The English Emblem Tradition: Volume 4: William Camden, H.G., and Otto van Veen 9781442681187

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Index Emblematicus

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The English Emblem Tradition 4

William Camden Remaines of a Greater Worke Concerning Britaine H.G. The Mirrour ofMaiestie Otto van Veen Amorum Emblemata EDITED BY PETER M. DALY WITH tLESLIE T. DUER AND MARY V. SILCOX CO-EDITOR FOR CLASSICS: BEERT VERSTRAETE ASSISTED BY RUDIGER MEYER

UNIVERSITY OF TORONTO PRESS Toronto Buffalo London

www.utppublishing.com University of Toronto Press Incorporated 1998 Toronto Buffalo London Printed in Canada ISBN 0-8020-4367-4

Printed on acid-free paper

Canadian Cataloguing in Publication Data Main entry under title: The English emblem tradition (Index emblematicus) Partial contents: v. 4. Remaines of a greater worke concerning Britaine / William Camden. The mirrour of maiestie / H.G. Amorum emblemata / Otto van Veen. Includes bibliographical references and index. ISBN 0-8020-4367-4 (v. 4) 1. Emblem books, English. 2. Emblems - England Early works to 1800. 3. Emblem books, English Indexes. 4. Emblems - England - Early works to 1800 Indexes. 5. Symbolism in art - Themes, motives Indexes. 6. Mottoes - Indexes. 7. Epigrams, English Indexes. I. Daly, Peter M., 1936- . II. Duer, Leslie T. III. Raspa, Anthony. IV. Series. PN6351.E55 1988 745.6T0942 C88-093687-8

University of Toronto Press acknowledges the financial assistance to its publishing program of the Canada Council for the Arts and the Ontario Arts Council. This book has been published with the help of a grant from the Humanities and Social Sciences Federation of Canada, using funds provided by the Social Sciences and Humanities Research Council of Canada.

DEDICATION This volume is dedicated to the memory of our McGill colleague, Leslie T. Duer, whose sudden death during a sabbatical leave dedicated to research into emblem-related matters came as a shock to all who knew him. His contributions to the exploration of English imprese enrich both Volume Four and the earlier Volume Two in the series.

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CONTENTS Preface ix Introduction xi THE BOOKS OF EMBLEMS AND IMPRESE 1 William Camden, Remaines of a Greater Worke Concerning Britaine (London: Simon Waterson, 1605) EDITED BY PETER M. DALY AND |LESLIE T. DUER 3 H.G., The Mirrour ofMajestie (London: William Jones, 1618) EDITED BY MARY V. SILCOX 45 Otto Van Veen, Amorum Emblemata (Antwerp: H. Swingenius, 1608) EDITED BY PETER M. DALY 115 CONCORDANCES, INDEXES, AND LISTS 249 CAMDEN 251 Latin Motto Index 253 Latin Motto Proper Noun Index 256 French Motto Index 256 German Motto Index 256 Italian Motto Index 256 Spanish Motto Index 256 Motto Translation Index 257 Motto Translation Proper Noun Index 260 Alphabetical List of Latin Mottoes 261 Alphabetical List of French Mottoes 263 Alphabetical List of German Mottoes 263 Alphabetical List of Italian Mottoes 263 Alphabetical List of Spanish Mottoes 264 Picture Index 265 Picture Inscription Index 273 Picture Proper Noun Index 273 Bearer Index 274 H.G. 276 Latin Motto Index 277 Latin Motto Proper Noun Index 277 French Motto Index 277

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German Motto Index 278 Italian Motto Index 278 Motto Translation Index 279 Motto Translation Proper Noun Index 280 Alphabetical List of Latin Mottoes 281 Alphabetical List of French Mottoes 281 Alphabetical List of German Mottoes 281 Alphabetical List of Italian Mottoes 281 Picture Index 283 Picture Proper Noun Index 294 Picture Inscription Index 295 Epigram Index 296 Epigram Proper Noun Index 312 Dedicatee Index 313 VAN VEEN 315 Latin Motto Index 317 Latin Motto Proper Noun Index 322 Motto Translation Index 323 Motto Translation Proper Noun Index 329 English Motto Index 330 English Motto Proper Noun Index 334 Alphabetical List of Latin Mottoes 335 Alphabetical List of English Mottoes 339 Picture Index 342 Picture Inscription Index 353 Picture Proper Noun Index 353 Epigram Index 355 Epigram Proper Noun Index 373 Reference Index 375

PREFACE This volume is the fourth in a sub-series of the Index Emblematicus dedicated to the English Emblem Tradition. It applies the same principles to English works that were first applied to the various editions and translations of Alciato's emblems. Subsequent discussions with colleagues, users, and reviewers have resulted in the introduction of certain improvements, particularly in the creation of indexes. These improvements were also facilitated by advances in microcomputing technology. In preparing these three books of emblems and imprese for the present volume we were able to consult a number of colleagues at particular points. John Manning (University of Wales at Lampeter) and Karel Porteman (Leuven, Belgium) both kindly provided advice from time to time. We should like to record here a special debt of gratitude to our programmer, Dr Stanley W. Beeler, who has constantly maintained and modified the computer programmes which have enabled us to subject English emblems and imprese to the electronic scrutiny necessary for the creation of indexes and concordances. Although micro-computers make it possible to do the work at the office or at home, research of this kind is still highly labour-intensive. The project could not have been carried out without the generous support of the Social Sciences and Humanities Research Council of Canada, which, at an earlier and critical stage, provided research grants. Transcriptions of the unillustrated imprese of Camden are based on the microfilm Early English Books. The emblems in The Mirrour ofMaiestie are reproduced from a private copy of the Henry Green facsimile edition. The emblems of Van Veen are reproduced by permission of the Library of Princeton University. Transcriptions of the English verses are based on the Princeton copy.

May, 1998

PMD

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INTRODUCTION THE EMBLEM There has been a veritable renaissance of interest in emblematics, and not merely as an ancillary to the study of the history of art and literature, but also for its own sake. The scope of emblem study is broad indeed, embracing printed books—probably over 6,000 printings exist,1 and no one even knows how many manuscript collections2 still exist—and literary and theatrical analogues in all European vernacular languages and Neo-Latin, as well as the whole field of 'applied emblematics,' which can take the form of wall and ceiling decoration,3 painting and portraiture, tapestry, embroidery, glass, and jewellery. The emblem in all its manifestations must be regarded as both an art form and a symbolic mode of communication. Formerly a no-man's land, an unclaimed territory bordering literature and the fine arts, the emblem is currently being re-mapped bibliographically. Scholarly reprints4 and indexes, the Henkel-Schone Emblemata5 and the Index Emblematicus being two examples, are making accessible tracts of this lost terrain. Articles and books are providing descriptions of certain features of the topography of the emblem landscape. This resurgent interest also manifests itself in the many conferences and symposia dedicated in whole or part to emblems; in the increased number of articles and books published; and in the journal Emblematica and the monographic series 'Studies in the Emblem,' both published by AMS Press (New York), and the series 'Symbola et Emblemata' published by Brill (Leiden). There are several large-scale, computerized bibliographic projects underway, which promise to place the whole subject of emblems on a firmer basis. The use of micro-computers will not only make the results more accessible to more scholars, but also facilitate new approaches to the interpretation of this cultural phenomenon. This is, in short, an exciting time of re-discovery and re-evaluation. Modern perspectives deriving from communications theory, semiotics, and the sociology of production and reception are being applied to the emblem in an attempt to arrive at a better understanding of the role of the emblem in its society, and of the interaction between emblems proper and other cultural forms. But, as Daly has argued elsewhere,6 this systematic investigation of the emblem is still in its infancy, although the theoretical groundwork in terms of genre theory is well advanced.7 A NOTE ON DEFINITIONS AND THE SELECTION OF TITLES There have been many attempts to define the emblem genre over the years, and this has influenced bibliography. Mario Praz8 had a broad understanding of what constitutes an emblem, and his selection of titles is consequently generous. Rosemary Freeman,9 on the other hand, had a narrower conception, restricting the use of the term to the three-part combination of motto, picture, and epigram as found in Alciato. Consequently her bibliography of English emblem books up to 1700 lists only twenty-four books in some forty-six printings, omitting more works than it includes. Huston Diehl's Index of Icons in English Emblem Books, 1500-1700 (Norman and London: University of Oklahoma Press, 1986) is based on Freeman's bibliography and

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therefore fails to fulfil the claim of 'including every icon in every English emblem book ... printed in the sixteenth and seventeenth centuries' (p 4). Since the emblem is a mixed form, a hybrid combining graphics and texts, it is inevitable that there will be borderline cases where works have only a loose connection with the emblem tradition. However, if we regard the emblem as both an art form and a mode of symbolic thought—recognizing the interdependence of 'emblem' and 'imprese'—then it is important that bibliographies and indexes be generous and catholic in what they contain. In order to reflect more accurately the pervasive influence of emblematic forms and modes in English publications during the sixteenth and seventeenth centuries, we have embraced a broader conception of the emblem than Rosemary Freeman and Huston Diehl. The Index Emblematicus will include not only emblem books with the three-part form popularized by Andrea Alciato, but also devices used in the flags of the English Civil Wars, emblemata nuda, collections of imprese, iconologia, works on the emblem and impresa, and finally collections of prose or poetry in which emblematic plates form an integral part. Manuscript emblems have been excluded with the exception of Peacham. Most emblematic and impresa literature can be divided into six main groups: 1 2 3 4 5 6

emblem books in the strict sense, i.e., the tight three-part form associated with the name of Andrea Alciato; unillustrated collections of emblems or imprese, where the graphic element is replaced with a verbal description, as is the case with Camden; expanded forms, e.g., Jan van der Noot, who adds a book-length prose commentary to his collection of emblems, or Henry Hawkins, who employs a complex nine-part structure; emblematically illustrated works such as meditations, where the plate becomes an integral if minor part, e.g., Jeremias Drexel; theoretical discussions of emblem and impresa, which provide many examples of actual imprese, e.g., Paolo Giovio and Henri Estienne; printed evidence of the use of emblem and impresa in the material culture, e.g., the ephemeral architecture of entries, processions and catafalques as recorded in fete books.

