. Comica laſcivo gaudet fcrmone Thalia. Ovid in opuſc. de Muſis. 44 Ε Χ Ρ Ι Α Ν Α Τ Ι ο Ν ο F Τ Η Ε The holds a maſk in the left hand, and in the right ſtalks of corn and green leaves, with ſocks on her feet, which were worn by the ancient comedians. The cheat ful countenance and the garland of ivy, denote her prerogative over comic poetry. Fig. 80. The MUSE MELPOMENE . This Muſe preſides over tragedy , ' and is painted of a grave aſpect, in an heroick dreſs, with her head finely attired ; ſhe holds a cup in one hand , and a dagger in the other , with a crown and ſcepter at her feet ; fe is ſhod in buſkins, which were uſed by the ancient tragedians. f The grave aſpect and heroic dreſs, denote that tragedy is a repreſentation of famous deeds and of hiſtory . The cup, dag ger, crown and ſcepter, allude to the happineſs or miſery incident to human life . Ρ Ι Α Τ Ε XXII. Fig. 81. The Muse POLYHYMNIA, Is repreſented in the attitude of oratory, and preſided over rhetorick S ; ſhe is dreſſed in white drapery, to denote the purity and ſincerity that become the ora tors of ſound doctrine . The book by her ſide, with the motto Suadere, ſignifies the whole of rhetorick, its ultimate end being perfwaſion . Her head dreſs is a dorned witli pearls and various jewels of fine colours, alluding to the richneſs , erudition , and uſe of this ſcience . The name of this Muſe is compoſed of two Greek'words , which fignify happy memory , a neceſſary qualification to the orator. Fig.

  • Melpomene tragico proclamat mæſta boatu. Virgil in opuſc, de Mulis.

+ Poft hunc perſonæ , pallæque repertor honeſta Æſchilus, et modicus inftravit pulpita tignis ; Et docuit magnumque loqui , nitique cothurno. Horace .

  1. Omne genus fcripti gravitate tragædia vincit. Ovid.

Signat cuncta manu , loquitur Polyhymnia geſtu. Virgil in opuſc. de Mufis. EMBLEMATICAL FIGURESs 45 ., Fig. 82. The Muse Erato . The name of this ſixth Muſe ſignifies love , as fie preſides over the ſofter poetry : For this reaſon , Cupid is ſometimes attending her ; She is dreſſed in thin drapery, and crowned with myrtle and roſes ; with one hand ſhe holds a lyre, and with the other a plettro, from the authority of Ovid . + The myrtle and the roles were conſecrated to Venus the goddeſs of love . Fig. 83. The Muse TerPSICHORE . She preſided over the dances, and is therefore repreſented in a dancing attitude, crowned with feathers of various colours , gayly dreſſed in thin drapery , playing on the cithern . $ The garland of feathers alludes to the ancient cuſtom of crown ing the Muſes, as trophies of victory for their having triumphed over the Syrens in ſinging ; § and it alſo ſignifies the agility of this dancing Muſe. Fig. 84. The MUSE URANIA . The name of this Muſe ſignifies heaven , the ſcience of aſtronomy being attributed to her ; ſhe is dreſſed in azure, with a garland of bright ſtars encircling her head, ſtanding by a globe, on which is repreſented the celeſtial ſpheres , and is in an attitude of contemplation. The globe, the ſtars, and the azure veſtment, agree with her appellation . 11. M PLATE

  • Nunc erato, nam tu nomen amoris habes . Ovid, Lib. II . de arte amandi.

+ Leviter mca tempora myrto. Ovid, IV. Faſti. Plectra gerens Erato ſaltat pede, carmine, vultu . Ovid in opuſc. de Muſis. | Terpſichore affectus citharis movet, imperat, auget. Ovid, in opuſc. ſ Pauſanias, Lib. IX. della Grecia.

  1. Urania cæli motus ſcrutatur, et altra . Virgil in opuſc. de Muſis .

46 E x P L A NATION ог тн Е P L A T E . XXIII. Fig. 85. The Muse CALLIOPE . Heſiod the poet gives the firſt place among the Muſes to Calliope, and Homer calls her Deam clamantem , ſhe preſided over heroick poetry. Her forehead is adorned with a band of gold , as a mark of eminence ; t in her right hand, ſhe holds garlands of laurel , the ſymbols of poetry, and under her left arm , three books with their titles upon them , viz . the Odyſſey, the Iliad and Æneid, the works of the moſt illuſtrious poets in hieroick verſe . Fig. 86. HEROICK VIRTUE . In the capital at Rome, there is a ſtatue of Hercules , dreſſed in a lion's ſkin , with the club in one hand, and three apples in the other, from the gardens of Eſperides, being ſignificantc haracters of the three heroick virtues attributed to Her cules. The firſt is moderation in anger ; the ſecond is temperance ; and the third is a pliilofophic contempt of riches. The lion's ſkin denotes generoſity and con ftancy of mind, and the club ſignifies, that reaſon governs and ſubdues the unruly paſſions. Fig. 87. Poetick FURY . Plato calls it divine fury that agitates the mind of poets . This ſubject is perſoni fied by the figure of a lively young man , in an attitude of writing, with his eyes toward heaven , with wings to his temples, and crowned with laurel , having a girdle of ivy round his middle . The wings ſignifying the velocity of poetic intel lects, which brings fame with it , and continues for ages like the verdure of the laurel • Carmina Calliope libris heroica mandat. Virgil in opuſc. + Prima ſui cæpit Calliopea chori. Lib. V. Falti. EMBLEMATICAL FIGUR E S. 117 Jaurel and the ivy . His lively eyes and rubicund cheeks, denote the ſuperabun dant vivacity of ſpirits , with which poctic fury enriches the mind, with many wonderful conceptions, which appear as a remarkable gift of heaven . Fig: 88. GENIUS . If one This fubject was repreſented by the ancients, a naked boy of a clearful counte nance, crowned with poppies , with ears of corn in one hand, and a bunch of grapes in the other . This figure in bas- relief , was found at Rome, in the time of Pius the IV. with an epigram below it . * Genius lias been , and may be variouſly expreſſed, according to what turn of mind is to be repreſented . A boy with wings, and a flame riſing from his forchead , is the ſymbol of thouglıtfulneſs. has a genius for letters , books are proper attributes ; if to muſick, muſical inſtru ments are adopted , if to arms, armour is introduced ; and ſo of many others, In ſuch caſes he may be crowned with the leaves of the plane- tree, which was conſe crated by the ancients as a genial tree . On a medallion of Antonius Pius, Genius is figured with a branch of laurel or olive in the right hand , and a ſpear in the left . On two medals of Trajan and Marcus Aurelius , Genius holds a patera in the right hand, and ears of corn in the left, to denote that thoſe emperors valued their religion , of which the patera is a ſymbol. PLATE Quis tu læte puer ? Genius. Cur dextera ariſtam Leva uvas, vertex quidve Papaver habet ? Hæc tria dona Deum cereris Bacchi atque ſoporis. Namque his mortales vivitis, Et Genio. Epigram . 18 Ε Χ Ρ Ι Α Ν Α Τ Ι ο Ν ο Ε Τ Η Ε Ρ Ι Α Τ Ε XXIV. Fig. 89. PROPITIOUS AUGURY. The Augurs amongſt the Romans were miniſters of religion, to interpret the will of the gods : good augury is characteriſed by the figure of a young man, with a ſtar above his head, holding the Lituus or augurial ſtaff * in the right hand, and a fwan under his left arm ; he is dreſſed in green, which fignifies augu ry , becauſe when the herbs flowriſh , they promiſe plenty of fruit. The ſtar was obſerved by the ancient augurs, as a ſign of proſperity ; and the ſwan was alſo a ſign of propitious augury. + Fig . 9o . INAUSPICIOUS AUGURY. Is repreſented by the figure of an old man , of a moroſe aſpect and ſtern countc nance ; the colour of his veſtment is that of withered leaves. In one hand he holds a weaſel, † and in the other the augurial ſtaff; he obſerves a crow flying in the air, indicating bad augury ; š the colouring of his veſtments denote adverſe fortune . Fig. 91. Fate . Is expreſſed by tlie figure of an old man dreſſed in linen ,, with the caduces of Mercury in one hand, and the diſtaff and ſpindle in the other ; by his ſide is a gold en

  • Lituus eſt virga brevis, in parte qua robuſtior eſt incurvus, qua augures utuntur. Gellio, Lib. V. cap. 8.

+ Namque tibi reduces ſocios, claffemque relatam Nuntio, et in tutum verſis aquilonibus actam ; Ni fruſtra augurium vani docuere parentes . Aſpice bis ſenos laetantes agmine cycnos, Ætherca quos lapſa plaga , &c. Virgil's Æneid, Lib . I. I Quidquid agis, muftella tibi ſi occurrat, omitte : Signa malæ hæc ſortes beſtia parva gerit. Alciatus . Sæpe malum hoc nobis, ſi mens non læva fuiffet, De cælo tactis memini prædicere quercus : Sæpe liniſtra, cava prædixit ab ilice cornix. Virgil , Eclog 1. E MBLEMATICAL FIGUR E S. 49 en chain, hanging down from a bright ſtar , as deſcribed in the eight book of Ho mer's Iliad , which , according to Macrobius and Lucianus, ſignifies the conjunction between divine and human occurrences: He is dreſſed in linen from the ancient cuſtom of the Egyptian prieſts , according to Pierius Valerianus. The caduces of Mercury, denotes the autliorative power of fate. The diſtaff and ſpindle with the broken thread , allude to the frailty of human lifc . Fig. 92. FREE - WILL . Is characteriſed by a young man in a princely dreſs of various colours, with a crown of gold upon his head, and a ſcepter in his right hand, on the top of which is the Greek letter Y. The princely apparel , the ſcepter and the crown , ſignify the abſolute power of doing whatever is moſt pleaſing . The different colours of the dreſs, denote indeterminate action . The Y on the top of the ſcepter, is alluſive to the ſentence of Pythagoras the famous philoſophier, by which he dea clared that human life had two branches like the above letter, the narrow path leading to virtue , and the broad to vice . N

  • Littera Pythagoræ diſcrimine tecta bicorni

Humanæ vita fpeciem præferre videtur. Nam via virtutis dextrum petit ardua callem, Difficilemque aditum primum ſpectantibus offert. Sed requiem præbet foffis in vertice ſommo : Molle oſtentat iter via lata, ſed ultima meta Præcipitat captos , volvitque per ardua faxa. Quiſquis enim duros calles virtutis amore Vicerit, ille fibi laudemque decufque parabit At qui deſidiam luxumque ſequetur inertem Dum fugit oppoſitos incauta mente labores Turpis, inopſque fimul miſerable tranſiget ævum. END OF Book FIRST .

I از من و من بر متر بر اور ازکر A پوست از کهاند کرده Lady W.Harwlton delen . محمد سها .Published as the Au diria Nori'w ? 1778 . i I. 1 1 זיו- יוין Ped bished as the At Directo Nories 1776. 1 . IN Dராராராராயாண்டியராயர 12 IYIN LOTUS MASO MINIMUI பபப பயப I.N Nala Dore -13'1i. i IV . TAIL'12 TTCTT 1.KATILI Published v the Act diredo Norik ? 1776.

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ILX UTILILTITUUT CICLIILIS ATU DONTZITTOAITEX Published as Aut direio Nov. 23-1776. . t . XIII . ! HINDU KI . 12 IMITED 17 UICE பாப்பார ரபாயாயாயாயாயாயாயாயாய amm Allwhed as the sce direct Now " 481776 . ముందు ముందు తమ ముందు కు తీసుకుంటే ముందు ఆ అ sharmila , a divorce : నా ముందుకు రాయుడులంకు నేను కు ఒక Ipadaతముడు. అందుకు .a was XIV . WITTU 19 Sc ih Alished on the set dinas Nov.28 : 1776. . 3 XV . شش سالنللللا UKLULUCULUS ؟ : ΣΥΥΥΥΥΥΥΥΥΥΥΥΥΥΥΥ CURUCCIO COO atana INOLTRO TITATOMWA CO MIIIIIIIIIIITATTUT Published as the Ad direct Nov. 2881776 .

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XXIII AUTOTULÜPTUNITI 80 کا 1 ! wutus שיעניינוגגת TUDOM DIMTII murnarrowto Published as the Art direct Nov? 23-1776. ܘܐܢ XXIV . COITTETELLITETIT IT YYYY mum YXIII 89 WATT TILY UURT 92 sweet LY Published a the Act direct Nov 23:1776.

. ΙI C O N O L O GY; + OR, Á c ó L L E c T I o N o F E M B L E MATIC A L FIGUR E S , · MORAL AND IN STRUCT I V E ; E х н т в тім с The Images of the ELEMENTS and CELESTIAL Bodies, the Seasons and Months of the Year, the Hours of the Day and Night, the QUARTERS of the WORLD, the principal Rivers, the Four Ages, the Muses, the SENSES, Arts, SCIENCES; Dispositions and Faculties of the Mind, VIRTUES and Vices ; coNTAINING, IN TOUR BOOKS, Upwards of Four HUNDRED and TWENTY REMARKABLE SUBJECTS, engraved from Original Deſigns, with particular Explanations of the Figures, their ATTRIBUTES and SYMBOLS; Illuſtrated by a Variety of Authorities from Claſſical Authors; SELECTED AND COMPOSED FROM THE MOST APPROVED EMBLEMATICAL REPRESENTATIONS 1 1 Of the Ancient EGYPTIANS, Greeks and ROMANS, and from the Compoſitions of CAVALIERE CESARE RIPA , PERUGINO, BY GEORGE RICHARDSON, ARCHITECT. in two VOLUM E s. V O L U M E FIRST. t o N D 0 N: PRINTED FOR THE AUTHOR, M DCC LXXVIII.

À L. Í S T OF Τ Η Ε SUB SCR I B E R S. ลพลพละ ห้ ล ล ล ล ล anAntina AMAR His Majeſty GEORGE III . King of GREAT BRITAIN, &c . THE Right Honourable the Earl of Antrim, The Right Honourable the Lord Arundel of Wardour. The Royal Acade : ny. Robert Adam , Eſq ; F.R. S. Architect to their Majeſtics. James Adam, Eſq. F. R. S. Architect to His Majeſty's Board of Works. David Allan , Eſq. Painter, Thomas Dundas, Eſq. F. R. S. Peter Delme, Eſq. William Drake, Eſq. L. L. D. Matthew Duane, Eſq. F. R. S. Richard Dalton , Eſq . F. A. S. Antiquarian, Keeper of Drawings, Medals, &c. to His Majeſty. George Dance, Eiq . R. A. Architect to the city of Lon don. Mr. John Dallas , Painter. John Devall, Eſq. Maſon to His Majeſty's Board of Works. Mr. Juhn Donowell, Architect . William Duelbury, Eſq. Porcelain Manufacturer to His Majetty. The Right Honourable the Earl of Belborough . The Right Honourable the Earl of Butc. The Right Honourable Willian Burton , Eſq . Dublin . Frederick Barnard , Eſq. Librarian to His Majeſty. Francis Bartolozzi, Eiq. R. A. Engraver. John Bogle, Eſq. Painter. < Matthew Bolton, Eſq. Birmingham . Edward Burch , Eſq . R. A. Sculptor. Mr. Joſeph Barney, Painter. Birmingham , Mr. George Brooklhaw , Painter. Mr. Thomas Bell. Mr. Bull, Bookſeller, Buih. The Right Honourable the Earl of Eglintoune. Mr. Edinondſon, Painter to Her Majeſty. Mr. John Elcock , Carver . Mr. Elliot, Bookfeller, at Ezinburgh . Mr. Elmſly, Bookſeller . William Emcs, Eſq. Derbyſhire. Mr. James Eves, Builder. The Right Honourable the Earl Ferrers . John Fothergill. M. D. F.R.S. Mr. Lawrence Fell, Cabinet Maker. The moſt Honourable the Marquis of Carmarthen , The Right Honourable the Lord John Cavendiſh . The Honourable Nathaniel Carzon. Sir John Chiceſter, Bart . John Carr, Eſq. Architect, York. Charles Carton , Eſq. R. A. Painter. Thomas Carter, Eſq. Statuary. Mr. Thomas Chippendale, Cabinet Maker. J. Baptiſt Cipriani, Eſq. R. A. Painter. Thomas Clark , Eſq. Plaiſterer to His Majeſty's Board of Works. Henry Clay, Eſq. Birmingham, Japanner to His Majeſty. Mr. Thomas Cooley, Architect, Dublin. Kenton Couſe, Eſq. Architect. Mr. Cowen, Bookſeller, Dublin. Mr. Richard Cox, Plailterer. The Right Honourable the Earl Gower, Edward Gray, Eſq. Builder. Mr. James Gandon , Architect. John Gorham, Eſq. Surveyor. Valentine Green, Eſq. F. A. S. Mezzotinto Engraver to His Majeſty, and to the Elector Palatinc. Richard Hulſe, Eſq . William Hunter, M. D. F. R. & A. S. Phyſician ex traordinary to Her Majeſty, and Profeſſor of Ana tomy to the Royal Academy. John Hunter, Eſq. F. R. S. Surgeon Extraordinary to His Majeſty. Richard Hayward , Eſq . Sculptor . Mr. Richard Haudril, Plaiſterer, Canterbury. His Grace the Duke of Dorfer. The Right Honourable the Earl of Donegall . The Right Honourable Sir Lawrence Dundas, Bart. 19a35 A LIST OF THE John Hamilton , Ery. F. S. A. Painter. William Hamilton , Elg . Painier. Mr. Charles Hay, Builder, Norfolk . Mr. Hill. Meßrs. Hepburn and James Haſtie, Builders. Meſſrs. Jee and Eginton, Birmingham . Mr. John Johnfun, Architect. Anthony Keck, Eſq. Architect, Gloceſterſhire, His Grace the Duke of Leinſter. Mr. Thomas Lee, Surveyor. Mr. Thomas Leverton , Architect. His Grace the Duke of Montague. The Right Honourable the Earl of Mansfield, Lord Chief Juſtice of England. Sir Herbert Mackworth , Bart. David Martin , Eſq. F. S. A. Painter, Preſident of the Royal Incorporated Society of Artiſts of Great Britain . John Miller, M. D. Mr. Edward Malpas, Engraver. John Francis Moore, Eiq. Sculptor. Mr. Robert Moriſun , Architect. Joſeph Nollekens , Eſq. R.A. Sculptor. Mr. George Nicol, Bookſeller. Mr. Thomas Owen, Architect, Dublin , John Paradiſe, Eſq. L. L. D. William Patoun , Eſq. James Paine, Eſq. Architect. James Paine, junior, Eſq. F. S. A. Sculptor. Edward Penny, Eſq. R. A. Profeſor of Painting to the Royal Academy. Mr. Thomas Peorole, Architect, Dublin. Mr. Joſeph Pickford , Architect, Derby. Mr. Prince, Bookſeller, Oxford . The Right Honoural le the Earl of Radnor. The Right Honourable the Lord Rivers. John Radcliffe, Eſq. Sir Joſhua Reynolds, R. A. Painter, Preſident of the Royal Academy, London. Subſcribers to the Work when completed. 3 - Want SUBSRIBERS. Melis. Richardſon and Urquhart, Bookſellers. Melis. William and Patrick Richardſon . George Romney , Eſq . Painter. Biagio Rebecca, Eſq . Painter. Mr. Archibald Robertſon . Mr. James Robſon, Bookſeller. Mr. Edward Robbins, Plaiſterer, Dublin. Mr. Thomas Rogers , Architect. Mr. Roſe, Maſter of the Academy at Chiſwick . Joſeph Roſe , junior, Eſq. Plaiſterer, Mr. Spiridone Roma, Painter. The Right Honourable the Earl of Shelburne. The Right Honourable the Lord Scarſdale . Paul Sandby, Eſq. R. A. Painter. Archibald Shiells, Eſq. Edinburgh. Mr. James Shiells , Lambeth . Melirs . Sayer and Bennet, Printſellers . Mr. George Scott, Printer, Mr. Walter, Shropthire, Bookſeller, Mr. Smith, Dublin. George Stewart, Eſq. Architect. Mr. Swinney, Bookleller, Birmingham. The Right Honourable the Lord Templetown. P. J. Taflaert, Eſq. F. S. A. Painter . James Tallic, Eſq. Modeller. Mr. Iſaac Taylor, Engraver, Secretary to the Society of Artiſts. William Tyler, Eſq. R. A. Sculptor. Mr. William Thomas, Surveyor. William Weddell, Eſq . . Alexander Wedderburne, Eſq. Sollicitor General tc His Majeſty. Benjamin Weſt, Eſq. R. A. Hiſtorical Painter to His Majeſty . Mr. John Wilkinſon, Architect. Mr. Wilſon, Book!eller, Dublin. William Woollett, Eſq. F. S. A. Engraver to His Majeſty . Stephen Wright, Eſq. Architect, Maſter Maſon and Deputy Surveyor to His Majeſty's Works. Joſeph Wright, big . Painter, Derby. Mr. Thomas Wright, Printer. Samuel Wyatt, Elq. Architect, Anthony Zucchi, Eſq. Painter . The Right Honourable the Lord Melbourne. The Honourable Sir William Hamilton , K. B. Envoy extraordinary and Plenipotentiary to the Court of Naples. The Honourable Charles Marſham . L. L. D. Thomas Dummer, Eſq. Sir Matthew White Ridley, Bart. Sir William Robinſon, Bart. Sir Egerton Leigh , Bart. Mr. Van Gelder, Sculptor. N. B. Any Errour in the above Lif fhall be reclified in reprinting tbe Subſcribers Names at the Concluſion oftbe Work, andobe Names of ſucb Noblemen or Gentlemen übo may pleaſe toſubſcribe before sbat Time, ſhall be iben inferted. C O N T E N T S. BO O K SE C O N D. Tlare . Page: 51 52 55 56 58 61 63 66 67 69 71 73 75 78 XXV. Child -lood , Youtli , Man -lood and Old Age XXVI. Short Life, Longevity; Matrimonial Concord and Decorum XXVII. Seeing, Hearing, Smelling and Taſting XXVIII. Touching, Imagination , Underſtanding and Invention XXIX. Art, Science, Theory and Practice XXX. Hiſtory; Poetry, Tragedy and Comedy XXXI. Aſtrology, Aſtronomy, Ethicks and Philoſophy XXXII. Geometry , Geography, Hydrography and Logick 'XXXIII. Phyſics , Metaphyſicks; Medicine and Grammar XXXIV. Rhetorick, Eloquence, Arithmetick and Mathematicks XXXV. Agriculture, Navigation , Mechanicks, and Military Architecture XXXVI. Painting, Sculpture, Civil Architecture and Muſick XXXVII. Deſign, Symmetry, Magnificence and Harmony XXXVIII. Academy, Study, Imitation and Emulation XXXIX. Education , Idea, Conſideration and Inconſideration XL. Inclination , Aliduity, Innocence and Reflection XLI. Inveſtigation , Conſcience, Diſcretion and Ingenuity XLII. Memory, Oblivion , Silence and Loquacity XLIII . Neceſſity, Diſtinction , Inſtinct and Inſpiration XLIV. Opinion , Doctrine, Splendour and Simplicity XLV. Perfection , Imperfection , Docility and Indocility XLVI. Perſeverance , Supplication, Courteſy and Converſation XLVII. Reaſon, Perſuaſion , Curioſity and Opportunity XLVIII. Solitude, Meditation , Experience and Exerciſe XLIX. The Will, Delight, Pre -eminence and Conſervation L. Heroick , Lyrick, Paſtoral and Satirical Poetry LI. Prophecy, Theology , Mythology and Iconology LII . The Middle 82 84 85 88 90 93 96 98 100 102 105 108 110 113 I N D E. X то тн Е FIGURES A N D L E T T E R P R E S S. Book SECOND . " Figure. Il 145 Academy 96 Ags, Old 133 Agriculture 136 Architecture, Milicary . 139 Architecture, Civil 131 Arithmetick Page. 78 52 71 73 74 70 58 84