For purposes of bibliography and indexing we include all such works under the generic heading of emblematic books, without differentiating books with emblems from emblem books. THE ENGLISH EMBLEM TRADITION By comparison with the production of emblematic works on the Continent, England's contribution is extremely modest. Small though it may be, it is none the less more significant than Freeman's pioneering study and Diehl's Index suggest. According to our bibliographic research, which forms the basis of the Index Emblematicus, at least fifty-eight titles in more than 120 printings and editions were published up to 1700. The number grows as new titles and further editions are discovered.10

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It is now forty years since Freeman's influential study first appeared. For two generations of English readers it has been the first and last word on the subject of emblems.11 But in several important respects the work is dated. Its generic assumptions have had a negative effect on bibliography. Freeman's notion of the disjunction of word and image in the emblem, and her normative and evaluative judgements, have in some respects been an obstacle to better appreciation. We are not suggesting that Whitney will fare better today than yesterday when compared with Donne, Herbert, or Shakespeare. But we would no longer consider it appropriate to compare Blake's symbolic poem on the marigold with Wither's emblem epigram on the same subject to the disparagement of the emblem. Literary scholars like Freeman often appear to forget that the emblem depends on the interaction of word and image, and that thepictura must be accorded equal importance in the process of semantic and semiotic communication. Furthermore, they also make the tacit assumption, which is usually false or at least unprovable, that the author of the emblem texts was in some way also responsible for the picturae. THE PURPOSE OF THE INDEX EMBLEMATICUS Although literary scholars show an increasing awareness of the emblem as a symbolic mode of communication, the emblem books themselves still remain largely terra incognita. Perhaps that is hardly surprising, given the fact that thousands of emblem books and emblematically illustrated books in all European languages have survived, and yet only a handful has been reprinted. The dearth of scholarly editions, as distinct from reprints, and the paucity of reliable critical studies largely accounts for this ignorance. In his article, 'Recent Studies in the English Emblem,' Jerome Dees observes that criticism has proceeded largely in a vacuum, and he concludes that English studies of the emblem 'are in the curious position of being more advanced in assessing their influence than understanding what they are ,..' 12 With the exception of the pioneering work of Henry Green,13 the nineteenth century paid virtually no critical attention to emblems. The basic groundwork, without which modern Shakespeare studies are unthinkable, has never been done for the emblem. The Index Emblematicus volumes dedicated to the English Emblem Tradition will attempt to remedy the situation by providing a uniform and systematic set of indexes to all emblematic works published in English up to 1700. The volumes will render the material accessible by providing: 1 2 3 4

an introductory and bibliographic note on each emblematic work, followed by a facsimile reproduction of the title-page; facsimiles of the emblems, where necessary slightly reduced in size and re-assembled, if the original was printed over two or more pages; descriptions of pictures, translations of mottoes in foreign languages, a list of key words from the commentary and the epigram, and information on dedicatee, bearer (of an impresa), and references; all key words clearly flagged;

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Introduction concordances and indexes to the various fields of information which make up the emblem or impresa as a whole.

It is our intention to proceed chronologically, rather than alphabetically or thematically through English emblematic works published from 1569-1700. Thus Volume One contained the first four books of emblems and imprese that appeared in English, and Volume Two the next three. DESCRIPTION OF PICTURES Just how much picture description to provide is a vexed question, and one upon which complete agreement can hardly be expected. Some art historians might argue for greater detail and for the inclusion of information on composition and style. The amount of description is, however, determined by the purpose of the Index Emblematicus, which is to render accessible the key symbolic motifs in the pictures. Consequently, we have concentrated on the symbolically relevant motifs, paying less attention to background, foreground, and other illustrative material, unless such material demonstrably adds to the significance of the central motif or motif cluster. The purpose of the brief description of the picture is, then, to provide the necessary minimum information upon which the Index is based. The pictures are not read in isolation from the texts; rather, information from mottoes and epigrams is used to help identify motifs in the pictures. Thus, classical figures are named wherever possible. Apollo and the Muses are thus named in the pictura to The Mirrour of Majestie (p 47) although the epigram is silent about their identities. Similarly, allegorical figures are named according to the personifications they represent, as for instance 'Whore of Babylon' rather than 'woman' (Mirrour of Majestie p 41). Birds, trees, creatures, and all other objects are likewise identified with the assistance of the text. Since our picture descriptions are essentially identifications of motifs, we employ the technical vocabulary of heraldry when describing heraldic motifs. The use of such technical terms provides for greater clarity and differentiation of information. In the language of heraldry, adjectives and noun modifiers usually follow their nouns, e.g., 'lion rampant,' 'martlet argent,' and 'shield quartered.' These combinations will appear under their key nouns, e.g., 'lion,' but such technical terms as 'couchant' will have their own entries in the appropriate place in the alphabetical index. Reference to left and right in our descriptions of the pictures is largely governed by the practices of art historians. Thus, left and right normally describe the positioning of objects and figures from the point of view of the reader as he looks at the emblem. However, when a figure is described as holding an object in the right hand, then this applies to the figure. Furthermore, when groupings of motifs or scenes have a symbolic relevance for the figure depicted in the picture, these are also denoted as left or right from the vantage point of the figure in the emblem.

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TREATMENT OF KEY WORDS IN INDEXES The indexes are based on key words, which are specially flagged in the editions of the individual works. As in the Index volumes devoted to the emblems of Andrea Alciato, the key words in foreign languages are indexed separately, as well as in English translation. All key words are modernized and lemmatized so as to circumvent the problems of morphology, inflectional endings, and conjugated forms, as well as the vagaries in spelling which are encountered everywhere in the vernacular languages of the sixteenth and seventeenth centuries. Before the key words were sorted into indexes, a certain amount of pre-editing was required. All modern languages are rich in inflected and conjugated word forms, which pose problems for those creating indexes and concordances. This was overcome by a process of lemmatization, which reduced each key word to its basic form. In the case of nouns the nominative singular is used unless the noun only exists in the plural form. Verbs are cited in the infinitive in all European languages with the exception of Latin where convention requires the use of the first-person singular of the present tense. Adjectives, irrespective of the gender and case of accompanying nominal forms, are reduced to nominative masculine singular. In this way we created larger groupings of words that belong together semantically as variations of the same root, but which otherwise would have been scattered throughout the alphabetical index. An occasional complication is presented by the homograph. For instance, the word 'glass' can denote the material known as glass, but it can also refer to a mirror. Such homographs are differentiated through the addition of a number at the end of the word, thus glass in the sense of a mirror appears as 'glassl' in Van Veen's epigram pp 6, 126 and 182. These number suffixes are retained in the edition, indexes, and listings to indicate homographs. Obsolete words are given special attention. The original obsolete form is accompanied by its modern equivalent in brackets, e.g., Van Veen's emblem p 18 contains the word 'term' [= 'Terminus']. Both forms appear in the appropriate indexes. All mottoes in foreign languages are reproduced in their original orthography, but key words deriving from them are standardized and lemmatized for the purpose of indexing. This means that in the case of Latin consonantal 'i' and 'u' are replaced by 'j' and 'v,' and capitalization is regularized. Mottoes in foreign languages are translated into English. This requires consistency in the use of language, which, at its simplest, means selecting the same English word where several words are available for one and the same notion. Although synonyms often reveal stylistic or syntactical differences, we are more concerned with semantic distinctions than with style, level, and tone. The dual origins of English have given us both 'to weep' and 'to cry,' 'naked' and 'nude.' From the semantic viewpoint these pairs of words convey the same meaning, and to save the reader from unnecessary searching, we have consistently used 'to weep,' and 'naked.' At times other considerations determined the choice. We chose 'to weep' in order to avoid a possible homograph in 'to cry,' which can mean both 'to weep' and 'to shout.'

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THE CONCORDANCES AND INDEXES The concordances and indexes that make up the Index Emblematicus provide systematic access to a large and diffuse body of information. The purpose is identification rather than interpretation. The motifs in the pictures, for example, are identified and described neutrally, and not interpreted. Thus, Icarus is described as 'falling from the sky' (Van Veen p 042) and Daedulus as 'flying safely' (Van Veen p 042), but the meaning of the action is not interpreted as hubris or moderation respectively. In the English epigram to Van Veen's picture we read of 'high disdayn,' 'disgrace' and 'self-debasement,' and the Epigram Index therefore cites these terms. Whereas, strictly speaking, an index lists single words with no context whatsoever, a concordance cites the key words in their natural contexts, no matter how delimited. The disadvantage of listing single words is that the user is forced to return to the original text in order to determine whether the term listed is the one he or she is seeking. Concordances that cite the natural context frequently enable the user to determine immediately whether or not this is the usage that interests the reader. However, the shorter the natural context, the less valuable it is. In the Index Emblematicus we employ both indexes and concordances. However, for indexes proper we use a procedure that takes into account the advantages of computer-sorting: we string together key words that belong together, linking each word to the next by means of an arrow, which indicates to the user that the terms are related to each other contextually. These contextual strings of key words—words reduced to their most basic forms and linked by means of an arrow—place the indexes of the Index Emblematicus somewhere between the traditional index and the traditional concordance. Each emblem book is accompanied by its own set of concordances and indexes, and the final volume of the series will contain cumulative indexes to all the individual works. There are individual concordances and indexes for each part of the emblem: the motto, picture, epigram, commentary, references, bearer, and dedication. The Picture Index lists the symbolically relevant motifs in the picturae. It provides lemmatized key words accompanied by a portion of the picture description sufficient for the immediate understanding of the word or motif in question. It would have been prohibitively expensive, although much easier, simply to cite the complete picture description as a context for the key word. However, that is in fact seldom necessary. We have, therefore, shortened the descriptions printed in the edition so as to obtain a self-explanatory context. A separate List of Inscriptions records verbal components of the pictures, usually names inset in the picture. The Motto Index is composed of lemmatized key words followed by the complete motto. We have included an English index containing the English translations of the key words that appear in mottoes in different languages. An alphabetical list of all mottoes, accompanied by English translations, is also provided. The Epigram Index contains the key words from the various epigrams. Some writers identify sources for their emblem texts or pictures, or simply refer to other writers. This can be valuable information. Such names are listed in a Reference Index, but only when the emblem writer himself provides them.

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Especially in the case of imprese the names of bearers can be useful information to the historian. The Bearer Index simply lists the names of all bearers alphabetically according to the surname. The Dedication Index contains an alphabetical list of the names of persons to whom emblems were dedicated. Each Index includes a special list of proper nouns. The Proper Noun List contains not only names of persons such as Aeneas, gods such as Jupiter, and places such as Rome, but also personifications such as Death and Love. HOW TO USE THE INDEXES The Indexes are alphabetical listings, not classified groupings as is the case with the Icon Class. In order to obtain the maximum information available in any concordance or index, the user must always be prepared to make a list of synonyms, and also of related words. Whereas there may in fact only be one word for the precious stone known as diamond, or the bird called eagle, the user must look under 'pig,' 'piglet,' 'sow,' and 'swine' for verbal references to the pig. The user should also remember that abstract nouns may also be used as personifications; these appear in upper case in the Proper Noun Indexes to the various fields. When compiling word fields, especially for abstract concepts, the user would be well advised to think negatively as well as positively and look, for instance, under 'injustice,' 'dishonour' and 'godless.' NOTES 1 2 3 4

5 6

At present the bibliographical database known as the Union Catalogue of Emblem Books contains some 6,300 items. The first bibliographic census of emblematic manuscripts is currently in press. See Sandra Sider, Bibliography of Emblematic Manuscripts in the 'Corpus Librorum Emblematum' series (Montreal: McGill-Queen's University Press). See Hans J. Boker and Peter M. Daly, The Emblem and Architecture (Turnhout: Brepols), in press. In addition to the reprint series by Olms (Hildesheim and New York), Gregg International launched a new series under the imprint of Scolar Press, AMS Press (New York) announced a new series of 'Emblem Editions' under the general editorship of John Manning, and Brepols (Turnhout, Belgium) has announced a new series 'Imago Figurata' under the general editorship of Peter M. Daly, John Manning and Karel Porteman. Arthur Henkel and Albrecht Schone, Emblemata. Handbuch zur Sinnbildkunst des XVI. undXVII. Jahrhunderts (Stuttgart, 1967; 2nd ed. 1976). Peter M. Daly, 'Directions in Emblem Research — Past and Present,' Emblematica 1 (1986), 167.