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នី T Page: 53 90 77 52 71 7268 10388 68 109 Art 63 64 51 113 63 5486 107 83 99 99 101 54 75 116 72 91 89 1111 93 173 ii 105 MIT ! " 154 A Niduity 117 Aſtrology 118 Aſtronomy 93 Child -hood 116 Comedy 99 Concord, Matrimonial 158 Conscience 192 Conſervation 151. Conlideration 180 Converſation 1 9 Courteſy 183 Curioſity TOO Decorum 190 Delight 141 Deſign 159 Diſcretion 166 Diſtinction 175 Dicilicy 170 Doctrine 149 Education 130 Eluquence 148 Emulation 119 Ethicks 188 Exerciſe 187 Experience 122 Geography 121 Geometry 128 Grammar 144 Harmony 102 Hearing 113 Hiſtory 123 Hydrography 200 Iconology 106 Imagination 147 Imitation 174 Imperfection 153 Inclination 152 Inconſideration 1976 Indocilicy 160 Ingenuity 155 Innocence 168 Inſpiration 167 Initinet 108 Invention 157 Inveltigation I11 Figufl. 08 Longevity 164 Loquacity 143 Magnificence 95 Manhood 132 Mathematicks 135 Mechanicks 127 Medicine 186 Meditation 16. Memory 126 Metaphyſicks 201 Middle, the 140 Muſick 199 Mythology 13 Navigation 165 Neceſity 162 Oblivion 169 Opinion 184 Opportunity 137 Painting Perfection 177 Perleverance 182 Perſuaſion 120 Philosophy 125 Phyſics 114 Poetry 193 Poetry, Heroick 194 Poetry, Lyrick 195 Poetry, Paſtoral 196 Poetry, Satirical 112 Practice 191 Pre-eminence 197 Prophecy 181 Realon 156 Reflection 129 Rhetorick 110 Science 138 Sculpeure 101 Seeing 163 Silence 172 Simplicity 103 Smelling 185 Solitude 171 Splendour 146 Study 178 Supplication 142 Symmetry 104 Taſting 198 Theology his Theory 105 Touching 115 Tragedy 107 189 Will, the 194 Youth 75 86 91 97 94 82 69 80 64 104 103 66 66 69 77 5561 66 112 82 57 80 9684 101 73 96 98 100 64 6762 108 108 108 109 61 106 IIO 100 8569 59 74 55 89 95 55 102 94 79 - 97 Life, Soort 124 Logick 150 Idea 98 83 76 56 .1 9887 84 93 9258 85 110 60 56 62 57 105 51 Undertanding 고 1 ,? 1 E X P L Á N À TION 0 F Τ Η Ε !1 EMBLEMATICAL FIGURES, WITH THEIR ! Á T T R I B t T E s AND S Y M B OLS, Β Ο Ο Κ ΙΙ . 令*********************** ******* PLATE XXV . Fig: 93. ChilduOOD . THETHE firſt age of mankind is repreſented by the figure of a young boy, riding upon a ſtick , dreſſed in various coloured garments, alluding to the change ableneſs of children in their amuſements . The artiſt may introduce ſuch other objects as attract the attention of children in their tender years, to render the ſubject more expreſſive ; and an hour glaſs may be placed by the figure, ſhowing that only a ſmall portion of the land is run down. Fig. 94. Youth, 1 This amiable and lively age is here repreſented by the figure of Hebe, who was ſtyled the goddeſs of perpetual youth by the ancients. This ſubject may alſo be expreſſed by the figure of a beautiful young woman , pompouſly attired . The Egyptians o 1 1 52 E x P L A NATION OF THE Egyptians painted youth dreſſed in drapery of various colours, to ſignify the va riety of youthful deſires, and crowned the figure with flowers, to denote mirth , which generally reigns in this age. An hour glaſs may be introduced , with a larger portion of fand run out than in the preceding figure. The ancients alſo re preſented youth by the figures of Bacchus and Apollo . Fig. 95. MANHOOD . This ſubject is expreſſed by a figure in golden coloured drapery , fitting upon a lion , with a ſcepter in the right hand, and a book in the other , to denote, that in this time of life , ' the greateſt advantage is reaped from ſtudy, and that mankind are then moſt ſeriouſly thoughtful to encreaſe their fortune, and to raiſe their reputation : for this reaſon, a purſe and a ſword may be introduced : an hour glaſs may ſtand by the figure, and ſhow one half of the land run down. Fig. 96. OLD AGE. This ſubject is characteriſed by the figure of an old woman, dreſſed in a black mantle, or the colour of withered leaves , to indicate the trouble and decay at tending mortals at this age . ' In the right hand ſhe holds a cup, and with the left the leans upon a ſtaff, being in alluſion to the ſupport and nouriſhment nee celiary to the feebleneſs and infirmities of old age. An hour glaſs may be placed by the figure, with the ſand almoſt exhauſted, to denote the brevity of the remaining time. ÞLAT E XXVI. Fig. 97 SHORT LIFE. The figure of a young woman expreſſes this ſubject ; ſie is crowned with various green leaves , and holds a bunch of roſes in the right hand, and the cuttle fiſh with the • Multa ſenem circumveniunt incommoda. Horace, de arte poetica.

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E M B L E MATICAL FIGURES: 53 the left. On her breaſt is a repreſentation of the IIcmerobius : this volatile ani. mal is ſaid to live but one day, and according to Pliny, is to be found in Pontus, by the river Iliſpane. The inſcription on the pedeſtal, una dies aperit, conficit una dies, alludes to the roſe , the ſymbol of Nort life , becauſe it is longer in coming to maturity, and fades ſooner than any other flower . ' The green leaves witli which ſhe is crowned, alſo denote the Mortneſs of human life . † The cuttle fil is given as an emblem to this ſubject, as its life is of Nort duration . I Fig . 98. LongevíTY. Long life is repreſented by the figure of an aged matron , in ån antique dreſs, ſtanding by a deer, whoſe horns have many branches; Me holds a crow with the right hand . Both theſe animals become proper emblems to this ſubject, as they live to a great age, according to ſome authors, upwards of three hundred years. § It is recorded in hiſtory, that Charles the VI . of France , took a deer in the chace, which had a collar about its neck , with the following inſcription , hoc Cefar me don navit. Fig . Novilima roſa poſt alios naſcitur eademque prima deficit. Athenæus, Lib. XV. Tot ſpecies, tantoſque ortus varioſque novatus Una dies aperit, conficit una dies . Conquerimur, natura, brevis quod gratia florum eſt, Oftentata oculis illico dona rapit. Quam longa una dies, ætas tam longa roſarum Quas pubeſcentes juncta ſenecta premit. Virgil . + Unam ſententiam optime vir Chriſtianus protulit, Quod hominum generatio talis fit, qualis eft foliorum , Hanc paucis homines perceptam auribus In pectore condunt, ncc intelligunt Quam breve ſit juventutis, ac vitæ tempus datum Mortalibus. Simonides .

  1. Thæti, ac ſepiæ vitam eſſe brevem afferuit.Ariſtotelius e animalibus, Lib. XV. Cap. 18.

§ Ter binos, decieſque novem ſuperexit in annos, Juſta ſeneſcentum , quos implet vita virorum ; Hos novies ſuperat vivendo garrula cornix, Et quater egreditur cornicis ſæcula cervus. Virgil ſecundum probum, de ætatibus annimalium : 54 E X P L A N Á T I ON ' ò F тн Е Fig. 99. MATRIMONIAL CONCORD . The figures of a man and a woman characteriſe this ſubject ; they are dreſſed in purple coloured drapery, and their necks encircled with a golden chain , having the figure of an heart for a pendant, which each of them ſupport with one hand , denoting that matrimony is compoſed of mutual love and benevolence; ordered by nature and the divine laws. Fig. 100. DECORUM. Is perſonified by the figure of a young man , of a comely aſpect, alluding to the propriety and ſeemlineſs which continually accompanies this ornament of human Jifc. He is dreſſed in a lion's ſkin , which is a ſymbol of the greatneſs of mind aſligned to the obſervers of decorum . He is crowned with a garland of Amaran thus, and holds a branch of it in his left hand : this plant is ſaid never to fade; but always to maintain its beauty and verdure . The cube and cypher of Mer, cury in the right hand , denote the elegance and fagacity of diſcourſe. f The Co thurnus or antique buſkin is on the right leg; and the ſock on the left foot, as they were worn by the famous heroes of the ancients, # and ſignify decency in geſture and behaviour, and are the ſymbolick diſtinctions of poetick decorum ---the Cothurnus of tragick poetry, and the fock of comick poetry. PLATE • Theffali Achillis fui monumentum Amarantho coronabant, ut oftenderent quemadmodum flos ille nunquam interit, Gc ejus famam perpetuo duraturam. Antonius Thelerius. + Adhibenda eſt igitur quædam reverentia adverſus homines et optime cujufque reliquorum . Nam negligere; quid de ſe quiſque fentiat, non folum arrogantis eſt, ſed etiam omnino diſſoluti. Marcus Tullius.

  1. Virginibus Tyriis mos eſt geſtare pharetram Purpureoque alté ſuras vincire cothurno. Virgil Æneid, I. Breviorque videtur

Virgine Pygmea, nullis adjuta cothurnis. Juvenal, Sat. 6. ' Cothurni ſunt calceamentorum genera venatori apta, quibus crura ctiam muniuntur, cujus calceamenti efi gies eſt in fimulacris liberi, & Dianæ. Virgil. Cothurni ſunt quibus calceabantur tragedi , qui in theatro di &turi erant, et alta intonantique voce cantaturi, eſt enim calceamentum in modum crepidarum, quo heroes ucebanturs. Ilidorus, Lib. XIX. Cap. 34. EMBLEMATICAL FIGURES. 55 P L A T E XXVII. Fig. 101 . SEEINC . This ſenſe is repreſented by the figure of a young man, with his right hand hold ing an eagle, which is a bird frid to be extremely ſharp lighted ; and in the left a looking glaſs, which is an emblem alluding to the form of the eye, reflecting the objects it receives ; * the eye being reſplendent like glaſs, or clear as water. Se veral young eagles are repreſented on a Mield by the ſide of the figure, looking to the ſun , with the motto , cognitionis via. The Egyptians aſigned the goſs hawk and the eagle, as emblems of this faculty ; the former having a very penetrating ſight, and the latter ſo ſtrong eyes, as to behold the fun without being dazzled , The lynx may be introduced , being remarkable for its acuteneſs of ſight . Fig. 102 : IIEARING . The ſenſe of hearing is characterized under the figure of a young woman , found ing an antique flagelet or whiſtle, with a deer placed by her lide , as it is an ani mal remarkable for quickneſs of hearing. An hare may be introduced with great propriety , as it was generally made an attribute to this ſubject by the Egyptians.t Fig. 103. SMELLING , This ſenſe is expreſſed by the figure of a young man dreſſed in green , decked with roſes and other flowers; in the left hand he holds an incenſe cup, and with the other a bunch of flowers, the former ſignifies artificial odours, and the latter natural odours. The Egyptians alſo made a ſetting dog an attribute to this ſubject, being an animal very muchuch noted noted for for its its great power in ſmelling . P Fig. • Accipitre etiam picto oriſin ſæpe proponunt, avis enim ea pollet acumine viſas. Plutarch . + Celeritate exaudiendi videtur aliis anteire, cujus admiratione dicti Ægyptii in ſuis facris literis picto lepore au ditum ſignificant. Plutarch, 1 Ε Χ Ρ Ι Α Ν Α Τ Ι ONΟ Ν OF THE 56 Fig. 104. Tasting. This ſenſe is repreſented by the figure of a young woman, who holds a baſket containing various ſorts of fruit, with the left arm , and a pine apple in the right hand, the taſte of the pine being eſteemed very delicious. P L A T E XXVIII. Fig. 105. TOUCHING . The ſenſe of touching is characteriſed by the figure of a young woman, with the left arm naked and extended , ſupporting a falcon , whoſe ſharp claws graſp round the wriſt. This ſubject may be repreſented by a figure feeling the pulſe of the left arm with the right hand ; or the figure may hold an ermine in the right hand, and touch the ſharp briſtles of an hedge log with the left, the ſmoothneſs of the one being a very perceptible contraſt to the pricklineſs of the other. As the touch is common to every animal, tho' deprived of the other ſenſes, and is diffuſed thro' all the parts of the body, but particularly in the hands , for this reaſon , the figure of a monkey may be introduced as an attribute to this ſub ject, its imitations approaching nearer to human geſtures than thoſe of any other animal. † The five ſenſes may be repreſented by a ſingle figure, according to the following deſcription, viz. by painting the figure of a young man, dreſſed in various colour ed

  • Omnibus ſenſus unus ineſt communis tactus. Ariſtotle.