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8

9 10

11 12 13

Introduction Albrecht Schone, Emblematik und Drama im Zeitalter des Barock (Stuttgart, 1964; 2nd ed., 1967); Dietrich Walter Jons, Das 'Sinnen-Bild.' Studien zur allegorischen Bildlichkeit bei Andreas Gryphius (Stuttgart, 1966); Daniel S. Russell, The Emblem and Device in France (Lexington, Kentucky, 1985); and most recently, Daniel S. Russell, Emblematic Structures in Renaissance French Culture (Toronto, Buffalo, London, 1995). Mario Praz, Studies in Seventeenth-Century Imagery (London, 1939 in 2 vols; 2nd ed., Rome, 1964). Rosemary Freeman, English Emblem Books (London, 1948; rpt. 1967). Alan R. Young draws attention to two hitherto unknown collections of English emblem prints in his essay 'Wenceslaus Hollar and Two Unidentified English Emblem Books' in The English Emblem and the Continental Tradition, ed. Peter M. Daly (New York, 1988), pp 147-98. Daly has argued that there exists an edition of Thomas Combe's Theater of Fine Devices that pre-dates the unique copy of the 1614 edition in the Huntington Library: 'The Case for the 1593 Edition of Thomas Combe's Theater of Fine Devices,' JWCI, 49 (1986), 255-7. Additional evidence for the 1593 edition is presented by Ruth Luborsky in 'Further Evidence for the 1593 Edition of Combe's Emblems: The Title Page of Robert Green's Arbasto,' Emblematica 8 (1994), 179-80. Still other editions of Combe's book are being noted. In 'Three (?) Editions of Combe's Theater of Fine Devices,' Emblematica 9 (1995), 217-19 Mary V. Silcox argues that no less than three editions of Combe's emblems were published: c.1593 (now apparently lost), c.1606 (Glasgow copy), and 1614. We trust that Michael Bath's recently published important study Speaking Pictures. English Emblem Books and Renaissance Culture (New York and London, 1994) will now replace Freeman's work. Jerome Dees, 'Recent Studies in the English Emblem,' ELR, 16 (1986), 391-420. In addition to his facsimile editions, Green's bibliography of Alciato editions remains a milestone of scholarship to this day.

THE BOOKS OF EMBLEMS AND IMPRESE

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WILLIAM CAMDEN REMAINES OF A GREATER WORKE CONCERNING BRITAINE (London: Simon Waterson, 1605) edited by Peter M. Daly and fLeslie T. Duer

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Camden

WILLIAM CAMDEN Remaines of a Greater Worke Concerning Britaine. London: by G.E. for Simon Waterson, 1605. 136 unillustrated imprese.

STC 4521-4526. Wing C374-375.

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EDITIONS Modern Editions and Reprints Camden, William. Remains Concerning Britain. 1870 Rpt.; Hildesheim: Georg Olms, 1970. From the 1674 edition. Remains Concerning Britain. Edited by R.D. Dunn. Toronto: University of Toronto Press, 1984. Microforms 1 EEB reel 878 (copy: Yale); reel 1130; reel 1341 (3 eds.); reel 1570 2 EEB reel 1200; reel 590; reel 591 STUDIES Dunn, R.D. 'Introduction' to Remains Concerning Britain. Toronto: University of Toronto Press, 1984, esp. pp 408-12. Young, Alan. The English Tournament Imprese. New York: AMS Press, 1988, pp 1-3 and 27-9. INTRODUCTORY NOTE In length and format, the chapter entitled 'Impreses' in William Camden's Remaines of a Greater Worke Concerning Britaine is comparable with Samuel Daniel's translation of Paolo Giovio.1 Indeed, Camden follows Giovio in his definition of the impresa2 except that he omits Giovio's injunction against the presence of the human form: 'There is required in an imprese ... a correspondencie of the picture, which is as the bodie, and the Motte, which as the soule giveth it life. That is, the body must be of faire representation, and the word in some different language, wittie, short, and answerable thereunto neither too obscure nor too plaine, and most commended, when it is an Hemistich or parcell of a verse' (p 158). Camden distinguishes impresa, emblem and heraldic arms in a brief but useful way. The impresa 'is a devise in picture with his Motte, or Word, borne by noble and learned personages to notifie some particular conceit of their owne...' (p 158). It is therefore associated with an individual and often relates to a specific event, whereas the inherited coat-of-arms was 'devised to distinguish families ...' (p 158). Unlike the impresa, emblems 'propound some generall instruction to all' (p 158); they are 'a generall document to all' (p 158). Although he recognises that the impresa consists of picture and motto, Camden does not always quote the motto, nor does he always describe the picture, nor name the bearer; hence the apparent gaps in our edition. He occasionally provides explanations of the imprese, suggesting what the choice of pictorial motif signifies. Thus Camden reminds his readers that Henry VII

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Camden

had as one of his badges a crown in a hawthorn bush to record the fact that he had been crowned with Richard's crown found in a hawthorn bush on the field of battle. While the majority of inscriptiones are in Latin, there are two in French, two in German, two in Italian, and two in Spanish. Camden's are unillustrated imprese, verbal descriptions in prose. We have shortened and modernised the spellings of Camden's descriptions so as to simplify the indexing process, but we have retained his formulations, occasionally adding a useful iconographical term. Thus Camden writes of the 'horn of plenty' to which we add '[cornucopia]'. While Camden learned much from his continental predecessors—he mentions Ruscelli (p 171)—his focus is on Britain. With the exception of an impresa borne by Cosimo d'Medici and one made in honour of Magellan, all of Camden's named bearers are English as are probably all but one of those unnamed. In fact, the Medici impresa is properly speaking a part of Camden's introductory definition of the impresa. Here as elsewhere in the Remaines such devices tie British to continental practice, but it is clearly upon Britain that Camden's attention is fixed. A marked feature of Camden's collection is its mixture of cognizance and impresa. The familiar British badges are here: the white rose and the red, the Tudor rose, the three feathers, together with some that may be a little less well known, but equably notable. These are not distinguished from more usual imprese and Camden's comments on them, among the more striking of which is his specific assignment of the sieve to Elizabeth (compare Paradin, tr. P.S., TheHeroicallDevises of'M. Claudius Paradin... London, 1593, pp 184-5). Many other imprese, which Camden records, come from the tiltyard. Some, which may or may not have been decorations on tilting armour, seem to be more private, and occasionally more provocative. Thus an unnamed gentleman chose the impresa of a man climbing a mountain, repelled by the wind with the motto 'Nitens ad summa, repellor' [Striving towards the summit, I am repulsed] (p 165). What was his ambition, and how thwarted, one wonders. For these imprese, few bearers are named, and in the last group, virtually none at all. Here Camden's discretion may be understandable, but it is a little disappointing: critics, historians and others might find intriguing the narratives hinted at in some of these publicly borne private statements. Camden's treatment of these matters suggests that he saw a practical difference between the public quality of some and the private nature of others, but not so much of a difference as to require explicit definition. This chapter of the Remaines deserves more attention than it has been given. Despite its relatively modest scale, Camden's treatment of imprese is an unusual account of these designs as they were borne in England, from a man well placed to observe them as Clarenceaux King of Arms. Whether from actual observation or from later visits to the Shield Gallery at Whitehall, he records some of those actually carried in the great Accession Day tilts of the period. In so doing, his work opens a window on an aspect of English renaissance culture. Camden's was an important and influential work, if the printing history is any indication. First printed in 1605 it went through no less than ten editions in the seventeenth century3 and three in the nineteenth century.4 Remaines of a Greater Worke Concerning Britaine is reproduced in two modern editions, of which the earlier is taken from the 1674 edition of Camden's book. The more recent (edited

English Emblem Tradition

7

by R.D. Dunn, Toronto: University of Toronto Press, 1984) contains a good general introduction to the work, but does no more with the chapter on imprese than to note its presence. Samuel Chew, in The Pilgrimage of Life (New Haven: Yale University Press, 1962, pp 275-6) takes up Camden's differentiation between emblem and impresa in order to say that it consists also in a distinction between public and private forms and that in this, it is at least incomplete; but Chew does not note the similar distinction within the group Camden thinks of as imprese. Young's discussion of Camden in English Tournament Imprese (pp 1-3 and 27-9) is concise and admirably clear, pointing to the important role of Camden (and Puttenham) in giving an account of the impresa in England. NOTES 1 2 3

4

See The English Emblem Tradition, Vol. One. See Alan Young, The English Tournament Imprese (New York: AMS Press, 1988), p 1-3. William Camden, Remaines of a Greater Worke Concerning Britain. London: Simon Waterson, G.E., 1605; London: Simon Waterson, Queen, 1614; London: Simon Waterson, C. Verdussen, 1623; London: Simon Waterson, Adam Islip, 1629; London: John Waterson, Thomas Harper, 1636; London: John Waterson, Thomas Harper, 1637; London, 1647; London: Isabella Waterson, Robert Clavell, Simon Waterson, Thomas Warren, 1657; London, 1670; London: Franz Julian Wagner, John Philipot, Somerset Herald, W.D. Gent, 1674. London: John Waterson, Thomas Harper, 1836; London: Anthony William Boehm, Chriswick, Whittingham & Wilkins, 1870; London, 1874.

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English Emblem Tradition Camden Remaines London 1605 p. 158

Camden Remaines London 1605 p. 160

Latin Motto °Fidem °fati °virtute °sequemur.

Picture The sign °Sagittarius.

With my °virtue I shall °follow my °trust in my °fate.

Bearer 0 Stephen, King of England

9

Picture The sign of °Capricorn. Bearer Cosimo de' °Medici

Camden Remaines London 1605 p. 158

Camden Remaines London 1605 p. 160

Latin Motto Ex °pace rerum °opulentia.

Picture An °eagle with °four young °chickens, three pecking and scratching the eagle, the fourth attacking its eyes.

From °peace comes °abundance of things. Picture A °woman wearing an °olive °crown, carrying the °horn of plenty [°cornucopia], and leading a °golden °boy.

Bearer 0 Henry II, King of England

10

Camden

Camden Remaines London 1605 p. 160

Camden Remaines London 1605 p. 161

Latin Motto Qui non °dat quod °amat, non °accipit ille quod °optat.

Picture The °rays of the °sun dispersing themselves from a °cloud.

He who does not °give what he °loves, does not 0 obtain what he °wishes.

Bearer 0 Edward III, King of England

Bearer °Henry III, King of England

Camden Remaines London 1605 p. 161

Camden Remaines London 1605 p. 161

Picture A °red °rose.

Picture A °golden °tree-°trunk.

Bearer 0 Edmund of ° Lancaster

Bearer 0 Edward III, King of England

English Emblem Tradition Camden Remaines London 1605 p. 161

Camden Remaines London 1605 p. 161

German Motto Ic[h] °dien.

Picture A ° white °rose.

I °serve.

Bearer °Edmund of °Langley, Duke of °York

Picture °One or °three °feathers. Bearer °Edward, Prince of Wales, the Black Prince

Camden Remaines London 1605 p. 161

Camden Remaines London 1605 pp. 161-2

Picture A °red °rose.

Picture A °falcon in a °fetterlock.

Bearer °John of °Gaunt, Duke of °Lancaster

Bearer 0 Edmund of °Langley, Duke of °York

11

12

Camden

Camden Remaines London 1605 p. 162

Camden Remaines London 1605 p. 162

Picture A °falcon in an °open °fetterlock.

Picture A °peasecod [= °peapod] branch with pod open and °peas out.

Bearer °Richard, Duke of °York, son of Edward IV

Bearer 0 Richard II, on the monument at Westminster

Camden Remaines London 1605 pp. 161-2

Camden Remaines London 1605 p. 162

Picture A ° white °hart °couchant with a ° chain and a 0 crown about its neck.

Picture An °ostrich with a °nail in its °beak.

Bearer °Richard II

Bearer °Anne of °Bohemia, wife of Richard II

English Emblem Tradition Camden Remaines London 1605 p. 162

Camden Remaines London 1605 p. 162

Picture A °fox-°tail °pendant.

Latin Motto °Mutare, aut °timere °sperno.

Bearer 0 Henry IV, King of England

I ° scorn to ° change or to °fear. Picture A °gold °portcullis. Bearer 0 Beaufort, Earl of °Worcester

Camden Remaines London 1605 p. 162

Camden Remaines London 1605 p. 162

Latin Motto Altera °securitas.

Picture A °laurel °branch in a °gold °cup.

A second "safety.

Bearer 0 Humphrey, Duke of °Gloucester

Picture A °gold °portcullis. Bearer 0 Beaufort, Duke of °Somerset

13

14

Camden

Camden Remaines London 1605 p. 163

Camden Remaines London 1605 p. 163

French Motto °Une sans plus.

Picture A °fetterlock.

°One no more.

Bearer °Edward IV, King of England

Picture A °burning °cresset or °beacon. Bearer 0 Henry V, King of England

Camden Remaines London 1605 p. 163

Camden Remaines London 1605 p. 163

Picture °Two ° feathers in °saltire.

Picture A °white °rose.

Bearer 0 Henry VI, King of England

Bearer °Edward IV, King of England

English Emblem Tradition Camden Remaines London 1605 p. 163

Camden Remaines London 1605 p. 163

Picture A °sun, made of °three suns °joined, i.e. °parhelion or °sundogs.

Picture A °gold °portcullis.

Bearer 0 Edward IV, King of England

15

Bearer °Henry VII, King of England

Camden Remaines London 1605 p. 163

Camden Remaines London 1605 p. 163

Picture A ° white °boar.

Picture A °red °rose and a °white rose joined, sometimes placed in a °sun.

Bearer °Richard III, King of England

Bearer °Henry VII, King of England

16

Camden

Camden Remaines London 1605 p. 163

Camden Remaines London 1605 p. 163

Picture A ° crown in a ° hawthorn °bush. The crown of Richard III at Bos worth Field.

Picture °Three °white °daisies growing on a °turf.

Bearer °Henry VII, King of England

Bearer Margaret °Beaufort, mother of Henry VII

Camden Remaines London 1.605 p. 163

Camden Remaines London 1605 p. 163

Picture A °white and °red °rose.

Latin Motto Cui °adhaereo, °praeest.

Bearer °Elizabeth of °York, wife of Henry VII

He to whom I °cling is the °leader.

Countess

of

°Richmond,

Picture An °English ° archer in °green °coat, his ° arrow fully drawn. Bearer °Henry VIII, King of England

English Emblem Tradition Camden Remaines London 1605 pp. 163-4

Camden Remaines London 1605 p. 164

Latin Motto Mihi, et meae.

German Motto Ic[h] °dien.

For me and mine.

I °serve.

Picture A °white-0crowned °falcon, holding a °sceptre in its right °talon, standing upon a °gold °trunk, from which sprout °red and °white °roses.

Picture 0 Three °feathers in a °crown.

17

Bearer 0 Edward VI, King of England, as Prince of Wales

Bearer Anne °Boleyn, wife of Henry VIII

Camden Remaines London 1605 p. 164

Camden Remaines London 1605 p. 164

Latin Motto °Nascatur ut alter.

Picture A °red and °white °rose with a °pomegranate, combined.

So that another [°phoenix] may be °born. Picture A ° phoenix in a funeral °fire. Bearer Jane °Seymour, mother of King Edward VI

Bearer °Mary, Queen of England as Princess of Wales

18

Camden

Camden Remaines London 1605 p. 164

Camden Remaines London 1605 p. 164

Latin Motto °Veritas °temporis °filia.

Latin Motto 0 Video, °taceo, semper °eadem.

0

I °see, I am °silent, I am always the °same.

Truth is the ° daughter of °time.

Picture 0 Winged °Time drawing °Truth out of a pit.

Bearer °Elizabeth I, Queen of England

Bearer °Mary, Queen of England

Camden Remaines London 1605 p. 164

Camden Remaines London 1605 p. 164

Picture A °sieve.

Latin Motto °Estote °prudentes.

Bearer 0 Elizabeth I, Queen of England

Be °wise. Picture A °terrestrial °globe entwined by a °snake. Bearer Cardinal Reginald °Pole

English Emblem Tradition Camden Remaines London 1605 p. 165

Camden Remaines London 1605 p. 165

Latin Motto 0 Animus tamen idem.

Latin Motto °Sat superest.

Yet his °courage is the same.

0

Picture A °man ° swimming against the current in a ° stormy °sea.

Picture A °broken °pillar.

Camden Remaines London 1605 p. 165

Camden Remaines London 1605 p. 165

Latin Motto °Nitens ad °summa, °repellor.

Latin Motto °Invenit aut facit.

0

He °finds a °way or makes one.

Striving towards the °summit, I am °driven back.

Picture A °man climbing a °mountain, repelled by °winds.

19

Enough remaining.

Bearer Henry ° Ho ward, Earl of ° Surrey

Picture A °hand with °pickaxe cutting a °pam on a °hill.

20

Camden

Camden Remaines London 1605 p. 165

Camden Remaines London 1605 p. 165

Latin Motto Sine °refluxu.

Latin Motto Sic °ultus °peream.

Without a °tide.

Thus having taken °revenge let me °perish.

Picture The °Caspian °Sea with its °shores.

Picture A °fly upon an °eye.

Bearer Sir Philip °Sidney

Camden Remaines London 1605 p. 165

Camden Remaines London 1605 p. 166

Latin Motto °Occasu °desinet esse.

Latin Motto Si °deseris °pereo.

At °sunset it will °cease to be.

If you °forsake me, I °perish.

Picture A °sun-dial with setting °sun.

Picture The °sun shining upon a °bush.

English Emblem Tradition Camden Remaines London 1605 p. 166

Camden Remaines London 1605 p. 166

Latin Motto Quousque °avertes?

Italian Motto °Intendam che puo.

How long will you °turn away?

May he °understand me, since he can.

Picture A °sim in splendor.

Picture 0 Atlas carrying °heaven.

Camden Remaines London 1605 p. 166

Camden Remaines London 1605 p. 166

Latin Motto °Salva me °domina.

Latin Motto O quanta °potentia.

°Save me, o °mistress.

O what great °power.

Picture 0 Venus in a °cloud.

Picture A °unicom with its °head in a °lady's °lap.

21

22

Camden

Camden Remaines London 1605 p. 166

Camden Remaines London 1605 p. 166

Latin Motto Par nulla figura °dolori.

Latin Motto °Aequora °tuta °silent.

No image is equal to my ° grief.

The °seas are °quiet and °safe.

Picture A °black °shield, without figure.

Picture A °knight °sleeping in a °cock-boat [small, open °boat] on a calm °sea.

Bearer Earl of ° Essex

Camden Remaines London 1605 p. 166

Camden Remaines London 1605 p. 166

Latin Motto Nee °flatu, nee °fluctu.

Latin Motto °Amor est °medicabilis °herbis.

Neither by °wind nor by °flood.

°Love is °curable by means of °herbs.

Picture A "pyramid exposed to °wind and °weather.

Picture A °rose.

English Emblem Tradition Camden Remaines London 1605 p. 166

Camden Remaines London 1605 p. 167

Latin Motto °Percussa °resurgo.

Latin Motto °Omnia ex °uno.

0

°A11 things from °one.

Struck, I °rise again.

23

Picture A °ball on a °racket [°tennis].

Picture The number °' 1'.

Camden Remaines London 1605 pp. 166-7

Camden Remaines London 1605 p. 167

Latin Motto °Occidens, °occidens.

Latin Motto Ex °nihilo nihil.

[The °sun] ° setting and °striking [humans] down.

0

Picture A ° setting °sun.

Picture The motto °'EX NIHILO NIHIL' inscribed in a bend on a bare °shield with the bearer's °arms.

Nothing from nothing.

24

Camden

Camden Remaines London 1605 p. 167

Camden Remaines London 1605 p. 167

Latin Motto °Spes mihi magna tamen.

Latin Motto °Moveor °immotus.

And yet, I have great °hope.

0

Picture A heavy °stone fastened to a °man's °arm.

Picture A °compass with °needle pointing °north.

Camden Remaines London 1605 p. 167

Camden Remaines London 1605 p. 167

Latin Motto At quando °messis.

Latin Motto Quid sine te °coelum?

But some day there will be a °harvest.

What is the °sky without you?

Picture A °fallow °field.

Picture The full °moon alone in the °heavens.

Motionless, I am °moved.

English Emblem Tradition

Camden Remaines London 1605 p. 167

Camden Remaines London 1605 p. 167

Latin Motto °Nihil minus.

Latin Motto °Surguntque °caduntque vicissim.

0

They °rise and °fall alternately.

Nothing is less.

Picture 0 Venus in a °cloud.

Picture Rising and setting °stars in a °hemisphere.

Camden Remaines London 1605 p. 167

Camden Remaines London 1605 pp. 167-8

Latin Motto °Nihil magis.

Latin Motto °Deo °iuvante, Deo °conservante.