Tactus toto corpore æquabiliter fuſus eſt, ut omnes ictus omneſque nimios et frigoris, & caloris appulſus ſentire poffimus. Ariſtotle , Cap. III. + Simia quam turpis ſimillima beſtia nobis. Ennius. Humano qualis fimulator ſimius oris . Claudian . In deforme viros animal mutavit ut iidem Diffimiles homini, poſſent fimileſque videri . Ovid. Callidus emiffas claudere ſimius haſtas, Si mihi cauda foret cercopithecus eram . Martial.) EMBLEMATICAL 57 FIGURE S. ed drapery, with a garland of different fruits and flowers, and a plume of fea thers on his head , holding a pipe in the left hand , and a glove in the right. He is painted young , with a plume of feathers, alluding to the varicty of ſenſations in time of youth. The various colours of the drapery denotc ſeeing, the flowers that of ſmelling, the fruit taſting, the pipe hearing, and the glove touching. To humble the pride of man , it has been obſerved , that there is none of the ſenſes in which he is not inferior to ſome one animal or another , according to the following diſtich : Nos Aper auditu, Lynx viſu , Simia guſtu, Vultur odoratu, præcellit Arania tactu . Fig. 106. IMAGINATION, Is a power of the mind, by which exterior and perceptible things are preſented to the underſtanding, and is repreſented by the figure of a woman , in a penſive atti tude, with her hands acroſs : her dreſs is of variouscoloured drapery, to ſignify, that the imaginative power receives the phantaſın of any object preſented by the exter nal ſenſes . The wings at her temples, are alluſive to the celerity withi which ſhe forms ideal objects, and the power of preſenting them to the underſtanding. The ſmall figures in chiaro oſcuro, that form the crown on hier liead , denote that fancy reſides in the ventricles of the brain . The penſive attitude, and the hands being acroſs each other, demonſtrate, that tho' the other faculties be unemployed, this power may be ſaid to be in continual motion, even when involved in fleep , of which there are many inſtances. The wonderful effects of imagination are den ſcribed by Marcellus Donatus, lib . II. de medica hiſtoria mirabili. Fig. 107. UNDERSTANDINO , Is a natural permanent and incorruptible gift of the mind, that leads to know ledge and judgment. It is allegorically repreſented by the figure of a young man , of 58 Ε XΧ Ρ L Α Ν ΑA TIΤ Ι OΟ ΝN OF THE of a fair complexion , with a crown of gold upon his head , and a ſceptre in his right hand , pointing to an eagle with the left; as this bird ſurmounts all others in Aying and in ſeeing, a flame riſes from the top of his head, to denote the deſire of knowledge. The crown and the ſceptre indicate the dominion over himſelf and his paſſions. His complexion is in conformity to the beauty of his operations . Fig. 108. INVENTION. This ſubject is the firſt and principal part of the liberal arts, and is more or leſs ſublime, in proportion to the quickneſs of the underſtanding. It is expreſſed by the figure of a young woman , pompouſly attired in white robes ; ſhe has wings at her temples, to indicate the flights of fancy, with which the mind is often tranf ported by the love of novelty ; Me holds the image of nature in the left hand, con ſidering it attentively , to indicate , that invention ſhould never depart from this univerſal miſtreſs of the arts . The motto, non aliunde, and the white robes, ſignify that invention is pure, and independent of any other means than its own influence . The golden bracelets on her wriſts, with the motto ad operam , denote the order and arrangement that ought to reign in her operations, and allude to the reward given by the ancients to thoſe who had invented any thing virtuous or praiſe worthy. She is painted young, as the ſpirits are raiſed by the heat of the blood, and aſcend to the under ſtanding, where reaſon and ratiocination form invention. P L A T E XXIX. Fig. 109 LIBERAL ART. As the practice of the arts requires power and experience, ' this ſubject is repre ſented by the figure of a middle aged woman, with her arms naked, to expreſs the Per varios uſus artem experientia fecit exemplo monſtrante viam. Manilius . Demon EMBLEMATICAL FIGUR ES 59

the neceſſary diligence required in art; with one hand ſhe holds a ſmall ſtake or rod, round which is twiſted a tender plant, meaning by this, that agriculture is one of the liberal arts . * She is dreſſed in green , to ſignify the hope of honour, the blooin of invention , and vivacity of ingenuity. With the other hand Nie holds the pencil, the chiſel, and the fquare, the attributes of painting, ſculpture, and architecture . Mechanical art may be characteriſed by a ſtrong robuſt man , leaning upon a cap ſtan , holding a lever in one hand, and a fame in the other, to ſignify, that the dexterity of thic hand Mould co - operate with the intelligence of the brain . The dreſs of this figure ſhould be more ſimple than the preceding one. Near the figure may be placed an hive of bees, theſe animals being the ſymbol of induſtry and di ligence. + Fig. 1o . SCIENCE Is a profound knowledge of all things, founded upon clear, certain, and ſelf evi dent principles, † and is expreſſed by the figure of a woman in an advanced age , as 1 -Demonſtrationum : Es ipfa experientia omnis artis et fcicntiæ principia. Ab experimento prodit ars, cum anima fucrit confirmatum . Cordanus, Lib. I. Verum uſu atque exercitatione hominibus ars, et ſcientia comparatur. Ariſtotle, Lib. I. Cap. 1 . Omnes artes omniaque opera quotidiano uſu , et jugi exercitatione proficiunt. Vegetius, Lib. I. de re militari, Ars, quia arctis præceptis, et regulis cuncta concludat: Diomcdes. Ars eſt univerfalium , experientia autem particularium . Ariſtotle . • Omnium rerum ex quibus aliud exquiritur, nihil eſt agricultura melius, nihil dulcius, nihil uberius, nihil homine libero dignius. Cicero. Etenim natus infans fine nutricis lacte non poteſt ali ncque ad vitæ creſcentis gradus perduci, civitas fine agris, & corum fructibus non poteſt creſcere, nec fine abundantia cibi frequentiam habere populumque fine copia tueri ; Vitruvius, Lib. I. + Qualis apes æſlate nova per florea rura Exercet fub fole labor, cum gentis adultos Educunt fætus, aut cum liquentia mella Stipant. Virgil, Æn. I. Nunc age, naturas apidus quas Jupiter ipſe addidit, expediam, &c. Virgil, Geor. Lib. IV.

  1. Scicntia eſt opinio vera cum ratione.

Sapientiam non jam humano ſudio comparari, quam purgatis montibus divinitus infundi folere. Plato. 60 Ε Χx Ρ Ι Α Ν ΑΑ Τ Ι Ο Ν of 1 i 3 as ir is acquired by long experience . " She holds a looking glaſs in the right hand, and a globe and triangle with the left ; and is dreſſed in blue, fringed with gold , to denote the knowledge of divine and human things : t the wings to her temples, fignify that the imagination receives the impreſſion of objects by means of the ſenſes, and that it is not ſcience where the underſtanding does not aſcend to the contemplation of things. The looking glaſs in the right hand , is the ſymbol of imitation , according to the philoſophers. The globe and triangle are intro duced , to ſignify the frequent uſe of theſe figures in mathematical demonſtration , which is one of the moſt eſſential branches of ſcience. | Fig. ut. THEORY, Is the Rudy of any art or ſcience, and is repreſented by the figure of a young woman, dreſſed in azure coloured drapery , in an attitude of contemplation , de ſcending a ſtaircaſe, with a pair of compaſſes on her head, having the points upa .wards. This hieroglyphick emblem , ſignifies that theory has more relation to the demonſtration of truth , than to the practice of it . The compaſſes are the moſt . proper inſtrument for her operations , for meaſuring objects both linear and cire tular. In antiquis eſt ſapientia, et in multo tempore prudentia. ; Plato . + O amice Pan, atque cætera numina, date, obſecro, ut intus pulcher officiar, quæcunque, & mihi extrinie cus adjacent intrinſecis fint amica ; fapientem folum divitem putem, tantum vero hujus auri tradite, quantum nec ferre, nec ducere alius quam vir temperatus poſſit. The prayer of Socrates by Plato.

  1. Nam nihil egregius, qua res diſcernere portas

Ac dubiis animis, quas ab ſe protinus abdit. Lucretius, Lib, IV. § Scientia fit abftrahendo.

  1. In ſcientiam ab eodem deſcriptam .

Cælar ſcientiam pinxit mulierem ferre Alatam in capite deſuper criſtam , Er in dextra reclè continere ſpeculum Conſpicuis è longe imaginibus ſplendens, In alia vero orbem manu apparere, Et ſuper orbem figura triangularis ineſt. Hæc ſcientiæ imago : at ſi aſpicias Cæfarem , ſcicntiæ imaginem Cæfarem dixcrit. . 1 . E M B L E MATICAL FIG U R É Š . Sk 1 çular. The attitude, azure dreſs, and deſcending the ſtaircaſe, fignify eminence, fublimity, and progreſlive motion . Her youth denotes agility , ardour, hope and cheerfulneſs, being ſuitable endowments to the ſtudy of theory: Fig. 112 PRACTICE. 1 1 This ſubject is the actual performance or exerciſe of any profeſlion , and is alle gorically repreſented by the figure of an old woman , with her head and hands to wards the earth , as a contraſt to theory, whoſe head and hands are turned up wards. She is dreſſed in eartly or tawny coloured garments, holding a pair of large compaſſes in one hand, and a plummet in the other ; practice has two inſtru ments , to denote, that it conſiſts of two parts , liberal and mechanical, the for mer fymbolized by the compaſſes, and the latter - by the plunimet. Shc looks downwards, fignifying that her vicws are on earthly things, which is alſo indi cated by the colour of her dreſs , PLATE XXX 1 Fig. 113. History, t's a narration of facts delivered with dignity, and was allegorically repreſented by the ancients , under the form of a matron of a noble aſpect, in a tloughtful at titude, with large wings at hier Moulders, dreſſed in white drapery, and writing upon a book, which reſts on the ſhoulders of Saturn , witli her foot ſtanding on a ſquare ſtone. The thoughtful attitude, the large wings , and writing on the fhoulders of time, allude to the deſire of knowing all things, faithfully tranſmit ing paſt events to poſterity with expedition , truth , order and harmony. Her foot ſtands upon a ſquare ſtone , to denote that hiſtory ſhould be firm , folid , and un corrupted, not to depart from truth , nor be influenced thro' intereſt ; for this reaſon, ſhe is dreſſed in white, the ſymbolick colour of fincerity, which ought to guide the pen of hiſtorians. This ఈమందు వాన- భారం కాదు అందుకుముందుకు సుమారుడు అని తన 62 E X P LA NATION OF тн Е This ſubject may be expreſſed by the figure of a woman, with a pen in her hand , looking over her ſhoulder towards the ground, where ſeveral rolls of paper may lye : lier garments may be green , interlaced with ever green flowers, and by her ſide may be repreſented a crooked river, like that of Meander in Phrygia . Fig. 114. POETRY, Js the art of compoſing verſes, which no man can be excellent in without a particular gift from heaven ; * and is characteriſed by the figure of a fine woman, dreſſed in azure coloured drapery ; with the left hand ſhe holds the lyre , and with the other a trumpet, the former has affinity to the cadence of verſes, with the Jiarmony of muſick , and the latter alludes to the poets aiming at fame. The figure is crowned with laurel , which continually preſerves its verdure. A fwan is introduced by the ſide of the figure, which was an emblem of muſick , as by a con tinual articulation of its voice, it is ſaid by the poets , to improve in ſinging, as it grows in years. This ſubject lias been frequently repreſented by the figure of Apollo, liolding a garland of laurel in the right hand, and with the left the lyre and bow. Fig. 115. TRAGEDY, + Is a dramatick repreſentation of ſerious events, and characteriſed by the figure of a majeſtick woman , dreſſed in mourning, holding a dagger in her hand, which are expreſſive of the greatneſs, pain and terror of this ſubject ; the murdered child at her feet, alludes to cruel and violent death , being the theme of tragedy . The

  • C'eſt en vain qu'au Parnaſſe un temeraire auteur

Penſe de l'art des vers atteindre la hauteur, S'il ne ſent point du ciel l'influence ſecrete, Si non altre en naifant ne l'a formé Pöete ; Dans ſon genie etroit il eſt toujours captif Pour lui Posbus eſt ſourd, et Pegale eſt retif, Boileau, au commencement de ſon art poëtique. ! } EMBLEMATICAL FIGURES. 4 The figure is Mod in buſkins, as they were worn by princes and heroes of the an cients, and in imitation of them , were introduced by tragedians, to denote that this ſort of poctry requires great and lagcious conceptions, neither common nor trivial. To the back ground of this ſubject, the trophics of heroes may be introduced , and a palace at a diſtance, on fire . f 1 Fig. 116. COSIEDY . This ſubject is a kind of dramatick pcely, repreſenting the lighter faults ofman kind ; and is expreſſed by the figure of an amiable woman , dreſſed in a velment of various colours , fignifying the variety of objects included in this fort of poetry , and the pleaſing amuſements of the theatre. † The figure appears blowing a par toral horn ; and holds a maſk in one hand , to denote larmony and imitation; 1110 fle is ſhod in ſocks , ſuch as were worn by the ancient comick actors. The infirips tion, deſcribo mores hominum , alludes to deſcribing the manners of men . PLATE XXXI. Fig. 117 ASTROLOGY . Is the ſcience by which the motion and influence of the ſtars are known , or the practice of foretelling things by the knowledge of the ſtars ; and is allegoricaliy repreſented by the figure of a woman , dreſſed in azure coloured drapery, crown R ed

  • Effutire leves indigna tragedia verſus.

Horace. + Ainſi pour nous charmer, la tragedie en pleurs, D'Oedipe tout ſa : glant fit parler les douleurs; D'Oreſte parricide exprima les alarmes ; Et pour nous divertir, nous arracha des larmes . Boilcau, dans le chant. 3 , de' ſont art poétique, $ Enfin de la licence on arreta le cours, Et peu apré : Le theatre perdit ſon antique fureur. La comedie apprit á rire fan aigreur, Sans fiel et ſans venin ſcut inſtruire et reprendre, &c. Boileau dans ſon art poétique.

  • మును ముందుకు నడుం ఒక అనుమతులు మనముందు ముందు తలఅంత కాలంగా మందులు

ܘܗ.ܙܗܘ 64 E x'P L A NATION OF THE ed with ſeven Nars, having wings at hier ſhoulders. In the right hand me holds a fceptre, and with the left a terreſtrial globe , which ſhe ſeems to be ſtudying . The azure colour of her garments, alludes to the fixed ſtars in the heavens, and the wings indicate the diſſiculty of comprehending their great diſtance: The ſceptre denotes, that the ſtars in ſome meaſure have a ſpecies of influence over ſublunary bodies ; and in this reſpect they are conſidered by aſtrology . Fig. 118. ASTRONOMY. This ſubject is a mixed mathematical ſcience , and teaches the knowledge of the celeſial bodies ; and is characteriſed by the figure of a matron , in an attitude of contemplation, nobly dreſſed in violet coloured drapery , overſpread with ſtars, alluding to the relation that this ſtudy has with night : as the ſtars then appear with great luſtre when the rays of the ſun are withdrawn . She holds an aſtro labe in the right hand, to ſignify that by it ſhe comes to the knowledge of the courſe and motion of the ſtars , and other celeſtial bodies . The figure leans upon a table or chart, whereon are delineated ſeveral aſtronomical figures, which ſhew the diſtinction between aſtronomy and aſtrology. The contemplative attitude, denotes that the ſtudy of this figure is employed about heavenly bodies . Fig. 119. ETHICKS. The ſtudy of this ſubject is the doctrine of morality, which ſerves to regulate the affairs of human life, and to reform the manners ; and is allegorically expreſf ed by the figure of an amiable woman of a grave aſpect, ſitting by a lion , which ſhe holds by a bridle with the right hand, and in the left ſhe holds the plummet, demonſtrating the rectitude of reaſon and evenneſs of temper with which moral philoſophy regulates the paſſions. Fig. 120 . PHILOSOPHY. . This noble ſcience is called the Queen of all diſcipline, the nouriſher of every virtue , and the diſtributor of tranquillity, having the knowledge of things natural and Ë MBLEMATICAL FIGUR E s. ڈا 1 and moral , a particular giſt of he: iven . This ſubject is characteriſed by the figure of a venerable matron , of a lively complexion , with a diadem on her licad , gracefully fitting upon a throne of marble, which is aſcended by ſome ſteps . She is holding two open books, on one of which is written Naturalis, and on the other Moralis, to ſignify the advantages that are reaped from the Nudy of books , t to de monſtrate the ſecrets of nature, and the difficulty of knowing their cauſes . ller garments are of a dark colour, alluding to the obſcure terms of the ancient philo ſophers. † Her venerable aſpect, the throne, diadem , and lively complexion , denote reſpect due to her who is Nyled the Mother of the liberal arts . § A ſceptre may 唐* Philofophia bonarum artium nihil eft aliud , niſi, ut Plato ait , donum, et inventum Deorum . Marcus Tullius. Nunquam in tantum convaleſcit ncquitia, nunquam fic contra virtutis regulas conjurabitur, ut non Philoſophiæ nomen venerabile, et ſacruin maneat. Seneca. Epiſt. 14 . Proprie veró ſapientiam , ct philoſophiam vocat appetitionem quamdam , ac defiderium divinæ fapientix. Dio genes Laertius . Quidam ita finierunt: ſapientia eſt noffe divina & humana. Seneca Epiſt. 28. Philoſophia docet hominem cognoſcere creatorem ſuu:n . Ariſtotle . Didiciſti eniin , qua profunditate cum ſuis partibus ſpeculativa cogitctur, qua ratione activa cum ſua divifionc diſcaturi Theodoricus : + - Et ni Poſces ante diem librum cum lumine, & non Intendes animum ftudiis, et rebus honeſtis ; Invidia, vel amore vigil torquebere. Horace Epift. 2 : Lib. I. Scribendi recté ſapere eſt, & principium & fons : Rem tibi Socraticæ poterunt oſtendere chariz. Horace. Inſtrumentum doctrinæ eſt viſus librorum. Plutarch . Omnis profectus ex lectione, et meditationc procedit ; quæ enim ncſcimus lectione diſcimus, quz didicimus meditatione conſervamus. Ifidorus, Lib . III. | Philoſophia in tres partes eſt diſtributa, in naturæ obſcuritatem , in differendi ſubtilitatem , in vitam , atque Tullius. § Et laudatarum artium omnium procreatrix quædam, et quaſi parens ea quam philofophia græci vocant. Se neca Epift. 95. O vitæ philoſophia dux, o virtutis indagatrix, expultrixque vitiorum , quid non modo nos, ſed omnino vica ho. minum fine te eſſe non potuiſſet ? Tu urbcs peperiſti, tu diſſipatos homines in ſocietate vitæ convocafti. Cicero . Itaque reliquorum Nudiorum quaſi caput et ſumma conſtituenda eſt philoſophia. Plutarch. Tu inventrix legum, tu magiſtra morum, et diſciplinæ fuiſti. Tullius . Florerent civitates, ſi aut philoſophi imperarent, aut emperatores philoſopharentur. Plato , mores . 1 66 E * ' L A NATION OF THE may be introduced , as this ſcience teachcth kings to govern their realms with wiſdom and tranquillity P LATE XXXII: Fig. 121 . GEOMETRY, Is the ſcience of quantity, extenſion , or magnitude, abſtractedly conſidered , and one of the nobleſt parts of the mathematicks. It is repreſented by the figure of a woman , of a grave and reſpectable aſpect, as it is a key to different ſciences. The tolour of her veſtment is a clear violet , the ſymbolick colour of gravity; and it may be overſpread with triangles, and other geometrical figures. In the right hand ſhe is holding the plummet and a pair of compaſſes, which are the ſuita ble attributes to the exactneſs of proportions; and denote that this ſcience is divid. ed into theory and practice. With the left hand Me is raiſing a triangle upon a cube, which has a circle inſcribed on its ſide, alluding to theſe being amongſt the principal figures of geometry . Fig. 122 . GEOGRAPHY, Is a general and particular knowledge of the terreſtrial globe, and is allegorically repreſented by the figure of a woman , dreſſed in earthy coloured drapery ; or ſhe may be in an Egyptian dreſs, to imply that this ſcience , by the help of geometry, was diſcovered by the Egyptians, and taught them to mark out the limits of their grounds, after the inundations of the Nile . Tlie figure appears meaſuring a ter reſtrial globe with a pair of compaſſes in the right hand . The quadrant lies by the globe, it being a mathematical inſtrument very neceſſary to her operations . Fig. 123. HYDROGRAPHY. This ſcience implies the deſcription of the watery part of the globe; it was diſco vered by the Phænicians, who had not the knowledge of the mariners compaſs, but took EMBLEMÀTICAL FIGURES. 67 took their meaſures from the ſituation of the ſtars, and from lights which they put up on towers and rocks, at rertain diſtances , from cape to cape . This ſubject is expreſſed by the figure of a woman , with the polar ſtar above her head, dreſſed in drapery the colour of the waves of the ſea , to ſignify water and the motion of it . She holds a maritime chart and a pair of compaſſes in the right hand , and with the left ſie points to a ſhip at a diſtance. The mariners com pals which is placed by the figure, is alſo a ſuitable attribute to this ſcience . 1 Fig. 124. LOGICK , Is the art of uſing reaſon well in our enquiries after truth , and the communica tion of it to others, and acquiring facility in diſtinguiſhing truth from falſehood . It is repreſented by the figure of a lively woman , dreſſed in white robes, holding a rapier or ſmall ſword in the right hand , and three keys in the left, having an hel met on her head , and a peregrine falcon for the creſt; the rapier alludes to the acuteneſs of the ingenuity, and the helmet to the ſtability and truth of this ſcience ; and as the falcon flies after his prey , ſo the logician diſputes to vanquiſh others. The keys are in alluſion to the diſcovery of truth , by the ſyllogiſtical figures, which are taught with great care by the profeſſors of this art . She is dreſſed in white, which is the ſymbolick colour of truth , and as it is reckoned the moſt perfect colour, lo logick is one of the moſt noble accompliſlıments of the mind . 1 PLATE XXXII. Fig . 125. Physics. This ſubject implies the ſtudy of the general properties of corporeal beings, and is perſonified by the figure of a woman, ſtudying a terreſtrial globe fixed upon its poles. In the left hand ſhe holds the clepſydra , or antique water dial , the applica tion of phyſics being properly the confideration of things ſubject to mutation . S Fig. 1 68 . E XPLA NATION OF THE Fig. 126. METAPHYSICKS. The object of this ſcience is the ſtudy of things abſtracted and purely intellectual, or the doctrine of the general affections of ſubſtances exiſting. It is expreſſed by the figure of a woman in a contemplative attitude , with one foot upon a globe, to denote , that this ſcience regards thoſe things which are celeſtial and of ſuperior excellence , The Cavaliere Ripa ſays, this figure may have a crown on her head , and a fcep tre in her hand, with an hour glaſs beſide the globe at hier feet, to imply that this ſubject is the Queen of all the ſciences, acquired by the light of nature . Fig. 127 MEDICINE . This art which ought to have experience for its foundation, is allegorically re preſented by the figure of a reſpectable matron , dreſſed in green , the ſymbolick colour of hope, as it promiſes health to the ſick . In the left hand ſhe holds a knotty ſtick and a ſerpent twiſted round it , and in the right a cock ; ſhe is crowned with laurel , as this tree was eſteemed healthful amongſt the ancient Romans, the leaves of it were given to their new magiſtrates on the Calends of January, as an augury of health : and it was the favourite plant of Apollo, the inventor of medi cine. The ſerpent was conſecrated to Æfculapius, the god of phyſick , by the Greeks and Romans, and eſteemed of great uſe in medicine. The knots in the ſtaff ſignify the difficulties that occur in the ſtudy of medicine. The cock was aſſigned as an emblem to this ſubject, being uſually ſacrificed to Æfculapius, and is the ſym bol of vigilance, which becomes thoſe who undertake the cure of diſeaſes. The healing rays of the ſun above the figure, denote the virtue and efficacy of this lu minary on natural bodies, and on the herbs uſed in medicine. A ſtork may be placed by the figure, with a branch of Origanum in its mouth, which was adopted as an lieroglyphick to medicine, by the Egyptians. A dog 11:49 alſo facred to Æſculapius, on account of his fidelity . Fig. • laventum medicina mcum eſt, Ovid. Mctam. Lib, I. E M B L E MATICAL FIGUR E S. 69 Fig. 128. GRAMMAR . This ſubject is ranked as the firſt of the ſeven liberal arts ; and is the ſcience of ſpeaking correctly , which teaches the relation of words to each other, as may underſtood by the definition on the pedeſtal, viz . vox literata , et articulata , debito mow pronunciata. It is repreſented by the figure of a woman, who holds a file in her right hand, and in the left a vaſe, with which ſhe is gently pouring water upon a tender plant, to indicate that as water nouriſhes plants , grammar may be ſaid to prepare and ripen young minds to the attainment of the other ſciences. The file ſignifies that grammar awakens and Marpens the intellect . P L A T E XXXIV. Fig . 129. RHETORICK. The power of perſuaſion is the act of ſpeaking not merely with propriety, buc with art and elegance . It is repreſented by the figure of a graceful woman , ele gantly dreſſed, and her head richly attired ; the ſceptre in the left hand, is a ſign that ſhe is ruler of the affections; the open book implies , that this power is de rived from ſtudy , and the motto , ornatus perſuaſio, denotes the beauty of rhetorick . The right hand is elevated and extended , to ſhow that action makes her proofs more clear and eaſily underſtood . The elegant dreſs and graceful aſpect, indicate the charms of perſuaſion . Fig. 130. ELOQUENCE. This accompliſhment implies elegant language uttered with fluency, and is alle. gorically repreſented by the figure of an amiable woman, dreſſed in purple gar ments, with an helmet on her head , adorned with a crown of gold , and a breaſt plate of armour ; the figure of thunder in the left hand, the naked arm and de claiming attitude allude to the force of eloquence . The ancients aſſigned thunder to 70 E x P L A NATION OF THE to this ſubject, in alluſion to the learned Demoſthenes, who was ſtyled the Thunderer of eloquence. ller right hand reſts upon a book , and denotes learning, the mother of eloquence and perſuaſion , and that her orations are dreſſed up with art . The breaſt plate alludes to the foundneſs of reaſoning; the purple dreſs, the helmet and crown of gold , are emblems of perſuaſive power. The ancients re preſented this ſubject under the figure of a young Mercury, of a pleaſing aſpect: they alſo repreſented eloquence by the figure of Orpheus, in a philoſophical habit, ſounding the lyre ; and adorned his head with the Tiara, a ſpecies of a mitre or crown worn by the ancient Perſians : and with Orpheus they introduced the figure of different beaſts, birds , trees and mountains, which were moved by the ſweete neſs of his harmonick notes and perſuaſive ſounds. Fig. 131 . ARITHMETICK . This ſcience of numbers, is a part of the mathematicks, and was judged by Pya thagoras, Plato, and other philoſophers, to be eſſentially neceſſary to compoſitions of every kind . This ſubject is expreſſed by the figure of a woman ſingular ly beautiful, in an attitude of computing numbers . She is dreſſed in drapery of various colours , upon her veſtment are a variety of muſical notes and geome trical figures, which ſignify that the confonancy in muſick is formed from arith metical proportions, and that this ſcience is the key to muſick, geometry, and to other parts of the mathematicks. The table or book, whereon are ſeveral nume rical, figures, which ſhe appears to be calculating, is an attribute to this ſubject, and notifies the power of numbers . The motto, par et impar, denotes the various accidents which this art encounters in her operations.