0

With °God °aiding and °preserving.

Nothing is more.

Picture 0 Zodiac sign of °Venus.

Picture A °rock beaten by °wind and °weather.

25

26

Camden

Camden Remaines London 1605 p. 168

Camden Remaines London 1605 p. 168

Latin Motto Suprema optima °mundi.

Latin Motto °Fato, non °merito.

The highest, most excellent things of the °world.

Because of °fate, not °merit.

Picture A °kneeling °man with °hands lifted to °heaven.

Picture A °laurel °garland, within which is inscribed the motto °'FATO NON MERITO'.

Camden Remaines London 1605 p. 168

Camden Remaines London 1605 p. 168

Latin Motto His ego °praesidiis.

Latin Motto °Tuti °montes, tutum °silentium.

I, by means of these °supports.

°Safe °mountains, safe "silence.

Picture The °zodiac with °Leo and °Virgo.

Picture A °landscape with solitary °mountains.

English Emblem Tradition

27

Camden Remaines London 1605 p. 168

Camden Remaines London 1605 p. 168

Latin Motto Nee °cura, nee °character.

Latin Motto Mihi °vita °spica °virginis.

Neither °care nor °picture.

The [°star] °Spica in the [° constellation] ° Virgo is my °life.

Picture A °white °shield with the inscription, °'NEC CURA NEC CHARACTER'.

Picture The °star °Spica with a ° scroll inscribed with °'MIHI VITA SPICA VIRGINIS'.

Camden Remaines London 1605 p. 168

Camden Remaines London 1605 p. 168

Latin Motto Qui ° cap it, capitur.

Latin Motto °Portus in °ignoto.

He who °captures is captured.

My °harbour is in the °unknown.

Picture °Eros in a °net.

Picture A °ship in full °sail on the °sea.

28

Camden

Camden Remaines London 1605 p. 168

Camden Remaines London 1605 p. 169

Latin Motto Dixerunt °fatui.

Latin Motto Non quo, sed unde °cado.

The °foolish have spoken.

Not on what, but whence I °fall.

Picture A °climber more than half way up a °mountain.

Picture A °man on the top of a °ladder.

Camden Remaines London 1.605 p. 169

Camden Remaines London 1605 p. 169

Latin Motto Hac °spe, illic °spes.

Latin Motto °Dispone.

By the aid of the °hope that got me here, I °hope to get there.

Put them in °order.

Picture A °man climbing °pyramid bearing the mottoes °'HAC SPE' beside him, and °'ILLIC SPES' above him.

Picture The °twelve °houses of the °zodiac, without astrological signs.

English Emblem Tradition

29

Camden Remaines London 1605 p. 169

Camden Remaines London 1605 p. 169

Latin Motto °Fatum °inscribat °Eliza.

Latin Motto °Fors et °virtus °miscentur in °unum.

Let ° Eliza °dictate my °fate.

°Fortune and °courage are °blended into °one.

Picture A ° white ° shield bearing the inscription °'Fatum inscribat Eliza'.

Picture An °upright °oar with a °sail fastened to it, set in a °shield.

Camden Remaines London 1605 p. 169

Camden Remaines London 1605 p. 169

Latin Motto °Feror ad °Astraeam.

Latin Motto °Abigitque °trahitque.

I am ° carried off to °Astraea.

It both °repels and °draws.

Picture A °man ° hovering in the °air.

Picture A °rose upon a °thorny °branch.

30

Camden

Camden Remaines London 1605 p. 169

Camden Remaines London 1605 pp. 169-70

Latin Motto °Rapiuntque °feruntque.

Latin Motto °Auxilio °divino.

They °snatch and °carry away.

With °divine °help.

Picture A "horizon with all the °cardinal and °collateral 0 winds blowing.

Picture A °terrestrial °globe, topped by a °ship under °sail tied by °two °golden ° ropes which encircle the globe and are held by a °hand from a °cloud; a 0 dragon °volant upon the °ship's hatches, facing forward. Bearer Sir Francis °Drake

Camden Remaines London 1605 p. 169

Camden Remaines London 1605 p. 170

Latin Motto Tu °primus °circumdedisti me.

Latin Motto In °libertate °labor.

You were the °first to °circumnavigate me.

0

Picture A °terrestrial °globe.

Picture A °coursing °greyhound.

Bearer Devised in honour of °Magellan

Freedom demands °toil.

English Emblem Tradition Camden Remaines London 1605 p. 170

Camden Remaines London 1605 pp. 170-1

Latin Motto In °servitute °dolor.

Latin Motto °Me et meum.

0

°Me and mine.

Suffer ing in ° servitude.

Picture A ° grey hound tied to a °tree, watching the game.

Picture A °man in full °armour.

Camden Remaines London 1605 p. 170

Camden Remaines London 1605 p. 171

Latin Motto °Magis magisque.

French Motto °Dieu et mon droit.

°More and more.

°God and my °right.

Picture A ° brook running ° calmly within its ° banks until dammed up, whereupon it °overflows the land.

Bearer °Henry VIII, King of England

31

32

Camden

Camden Remaines London 1605 p. 171

Camden Remaines London 1605 p. 171

Spanish Motto °Fe y °fidalguia [= hidalguia].

Latin Motto °Vulnus °alo.

0

I "nurture my °wound.

Faith and °nobility.

Picture A °white °falcon.

Picture An °eye in a °heart.

Bearer Sir Richard °Shetley, a knight of St. John

Camden Remaines London 1605 p. 171

Camden Remaines London 1605 p. 171

Latin Motto Sic °evitabile °fulmen.

Latin Motto 0 Semper ad °mare.

Thus °lightning is °avoidable.

To the °sea °always.

Picture A °cock under a °laurel.

Picture A °river, passing through a long tract of land, pouring into the °sea.

English Emblem Tradition Camden Remaines London 1605 p. 171

Camden Remaines London 1605 p. 171

Latin Motto Per °obliqua °recta.

Latin Motto lam °proximus °ardet.

Through the °crooked to the °straight.

The °next [street or village] is already on °fire.

Picture A °spherical pair of °compasses.

Picture A ° village on °fire.

Camden Remaines London 1605 p. 171

Camden Remaines London 1605 p. 171

Latin Motto Aut °spoliis °laetemur °opimis.

Latin Motto lam °septima °portat.

Either, let us °enjoy the °rich °spoils.

Already a °seventh [summer] °carries you.

Picture A °trophy, with °armour and °weapons; nearby, a 0 sepulchre.

Picture A °storm-driven °ship with °torn °sails.

33

34

Camden

Camden Remaines London 1605 p. 172

Camden Remaines London 1605 p. 172

Latin Motto lam °redit et °Virgo.

Latin Motto Aut °magnes, aut °magna.

0

Either a °loadstone or °great [woman].

Virgo too is now °returning.

Picture °Half of the °zodiac, with °Virgo °rising.

Picture A °nautical °compass.

Camden Remaines London 1605 p. 172

Camden Remaines London 1605 p. 172

Latin Motto °Ater, °albus.

Latin Motto Quod °vivam tuum.

0

As long as I am °alive, it is your gift.

Picture A °shield divided vertically by a °band, the one side °argent [°silver], the other, °sable [°black]. In the silver half, the word °'ATER'; in the black, the word °'ALDUS'.

Picture A °tree near a °spring.

Black and °white.

English Emblem Tradition

35

Camden Remaines London 1605 p. 172

Camden Remaines London 1605 p. 172

Latin Motto °Arti et °Marti.

Latin Motto °Adde, vel °adime.

For °art and for °war.

°Add or Subtract.

Picture A °man, with °sword in one °hand and a °bay [°laurel] in the other.

Picture A list with °numbers 1 to 9 ('nine numerall figures').

Camden Remaines London 1605 p. 172

Camden Remaines London 1605 p. 172

Latin Motto °Adde vel °unum.

Latin Motto °Crescetis.

°Add just °one.

You will °grow.

Picture A °roll with °ciphers [°zeros].

Picture A °tree with the letter °'E' cut into its °bark.

36

Camden

Camden Remaines London 1605 p. 172

Camden Remaines London 1605 pp. 172-3

Latin Motto °Latet °arbore °opaca.

Latin Motto It °comes.

It ° hides in a ° shady °tree.

It goes as his °companion.

Picture A °golden °branch.

Picture °Man with a °shadow before him.

Camden Remaines London 1605 p. 172

Camden Remaines London 1605 p. 173

Latin Motto Quid tu, si °pereo.

Latin Motto Nunc °rubeo, ante °virebam.

Why do you appear, if I am °perishing.

Now I am °red, before that I was °green.

Picture A °sinking °ship, with a °rainbow.

Picture A °red °coral °branch.

English Emblem Tradition Camden Remaines London 1605 p. 173

Camden Remaines London 1605 p. 173

Italian Motto Che °verace °durera.

Latin Motto °Saepe °cadendo.

The °truth will °endure.

By °falling °often.

Picture An °adamant [°diamond] upon an °anvil, with a °hand holding a °hammer over it.

Picture An °eye dropping °tears upon a °heart.

Bearer Richard °Carew

Camden Remaines London 1605 p. 173

Camden Remaines London 1605 p. 173

Latin Motto Nee dum °calesco.

Latin Motto °Adde °manum.

And not yet do I °grow °hot.

°Add a °hand.

Picture A °burning °glass with the °sun overhead and a °fire °kindled beneath.

Picture A °semi-0circle drawn by a pair of °compasses.

37

38

Camden

Camden Remaines London 1605 p. 173

Camden Remaines London 1605 pp. 173-4

Latin Motto Ut °cervus ° font em.

Latin Motto °Dux °faemina facti.

As a °hart desires a °spring.

A °woman was the °leader of the °exploit.

Picture A °hart racing to a "fountain [°well]; beneath the picture the inscription °'SIC ABRAHAMUS CHRISTUM'.

Picture The °Spanish °fleet in confusion, approached by a °fireship.

Bearer Abraham ° Hart well

Camden Remaines London 1605 p. 173

Camden Remaines London 1605 p. 174

Latin Motto °Una °salus.

Latin Motto °Venit, °vidit, °fugit.

°One "salvation.

It °came, it °saw, it °fled.

Picture A °hart racing to a °fountain.

Picture The [°Spanish] °fleet, near the °English °coast.

Bearer Cardinal °Boromeo

English Emblem Tradition

39

Camden Remaines London 1605 p. 174

Camden Remaines London 1605 p. 174

Latin Motto Si °collidimur, °frangimur.

Latin Motto Mecum °habito.

If we °collide, we are °broken.

I °dwell with myself.

Picture °Two °pitchers floating upon the °water.

Picture A °tortoise in its °shell.

Camden Remaines London 1605 p. 174

Camden Remaines London 1605 p. 174

Latin Motto °Trahite °aequo °iugo.

Latin Motto °Tibi °accessu, mihi °decessu.

°Draw under the °same °yoke.

For you its °rising, for me its °setting.