Fig.

  • Oratoria dignitas cum regia dignitate conjuncta eſt, dum quod juftum eſt, perſuadet, et cum illa reſpublicas

uberliela dlat, in Pol. EMBLEMATICAL FIGURES. 20 1 Fig. 132 . MATHEMATICKS. This ſpeculative and practical ſcience , contemplates whatever is capable of being numbered or meaſured , and is allegorically repreſented by the figure of a middle aged woman , becauſe time is requiſite to the attainment of it : the wings to her temples, and her dreſs which is a clear tranſparent colour, ſiga nify her contemplation on abſtracted things, and that her demonſtrations are clear and intelligible. The globe with the ſigns of the celeſtial Zones, are placed at her left ſide, their operations being demonſtrated by mathematical reaſoning; and with the right hand Me holds a pair of compaſſes, wherewith ſic traces ſeveral mathe matical figures upon a chart or picture, which is ſupported by a child , whom the ſeems to be inſtructing , and who appears to be liſtening with great attention to lier demonſtrations. Muſick, Architecture, and other ſciences have great aſliſtance from the princia ples of this ſcience . PLATE XXXV. Fig. 133. AGRICULTURE, Is the art of cultivating the ground, in order to render it fruitful, and it is re preſented by the figure of a woman, crowned with a garland of the ears of corn , dreſſed in green , or the colour of ripe corn, to denote the produce of agriculture. With the right hand ſhe holds a repreſentation of the ſigns of the Zodiack, to point out the ſeaſons and variations of time, which are conſidered by the huſbandman . With the left hand ſhe embraces a young tree in full bloom , which has a tender vine intwined round its trunk ; ſhe appears to be conſidering it with pleaſure and the T tenderneſs

  • Felix agreſtum quodnam parata juventus,

Divitiæ quorum meſtis, et arbor erant. Propertius, Lib. III. ' ya Ε' Χ Ρ Ι Α Ν Α Τ Ι Ο Ν ο Υ Τ Η Σ tenderneſs of a parent, ſignifying the attention that an huſbandman has towards the rearing up of plants. As the plough is a principal inſtrument of this art , it is therefore placed by the ſide of the figure for an attribute , as are alſo other implements neceſſary to the art of cultivation . Fig. 134 : NAVIGATION, Is the art or practice of ſailing ; and is allegorically expreſſed by the figure of a woman , in a graceful attitude, holding the helm of a ſhip in the right hand , and in the left a fail, blown by the wind, which are expreſſive of the ſubject, without an explanation . The figure ſeems belolding a kite or gurnard flying in the air : Pliny in his natural hiſtory gives an acccount of this rapacious bird, and ſays, that the ancients directed the helms of their veſſels, by obſerving the various move ments of the tail of this bird , which obſervation having proved ſucceſsful, the gurnard was therefore aſſigned the eſtabliſhed hieroglyphick to navigation . Fig . 135. MECHANICKS, Is that branch of practical mathematicks, which conſiders motion and mov mg powers, their nature and laws, with their effects in machines ; by ſome defined the Geometry of motion . It is perſonified by the figure of a woman in an advanced age, with a circle from the top of her head , alluding to the me chanical powers, which are generally produced by circular motion . The ad . vanced age points out that mankind are at that time ſuppoſed to be ſkillful and experienced , both in civil and mechanical affairs. The capſtan is placed by the ſide of the figure, as it is one of the principal inſtruments of mechanical art, by which immenſe weights are raiſed ; in the right hand ſhe holds the lever and pule ley, and in the left the ſcrew fixed upon the wedge ; theſe mechanical inſtru ments • P. Valerianus, pag. 130, edit. de 1568. EMBLEMATICAL FIGURES 73 . ments being the principal mechanical powers, are ſuitable emblems to this ſubject ; as by them ponderous weights are raiſed , boil in horizontal and vertical directions . Fig. 136. MiLITARY ARCHITECTURE . 1 This ſubject is allegorically repreſented by the figure of a matron , dreſſed in a noble garment of divers colours , to denote the various inventions of military co: ſtructions, and its univerſal uſefulneſs. She has a golden cliain about her neck, to which is hanging a large diamond, to ſignify durability and excellence ; this at tribute alſo implies that the art of fortification is precious to the ſtate , and defends it from the enemy ; for this reaſon , is is accounted not only an art but a ſcience . She is holding the mariners compaſs, divided into 360 degrees, and a chart, on which is deciphered the plan of a fortification . A ſwallow is flying in the air, which is a bird remarkable for the artificial building of her neſt, and is the hiero glyphick of the knowledge of places and ſituations for contructing fortreſſes. * ' Tl : pick ax and the ſpade lie by the figure, they being the inſtruments that are firſt nee ceſſary for the erecting of edifices, civil or military.

P L A T E XXXVI.

Fig. 137 PAINTING This noble art of repreſenting objects by delineation and colours, is characteriſed by the figure of a fine woman , with a diademi on her head, and dreſſed in chang ing coloured garments , to denote the excellency, and pleaſing variety of this art . She has a golden chain about her neck, from which hangs a maſk , with the motto imitatio, and implies that imitation is inſeparably connected with painting, and the relation that this art has to poetry. The figure is repreſented in the attitude of painting; this ſtudy is compoſed of invention , deſign and colours, which are indi cated Pier. Valerianus, Lib. II. . 74 Ε Χ Ρ Ι Α Ν Α Τ Ι Ο Ν OF Τ Η Ε cated by thrcc rays of light; the firſt illuminates the head, the ſecond the hand, and the third the pallet . The books by the figure, ſignify, that this art requires ſtudy and application , and the aſſiſtance it receives from hiſtory and poetry. The art of painting is frequently repreſented with a band over her mouth , to indicate mute poetry, and that ſilence and ſolitude accompany this ſtudy. Fig. 138. SCULPTURE . Exactneſs of proportion , and elegance of deſign, are the chief excellencies of tlıis ſtudy . The origin of ſculpture is reckoned more ancient than any of the liber ral arts , as the ſcripture makes mention of the idols of Laban . This ſubject is al legorically repreſented by the figure of a fine woman dreſſed in beautiful coloured drapery, and a ſimple head dreſs, crowned with laurel. The figure is in the attitude of forming an antique buſt, into a proper ſhape and juſt proportions ; by her ſide is an unfiniſhed figure of the Venus of Medicis, which is one of the moſt perfect models of Grecian ſculpture. The figure is crowned with laurel , to denote that as this tree preſerves the verdure of its leaves thro' the ſeverity of the winter, the works of this art withſtand the intemperance of the weather. The beautiful co lours of the drapery , allude to ſculpture being encouraged and ſupported by the grcat and amuent. On the fore ground are a pair of compaſſes, chiſſels, and other inſtruments belonging to the practice of this art. Fig. 139. CIVIL ARCHITECTURE. The properties of the art or ſcience of building, are chiefly ſtrength , conveni ence and beauty. It is allegorically repreſented by the figure of a matron, dreſ ed in changing coloured drapery, to ſignify the pleaſing harmony and variety that this uſeful art affords the eye , and may be compared to the harmonious ſounds of muſick which delight the ear. The figure is in a thoughtful attitude, and appears to be ſtudying the plan of an antique temple, delineated upon a chart, which me holds with the right hand : on the plan are deciphered ſeveral arithmetical num bers, ܂ EM B L E MATICAL FIĠ U R É S. 26 bers, which denote, that beſides many other ſciences , that of calculation is indif penſibly neceſſary to this profeſſion . The pair of compaſſes in hier left hand, and the ſquare being at her feet, ſignify that the different artificers in building ſhould be directed by her inſtructions. The acanthus growing up the ſide of a baſket, gave Callimachus an opportunity to invent the Coričhian capital , it wasfirſt erected at Corinth , and is liere introduced , with tlie elevation of an edifice at a diſtance . Fig. 140. Musica , Is the ſcience of harmonical ſounds , and is divided into theory and practice, thic former enquires into the property of ſounds , and their reciprocal relations to one another ; the latter teaches the compoſition of muſick, and the manner of execut ing it . This ſubject is repreſented by the figure of a young woman , in an attitude of ſounding the lyre , ſeveral muſical inſtruments lie at her feet, and a crown of laurel , which was a favourite plant of Apollo, the god of muſick . The anvil and hamıner are introduced, as it is imagined that this art had its origin from the tink ling of the anvil, from wlrich Pythagoras came at the knowledge of muſical notes. The muſick book alludes to the metlod by which harmony is imparted to others, by means of the ſight . About the wriſt of the right arm is a bracelet , ſet with ſeven diamonds , which are alluſive to the ſeven ſounds of muſick. The pair of ſcales lying by the figure, denote that harmony ought to be exact in its propor tions . The nightingale is a ſymbol to muſick, and the bird Cicala , was aſſigned as an attribute to this ſcience by the Egyptians. PL A TE XXXVII. Fig. 141 DESIGN . It is repré By the deſign, an artiſt endeavours to execute or expreſs his ideas. ſented by the figure of a young man of a noble aſpect, dreſſed in rich drapery, holding a pair of compaſſes in the right hand, and in the left a mirror ; a pallet , a buſt, and pencils lie at his feet, alluding to deſign , being the parent of painting, U ſculpture 76 Ε ΧX Ρ LL ΑA ,, Ν ΑA Τ Ι Ο Ν ог тн Е ſculpture and architecture : the noble aſpect denotes that the beauty of the human form is moſt obvious in youtlı; and that every thing made by art is more or leſs beautiful. The figure is cloathed in drapery, to ſignify that few are maſters of this profeſſion , unleſs thoſe who attain it by practice and long experience ; for this reaſon, the figure may be expreſſed in an advanced age . The compaſſes indicate , that deſign conſiſts in proportional meaſures, as in arithmetick or muſick. This art belongs to the interior organs of the mind, which like the mirror, makes things appear beautiful or deformed. Fig. 142. SYMMETRY, Is due uniformity of each part in reſpect to the whole, or the adaptation of parts to each other . It is allegorically repreſented by the figure of a middle aged woman of ſingular beauty, as beauty and ſymmetry accompany each other , par ticularly in the human form . * In the right hand Me holds a pair of compaſſes, with which ſhe is in the attitude of meaſuring a ſtatue of Venus, which is eſteemed a perfect piece of ſymmetry, and was the goddeſs of beauty. In the left hand ſhe holds the ruler and a plummct, the neceſſary inſtruments to her operations. This figure is repreſented of a middle age , becauſe the human body is then at its full growtlı, and the proportions of it in their moſt perfect ſtate; in the ſtate of adoleſcence they are not confirmed , and in old age they are defective . The figure is almoſt naked , having only a piece of azure coloured drapery, flowing down from the fioulders, which , with the ſtars and ſeven planets that are deciphered on thie pedeſtal, are in alluſion to the motion of the licavenly bodies, in which are found the

  • Pulchrum, fine menſura, et moderatione, eſſe non poteſt.

Idecque animal, quod talc futurum eſt, convenienti menſura moderata eſſe oportet. Plato, Commenfuratio pulchritudo plané, et virtus ubique fit. Philibeus . Corporis pulchritudo non per ſe amanda, ſed tamquam Divinæ pulcritudinis imago nobis exiſtimanda. Marcilius Ficinus. Ilomo eft quoddam omne , et quoddam totum in omne. Mercurius Triſmegiſtus. 1 Ε ΝΙ Β L Ε Μ Α Τ Ι C A L 77 F I G U R E S. the moſt harmonick ſymmetry, and eſpecially in that of the fun , which diſtinguiſhie es the day and night, and regularly brings on the four ſeaſons of the year . Fig. 143 . MAGNIFICENCE , Is allegorically characteriſed by the figure of a woman , of a pleaſant and arabic countenance, ſitting in a ſumptuous ediſice , upon a regal chair, dreſled in gold, with a crown of the ſame upon her head . The chair is tlic hicroglyphick of empire , the crown and the drapery of golden Stuff indicate the grandeur of this ſubject. She holds the ſtatue of Pallas in licr right hand, who was tlic goddeſs of Wiſdom and patroneſs of all thoſe ſciences which render men uſeful to fociety and themſelves , and entitle them to the eſtcem of poſterity. The ſumptuous e.li fice on which ſhe fits, alludes to the effect of this virtuc, in creating places an ! temples for publick utility , or in honour of the ſtate : Auguflus gloried in this when he ſaid , that having found Rome built of bricks, he left it confructed ? marble . Fig. 144 . HARMONY, Is the agreement of ſounds or voices in muſick . It is allegorically repreſenta the figure of a fine woman, in the attitude of ſounding thic lyre withi Slice , itri her garments are embroidered with gold , and are of divers colours, aludin the variety of harmonick notes. She is fitting on a rock , uider the ſhadow a tree, denoting the charms of harmony: Orpheus is bid to have exertel his tal lents in this reſpect, in ſo powerful a manner , as to make the woods and foreſts fenfible • Sol qui aſtrorum obtinet principatum ita movetur, ut cum terras larga luce compleverit, ciljem modo lis, modo illis partibus opacet, ipſa enim umbra terra ſoli efficiens noctein efficir , nocturnoruin auten : ſpiciorum ca dem eſt æquabilitas , quæ diurnorum , cjuſdcmque ſolis tum acceſſus modici, tum recefTus, et frigoris ct caloris modum temperat ; infectens autem fol curſuin tum ad ſeptentrionem , tum ad meridiem , aſtates, et hiemcs ctiici , et ca duo tempora, quorum alterum eſtati, hiemi ſeneſcenti adjunctum eſt, alterum ita cx quatuor temporum mu tationibus omnium, quæ terra, muroque gigniuntur initia, et caufæ uucuritur. Cicero, Lis , de natura deorum. 78 E XPLANATION OF Τ Η Σ ſenſible of his harmonious found ; which is mentioned in tlic Xth book of Ovid's Metamorphoſes. PLAT E XXXVIII. Fig. 145 145. ACADEMY. This ſubject implies an aſſembly or ſociety of ingenious men, uniting for the pro motion of the arts and learning, or the place where ſciences are taught. It is cha racteriſed by the figure of a reſpectable matron, with a crown of gold upon her head , as her productions ought to be pure and refined , like this valuable metal; her robes are of changing colours , alluding to the various ſciences of which ſhe treats . In the righthand ſhe holds a file, with the motto, detrahit atque polit, to ſig nify the poliſhing and refinement of the manners . * She holds a garland in the left hand, compoſed of laurel , ivy and myrtle , three poetical plants ; the laurel was dedicated to Apollo, the ivy to Bacchus, and the myrtle to Venus, and are in allu ſion to heroick , lyrick, and paſtoral poetry.f From the garland hang two pome granates, • Scilicet incipiam lima mordacius uti, Ut ſub judicium fingula verba vocem ? Ovid. Lib. I. de Ponto. Nec virtute foret clariſque potentius armis, Quam lingua latium ; fi non offenderet unum Quemque poetarum limæ labor, et mora. Vos, Pompilius fanguis, carmen reprehendite, quod non Multa dies, et multa litura coercuit, atque Perfectum decies non caſtigavit ad unguem. Horace. Lima detrahitur, atque expolitur, quod redundat, quodque incultum eſt ; et limata dicuntur expolita, Adagii. + Quæſitum meritis, 'et mihi Delphica Lauro cinge volens, Melpomene, comam. Horace, Car. 30, Lib . III. Si quis habes noftris fimiles in imagine vultus, Deme meis hederas, Bacchica ſerta, comis . · Ifta decent lætos felicia figna poctas : Temporibus non eſt apta corona meis. Ovid. Lib. I. EI, 6. de Triſt, Ennius hirſuta cingat ſua dicta corona, Mi folia ex hedera porrige, Bacche, tua. Propertius. Populus E MBLEMATICAL FIGURESS.. 79 granates which are the ſymbols of union and aſſembly . She is fitting in a chair, adorned with branches of thic olive tree, which was dedicated to Minerva and to peace . The chair may alſo be ornamented with branches of the cedar tree, as that and the olive are both ſymbols of eternity ; and it may be embelliſhed with branches of the cypreſs and oak trees; the cypreſs is reckoned incorruptible, and the oak is the ſymbol of duration , all of which are in alluſion to the immortal re putation of a man of ſcience, or of an illuſtrious academician . The etymology of the word academy, is derived from a noble Athenin, called Academus, who fre quently received viſits from Plato and his ſcholars, at his villa near the city of Athens; on this account, the figure is placed in a delightful rural ſituation . f The books lying at her feet, indicate their uſefulneſs in acquiring the knowledge of the various ſciences ; and the muſical inſtruments fignify , that harmony is nccef fary to the arts, eſpecially to painting, ſculpture and architecture. Fig. 146. STUDY. By this ſubject is underſtood, application of the mind to books and learning, which requires recollection and uninterrupted exerciſe ; it is therefore allegorically repreſented by the figure of a young man , ſitting in a ſtudious attitude, modeſtly х dreſſed, Populus Alcidæ gratiffima, vitis laccho Furiolæ myrtus Veneri, ſua laurea Phábo. Virgil, Ec. VIII. Venimus ad quartum, quo tu celeberrima, menſem : Et vatem , et menfem ſcis Venus, elle tuos. Mota Cytherea levi : er mea tempora myrto Contigit : et, cæptum perfice, dixit, opus. Ovid, Lib. IV, de Faft. • Olcam , laurum , ac cuprefu.n ſemper virentem, conſervat pinguedo et calor ficut, cc Hederam : Plutarch, Lib, I. Ante alias enim arbores cedrus æternitatis bieroglyficum eft. -Speramus carmine fingi Poſle linenda cedro, et levi ſerv.nda cupreſo. Ad capitolium ſperaret pollio quercum . Juvenal . O cui Tarpcias licuit contingere quercus. Martia. + Arque iater Glvas academi quærerere verum . Horace, Lib. II. Epiſt. 2 . 1 He is 8o . EXP Ε Χ Ρ LAΕ ΑΑ ΝΝ ΑΑ ΤΤ Ι Ο Ν Ι ο Ν Ο Τ Η Σ dreſſed, and of a pale complexion '; he holds a pen in his right hand, which leans upon an open ſcroll , and he appears to be conſidering it with great attention , by the light of a lamp. By his ſide is the figure of a cock, the attribute of vigilance and diligence , which arc indiſpenſably requiſite to the ſtudious man. painted of a pale complexion , as too cloſe an application enfeebles the body, this is remarked by Juvenal and Horace. " The ſeeming attention with which he looks on the ſcroll, indicates that ſtudy is a vehement purſuit of the mind after the knowledge of things; the pen in his band ſignifies his intention of communicating his learning to others. † The lighted lamp, is in alluſion to the cloſe application of ſtudious perſons; and the modeſt dreſs indicates that perſons addicted to ſtudy, are generally not concerned about outward embelliſh ments. Fig. 147. IMITATION, Is an attempt to reſemble , or follow the example of another, and is expreſſed by the figure of a woman , holding pencils in the right hand, and in the left a malk. A monkey is placed at her feet, it being an animal of all others, the moſt perfect imitator of liuman actions. The pencils are attributes, as they imitate the different productions of nature and of art . The maſk alludes to the ſtage, where the various incidents of life are imitated. Fig. 148. EMULATION. This noble and courageous effort of the mind, is the deſire of ſuperiority ; or a ſtriving Acte nocturnis juvat impalleſcere cartis. Juvenal, Sat. 5th. -Et di Poſſes ante diem librum cum lumine, fi non Intendes animun ſtudiis Invidia vel amore vigil torquabere. Horace, Lib. I. Epiſt. 2. + Scire tuum nihil eft, nifi te ſcire hoc ſciat alier. Perſeus, Sat, I. E M B L E MATÍ CAL FIGU R E S. 81 a ſtriving to excel , or to go beyond another in any thing. It is allegorically chas racteriſed by the figure of a fine young woman , gracefully attired , in the attitude of running, with her arms and legs naked . The wings that are placed at her fect; denote her readineſs to emulate perſons who are adorned with virtuous difpofitia ons ; Mie is dreſſed in green , the ſymbolick colour of the hope with which ſhe is animated . She is holding a trumpet and a palm branch in one hand, and in the other, a garland of oak leaves . The trumpet is the hieroglyphick of fame, and the emblem of incitement to virtuous actions, f and the palm branch is the ſymbol of reward due to merit. † The crown of oak leaves was given by the Romans, to orators , muſicians and poets, &c. $ The figure is repreſented young, becauſe emu lation reigns in young and generous minds. Two cocks fighting, are introduced to this figure, they being the ſymbols of emulation . Themiſtocles animated his ſoldiers againſt the barbarians, by ſhowing them two cocks fighting ; from thence the Athenians annually expoſed them to public view , as an example of emula tion . H PLATE Æmulatur vicinum vicinus Ad divitias feſtinantem , bona vero hæc contentio hominibus, Et figulus figulo ſuccenſet, et fabro faber, Et mendicus mendico invidet, cantorque cantori . Trandated from the greek of Heſiod . Stimulos dedit æmula virtus. + Acre ciére viros, martemque accendere cantu. Virgil's Æneid, Lib. VI. Significat tuba famam et celebritatem. Legum conditores in civitate ambitionem æmulationemque excitant, adverſus hoſtes autem tubis etiam, ac tie büs inftigant, augentque irarum ardores, et pugnandi cupiditatem . Plutarch. Et que jamdudum tibi palma poetica pollet Lemniſco ornata eſt, quo mea palma carct. Aufonius, so cui Tarpcias licuit contingere quercus. Martial. Inſtituit et quinquennale certamen capitolino Jovi triplex, muficumn , equeſtre, gynicum , et aliquanto plurium , quam nunc eft coronatorum . Suetonius . | Laudando adoleſcentes excitet, atque propellat . Plutarch .

    • Cortant inter ſe Galli ftudio gloriæ--- # Pergani omnibus annis ſpectaculum gallorum publicè editur, ceu gladiatorum . Pliny, Lib. X. Cap. 21 .

bo 82 E X PLAN A TION or THE PLAT E XXXIX. Fig. 149. EDUCATION, . Is the formation of manners, or inſtruction of children , and youth in general , in ſuch branches of knowledge and polite exerciſes, as are ſuitable to their genius and ſtation . It is repreſented by the figure of a matron , who is ſitting in the attitude of inſtructing a child to read : Me is dreſſed in golden ſtuff, and is illuminated with reſplendent rays, to demonſtrate that divine grace is neceſſary to education, and that God gives the increaſe. By her ſide is a young tree ſupported by a pale , which ſignifies that education cauſes the mind to retain even in old age, the bent or inclination which it received in youth . † She holds a rod in lier right hand , becauſe, diſcipline is neceſſary to the cultivation of the mind . $ The figure is repreſented of a mature age, as much time is requiſite for the attainment of know ledge . The golden dreſs alludes to the value and excellence of education , which is the foundation that ſtirs up the mind to embrace virtue, and to fly from vice. Fig. 150 . IDEA In general , is the image of any thing, which , though not ſeen , is conceived in the mind . Plato deaines it , the eſſence ſent forth by the divine ſpirit, which is entirely ſeparated from the matter of created things. It is allegorically characte riſed by the figure of a very fine woman , elevated on the clouds , with a flame ariſing from her head. She is dreſſed in white garments, which is the ſymbolick colour of bcauty, purity and ſimplicity. ller forehead is encircled with a diadem of • Ego plantavi, Apollos rigavit, Deus incrementum dedit. St. Paul . I Cor. + Puerorum educatio fimiles eſt culturæ, qua in plantis utitur. Galenus, de cura animi affe & ti.

  1. Virga atque correctio tribuit ſapientiam . Adagii, Cap. 29.

Educatio, et diſciplina mores faciunt. Seneca de ira , Lib. III. $ Docetque interea ideam a reliquis longe differre quatuor precipue modis ; quia ſcilicet idea ſubſtantia eſt, fim plex, immobilis, contrario non permixta. Masfilius Ficinus, 7. Epiſt. de Plat. Idea EM B L É NÍ A TÍ CAL É I G U R E S. 83 of gold ſet with jewels, to indicate the pefection of the mind. This figure is bold ing the image of nature in the form of a child , in the attitude of giving it fuck ; and, below the clouds whicreon the ſits, is the proſpect of a country, whiclı, toge ther with the flame that ariſes from her head, are in alluſion to the anima mundi, or ſoul of the world , pervading and vivifying all crcated things. + Fig. 151 . CONSIDERATION, İs allegorically expreſſed by the figure of a matron , holding a rule in one hand, and in the other a pair of compaſſes, which inſtruments are in alluſion to recti tude and regularity. Alciatus obſerves, that man ſhould examine all his acti ons with attention , and regulate his paſlions by order and circumſpection ; for this reaſon , a crane flying in the air, and holding a fione in its claws, is afligned as an attribute to this figure, as this bird counterbalances its weight according to the regions of air where it paſſes being more or leſs ſubtile . Fig. 152. INCONSIDERATION; Ís repreſented by the figure of a young woman , careleſsly dreſſed in green a tarniſhed colour, to denote the want of thought, and of the natural deſire of acquiring knowledge. She is in the attitude of looking at a butterfly, which Me holds in her hand, without obſerving thai Mie is Repping on the brink of a pre cipice . Y Idea eſt exemplar æternum corum, quæ fecundum naturam confiftunt. Xenocrates . Omnia uno divino, & continuato ( piritu continentur. Cicero in Tuſc . In qua ſunt idea, et omnis rerum ſubſtantia, et quæ primo pulchrum , et per ſe pulchrum eſt, habet ſpecimen pulchritudinis. Porphyrius, Lib . IV. Eft extenGo, atque actus ſeminalium rationum , in unitate regnantium. Pythagoras. + Deum namque ire per omnes Terraſque tractuſque maris , cælumque profundum , &c . Virgil Principio cælum et terras, campoſque liquentis , Lucentemque globum lunæ Titaniaque altra Spiritus intus alit ; totamque infuſa per artus Mens agitat molem, et magno ſe corpore miſcet. Virgil's Æneid, Lib. VI. 84 Ε Χ Ρ Ι Α Ν Α ΤTioN Ι Ο Ν OF Τ Η Ε cipice. The compaſſes and rule lye unregarded at her feet, and ſignify that ſhe neither obſerves rule nor order. P L A T E XL. Fig. 153. INCLINATION, Is a propenſity of the mind to good or bad actions, it is therefore expreſſed by the figure of a young woman , whoſe dreſs is white drapery on the right ſide, and black on the left, denoting the good and bad diſpoſition of the mind ; white is the ſymbol of good inclinations, and black is that of bad . She holds a bunch of roſes in the right hand, and in the left a bunch of thorns, and ſeems undeter mined which of them to chooſe ; virtue reſembles the roſe in beauty, therefore the Egyptians figured the entire circle of virtue by a garland of roſes: the thorns are of the contrary ſignification to the roſes, they being the ſymbol of vice . The figure has wings at her feet, to denote the quick movement of the inclination .' Two fixed ſtars are placed above her liead ; that on the right ſide is Jupiter, clear and favourable, and that on the left is Saturn , obfcure and unpropitious. .. Fig. 154. ASSIDUITY, Is conſtant application either to ſtudy or labour, and is allegorically repreſented by the figure of an aged woman , holding an hour glaſs with both her hands; and ſhe is ſtanding near a rock , which is entwined with an ivy branch ; this emblem ſignifies that as the ivy extends itſelf and riſes to any height, in like manner, allia duitý ſurmounts the greateſt obſtacles. The hour glaſs is emblematical of the at tention to the improvement of time. Fig. 155. INNOCENCE . This ſubject implies untainted integrity, or freedom from guilt. It is allego rically • Candidus dilectus mcus . Canticles. Veſtimenta ejus ficut nix. Nigræ ſunt facies corum de fumo qui in co fit. Baruc. 6. E M B L E M A TI Cd L FIGURE S. 85 rically repreſented by the figure of a fine virgin , crowned with flowers, and dreſſed in white robes, in alluſion to the golden age in which candour and inno . cence reigned. The figure ſtands in the attitude of careſling a lamb, which is a notable attribute of innocence , becauſe it has neither power nor intention to do any harm , but patiently ſubmits to its fate without reluctance . Innocence may alſo be expreſſed by the figure of a virgin , dreſſed in white and crowned with palm leaves, to denote that innocence in time, triumphis over ca Jumny and oppreſſion . The figure may be in the attitude ofwaſhing the hands, in alluſion to the cuſtom of the ancients , who waſlied their hands in publick , to de clare their freedom from guilt, when they were falſely accuſed . And by this figure alſo may be placed a lamb, the eſtabliſhed ſymbol of innocence. Fig. 156. REFLECTION, In mechanicks, is the return or regreſlive motion of a moving body , occaſion ed by ſome obſtacle which hindred it from purſuing its former direction ; and in metaphyſicks, ſignifies the action of the mind upon itſelf . It is characteriſed by the figure of a matron , in a thoughtful attitude, looking on a mirror, upon which a ray of light goes from the heart, and is reflected on the forehead . This emblem fignifies that the reflection of the mind regulates the thoughts of the heart. A landſcape is introduced, which is reflected by the water . P L A T E XLI. Fig. 157. INVESTIGATION Properly denotes the ſearching or finding any thing out by regular and gra. dual ſteps ; or the act of the mind by which unknown truths are diſcovered : the mathematicians proceed by gradation in their operations, therefore they uſe this term in their reſpective reſearches. It is perſonified by the figure of a woman , with wings at her temples , to ſignify elevation of the underſtanding, by which this faculty Mould always be directed . Her garments are overſpread with emmets, which , by the Egyptians, were aſſigned as the hieroglyphick to inveſtiga tion , . . --- ແລະສັ່ນສະ are ດ້ລະ ຫວາ ທີ່ ອື່ນ + ເຊ ໄດ້ນະ 86 E XP LA NATION OF THE tion , they being, of all other animals , the moſt diligent ſearchers after every thing neceſſary for their ſupport. The figure points to a crane in the air with her right hand, and with the left ſie points to a dog, who is in the action of ſearchi ing after his prey . The Egyptians underſtood a crane to be the ſign of an inquiſi tivc man, becauſe this bird is ſaid to diſcern objects with great nicety. The dog is a ſuitable attribute to this character , becauſe nature has implanted ſuch a pow erful inſtinct in this animal , that he purſues his prey ſtep by ſtep , without ſuffer ing any other object to attract his attention . Fig. 158. CONSCIENCE, Is the knowledge or faculty by which we judge of the goodneſs or wickedneſs of our own thouglits or actions. It is allegorically expreſſed by the figure of a woman clothed in a white veſtment, with a black mantle over it ; ſhe is pointing to her heart with her left hand, and with the right the holds a firake ; her feet are naked, and Me ſeems to be gently paſſing through a narrow road , one ſide of which is beautified with a variety of flowers, and the other ſide is interſperſed with thorns ; her feet being naked and in this ſituation , alludes to the good or bad path that every one walks in , whether it be the path of virtue , or that of vice , and refers to the painful ſenſation of fin , and to the fragrant path of virtue. The ſnake in her hand , is in alluſion to the pangs of a wounded conſcience ; and the action of pointing to her heart, denotes, that the ſecret thoughts in the receſſes of the mind, are only known to ourſelves. The white veſtment ſignifies the open nels, purity and ſincerity , with which conſcientious perſons , act; and the black mantle is alluſive to the concealment or privacy with which this ſenſation of the mind operates. Fig . 159. DISCRETION, Is wiſe management, or knowledge to govern or direct one's ſelf, and is ſtyled the • Heu quintum miſeris pænæ mens conſcia donat. Lucan. Lib. VII. EMBLEMATICAL FIGURES. 87 thie mother of virtue. It is characteriſed by the figure of a reſpectable matroni, dreſſed in a golden coloured veſtment, over which is a purple mantle, thcfe being the ſymbolick colours of prudence and ſeriouſneſs. In her right hand Me holds the plummet, which is the attribute of exactneſs and rectitude; her left arm is elevated and extended with the palm of the hand open , in the attitude of having compaſſion on others, the diſcreet mind being very ready to overlook the imperfections of mankind. The camel, which is in the action of kneeling, by the ſide of the figure, denotes the diſcreet nature of this animal, who places itſelf in the aforementioned poſture, in order to give the greater facility in loading it ; and riſes the moment it finds the burden equal to its ſtrength ; in like manner, the prudent man regulates his actions ; diſcretion being ſo neceſſary an attendant on vira tue, that her Morteſt abſence is apt to produce vice . fi Fig. 160. INGENUITY. By ingenuity or Genius is underſtood , a ſuperiour excellence in the faculties of the mind. It is allegorically repreſented by the figure of a young man , with an helmet on his head , and an eagle for the creſt, having wings at liis ſhoulders of various colours ; and in the attitude of footing with a bow and arrow, which denotes the quick neſs of genius. lle is pairited young, in alluſion to the power and vivacity of the genius; the helmet alludes to the intellectual ability of this faculty ; the eagle for the creſt, expreſſes loftineſs and elevation of ſentiment. Pindar compares the man of ingenuity to this bird , it having the moſt acute light, and the higheſt flight of other of the feathered creation . The various colours of the wings, are alluſive any to the number of pleaſant viſions that this faculty conveys to the fancy. The Egyptians and Grecians have repreſented genius by the figure of Hercules, z with • Diſcretio pertinet ad prudentiam, et eſt genetrix, cuſtos, moderatrixque virtutum . St. Thomas, 3 Sent, Diſt. 33. 9. 1. Art. 5. + Quicquid boni cum diſcretione feceris virtus eſt, quicquid Gine diſcretione geſſeris vitium eſt, virtus enim in diſcreta pro vitio reputatur, Ifidorus, Lib. VI. de Sinod. 88 E X P L A NATION OF THE witli a bow in one hand, and in the other an arrow with three points, to ſhow , that man by the force and acuteneſs of his genius attains to the knowledge of lica venly, natural and mathematical bodies. PL Å TE XLII. Fig. 161. MEMORY; Is that faculty of the human mind, whereby it retains or keeps the ideas it has once conceived . It is characteriſed by the figure of a graceful woman, attired in green robes, and crowned with a branch of juniper ; ſhe holds a pen in her right hand, and in the left a book . Ariſtotle ſays, that ſhe ſhould be repreſented in the bloom of life, as the memory is at that time in a more perfect ſtate, than either in youth or in old age . She is dreſſed in green , in alluſion to the continual frella neſs with which this faculty retains the ideas implanted in it by the ſenſes. She is crowned with juniper , as the leaves of that ſrub never fade, but always re tain their verdure . The vapour from this plant, is an excellent cephalick for the brain , and denotes the quality of retention . The pen and tlie book ſignify, that the exerciſe of the memory principally conſiſts in reading and writing. The large nail which lies at licr feet, indicates , that the remembrance of benefits received, ſhould be immoveable , according to the proverb . + The dog is a remarkable animal for its retentive memory, and may be intro duced as an attribute to this faculty. It is ſaid that after Ulyſſes had been twenty years abſent from his native country , he was known and carreſſed by his dog Argus, at his return to Ithaca , which is beautifully deſcribed in Homer's Odyſſey, Book XVII . Fig. • Cariem, et vetuſtatem non ſentit juniperus. Pliny, Lib. VI. Cap. 20. Cui ſum obftrictus memoria beneficii fempiterna. ' + Clavo trabali figere beneficium . E M B L E MATICAL FI G U R E S. 89 - aare - - - - న ఉండలు కన కూరుకులు అంది.అతను " - ముఖ్యముగా వుండుఅవుతుంది. అంతకుముంద్ లు .ఈ రా . నవులు తున్నారు.పోలవరం పనులనుపరమ పలుకులు కావాలని అనుకులు నాలుగు ముందుకు కు కు కు కు కు కు కు Fig. 162. OBLIVION , Or Forgetfulneſs, is a defect of the mind, and the contraſt to memory . It is re • preſented by the figure of an old woman , as that age is moſt liable to loſe its ideas . " This figure is crowned with mandrake, and holds a branch of juniper in her left hand ; with the right ſie is pointing to a Lynx, which is a remarkable ani mal for weakneſs of remembrance , and was aſſigned the attribute to forgetfulneſs by the ancients, as it was one amongſt other animals that was dedicated to Baco chus, who is called the father of oblivion by Plutarch , which fignifies that the ex ceſs of wine deſtroys reaſon , and impairs the memory. The mandrake plant, with which ſhe is crowned , is a powerful and dangerous narcotick , and according to Theophraſtus and others; when given in drink , cauſes ſtupefaction, forgetfula nels and ſleep . The figure of memory is crowned with juniper, and this of for getfulneſs, holds a branch of it in her left hand, which clearly expreſſes that witlı propriety ; the ſame attribute may be frequently aſſigned to oppoſite ſubjects, be cauſe of its different qualities ; and the various reaſons imagined by the poets. Thus, the qualities of the fruit or berries of this powerful plant, are wholeſome for the brain and memory, but the ſhadow of this tree at the cloſe of the day, is noxious to the head, ſtupifies the mind, ſo as to bring on forgetfulneſs and ſleep . * Fig. 163. SILENCE, Is the cellation of ſpeech , and is perſonified by the figure of a young man , with the finger of his right liand touching his lip , and his left hand elevated, in the ata titude