Picture °Two °oxen, one marked on the shoulder with the °rose of °England, the other with the °lion of 0 Holland, drawing a °plow.

Picture An °American °Indian pointing towards the °sun.

40

Camden

Camden Remaines London 1605 p. 174

Camden Remaines London 1605 p. 174

Latin Motto °Superavi. [with a line through the word]

Latin Motto Dum °formas °minuis.

I have °conquered.

While you °shape it you °diminish it.

Picture The word °'SUPERAVF struck out with a horizontal line.

Picture A °diamond.

Bearer Sir Philip °Sidney

Bearer Earl of ° Essex

Camden Remaines London 1605 p. 174

Camden Remaines London 1605 p. 175

Latin Motto His °radiis °rediviva °viresco.

Latin Motto °Caelumque °solumque °beavit.

By these °rays I °live again and grow °green.

She made °happy °sky and °earth.

Picture The °sun shining on a ° withered °tree beginning to °bloom.

Picture The °constellation of °Ariadne's °crown. Bearer Sir Henry °Lee

41

English Emblem Tradition Camden Remaines London 1605 p. 175

Camden Remaines London 1605 p. 175

Latin Motto °Constans °contraria °spernit.

Latin Motto °Inermis °deformis.

°Steadfast, it °spurns its °opposites.

0

Picture A °halcyon [°kingfisher] °hovering against the °wind.

Unarmed and °ugly.

Cur °dolent habentes Why do they ° grieve when they have them? Picture A °buck casting off its °horns.

Camden Remaines London 1605 p. 175

Camden Remaines London 1605 p. 175

Latin Motto °Mors, vel °morsus.

Latin Motto °Extinguor a °simili.

°Death, that is, a °bite.

I am °extinguished by the °same thing.

Picture A °man carrying a °viper on his °hand.

Picture °Two ° torches, 0 extinguished.

one

° lighted,

the

other,

42

Camden

Camden Remaines London 1605 p. 175

Camden Remaines London 1605 p. 175

Spanish Motto 0 Hazed me que °quires.

Latin Motto Sic °splendidiora °petuntur.

°Make of me what you °will.

Thus the °brighter things are °sought.

Picture A °white °shield, in the bottom point of which a 'shell' of °colours and a °pencil [= °paintbrush].

Picture 0 Moths around a °candle.

Camden Remaines London 1605 p. 175

Camden Remaines London 1605 p. 175

Latin Motto °Ponderare, °errare.

Latin Motto Tamen non °extinguenda.

To ° weigh them is to °err.

Nevertheless, it cannot be °extinguished.

Picture A pair of °scales, with °fire in one °balance and 0 smoke in the other.

Picture 0 Water °drops falling into a °fire.

English Emblem Tradition

43

Camden Remaines London 1605 p. 175

Camden Remaines London 1605 p. 176

Latin Motto Tantum, quantum.

Latin Motto Dum ilia, °evincam.

As much as.

As long as she [is there] I will °win.

Picture The °sun casting its °rays upon a °star, partly obscured by a °cloud.

Picture 0 Justice with her °scales and °sword.

Camden Remaines London 1605 p. 176

Camden Remaines London 1605 p. 176

Latin Motto °Lege et °relege.

Latin Motto Nil °malum cui °dea.

°Read and °reread.

No °evil [befalls] the person whom the ° goddess [protects].

Picture A °letter folded and °sealed up.

Picture 0 Pallas's °shield displaying the °Gorgon's °head.

This page intentionally left blank

H.G. THE MIRROUR OF MAJESTI (London: William Jones, 1618) edited by Marv V. Silcox

46 H.G.

The Mirrour of Maiestie. London: William Jones, 1618. 32 woodcut emblems, 31 woodcut coats-of-arms.

STC 11496

H.G. Mirrour of Majestic

English Emblem Tradition

47

EDITIONS Modern Editions and Reprints G., H. The Mirrour ofMaiestie. Facsimile edition by Henry Green and James Croston. London: Treubner; Manchester: Brothers, 1870, for the Holbein Society. Microforms IDC EO-616/1 1 EEB reel 1098 (copy: British Library) STUDIES Freeman, Rosemary. English Emblem Books. 1948; rpt. London: Chatto & Windus, 1967, pp 82-4, 231. Green, Henry, and James Croston. 'Introduction' to The Mirrour ofMaiestie. London: Treubner; Manchester: Brothers, 1870, for the Holbein Society. Praz, Mario. Studies in Seventeenth-Century Imagery, 2nd edition. Rome: Edizioni di Storia e Letteratura, 1964, p 344. Shapiro, LA. 'The Mirrour ofMaiestie,' TLS, 5 February 1949, p 89. Smith, Martin R. 'The Apologia and Emblems of Ludovico Petrucci,' BLR, 8 no. 1 (July 1967), 40-7. Young, Alan R. 'Wenceslaus Holler, the London Book Trade, and Two Unidentified English Emblem Books' in The English Emblem and the Continental Tradition. Ed. by Peter M. Daly. New York: AMS, 1988, pp 151-202. INTRODUCTION The Mirrour of Majestie is one of a number of works published in the late sixteenth and early seventeenth centuries that fed the growing interest in heraldry in England.1 The Mirrour is distinct from other compendia of arms, however, in that it treats the arms of each dedicatee in an emblematic, moralistic fashion and, even further, accompanies each individual's arms with an emblem on the facing page—except in the case of King James, who is honoured with two emblems.

48

H.G. Mirrour of Majestic

The 31 coats of arms and 32 emblems are dedicated to King James, Queen Anne, Prince Charles and 28 powerful members of the nobility—all men except for Queen Anne, presumably because this is to be a mirror of majesty or power. This will also account for the twelve-fold repetition of the famous motto of the Order of the Garter 'Honi soit qui mal y pense.' Only the most powerful of the nobles were admitted to the Order. The author, H.G., therefore addresses the dedicatees, whenever possible, by their title or position at court, for example, 'To the Lord Treasurer,' or To the Lord Admirall.' The epigram for each coat of arms, naturally enough, interprets the device as expressive of the dedicatee. The epigram to Edward Somerset, Earl of Worcester, for example, concludes its interpretative description of this Lord Privy Seal's arms with: 'What's here but shadow'd then by outward kind,! Bedeckes the inner Roomes of your brave mind (p 14). H.G. amplifies this personalizing of the form by also interpreting each emblem as an additional device for that individual, an opportunity to both flatter and advise the dedicatee through the description of his inner qualities thus outwardly portrayed. Thzpictura of the Earl of Montgomery's emblem thus depicts a woman playing a lute and encircled by a chain of ears. Its accompanying epigram develops the concept of the power of harmony as expressed in music and in the 'humane Fabricke' as 'the sinewes of all Common-weales.' The poem concludes by remarking on the aptness of this figure for the Earl: 'In you this Concord's so divinely placed:/ That it by you, not you by it is graced' (p 35). As the conclusion to the epigram to Lord Wentworth's arms reveals (p 50), the mirror metaphor of the book's title, and of the device as a form, works in two directions; that is, the device reflects the nature of the individual, but the individual in turn must reflect the truth of that flattering device: 'Make these your owne, and then you beare display'd,/ Your Scutchions morall, in your selfe pourtray'd.' Each is a mirror of the other, as indeed each pair of device and emblem, set on facing pages, reflect upon each other. The strong heraldic bias of this emblem book, with its subsequent emphasis upon the visual component of the device and upon nobility as a distinguishing characteristic, is manifest from the title-page. In the sub-title, The Badges of honour conceitedly emblazoned: with emblemes annexed, poetically unfolded, the dominant terms 'badges' and 'emblazoned,' clearly heraldic, along with 'emblemes' refer to the pictura (and possibly motto), while the syntactic placement of 'conceitedly' and 'poetically' proclaims the less important status of the verse. The title-page motto, 'Nee his Plebecula gaudet' [Nor do the rabble rejoice at this], possibly adapted from Horace's Epistulae II. 1.186, certainly leaves no doubt in the reader's mind as to the class attitude being expressed, particularly through the use of the diminutive of 'plebs' and the Horatian allusion to an epistle written to Augustus. Henry Green and James Croston's 1870 facsimile reprint of The Mirrour of Majestic is the only modern edition of this work.2 Their Introduction opens with a review of the use of devices by royalty, nobles and gentry and a discussion of early emblem books in England, which is now dated. Green hesitantly suggests that the author is Sir Henry Goodere, an attendant upon King James, but admits that the proof he offers, mostly dedications to Goodere in other works, is certainly not irrefutable. The second section of the Introduction, written by Croston, furnishes a short history of heraldry, and then goes on to describe each of the arms in the Mirrour in heraldic terms, identify its possessor, and recite a short biography of the individual. The third section, by Green, alludes to other works of the time with a mirror or looking-glass in the title;

English Emblem Tradition

49

indicates books containing portraits and arms of the dedicatees in the Mirrour, and lists the mottoes, their translations, and the subjects of the emblems in the Mirrour. Included in this facsimile edition are a number of reproductions from other emblem books which Green felt had some relationship to those in the Mirrour. The identity of H.G. and the relationship between The Mirrour ofMajestie and Ludovico Petrucci's Apologia are the only aspects of the Mirrour that have been discussed by critics. Both LA. Shapiro3 and Martin R. Smith4 question the identification of H.G. as Sir Henry Goodere (his name variously spelled Goodere, Godyere, Goodier, Goodyer, Goodyear), a suggestion first put forward by W.C. Hazlitt and accepted by both Rosemary Freeman5 and Mario Praz.6 Shapiro argues that Goodere's known verse is better than that in the Mirrour, that his station would have made it unlikely he would publish an emblem book, and that he was on confidential terms with the Earls of Bedford and Huntingdon, neither of whose arms are included in the Mirrour. There seems no reason at this point to accept the identification of H.G. as Sir Henry Goodere. Smith agrees with Shapiro's doubts, but the majority of his article is devoted to an explanation of how emblems by Ludovico Petrucci ended up in the Mirrour.1 Petrucci, 'poet, soldier, and refugee from the Holy Inquisition,' arrived in England around 1610 (p 40). Accused of popery, he wrote an Apologia (which survives in two issues, a single copy of the first issue in the Bodleian also containing authorial corrections and ten manuscript leaves) protesting his loyalty to England and the Anglican Church which was published, after many delays, in 1619. In it he refers to his emblems, the expenses he incurred for them, and the theft of them by booksellers and printers. 'The single sheet signed A which is included in the Apologia is all that was published of Petrucci's emblem book, but the four emblems and two of the three coats of arms in this sheet all appear in The mirrour ofmaiestie. ... Of the nineteen emblems described by Petrucci in the incomplete list at the end of the Apologia, seventeen can be identified with emblems in The mirrour ofmaiestie' (p 45). Smith suggests that the emblem blocks came into the possession of William Jones, the printer of the Mirrour, because of Petrucci's financial difficulties. Jones may have commissioned them in the first place for Petrucci's book, but then kept them when Petrucci was unable to pay for them. NOTES

1

2 3

The Mirrour of Majestie was entered in the Stationers' Register March 6, 1617 (1618, new style) and published in 1618 with two variant title-pages: one with 'London,/ Printed by W. I. 1618,' and the other with 'London,/ Printed by William lones, dwelling in Red-crosse-/ streete. 1618.' The preliminaries include 'A Catalogue of those names unto whom this worke is appropriated,' and a dedicatory poem signed by H.G., 'To those Noble personages rancked in the catalogue.' According to the revised Pollard and Redgrave, The Short-Title Catalogue, the dedication of the Harvard copy is addressed, 'To the kings most excellent maiestie.' Henry Green and James Croston, eds., The Mirrour of Maiestie (London: Treubner; Manchester: Brothers, 1870, for the Holbein Society). LA. Shapiro, 'The Mirrour of Maiestie,' TLS (5 Feb. 1949), 89.