  • Magnum beneficium oblivionis neſcire defectum , et quædım fimilitudo vere cæleſtium eft, tempore decurſa femper babere præfentia. Callidorus, Lib. V. Cap. 22 .

Arboribus primum certis gravis umbra tributa eſt, Uſque adeo capitis faciant, ut fæpe, dolores, Si quis eas ſubter jacuit proftratus in herbis . Lucretius, Lib. VI. Juniperi gravis umbra. Virgil, Ecl . 10. Juniperi gravis umbra tamen, capitique moleſta eſt. Carlore Durante 1 go Ε Χ Ρ Ι Α Ν Α Τ Ι Ο Ν Ο Σ Τ Η Ε titude of impoſing ſilence . A branch of the peach tree is introduced by the ſide of this figure, as it was conſecrated by the ancients to Harpocrates the god of filence ; the leaves of this tree is like the human tongue , and the fruit of it re ſembles the heart, which ſignifies,' that the prudent man thinks before he ſpeaks, and that ſilence at proper times , is a mark of virtue and modeſty, eſpecially in young perſons. Harpocrates was repreſented young with wings at his ſhoulders, and was painted of a black complexion , becauſe ſilence, according to the poets, has ſome affinity to the ſilent ſhades of night. Arioſto gives this figure a dark mantle, and ſhocs made of felt. * Fig. 164. Loquacity, Or incontinence of tongue, is repreſented by the figure of a young woman with her mouth open , to denote that young people without experience , are moſt liable to this imperfection. t The ſwallow above her head, fignifics the tireſome and importunate nature of loquacity, which offends the ſtudious mind . She holds a raven in her right hand, and is dreſſed in changing coloured drapery, which is interſperſed with figures of the human tongue, and of the chirping cricket ; the noiſe of this infect being offenſive to the ear, was aſligned an hicroglyphick to this ſubject. The human tongries and the colours of the drapery , allude to the trivial and incolierent diſcourſe of loquacious perſons. $ The raven is an attribute to this . • li filenzio va intorno, e fa la ſcorta ; Ha le ſcarpe di feltro , el mantel bruno, Ed à quanti n'incontra di lontano Che non debban venir cenna con mano. Arioſto . + Juvenis non poteſt eſſe fapiens quia prudentia requirit experientiam , quæ tempore indiget. Ariſtotle, Lib. VI. Garruli memincm audiunt, et ſemper loquuntur. Plat . de garr. Loquacitas eſt reſoluta loquendi fine ratione intemperatia. Multiloquium non ſolum auditori moleſtum , verum ad perſuadendum inutile præſertim variis curis occupatis . Euripides apud Stobcium . Garruli daturam reprehendunt, quod unam quidem lingnam, duas autem aures habet, Plutarch , in Lib. adverſus garrulas. E M B L EM ATICAL 91 FIGURES. అంతలుకాదుఅనుకుని అంశములు సందు ముందు అందుకు ఆ ఈపూలు తు వుండును. అతను తన తలను కారు - ముందు,సమకాలుముఖ్యనాయకులు అందుకు ముందు కు కు కు కు కుకారణం చేతులు తనకాలంలో this figure, as it was according to the opinion of the Greeks, turned out of Athens by Minerva, for its exceſſive babbling. PLAT E XLIII: Fig. 165. NECESSITY Is, whatever is done by a neceſary cauſe, or a power tliat is irreſiſtible, in which ſenſe it ſtands oppoſed to freedom . It is repreſented by the figure of a woman, holding a hammer in her right hand , and in the left a cluſter of nails ; this emble mațical device alludes to a proverb which the Romans had much in uſe, when they were diſcourſing upon affairs of conſequence ; at the determination of any debate the common expreſion was , clavis figitur, the nail is fixed. Neceſſity was a divinity of paganiſm , and may be repreſented by the figure of a woman ſitting in the middle of a temple, in alluſion to one that was dedicated to her at Corinthi , into which none were permitted to enter, except the prieſteſſes. + . Fig. 166. DISTINCTION, Is an accurate diſcernment of the difference of things, and is allegorically cha racteriſed by the figure of a matron , in a grave habit, to ſignify that this faculty is becoming perfons in an advanced age . The attributes to this character, are alle gorically taken from the inſtruments of agriculture; in her right hand ſhe holds a ſieve , and in the left a rake, the former ſeparates the grain from the chaff, and A a by

  • Athene gia per propria inſegna tenne La civetta di buon conſigli ucello.

Queſta accetto Minerva ( e ben convenne) Quando la Dea cacció dal ſanto oſtello La cornacchia, a cui ſol quel danno avvene Di ceder luogo á uccel di lei men bello Perche la ſciocca fu troppo loquace ; Saggio chi poco parla, e molto face. Alciatus. + Boudard's Iconology, Vol. III. ! Der 92 E XPLANATION OF Í I E by the latter, the huſbandman clears the fields from noxious and ſuperfluous lierbs which demonſtrate the ſcrupulous diſtinction between good and evil. Fig . 167 INSTINCT; Is an appellation given to the fagacity and natural inclination of brutes, which to them ſupplies the place of reaſon in mankind ; and is a diſpoſition of body and mind, that they have implanted in them by the all powerful hand of nature. It is alle gorically repreſented by the figure of a young woman almoſt naked, with a veil over her head and part of theface ; ſhe holds a ſun flower in her right hand, and is in the attitude of running ; which action denotes the inclination , motion, and impe tuoſity of this influence . Above hier head is an eagle flying towards the ſun, to indicate that this ſovereign of the foreſt, owes his ſtrength and youth to the powa erful impulſe of inſtinct : the learned , and even the criticks themſelves, are agreed that every ten years his feathers become heavy and leſs proper for flight, he then makes an effort, and approaches nearer the ſun than uſual, and after being ex cellively heated, he plunges immediately into the ſea ; his feathers fall off, and new ones ſupply their place, which reſtore him to his priſtine ſtrength . Inſtinct is repreſented naked and young, in alluſion to the ſimplicity of the operations of nature, as it always preſerves its original force and aſcendant power. The veil in dicates , that this power acts by certain motives unknown to herſelf, and that the cauſe of natural inſtinct is undiſcoverable . " The fun flower (as has been frequen . ly obſerved ) alludes to the natural bent or inclination it is ſaid to have in turning round to the ſun . The ſame remark is made of the poplar, the olive , the fallow tree, lupines, and the flowers of ſuccory. Fig. Multa tegit ſacro in volucro natura, neque ullis Fas eſt ſcire quidem mortalibus omnia, multa Admirare modo , nec non venerare , neque illa In manibus quæ ſnnt, et nos vix ſcire putandum Inquires, quæ funt, arcanis proxima, namque Eft procul à nobis adco præſentia veri . Fernelius Ambrianus, de abditis caufis rerum , Lib. II. Cap. 17 & 186 E NBLENÍ A TİCAL FIGURE S. 93 -కుంతల 18 Fig. 168. INSPIRATION , Is the infuſion of ideas into the mind by a ſuperior power ; it is allegorically ex preſſed by the figure of a graceful young man , with his countenance looking up wards ; his right hand is raiſed in the attitude of adoring the ſupreme Being, for his favourable and divine influences on the human mind ; ' he is dreſſed in white robes, the ſymbolick colour of purity and holineſs. His breaſt is illuminated by celeſtial rays deſcending on it ; in his left hand he liolds a fun flower, which de notes, that as it continually turns round to the ſun , ſo the enliglitened mind re volves with all poſſible affection towards the almighty power. The celeſtial rays ſignify the benignity of omnipotenice, who by his infinite goodneſs infuſes intel lectual light to the faculties of the human foul. + PLAT E XLIV. Fig. 169. OPINION, Is defined to be the aſſent of the mind to propoſitions not evidently true at firſt ſight; it reſides in the imagination , and is known by the effects it produces . The difference of characters, conceptions and inclinations are infinite, and ſo is the difference of opinions . It is allegorically repreſented by the figure of a woman , modeſtly dreſſed in a ſtudious attitude; ſhe appears to be ſupporting ſome propo ſition contained in the book that lies before her; ſhe lias wings at her ſhoul ders and wriſts, in alluſion to the velocity with which opinions are received and forſaken , and to the ſudden tranſition of the mind from one ſentiment to ano ther . A ſhip is introduced at a diſtance, which ſeems to be toſſed by the ſtormy winds

  • Gratiam et gloriam dabit Dominus. Pſalmi, LXXXIV.

Gratia facit, ut peccatum nobis non dominetur. Aug. Lib. de patien . Cap. 2 . Auxilium divinum per bonam vitam conciliandum . S. Greg. ſuper Gen. Hom. 40. + Ignem veni mittere in terris , et quid volo, niſi ut ardeat. Norter Salvator. Ignem ſui amoris accendat Deus in cordibus noſtris. Quod capita tot fententiæ . அகக ககக ,நான் Wi 94 E X P L A NATION OF тн Е winds and agitated waves of the ſea, this allegory ſignifies, that men's opinions are frequently diſturbed by the contraſt of different ideas preſented to the imagi nation . egoricallss e looking ? Fig. 170. DOCTRINE. = Being, a Ted in be uminated ܕ which is d mind -leſtial fuſes inter The general acceptation of the word doctrine, is underſtood to be learning , but is more particularly applied to the principles or poſitions of any ſect or maſter of philoſoply, morality or religion . It is perſonified by the figure of a matron , dreſſed in a veſtment of a golden colour, with a purple mantle, which are the fymbolick colours of power and folemnity . She is fitting with an open book on her knee , to denote that doctrine is bountiful of her precepts. In her right hand Mie is holding a ſceptre, on the top of which is the reſemblance of the ſun, to ſig nify the light and power with which ſlie diſſipates the ſhades of ignorance. She is repreſented a matron , becauſe it requires much time and ſtudy to become verſed in ſcience and literature . From the ſerene ſky the dew appears to be gently falling on ſome tender herbs, which ſignifies that learning enriches the mind as the plants are nouriſhed and ſoftened by the dew . Doctrine may alſo be repreſented by the figure of a woman , attired with a veſt ment of gold, with a flame in her hand , at which a naked young boy appears to be lighting a torch ; and ſhe ſeems to be directing the child a ſtreight path thro' an obſcure valley : the golden veſtment alludes to the purity and excellence of knowledge ; the lighting of the torch at the flame in her hand, is in alluſion to the communication of literature, and the illumination of the mind, which may be faid to reſemble the flame, whoſe luſtre is not diminiſhed by imparting light to others . uc at ces. The lo is the Fromis ne propos er ficus dived and to 2004 storm winds Fig. 171. SPLENDOUR . By this word is underſtood the honours reſulting from illuſtrious and brave ex ploits. . It is characteriſed by the figure of a middle aged man , of a graceful af pećt, EMBLEMATICAL FIGURE S. 95 by Wind. pect, dreſſed in purple robes enriched with gold , he is crowned with a garland of hyacinth , and holds a torch in his left hand , and in the right Hercules' club ; his neck is adorned with a chain of gold , from which a medal is pendent ; the golden chain was given by the ancients as a mark of diſtinction and recompenſe to dignified perſons, for their brave and virtuous actions , and it was frequently men. tioned on the Roman inſcriptions, compoſed in honour of their memoryory .. The purple robes enriched with gold , was the dreſs of the ancient heroes, and worn by the Romans in their triumphant entries. He is crowned with hyacinth , which was dedicated to Apollo, and is a plant very remarkable for its beautiful colour and agreeable linell; † the club is the ſymbol of heroick virtue and bravery. The lighted torch is in alluſion to the luſtre and laſting honours of thoſe diſtinguiſhed characters who have be enſeminently great, whether in the field or in the ſenate. I Fig. 172. SIMPLICITY, Or artleſſneſs, is allegorically expreſſed by the figure of a beautiful young virgin, in alluſion to the amiable name of an unſpotted character , ſhe ſeems to be careft ing two harmleſs doves, and is dreſſed in white drapery ; the white duves are the ſymbols of the ſimplicity of manners ; and the colour of the drapery with which ſhe is attired , is the ſymbol of candour and ſincerity . The oſtrich is introduced to this character, and is emblematical of that ſimplicity of ſpirit , which partici pates a little of imbecillity, as it is affirmed by naturaliſts, tliat when this large bird is chaced , it covers its head in the reeds, and then thinks itſelf all out of B. b . fight. • Tunica aurea triumphafle Tarquinium Priſcum Verrius tradit. Omne veſtimentum illuminat in triumphali miſcetur auro . Pliny , Lib. XXXIII. Cap. 3. et Lib. IX. Cap. 16. Quæ quidem purpurez aura intextæ erant, et niſi triumphalibus viris ex capitolio, et Palatio haud aliter dari folitæ . Alexander, Lib. VII . Cap. 18 . + Semper eris mecum, memorique hærebis in ore, Te lyra pulſa manu, te carmina noſtra ſonabunt, &c. Ovid Metam. Lib. X. # Fulgebunt juſti, et tanquam ſcincillæ in arundinet diſcurrent. Sapientia , Cap. 3 . Semper honos, nomenque tuum, lau jeſque manebunt : Virgil. Æneid. Lib, I. ఒకకలఅంతరాలు ముందుకు, ముందునాకునాంత కుత ముందుకు ఇంతకు ముందు తరాలకుఅనుమతులుఇప్పుడు ఆ యమును న క త ముందు 96 Ε Χ Ρ Ι Α Ν Α Τ Ι ONΟ Ν OF T. E o fight. They that go in purſuit of this bird , draw the ſkin of an oſtrich's neck on one hand, which proves a ſufficient lure to take them with the other . P L A T E XLV. Fig . 173. PERFECTION. Moral perfection is the eminent degree of virtue or moral goodneſs , to which men can only arrive by repeated acts of piety, beneficence, &c . It is allegorically repreſented by the figure of a graceful woman , ſtanding within a circle or ring, whereon are delineated the twelve ſigns of the Zodiack , which ſhe is upholding with her left hand , and ia the right ſhe holds a pair of compaſſes, with which ſhe appears deſcribing the form of a circle , it being of all other mathematical figures, one of the moſt perfect. She is dreſſed in golden coloured drapery, as gold is the moſt pure of all other metals . Her breaſt is uncovered, to denote that a princi pal part of human perfection conſiſts in cheriſing of others , and readineſs of com municating acts of good will . The ſigns of the Zodiack upon the circle, allude to the perfect ſtate of the creation , and the infinice perfections of the Creator. The ancients at the concluſion of their facrifices, uſed to dip a circle in the blood of the vi & im , which was held in a vaſe near the altar for that purpoſe, to indicate per fection , and the accompliſhment of their oblation . Fig. 174. IMPERFECTION, Is a defect, whether phyſical or moral, or, a want of ſome of the properties found in other beings of the ſame kind. It is characteriſed by the figure of a wo. man dreſſed in tarniſhed coloured garments, of a yellow hue . She is holding an infant -Stat lumine clauſo Ridendum revoluta caput ; creditque latere, Quæ con ipfa videt Claudianus. EMBLEMATICAL 97 FIGURES. infant frog in one hand , and points to it with the other ; by her ſide is a bear, who appears to be licking lier Mapeleſs cub . The ancients pretended that the bear by licki : ng the cubs, thereby brought them into their complete form ; they alſo alligned the young frog as an hieroglyphick to this character, on account of its imperfection in the tadpole ſtate. Fig. 175. DOCILITY. This amiable quality of the mind implies tractability, or aptneſs to be taught It is allegorically expreſſed by the figure of a young woman of an affable counter nance , ſhe is ſimply attired in white, which is the ſymbolick colour of that can dour always found in the docile mind. She is in a ſubmiſſive attitude with her arms extended, to indicate her readineſs of apprehending any thing preſented to the underſtanding ; and is repreſented young, becauſe the tender minds of youth are more eaſily bent to good inclinations, than thoſe of mature age . The dog and the magpie, or parrot, are the attributes to this character, on account of their docility , obedience , and deſire of pleaſing. In a domeſtick ſtate , the maga pie is ſaid to be a more docile bird than any of the feathered tribe, and is not only eaſily taught to imitate the human voice , but delights in it . f Much the ſame thing is ſaid of the parrot by naturaliſts. The dog is ever ambitious to pleaſe , with a kind of affectionate humility le crouches before his maſter, and is happy to offer his ſtrength , his courage, and all his uſeful talents for his ſervice : he waits his orders, and implicitly obeys them, he conſults his looks, and perfectly undera ſtands them. Fig. Prompti, et faciles ſunt pueri ad diſcendum ; inepti vero, et difficiles ſenes. Argenterius ſuper artem medicinalem . + Vago augeletto delle verde piume Che pellegrino il parlar noſtro apprende. Is quoque cft docilis naturæ lic, ut ca diſcit offingat. Quintilianus, Lib. I. Cap. 4. <សង់ " s = su $$ ក្នុងរដ្ឋ ។ 98 EXPLANATION OF Tux Fig. 176. INDOCILITY, Is the want of apprehenſion, or the refuſal of inſtruction . It is repreſented by the figure of a woman with a black veil on her head . She is leaning on the lead of an hog, and holding a ſtubborn aſș by the bridle , in the attitude of making an effort to compel it to obey her, the black veil Nows that it is owing to the obſcu rity of the judgment that the indocile mind is rendered incapable of inſtruction . The Egyptians aſſigned the aſs and hog, as attributes to this character, being crea tures that will not obey, but by conſtraint and force of ſtrokes ; the hog is natu rally drowſy and inactive , and the aſs is Now , ſtupid and headſtrong. PLATE XLVI. Fig. 177. PERSEVERANCE , Is perſiſtance in any deſign or attempt, good or bad . It is repreſented by the figure of a woman, in the attitude of embracing a palm tree with both her hands, as the palm is one of the hieroglyphicks of virtue. She is crowned with the unfading amaranth , which is a flower ſuppoſed immortal by the poets, and afligned as a reward for ſteadineſs of the mind in laudable purſuits. She is at tired in black drapery on the left ſide, and on the right in white, the oppoſite ' colours of the dreſs are alluſive to the contraſt of good and bad inclinations. Fig . 178. SUPPLICATION . Petitionary worſhip is allegorically characteriſed by the figure of a virgin crown ed with laurel leaves, ſhe holds a baſket full of fruits and flowers in her left hand, and with the right ſhe appears to be adorning an altar with fragrant flowers. This ſubject is taken from a medal of Nero the Emperor, alluding to a religi ous folemnity of the Romans, which was appointed by the ſenate, in order to ap peaſe E M B L E MATICA FI U R E S. 99 peaſe the gods, or to fupplicate their being propitious. At theſe ceremonies they ornamented the temples at the foot of the altar with magnificent couches, where on the ſenators, their families, and people aſſembled , lung hymns, and preſented fragrant flowers of all ſorts, with great ſolemnity. Fig. 179. CourtesÝ: The practice of politeneſs or elegance of manners, is an engaging and amiable diſpoſition of the mind ; it is allegorically characteriſed by the figure of a womar of an affable countenance, dreſſed in the faſhion of a queen , with a crown of gold upon her head, to denote that this complaiſant virtue adds luſtre to the moſt dig nified characters, whoſe fortunes and rank enables them more particularly , to ex erciſe this agreeable diſpoſition : as this deportment is naturally inclined to bene volence and generoſity, ſhe is repreſented in the attitude of Nowering down mo ney and jewels in great abundance. Fig. 180. CONVERSATION; Is the bond of ſociety , and a refreſhment to the ſpirits after iabour or ftudy. The converſation of the wiſe and virtuous, only merit this appellation. It is alle ġorically expreſſed by the figure of an affable young man , of a cheerful aſpect; pompouſly attired in green robes, and crowned with a garland of laurel; in his left hand , he holds a ſtaff in form of the caduceus of Mercury, compoſed of the branches of myrtle and pomegranate, entwined together , and both of them in bloom , theſe branches are the ſymbols of union and love, without which , conver Tation can neither be intereſting nor agreeable : in place of wings at the top of the caduceus, is the form of two human tongues, to denote that ſpeech is eſſentially neceſſary to intercourſe and friendlip . He is repreſented young , as Ariſtotle oba ſerves, that young perſons are fonder of friends and companions, than thoſe of C C a more Converſatio eft hominum focietas, et grata confabulatio, quæ mediante invicem animi recreantur : 100 E X PLAN A TION OFA E a more mature age. The cheerful aſpect and the green robes, are in alluſion to the pleafant and beautiful colours of the fertile fields and blooming plants, which cheer up nature, and even excite the harmony of birds. The crown of laurel ſig nifies the honour and reſpect due to virtuous converſation . The motto , veb soli, is taken from the proverbs of Solomon , and alludes to the pleaſure and happineſs which enſue from a friendly communication of ſentiments. PLATE XLVII. Fig . 181. Reason Is the ruling power or faculty of the mind, whereby it diſtinguiſhes good from evil, and truth from falſehood . It is characteriſed by the figure of a young wo man in azure coloured drapery, with a crown of gold and an helmet on her head , and with the Ægis of Minerva for a breaſtplate ; ſhe holds a ſword in her right hand, and with the left a lion by the bridle ; the lion is naturally fierce and un tamed, which ſhows that the unruly paſſions ought to be controuled by the powers of reaſon ; the fivord denotes the ſeverity that this power exerts, in order to dif unite the virtuous inclinations from the vicious. The crown of gold , ſignifies, as this metal is more valuable than others, ſo reaſon is the moſt precious faculty of the mind. She is repreſented young and armed with the breaſtplate of Minerva, alluding to the vigour and activity of this ſuperiour faculty, and to its being regua lated and defended by wiſdom and fortitude. The azure coloured drapery india cates that reaſon ought to be clear and ſplendid, like the uncluuded ſky. Fig . 182. PERSUASION, Is the power or act of influencing the paſſions, and is allegorically repreſented by the figure of a woman in a grave dreſs, with a human tongue on the top of her head, Ecce quam bonum , et quam iacundum habitare fratres in unum . Pfalm , CXXXIII.

EMBLEMATICAL FIGURES. föt i 1 bead, having cords of gold entwined about her body. She is holding an animal by a chain , with the left hand ; this animal has two heads, the one reſembles a dog, and the other a monkey , the former is very remarkable for its inſinuating nature, and the latter for its dexterity in cunning tricks , this attribute alludes to the many expedients which ſhe often finds neceſary to practiſe in the courſe of her proceedings: the tongue is placed on the top of her head , being the principal and moſt neceſſary inſtrument of the art of perſuaſion . The golden ligaments are al luſive to the captivating nature of elegant ſpeech and to the influence of perſuaſive power Fig . 183. . CURIOSITř, Or inclination to enquiry, is characteriſed by the figure of a woman in an inqui: fitive pofture, with wings at her ſhoulders į ſhe is dreſſed in red drapery, which is overſpread with eyes and ears , to indicate the immoderate deſire and prompti tude with which perſons of this character ſeek after the knowledge of affairs, tho' not intereſting to themſelves. The wings, attitude and colour of the drapery, are in alluſion to the ađivity and readineſs of ſuch perſons, as are thus diſpoſed to prý into ſecrets, and to the ardent purſuit after novelty. The Egyptians made the frog a hieroglyphick to this character, becauſe it is reported that this animal has its ears always open , and its eyes fixed with conſtant attention , as if ſeeking after fome new object. Fig . 184. Opportunity; Was conſidered by the ancients, as a divinity who prelided over that criſis or point of time which could bring any action to a favourable concluſion . It is here repreſented according to Phidias the Grecian fculptor, who expreſſed opportunity by the figure of a young woman; having a large tuft of hair on her forehead, and the hinder part bald, with wings at her feet, and a piece of drapery waving around hers with one arm leaning on a wheel, and holding a razor" in her hand ; the razor . 102 ' E XPLANATION OF 个 其它 razor denotes actual readineſs to refcind or cut off every obſtruction that comes in the way. The tuft of hair alludes to the neceſſity of ſeizing her the very moment of her appearance. The wings at her feet, and the wlieel , are alluſive to her flight and the rapidity of her courſe. A deſcription of this figure is given by Auro, nius in the epigram below. " PLATE XLVII. Fig. 185. SOLITUDE, Implies retirement or remoteneſs from the company or commerce of others of the ſame ſpecies . It is perſonified by the figure of a woman, ſitting in a tranquil attitude by the ſide of a rock, with a book by her ſide; ſhe is dreſſed in white, in alluſion to the candid intentions of thoſe who inhabit ſolitary places. † The attri butes aſſigned to this figure, are a ſparrow and a hare, the former is taken from the authority of David. † And the latter was aſſigned the hieroglyphick to this character by the Egyptians, being an animal remarkable for its lonely life . It feldom leaves its covert or form in the day time, unleſs it is alarmed, and gene rally paſſes its life in folitude and ſilence. The book indicates that the intention of Cujus opus ? Phidiæ, qui ſignum Palladis, ejus, Quique Jovem fecit, tertia palma ego ſum . Sum Dea, quæ rara, et paucis occaſio nota. Quid rotulæ inliſtis ? Stare loco nequeo . Quid talaria habes ? Volucris ſum . Mercurius quæ Fortunare ſolet, tardo ego, cum volui; Crinc tegis faciem . Cognoſci nolo. Sed heus tu Occipti calva es . Ne tenear fugiens. Auſonius. + Cercato ho ſempre ſolitaria vita, Le rive il ſanno, le campagne, ei boſchi, Per fuggir queſt' ingegni ſordi, e loſchi, Che la ſtrada del ciel hanno ſmarrita. Petrarch Son, CCXXII. Sicut paſſer ſolitarius in deſerto . David. EMBLEMATICAL FIGURE 103 S. 1 ! of a ſolitary life Mould be the ſtudy of learning and wiſdom , otherwiſe it would be a mark of cowardice , and liurtful to ſociety . Fig. 186. Meditation, Is an action of the mind, by means of which , it maturely conſiders any fubject. It is allegorically repreſented by the figure of a woman in an advanced age and grave aſpect ; ſhe is ſitting in a meditative attitude ; her head is reſting on her right arm, and ſhe is holding a book with the left hand; ſhe appears to be in deep thought, as if reflecting on ſome important matter, in order to form ſuch ſentiments as may be conducive to lionour and felicity. The poſture of the figure is ex preſlive of this noble exerciſe of the mind . † The palm trec is introduced , it being aſſigned the hieroglyphick to virtue and temperance , and here alludes to the calm neſs of mind, and other eminent properties of meditation . 1 Fig. 189. EXPERIENCE, Is knowledge gained by trial and practice, f it is therefore characteriſed by the allegorical figure of an aged matron , and dreſſed in golden coloured robes. She Dd is 1

  • Felix , qui vitæ curas exutus inanes,

Exercet meditans nobile mentis opus, Hic potuit certas venturis linquere ſedes, Unde homines verum diſcere rite queant. Hunc ergo merito æterno dignatur honore, Et celebri cantu fama per aſtra vehit . Epigram . + Meditationem id eſſe totum, quod geras Is quippe ſalus et gerendæ eſt efficax , Meditatur omne qui prius negotium , Nihil eſt, quod ampliorem curam poftulet, Quam cogitare, quod gerendum ſit, dehinc In cogitantes ſors non conſilium regit. Periander. di&um probo. | Feris venit uſu ab annis. Ovid. Metam . Lib. VI. Per varios uſus artem experientia fecit, Exemplo monſtrante viam . Manilius, Lib. I. Altron. Multitudo temporis facit experientiam .. Ariſtoule, VI. Erica, 104 EXPLANATION OF TXE is holding a rod in her right hand, with the motto, Rerum Magiftra , to denote that experience is the principal directreſs in our knowledge of all things. " Her left arm leans on a table or chart, whereon are delineated ſeveral geometrical figures, which with the golden coloured drapery, allude to the great value and uſe of experience to all the ſciences. On the fore ground is a vaſe with a flame aſcending out of it , which is ſignificant of the great utility of fire, in refining every kind of metal , and numberleſs other experiments. The touchſtone is placed by the left ſide of the figure, as by it metals are examined ; it alſo alludes to that with which any thing is compared, in order to prove its genuineneſs. Fig. 188. EXERCISE, Is the actual application of body and mind to any profeſſion . f It is allegorically expreſſed by the figure of a young man, dreſſed in drapery of various colours, al luding to different employments ; he is holding a large volume with his right arm, and in his left hand, a circle of gold ; he has one wing at each foot, and is reſting on a bank, at the foot of which are ſundry trophies and inſtruments of agricul ture , in alluſion to the labours of cultivation , and various other exerciſes and profeſſions. The figure is repreſented young, as the early time of life is fitteſt for the fatigues of labour, whether of body or mind. The volume under his arm, with the word Encyclopædia on it , ſignifies the circle of the ſciences, which are improved by exerciſe. The ring of gold, is the ſymbol of perfection , and alludes to the good qualities of exerciſe. His having only one wing at each foot, denotes that exerciſe of every kind ſhould be limited and not too violent, as taking it in moderation renders the body ſtrong and healthful. † The clock on Experientia eft cognitio fingularium ars vero univerſalium . Ariſtotle, Lib . I. Metapho + Ad parandam ſapientiam tria potifiimum neceſſaria eſſe . Naturam , doctrinam , et exercitationem . Laertius, Lib. V. Cap. J. | Exercitium temperatum ſanitatem cauſat, et co ! iſervat caloremque naturalem comfortat. Arnaldus, de regione ſanit. Cap. 3. Exercitium eft caula Sanitario. Ariftocle, V , Met. EMBLEMATICAL FIGUR E $. 105 . on the foreground , ſignifies, that as by the conſtant motion of the wheels the hours are diſtinguiſhed, fo is truth by the continual operations and exerciſe of the mind. Þ LATE XLIX. Fig. 189: THE WILL. This powerful faculty of the ſoul, is that which determines mankind to particu lar' actions. It is characteriſed by the figure of a woman, in the attitude of walk ing, dreſſed in drapery of changing colours, partaking of bright red and yellow ; ſhe has wings at her ſhoulders and feet, to indicate her quickneſs and fluctuating motion. The attitude of walking, denotes the continual progreſſive motion of this power ; and the brilliance of her changing coloured garments , ſignifies that the will is liable to be attracted by ſtriking appearances . She holds a vane in her right hand, to indicate that the wavering operations of the will may be compared to the changeableneſs of the wind. This over-ruling power being ſeated in the moſt noble part of man, diſpenſes its laws according to the favourable or contrary events preſented by ſenſe. Fig. 1go . Delight; Is the name given to various pleaſures that allure human nature, by means of ſenſation , ſentiment and perception . . It is allegorically repreſented by the figure of a young man, of a beautiful aſpect, with the rays of the ſun deſcending on his head , and richly dreſſed in green with ornaments of various colours ; lie is crown ed with a garland of roſes and other fragrant flowers, and his neck adorned with a golden chain , from which hangs the figure of a human tongue . He is holding a lyre with his left hand, and with the right a plectro . Near ille figure, are va rious books and pieces of armour, and two doves careſling each other ; theſe emblems are alluſive to the different objects that charm the ſenſes . * The figure is Primum namque conſiderabis, quem tibi gratum cibum, aut potum invenias quidve viſu, aut odoratu, aut tactu voluptuoſum percipias , quibuſquc cupiditatibus uſus, quam maximé delectatione aff: ctus fueris, quoque pa & o molifſimé dormias, ct abſque laboribus omnia ilta agas. Xenophon, Lib. I. de factis et dictis Socratis . Dilcctatio 103 106 E x P L A NATION or t ## is repreſented young , as perſons at the early time of life are moſt addicted to fola low after thoſe pleaſures and delights which gratify the ſenſes ; he is dreſſed in green , the ſymbolick colour of hope, which alludes to the ardour of expectation in young minds, and to the reviving ſpring, which is a ſeaſon that yields many plea ſures, from the beautiful verdure with which it overſpreads the face of nature . This dreſs may likewiſe allude to the ſenſe of ſeeing, as this colour of all others , is moſt agreeable to the light . The golden chain ſignifies the great utility and delight of this valuable and deſirable metal. † The ancients uſed to gild the horns of the victim , thinking by this to make their ſacrifice the more acceptable to their gods. The brilliant rays of the ſun, denote that there is nothing in the world ſo delight ful as light. The crown of roſes and the fragrant flowers, allude to the ſenſe of ſmelling ; the tongue pendent at the golden chain , denotes the ſenſe of taſting ; the found of the lyre delights the ear, and is the ſymbol of hearing ; the plectro in the left hand, is alluſive to the ſenſe of touching, which tho ' diffuſed through the whole body, is moſt prevalent in the hands. The different books are ſignifi cant of the delight of literature. The arms denote the delight of the ambitious, who glory in honour and victory, which are acquired by the power of arms ; the two doves careſſing each other, are in alluſion to the pleaſures of innocent love, which ſurpaſs all other delights. Fig. 191. PRE- EMINENCE , Is the ſuperiority of power , title or influence, it is characteriſed bythe figure of a matron, dreſſed in robes of royalty, holding the wren in her right hand, and with Dilectatio eſt voluptas ſuavitatis auditus, Vel aliorum fenfuum animum deliniens. Cicero. Quæft. Tuſcul. Lib. IV. Nec non avarum cognominavimus, quoniam pecuniis maxime hujuſmodi res explentur. Atque G notum hoc pecuniarum , et lucri cupidum nominemus recte admodum appellabimus, ac li voluptatem affectus que lucri dixerimus effe, Plato, de Republica five de Juſto. Auri facra fames. +. Nullam voluptatem elíc amore potcntiorem . Plato, Lib. de Conviviis, five Amore. .. EMBLEMATICAL FIGUR 107 E S. ܀ܢ with the left, ſhe appears with an air of authority to be pacifying the envy of an eagle, ſtanding by her ſide . Among the prodigies that happened the day pre ceding the death of Cæfar, this little bird , called Trochilus by Ariſtotle, and Regaliplus by Suetonius, was ſeen flying towards the ſenate houſe, with a branclı of laurel in its mouth, and many other birds following it . For this reaſon the wren was afligned as the ſymbol to empire , and called the king of birds in preference to all others. It is reported that the eagle frequently contends with the wren for ſuperiority : t and tho' it is well known that the former is much greater in power and might than the latter , yet the wren is licre placed in the moſt diſtinguiſhed ſituation ; which denotes, that ingenious and brave men , of whatever ſtation , who, by their merit in arts or in arms, raiſe their reputation by ſome memorable exploit, have an equal claiin to honour and preferment with thoſe of the moſt dignified rank . Fig. 192. Conservation , > Is the act of preſerving, and is allegorically expreſſed by the figure of a woman dreſſed in golden coloured drapery, and crowned with a garland of various aro matick plants . In hier right hand the holds a branch of cedar, and in the left a circle of gold ; the gold and cedar are both ſaid to be incorruptible, therefore are proper ſymbols to this ſubject, and the circle being the ſymbol of perpetuity, is here judiciouſly introduced , both on account of the value of the metal and its du rability. The garland of various aromatick plants, alludes to a cuſtom of the Egyp tians, who uſed theſe ſort of ſimples , to preſerve the bodies of their dead . The herb millet, and the olive, are alſo ſymbols of conſervation . Е е PLATE • Pridie autem eaſdem idus Martias avem regaliolum cum laurea ramulo Pompeianæ curiæ fe inferentem, vo lucres varii generis ex proximo nemore perſecutæ ibidem diſcerpferunt. Suetonius, Cap. 8 . + Trochilus vocatur idem, et ſenator, et rex ; quamobrem aquilam pugnare cum eo referunt. Ariſtotle Hift. de Animal . Lib. IX . Cap. 11 . Trochilus rex avium, ut fcribit Plinius , vocatur, et ob id perpetuam illi cum aquila diſcordiam , tanquam id ægre ferat. Marcantonius Sabellicug 1 108 E x P L A NATION OF THE P L A T E L. Fig . 193. HEROICK Poetry. Poetry, is principally divided into four ſpecies, and heroick poetry in every re ſpect ranks as the firſt. It is perſonified by the figure of a beautiful young man in a ſumptuous dreſs, crowned with laurel , holding a trumpet in his right hand, with an open book on his knce, and near him are the books of the Iliad and Æneid, which have been always eſteemed the maſter pieces of this ſort of poetry. The inſcription, non niſi grandia canto , relates to the ſubject. Fig. 194. LYRICK Poetry. This ſecond ſort of poetry is not of fo dignified a nature as the preceding, but is graceful and enchanting, by the agrecableneſs of its muſical notes. It is allegori cally repreſented by the figure of a fine woman , dreſſed in various coloured dra pery, and crowned with a garland of myrtle and roſes, in the attitude of ſinging, which ſhe accompanies with the found of the harp or lyre ; as this inſtrument is of great aſſiſtance to the harmony of found, lyrick poetry took its name from it . The motto, brevi complector fingula cantu ; points out the nature of this ſpecies of poe try. + Fig. 195. PASTORAL POETRY. This third ſort of poetry is perhaps more ancient than all the reſt; and is that in which any action or paſſion is repreſented by its effects upon a country life . It is