50 4 5 6 7

H.G. Mirrour of Majestic Martin R. Smith, 'The Apologia and Emblems of Ludovico Petrucci,' Bodleian Library Record, 8 no 1 (July 1967), 40-7. Rosemary Freeman, English Emblem Books (1948; rpt. London, 1967), pp 82-4, 231. Mario Praz, Studies in Seventeenth-Century Imagery, 2nd edition (Rome, 1964), p 344. Alan R. Young summarizes Smith's explanation of Petrucci's 'contribution' to The Mirrour of Majestic in 'Wenceslaus Holler, the London Book Trade, and Two Unidentified English Emblem Books,' in The English Emblem and the Continental Tradition, edited by Peter M. Daly (New York, 1988), pp 151-202.

A Note on Reduction and Montage The original has been reduced to 90 per cent.

51

English Emblem Tradition

H.G. Mirrour London 1618 p.l f* To THI KING*

French Motto °Honi soit qui °mal y °pense. °Dishonoured be he who °thinks °illl of it.

'"pHofc (mighty Soueraigne) arc your Graces text, A R ight King of Hcralds,not to any,next: You might their myfticke learning blazon heft, But you referueyour knowledge vnexpreft : As being moft peculiar to you : And yeiTbccauie the people may allow That which concernes your fclfe -• Let me to them Vnlocke the value of this prizclcflelein: The Lyons trebled thus, may reprcfent Your equall ficnes for the Regiment Of thisfaire Monarchic : Brtttaiat then Which euer ha's bin ftuft with valiant men. May fitteftbearca Lyon,vrgd to fpoile: Your irijh Kernes,who neuer vs'd to toyle, Are in theit/ifoer-Jtitdded Htrpe explain'd. Thefe Splendent Bfanties limm'd by Natures hand. By grace of Ancient Kings, made Royall fforfrst But now thrice Royall made,by being Yours. B"

Picture The royal °arms of the °Stuart °kings: quarterly, 1 and 4 grand quarters, France modern and England quarterly; 2, Scotland; 3, Ireland. The whole encircled by the ° garter ensigned by a royal ° crown flanked by the monogram °'IR'. °France: azure, three ''fleur-delis or; °England: gules, three °lionsl 0 passant °guardant in pale or; °Scotland: or, a °lionl °rampant within a double tressure flory counter-flory gules; °Ireland: a °harp or stringed argent. Epigram sovereign king herald mystic learning knowledge people value gem lionl treble 1 regiment [= rule] monarchy Britain valiant Irish kern toil silver harp beauty nature ancient royal flower Dedicatee

°James I, King of °England

H.G. Mirrour

52

H.G. Mirrour London 1618 p.2 2.

EMBLEMS I

Latin Motto °Rex et °sacerdos °dei. °King and °priest of °God. Picture A °crown and a °mitre on a covered, swagged stone °table or °altar. Epigram equal common-weal king priest God human law divine assistance confess homage ambition dead ember earth heaven knowledge maker power wisdom kingdom just love glass 1 neighbour follow

T 7T 7 Hy be thcfc marflial'd cquall, as you fee * V V Arc they dif-rankt,or note1 No: theyfliouldbe Thusplacd: for Commoa-wcalcs doe tottering {land, Not vnder-propt thus by the mutuall hand Of /C/#gand Pricjtty Gods and humane lawcs; Divine afliftance mo PC cffcftuall dravves Kings to conffflcjthat t'heav'n they homage owe; Which confequcntly IcadsaKingtoknowe, That, that Ambition's by dead Embers nYd, Which ha's no beyond earth to heav'n afpir'd; Earth can but make a King of earth partaker, But Knowledge makes him neercft like his maker. For mans nieere power not built on Wifdomes forr, Do s rather pluck dbwne kingdomes than fuppoi t. Perfectly mixt; thus Power and Knowledge mouc About thyiujl defignes^nfphcar'd with lone-, Which (as a glafreJferucneighbour-Kiii^jtofce How bell to follow, though not equal! thec.

English Emblem Tradition

53

H.G. Mirrour London 1618 p.3

1* EMBLEMS

2

Latin Motto Nullum °bonum °inremimeratum. No °good merit °unrewarded. Picture A °lionl °sejans °erect °affronte sits on a °three peaked °mountain. In the extended ° dexter paw he holds a ° sword and °scales; in his °sinister foreleg he clutches a °cornucopia. A °dexter cuffed °hand issues from ° clouds at the right and holds a winged two snake °caduceus enfiled by two ° garlands barwise over the lion's head.

Q Eated on this tbree-hetdtd Mountrifit high, ^ Which repicfcnts crc&t Erytdine s Monarchic, Thus (land I iurniflit t'entertaine the nolle: Of thronging clamours, with an cquall poyie • And thus addrcft to giuca conftant weight To formall (hewes, ofrfrtue, or Deceit: 1 hus arm'd with Porpr to punnifh 01 protect, When 1 hauc weigh'd each fcruple and defcft : Thus pkntifttUy rich in parts ana place Togiuc ^W the Sun his rayes.

B+

58

H.G. Mirrour H.G. Mirrour London 1618 p.8 S.

To TH* A R C H - H S H O P Os C A W T E * D Y * Y .

Picture A ° chevron between three ° pears impaled by the °armsl of °Canterbury: an arch-episcopal °staff in pale ensigned with a °cross °pate, surmounted by a °pall, fimbriated and fringed, and charged with five crosses pate fitched sable. The whole is ensigned by a °mitre. Epigram sacred ornament earth celestial home staff comfort pall peace cross good lodge inn eternal bliss fruit works bounty heaven paradise sail angel guide abbot Dedicatee "Archbishop of °Canterbury, George °Abbot

w well thcfc facred OrnAntents become HOOne,who by earth Walkes this cclcftiall home:

The staff of Comfort this,ro leane vpon, This,/'4//of peace j ihcCcfreffes vndergonc: How cafijy good men fknowne well by thisj Lodge at ihclnne ot theirctcrnall Blifle: Thcfe Fruits,anc workes,from Bounty fpringingfound, Perfuming Hcau'n, & with Hcau'ns bountiescrown'd: Thcfc Qiadow'd fruits, but by a figure,tyew T he loycs of Paradife prepaid for you .&iile thither with good fpcedc chco ,yct make ftayj Oood Angels guidc^ ou3 y'aic i'ch Abbots way -

59

English Emblem Tradition H.G. Mirrour London 1618 p.9 9

E jlfB LE ME f.

Italian Motto °Morir piu tosto che mancar di °fede. Rather °die at once than lack °faith. Picture A °winged °head in a °heart is encircled by two concentric °chains.0Twelve alternately turned °dexter °hands issue from twelve ° clouds on the circumference and reach under the outermost chain to grasp the ° spiked links of the inner chain. Epigram hand religion concord faith harmony pale [= fence] conflict truth heart church holy ghost affliction link chain strength reverend truth conquer

HcIc ffn»eb connext, engird Religiw, T Dcciphring th'holy Concordsvnijon, Offaiths full harmony: titisjpinypale

Sharpcconflifts arc, who ftiil the Trutha&ilc: This HtArt the C'Wd>is,th'hoty chofi being Center, Afflictions may furround,but carinoc enter. You are the prime iinke of this n»A»tt*U cbainf, Whereby Religi** do's its ftrcngthmaintainc: O !may the tottertnd Rtf to you fticke faft. That Truth (though long)yct conquer may at lall. v
*, to preferue the common race Of harmlcfle beaft s 5 then fpecdily he teares

Thewolfe,totakeaway their vfuallfeares:

Eu'n thuswhenourgreatAfwarch clearely faw, How that mfatiatc Wolfe of ROM: did draw More riches to his coffers,then dcare foules To Hcau'n,hclike this Lyon then controulcs His vfurpakipn,dccming him a flaue, Who more intended to dcuoure, thcnfauc, Butyoulcnowbefttofollowj in free courie, The Beit in bcft things s and paffc by the worfc. Da

Epigram wolf lion hunt booty greediness suppression beast justice common harmless fear monarch Rome rich coffer soul heaven usurpation slave best

H.G. Mirrour

70

H.G. Mirrour London 1618 p.20 SO.

To THE MARQVYSSE OF ByCKINCHAM,

French Motto °Honi soit qui °mal y °pense. °Dishonoured be he who °thinks °illl of it. Picture On a °cross five °escallops; in the 1st a 0 martlet. The whole within the °garter ensigned by a °coronet. Epigram eye please precious golden scallop meat desert Dedicatee Marquis of °Villiers

A LL that we fee is comely^and delights • * * The eyes 5 which ftill are pleas'd withpreticu^ And (as your golden Scallops") You appeare (fights: To promifc (that which we may value deare/ More then a glorious out-fide, which containcs Mcate,notto bcdifclos'd without ducpaines: Thus is it fcarc c to be imagin'd how Delcrt iliould paralcll your worth, or You.

° Buckingham,

George

71

English Emblem Tradition H.G. Mirrour London 1618 p.21 •I.

EMBLEMEli .

Latin Motto °Invidia suum °torquet °authorem. °Envy °torments its own °creator. Picture A °flaming °dexter °hand, cuffed, issues from the right. A °star and the °sun in his °splendour over a landscape. Epigram star sun wonder envy Stygian extinguish greedy hand disgrace flame finger glory eclipse majesty heliotrope circle detraction laugh scorn despite

His glorious Starre attending on the Sunnf, T Having, fi-om this low world, iuft wonder wonnc For brightncsjEw v/J,that foule Stygian brand, 1' cxtinguiQi it thrufts forth her greedie hand: To catch it from its mounted moving place, And hurile it lower to obfcur'd Difrace: But while (he (hatches, .to put out the flame, Fooliflily fiers her fingers with the fame. Who others glories ftriuct'eclipfc(poorc Eli.es) Doe but drawe dpwne ferfc-mifchicfe on thcmfelucs. You waiting on the Suwte-ot A/aieft/e May that tUmpng Hcliotropium be : Still bright in your Edtyticke circle runne, V are out of Envies reach, fo nearc the Sunnc. Moue fairely,fieecly in your wonred orbe, Aboue the danger tfVetrAttiowcurbc, And her felfe-burfting Brood : fittherc,contemnf, Nay laugh, and fcoine both their defpight/and tlicm.