  • Res gefta regumque ducumque, et triftia bella

Quo ſcribi poffent numero monftravit Homerus. Horace, de arte poctica. + Muſa dedit fidibus divos, pueroſque Deorum, Et pugilem victorem , et equum certamine primum , Et juvenum curas, et libera vina referre. Hor. · poct. EMBLEMATICAL FIGUR E S. 109 is characteriſed by the figure of a beautiful young ſhepherd, fitting in a rural ſitu ation , by the ſide of a limpid ſtream . lle is repreſented holding his pipe with feven reeds , and by his fide are the Mepherd's ferip and paſtoral crook, with the following inſcription , paftorum carmina lulo . The note below relates to this fort of poetry mentioned by llorace . of this Boileau gives a beautiful deſcrip tion.t 春 Fig. 196. SATIRICAL POETRY, Is the laſt ſort of poetry , in which wickedneſs or fully are cenſured . It is reprc ſented by the figure of a Faun or Sylvan god , of a petulant or wanton aſpect, lean ing on a thyrſus, and holding an arrow in his hand , with which he is pointing to lie the following inſcription, irridens cuſpide figo. Boilcau makes the following obſerva tion on this invective kind of poetry , # which is alſo mentioned by Horace. § Proper Satire • Tibia non , et nunc, orichalco vinctæ , tubaque Æmula ; ſed tenuis, ſimplexque foramine pauco Aſpirare, et adeſe choris erat utilis , atque Nondum ſpiffa nimis complere fedilia flatu , &c . Horace, art. poet.. + Telle qu'un bergere, au plus beau jour de féte, De ſuperbes rubis ne charge point fa téte, Et ſans méler a l'or l'eclat des diamants, Cueille en un champ voiſin ſe plus beaux ornements : Telle, aimable en ſon air , mais humble dans ſon Rile, Doit eclater ſans pompe une elegante idylle. Son tour fimple et naif n'a rien de faltueux ; Et n'aime point l'orgueil d'un vers preſomptueux. Il faut que fa douceur flatte, chatouille, eveille ; Et jamais de grands mots n’epouvante l'oreille . Boileau dans le ſecond chant de ſon art poétique, | L'ardeur de ſe montrer, et non pas de medire, Arma la verité du vers de la fatyre. Lucile le premier oſa la faire voir i Aux vices des Romains preſenta le miroir : Vengea l'humble vertu de la sicheſſe altiere, Et l'honnete homme a pied du faquin en litiere. Horace a cette aigreur mela ſon enjoúment On ne fut plus ni fat oi ſot impunement. Boileau art poetique, chant . 2 . S Intererit ఈ ముందు తనకు ముందుకు తనఎముకను నుముందుతను లంాక జుల ܬ ܗ ܚܐܚܝܘܘܝܝܣܐ * ܕܐܡܣܝܫܦܘܗܡܗܣܐܬܘܕܐܘܠܐ ܕܬܐܠܫܗܶ ܕܕܥܝ ܝܘ ܐ ܥܝܬܘܣ ܘܐܺܘ ܚܶܘܝܘܝܫ ܟܘܘܪܘ ܂ 110 EX PL A N A TION OF THE ſatire is diſtinguiſhed by the generality of the reflections, from a lampoon, which is aimed againſt a particular perſon . P L A T E LI. Fig. 197. PROPHECY, Is the foretelling of future events, by the inſpiration of the holy ſpirit. It is al legorically expreſſed by the figure of a matron of a venerable countenance, above her head is the image of a dove , from which deſcends reſplendent rays of light, to denote that declarations of this ſublime nature , are made by the aſſiſtance of the divine fpirit. She is dreſſed in white robes, the ſymbolick colour of purity and holineſs ; ſhe holds a trumpet in one hand, and a ſword in the other, and has a cincture of iron round her body, which denotes that ſhe is conſtrained to de clare the moſt ſevere threatenings with ſincerity and candour, which is particularly ſymbolized by the trumpet and ſword . She has a veil over her face, to indicate that the ancient propliecies of holy ſcripture were frequently delivered under enig ma's and typical repreſentations. Fig. 198. THEOLOGY. Natural theology comprehends the knowledge we have of God from his works, by the light of reaſon alone ' ; moral thcology is that which teaches us the divine laws relating to our manners and actions. It is repreſented by the figure of a re ſpectáble woman ſitting on a terreſtrial globe, in a contemplative attitude, with her Intererit Satyris paulum pudibunda protervis. Non cgo inornata, et dominantia nomina ſolum Verbaque, Piſones, Satyrorum ſcriptor amabo: Nec úc enitar tragico differre colori, Ut nibil interſit, Davuſne loquatur, et audax Pythias, cmuncto lucrata Simone talentum ; An cuſtos famuluſque Dei Silenus alumni. Hor. art . poet. . EMBLEMATICAL FI G U R E S. her countenance towards heaven, and illuminated by rays of light deſcending from above, her riglit hand is placed on her breaſt, and with the left me holds a book . She is dreſſed in robes, compoſed of the ſymbolick colours of tlie three theological virtues ; the white veil ſignifies faith , the green mantle hope, and the red veſtment charity . The rays of light denote that the knowledge of this ſcience comes from the divine fpirit . The action of ſitting on the goble , alludes to the Itudy of this ſcience, not being confined to earthly things alonc , but aſpiring to the knowledge of thoſe which are heavenly and divine. Her right land upon her heart, indicates that this ſcience is ſuperiour to all others ; the book points out the neceflity of re gulating our actions by the virtuous examples of thoſe , whoſe memory is an orna ment to humanity, and to fly from the ſmares of vicc , which brings many under a reproachful remembrance. Fig. 199. MYTHOLOGY, Is the ſyſtem or hiſtory of the fabulous gods and heroes of antiquity, with the explanations of the myſteries or allegories couched therein . It is characteriſed by the figure of a woman, in a dreſs partly Egyptian and partly Grecian ; Me diſplays a large ſcroll, whereon is delineated a ſpecies of the genealogical tree of the fabu lous divinities of paganiſm ; they are indicated by their names orderly placed , or characteriſed by the attributes given to them by the ſcience of mythology : hence it is , that the ſcythe, the thunder, the trident, the caduceus, characteriſe Saturn , Jupiter, Neptune, Mercury, and ſo of the other gods ; as the lion , the doves, the peacock , the ſpear, characteriſe Cybele, Venus, Juno, Minerva, and in like man ' ner of the other goddeſſes. The religion of the ancients became obſcure by fables, and a variety of fi &tions, which, while the vulgar underſtood in a literal ſenſe, their ſages endeavoured to explain and reduce to ingenious allegories , and thereby to render the heathen wor ſhip conſiſtent with all the natural notions of a ſupreme deity , and by accounting for the introduction of moral evil , to vindicate the rules of providence, and to juſtify the ways of God to man . Notwithſtanding the great corruption which had Ff crepe 112 Ε Χ Ρ Ι Α Ν Α Τ Ι ο Ν Ο Σ Τ Η Σ crept into the worſhip of all nations , the men of learning and reflection gene rally maintained honourable notions of the deity, and the moſt juſt and rational ideas of the obligations of moral virtue. Fig. 200 . ICONOLOGY , . Is the doctrine of repreſentation , which fignifies ſpeaking pictures or the dif courſe of images : it is the name of the ſcience contained in this book, by means of which are diſtinguiſhed the attributes, fymbols, and hieroglyphicks afligned to characteriſe the arts , ſciences , faculties of the mind, virtues and vices . It is perſonified by the figure of a matron of an intelligent countenance, as it requires time and knowledge to become eminently ſkilful in this ſtudy. She is attired in robes after the manner of the Egyptians , who were the firſt inventors of this ſcience . She holds a pen in her right hand , and in her left ſeveral pencils, and from theſe in both hands deſcend luminous traces, which ſeem to inſpire the diffe rent genii at each ſide of this emblematical figure ; every one of theſe genii have a little flame ariſing from the top of their head , and each of them hold the re fpective attributes which diſtinguiſh the virtues or vices which they repreſent. This ancient method of conveying truth, was conſidered as a veil of ſo fine a texture , as not wholly to conceal the beauties or deformities that lie beneath it. The Egyptian philoſophers had ſublime notions with regard to the divine nature, which they kept ſecret, and never diſcovered to the people, but under the veil of allegories. The invention of emblems took its riſe from the ſtudy of hierogly phicks, to expreſs the doctrines of the religion of the ancients ; as alſo their moral and political ſciences, in order to exhibit the virtues in beautiful images, and to expoſe the vices in ignominious and deformed appearances . PLATE EMBLEMATICAL FIGUREE S. 113 PLATE LII. Fig. 201 . THE MIDDLE , . Is a point or part equally diſtant from two extremities . " It is allegorically re preſented by the figure of a middle aged man , ſtanding in a graceful attitude on a terreſtrial globe, dreſſed in a golden coloured mantle , and crowned with laurel , having the figure of the ſun in his fplendour directly over his head. In his right hand he holds a circle of gold, with a diviſion exactly in the middle, and the fore finger of his left hand is pointing towards his navel ; this action , and the equal di viſion of the circle, are ſo clearly expreſſive of the ſubject, that no farther expla nation would be neceſſary, but that the diviſion of the circle alſo alludes to the equinoctial line, which divides the ſphere into two equal parts . † He is repre ſented in a middle age , not only in alluſion to half the age of man, but alſo with reſpect to the temperament of the body and mind, being in full vigour at this time of life . He ſtands perpendicularly on the meridian line , in alluſion to the center , of the world . † The golden mantle and crown of laurel, denote the worth of a regular deportment, and the merit of a virtuous conduct. The brilliant ſun is placed directly above his liead , not only alluding to the middle of the day, but to this ſovereign of planets being ſituated in the center of all the reſt, $ and diſtribut ing the light to the ſurrounding luminaries. • Mediocritas eſt quzdam virtus medii , et perfecti indagatrix . Ariſtotle, 2. de Et. Illud quod medium eft, inter utrumque probatur . Marcial , Lib. I. + Hæc duo ſollicium faciunt Cancer, Capricornus, Sed noctes æquat aries, et libra dies .

  1. Quod autem terra in medio omnium teneatur inmobilitet, cum at ſummé gravis, fic perſuadere videtur ejus

gravitas : omne grave naturaliter tendit ad centruin . Centrum quidem punctum in medio firmamenti : terra igitur cum fit fummé gravis, ad punctum illum naturaliter tendit. Johannes Sacroboſcus, Cap. 1 . Altius egreſſus cæleftia figna cremabis : Inferius terras : . medio tutiffimus ibis. Ovid. Metam . Lib. II. THE END OF THE FIRST VOLUME, 1 - > iii .

 !!

NXV.I பாாபர்ராபாாபபமபாபு மையம் ப பபப 03 COLLAR m படம் ITUUT Dammu DNI7DY uu TORTOOSIC 95 90 COSCOLLOCAL.se C .பw Macammans LUUTTU MIDDDI momTY ரா . ADDYIN JID Caleatmle a das ' Published as the Act Dinner Dee 1777 . 11 1 1 . مس XXVI. TIL RYO CZ UNADE APER CONFIC UNADIEL 100 مرور ICYLORXT DECOROD . பபட்ட்ட்ட்டப்பட்ட CT 111.111 Published as thede Direct Doc !1777. - - 11 事。 XXVII TommuTian_Trip unarrrrrrrrrrrTimirurunning2 VIVITTOTink 11111111 10 ' IIKIT | >>>>>>>>>>> MAC Hyurironumbnnnnnnnnnuaryyyyy. TTTTTTTTTTTTTTTTTTT ) 1112 TV 104 每 EM TTTT ” 了 Day InuyTIVITIONATITTY Ablished as the su Dirut Du ? 1777.

XXVIII . 105 107 188 food NON ALIUNDE , XEYALLITLITLA YJE Ablished as the de Direct Du ? 1777 . " 1 ܠܐܠܐܢܬܬܗ ܕ݁ܬ݁ܽܡܓ݂ܕܟ ܚܬܝܕܬ ܗ ܪܝܢܒ | και να XXIXXXIX ΣΙΣΣΣΙΣΣΥΣΤΥΧΩΣ 11 1. MT ΩΣΣΟΤΣΝΟΣΤΥΦΛΩΣΤΥ IIII ΙΣΟΤΙΟΥ ΟΣΧΟΙΧΤΥΧΙΑ Σ μία χιλι ΠΥΥΥΥ الخدمتكلما كدلككاكه மதுரா » » » » » ΤΠΠΙΤΡΟΠΥΥΣΣΑ Palkinted as the Aer Direct Duc " 1777. 1 1 XXX . 113 114 NUMINE 2 ATILOR . 122 TITXW222T2 ns 110 DESCRL MONES MADUR לרווחת DRITTI LI Published as theAct Dirant Dar7777 1 INIX - மாMைIC 118 XODUTAROCCO மா TOTOOosto MYYT ritrTITUTT T( K ( ப YTNTENTATN TTIIIIIIIIIIIIIT MUTTOMERMODITY சரியாறுMை ETHI ' ALIC A T ற்ற 1 டங் பா வ NDID ) மட்டம்' பாபா Publuked as the fee Dirut Dre . 77 . . XXI. 121 122 LILIALLYLLI ZZI SO 2.I2UIDT22 Published as the Act Dirceu Deo ! 1777. ܂ ܚܘܬܬ ܘܐ ܬܐܘܘܬ݁ܐ ܝ ܟܠܕܠ ܐܡܝܞ ܗ ܀ ܕ ܗܗܐܝܐܘܐܶܐ܂ - XXXIII 1 2TM : INIT DODATNO 123 LION USD 118 VOK 7JTTERATA CT AXTI CULOA cuad ETTI MODO RONUNCLATA VITAMIomnim WI) TuntanaiIIMUUNNNN tru Published as the Au Direct Due " 7777. 1 XXXIV . CITIZTIOIITI 129 IN JONATV VASTAS 13 / 13 ! PS rece. PAX. IT IMPAR ZILIZZ Fétishould we the del Directo Dro : 1777.

XXXV. 1 TOIDULTO תמונות IULIDULISULULLLLLDD 133 31 TUTTI T re mes 22 135 זוגות uum 136 X DMITTITTITION ULUI מענה Sol LUMINITrim על תמותשיג Published as the dat Durred Doc ? 7777 .. 1

XXXVI . TIZICITUZTL2 ZTDIIDIDZI herg 13 16 222 140 CUTTINTZO Published on the Act Dircolo Dec: 1777. 1

XXXVII . ΣΥΣΣΣΣΣΣΣΣΥΥΥΥΣΣΣΣΣΤΥΥΥΥΥΥΥΥΥΥΥΥΥΥΥΥΥΥΥΥΥΥΥΥΥΥΥΥΥΥΥΥΣ ΣΥΥΣΥΣ ΣΟΥ ΣΥΣ Υ.ΣΟΥΣΟΣ Σ ΥΠ' ΤΟΥΣ ΣΤΟ μα DYT1 111Y1YTYXY112 ΤΣΙΟΣ R100 γυμνητηγύτην,

          • INITIE

ΣΑΣΣΣ ΣΕ ΣΥΠΠΤΤΙΙΙΙΙ ΓΥΙΥ . Published as the Act Dircet Desi'1777.

  • # * # *

ཚེས་ ཙེ xxxin . im MTITI TIEZTITITII DITTIT MUDA ܀ ܀ ܀ ܬܟ Pro 147 che ZALIZILULILUZ WIZZUDIN LIIIIIII Publurhat as the det Directo Dea'1777.

XXXIX . unimmuniorninr WILL symmdTTT) ) )

11 TITV 011TTTT) Time iTunyi IST Erroronic AiritionionIDun TVTn } ) 10 WWWINDOW JinYinn) TTTTTTTTriptopport* Publisheet aller the Art Direct Ded : 17773 నుముందు ఈ మతంవుంది.తరువాత ఆ ముందు ను కలుసుం కుకుముందు కు ఒక కొడుకుతన తలను ముందు నాకు అందం అంత దము. అప్పుడు -ర - 24 వారం లో XL. 2017 ΤΣΙΤΖΗΣ DILIITIIDATZITZTIZ 153 文 ☆ 155 116 גולדנב Peilished on the Act Direce Dec : 1777.

XLI. ! LuminiNhLJulinangoD217yrimo ) } \, \ uhulinuummmmunionproprinm m 问 ווירפרייזינגוז ודיוורנויורדי 138 TITTYMIIITMITTIXImm IIII'IroniuliniIrviii111IIIIri Thirls ] Thain SO rrrrr irl myTyrrrrrrr Junjuun PreMished u de la Direch Dec: 1777 . } XLII . UTC12 ( TILUTUT 以 IET 12: FIE. 164 VIII 管 TZTEIZ 。 ZZZZZZ1 ΣΙΛΙΣΣΑΣ TITLETTI LILL.YIT、ILECT_CLOLLETTITUTTI Published as the Act Directo Dec :" 1777.

XLIII . 109 ܚܐ̄ nm ܫܐܗܫܗܣܗܐܐܪܙܙܐ ' ' ܘܢܗ 107 ܠܐ LU nummri Tuttlinked the Act Directs Dec " 1777. 1 XILIV . Nan Tini777777111TLITTTTTTTTTTI பெட்டடபபபபபா 169 17 ப * ... * ... - - - ZOTE TTTTT TTTTTTTTTTTTT 172 iIIIN TETOZZI படட்டOT.LLYT ட TTTT Pueblühed as the Ae Direct Dar: 1777

+ XLV . TOIATI IbuMPIDOU 200 re UDTNr YTYY TWor 170 75. ! vot ,occue Com Elle Ynys IIIIIid Published as the dot Direct Dec. 1777. ܣܘܪܒ݂ܳܘ ܚܢܪ ܟܛܟܕܬ܀ ܪ܀ ܕܬܐܬܐܬܬ ܘܐܙܪ̈ܝܬܐ ܬܪܗܬܬܘܪܝܬܐ ܓܗ ܀ ܂ 1 1 LATX 178 ร CICERACLITEILZEU 180 F22222LUITETUTKZITOR 622 NJA 120S Published as the Art Thirreo Dec! I'177.

XLVII . nIDITIDT 181 . AU பல 18S , 184 பா mirumura ( TNT பாபா NITH பபர்பாரா மாயபபபபபபபமமயாயாம Paalatulsi le lies De: 121777. .. . XLVIII. 196'. MUL نام ITTTTTTT ' 181 991 TEZLİTELLIITTI IIIT ப ITTU TITUTIYU ட்டா Ablished or the Art Direct Doci 1. 1777. 40మందుముందు కు కు కు కు కు కుకూడా అందుకు మనంమా కు ముందుకు ఈ XLIX . SO 189

Vi adam amordid MUITOWIN Published as the Aet Direct Dei 1977 .. L ODS 93. VALUTAW Gwyboda ON NIKI ACAYws LILIKLAY XXX 196 180919 wuin CUSP CARMINA PASTORUM VA TITUT m2 Published as the Art Direct Doo ! 11777.

11., TNmmmmmmmY TIME TIT ( 197 198. பபபபா பம்பார் wüfiwDnVmmmUNTINI TMMD DIXDIOITTIM 200 199 177 1 TITTTTT111111 OD D Predlisted as the Act Dirct Doc 1.'1777.

بمهمة سد دفاعی دندان استاد القات العالم لانه كل الدعم من می دادو بهار III .





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