H.G. Mirrour

72

H.G. Mirrour London 1618 p.22 sa

T o THI L O R D CMAMBERUNC

French Motto °Honi soit qui °mal y °pense. °Dishonoured be he who °thinks °illl of it. Picture Fimbriated; per pale; three °lions 1 0 rampant, two and one. The whole within the °garter ensigned by a "coronet. Epigram rage spoil rampant lionl gift three courage command friend DeoMcatee Lord "Chamberlain, William °Herbert, Earl of ° Pembroke

^ Ot becaufe you are given to rage or fpoile, 1

^L&crtmjHjtt £pjue,which deferue a Toyle:

Nor yet becaufe your gifts devided be, Do Lyons thus divide themfejues in three : But (whenprovok'd)to fliew you can reiift, Or (hew your courage when Your Honor lift: Orthus in number they doe Jooke oneway, To fliew,what You command,your friends obey.

English Emblem Tradition

73

H.G. Mirrour London 1618 p.23 *J.

EMBLEME 12.

Latin Motto 0 Candida sal da 0 immobile.

[=

°solida] et

°Pure, °enduring, and °constant. Picture A °bare-footed °Piety stands on a °pedestal and clings to a °column standing on it. She holds a °cup in her 0 right hand and supports a long crossed 0 staff under her forearm; a ° snake is draped over the crossbar. Epigram snow Piety pure false worship chaste blemish painted courtesan constancy Althea pillar Rome siren cup soul salvation honour beam learning T?Ixt hecrc fnow-veftcd Pittie rcmaines ± Al-pure,and in all purc,pnrg'd from the ftaincs Of alltalfc wormip,chafte as aire^vntaintcd With the fouleblemifhes of that al-painted Proude Curtizan: nor wander do's her mind, Shcc bcft content in Conftancy doth find: iQAletheas pillar clofc (heelings, Maugre the rapting (traines Ramet Syren fings: Who is athirft^anddo's but touch her Cup, DrinkcSjWith dclight,his foules faluation vp. Thus comprehends Ihe ioyes, which moft would buy At the high'ft rate3in this one Confwcy-, So aboue others may your Honwrs (hinc, As paft all others, do's this Ftrmc Dittine, With her ingenuous Beanies blaze bright in you,

Who* doubly gilt,with Her* and LeArnw& too.

H.G. Mirrour

74

H.G. Mirrour London 1618 p.24

*4»

T o TKB E A R L B OP A i v N o n n .

French Motto °Honi soit qui °mal y °pense. 0

Dishonoured be he who °thinks °illl of it. Picture Gules, a bend between six °cross °crosslets fitched. The whole encircled by the °garter ensigned by a °coronet. Epigram gules bend cross noble birth valour Christian infidel hate shadow divine Dedicatee Earl of °Arundel, Thomas ° Ho ward

/^\N Gules you beare the figure of a ticnd ^^Bctwccne crojfe crbjTelcts fixe: which all intend Rightly to fliadow Noble birth3 adorn d With valour,and a Chriftian cau/e^not fcorn'd By riny but by Infidels, and they Mifbking this,theirhcl-brcd hatcdifplay. But to leancniadowcs,you (fubftantiallj fliinc With thofe good things, which make a man diuinc.

75

English Emblem Tradition H.G. Mirrour London 1618 p.25

a*. £ MBLEME 13-

Italian Motto °Pace °fermezza e °frutto all °alme apporto. I bring °peace, °stability and °fruit to the °soul. Picture A °tree on a "hillock in a landscape basks in the °sun in his °splendour. Epigram prince love worth Phoebus fruitful virtue goodness greatness sun royal favour reverberate

K

Now (honoiir'dJirJ tliatth'heatcof Princes loue> Thrown on thofe rcall worths^ good men approuc Doth, like the radiant Pbabtu fliiningherc, Make fruitfull vertuc at full height appcare: T'llluftrate this in you, were to confefle. How much your GoodnefIe doth your Greainieffe bleffe, By its ownc warmc reflexc: Thus both furuiiic, And both i'th S»nneQiRoyidlfMottr thriuc. O mays reucrbcrating.rayes ftillnouridi YournobleWirtfaySsAmakeyourPtrtitcsfloujcifh-

E

H.G. Mirrour

76

H.G. Mirrour London 1618 p.26 •5*

To THE EAKLE OF SovrH-HAMPTON.

French Motto °Honi soit qui °mal y °pense. 0

Dishonoured be he who °thinks °illl of it. Picture A °cross between four °walking °birds. The whole encircled by the ° garter ensigned by a °coronet. Epigram storm trouble frost friend greatness presumption presage sea-bird fear wind calamity seamen tempestuous day foresee cross Dedicatee Earl of °Southampton, °Wriothesley

\/J O ftorme of troubles> or cold frofts of Friends* •^ Which on free Grcutties£QQ too oft,attends, Otn/by prcfumptionj threaten your free ftate: Fonhde prclaging feA-birds doeamate PrdumpcuousGratfffttrinouing the beft mindcs, By their approach, to feare the future windes Of all calaniitic, no Idle then they Portend to fea-men a tempeftuous day: W hich you foi'cfeeing may before hand crofle,. As they doc themA and Ib prevent thelofle.

Henry

English Emblem Tradition

77

H.G. Mirrour London 1618 p.27 »7.

E MS LEMZ ij.

Latin Motto In utraque °perfectus. 0

Accomplished in both.

Picture A °man split in half; his °right °half is in °armour, holds a °lance, wears a 0 sword, and supports a °shield against his lance/leg; the °left half resembles 0 Mercury with ° winged °feet, winged 0 helmet, holding a °caduceus. Epigram coward stoic captain union arts victory error valiant execute learn

Hat coward Stoicke,w blunt captainc will W Diftikc this mitt, or not labour ftill To reconcile the Arts and vitfory? Since in themfducs Artshaue this quality. To vanquiih cirours trainer what other than Should lo.uc the Arts,if not a valiant man? Or,how can he refolue to execute, That hath not firft learn'd to berefolute? If any fliall oppofc this, or difpute, Your great example fliall their fpite confute. E i

78

H.G. Mirrour H.G. Mirrour London 1618 p.28 18.

T o TUB EAULB O F H E R T F O R D :

Picture A pile charged with three °lionsl of 0 England between six °fleur-de-lis. The whole ensigned with a °coronet. Epigram lionl guardant fleur-de-lis obnoxious glory desert Dedicatee Earl of °Hertford, Edward °Seymour

"TTHcfc Lyons gardant wifely fccmc to rake •*• The name of gnrdant,for the flowers fake: >\s if they kept the flower-de-luces thus From them, who any way obnoxious, Might gather them: it is a noble part, To kccpe che glories purchaf J by tkfcrt.

79

English Emblem Tradition H.G. Mirrour London 1618 p.29 20.

EMBLEME 12.

Latin Motto Unum °cor, unus °deus, una °religio. One °heart, one °God, one °religion. Picture °Two ° dexter hands issue from ° clouds at either side and clasp around a °heart pierced by an °arrow and dripping 0 blood. They are encircled by two °palm branches and two ° olive branches alternating.

Tripleclofe,if dif-united,none: TTHis But knit by raith,nrrindiuiduall One.

Standing vnmoou'd like an hcroickc rockc. Affronts the batt'rics of fierce Enuies fhocke. GodjIurtfieligicnjhekyOttejM.z&QQtthreCi Joyn'd in vnfcuer'd threefold r/r///>3 Royall paire-roy all (tec) three are the fame, He chat hath this pairc-royall wins the game. View,how this hcarc5and howthcfe hands agree, Whofe heartland hands are onc,thricc happy hcc. And though two hands, yet but one are cbefe'two, Both doe the famc,and both the fame vndoe. Concord makes in a million, but one heart. Whereatfterne Hate may leuell her fierce dart, And dcepcly wound too,yct can not that wound Difanimate,or her free thoughts confound: But with a double Valour flic vp-bcnrcs Such rjcarcs5abouc the ftroke ot bafcr feires. 7'hus you within hauerais'd vp fuch a forr, As kcepcs out Ills, and doth your gooJiupporc.

Epigram triple faith one heroic rock battery envy God heart religion unity royal pair game hand concord hate dart wound valour fear

80

H.G. Mirrour H.G. Mirrour London 1618 p.30

$c,

To THS EAULE OP E « S H x.

Picture A °fess, on the chief three °torteaux. The whole ensigned by a °coronet. Epigram scutcheon virtue

torteau

liberality

family

Dedicatee Earl of °Essex, Robert °Devereux

Hc diicfcft of this Scuchion comprehends T Three TtfrtawVjwhichvntoafl commends A firme and plenteous liberality, Proper to youaand to your familie .• Arid this one vcrtue, in you (cleareas day) All other vertues elements diiplay.

English Emblem Tradition

81

H.G. Mirrour London 1618 p.31

3*-

EMS Lt ME 16.

Latin Motto Quis contra nos. Who against us? Picture A ° dexter arm and hand in ° armour holding ° lightning bolts issues from a °cloud. Epigram fool vice civil war valour predecessor courtier dance ancestry fame thunder coward shame merit heaven bolt spirit

"^[O wild, or defperate foolc can hence collect •*-^ Proof e to applaud his vice, or to protect: Korean this Figure civiilwarrcportend, Whither oppolc, or whither it defend: But aunticntr.i.Wjthat which hath advanc'-d Our Preface/fours*(while fine Courtiers danc' d) That's heerc infcr'd j to rc-informe the mind By view of inft.inccs,wherem we find Recorded of year Aimccftric,v/hoie fame Like forked thunder, thrcatcn'd cowards fliamcj Who fear ing left on their debofli'dbafc merit, Hcav'n. fbould drop Bolshy aflanic-winged(pint.

82

H.G. Mirrour H.G. Mirrour London 1618 p.32 3t.

To T H E E A R L I O F D O R S E T .

Picture Quartered, a °bend °vaire. The whole ensigned by a °coronet. Epigram bend antiquity honour virtue imitate Dedicatee Earl of °Dorset, Richard °Sackville

Is true^our various Jtoft/thus quarterly T Defcrib'd poynts out thcgi cat antiquitic, Of'Honour, and of pert ue trucly claim'd 9

j

By You^vhohaiicprcicru'd them free, vnniaim'd. Let none that's generous thinkc his time ill Ipcnt, To imitate your worths fo eminent.

83

English Emblem Tradition H.G. Mirrour London 1618 p.33 33

EMBLEME

17,

Italian Motto D'°Odore il °mondo e d'°acutezza il °cielo. The ° world by sense and the °heavens by °sensitivity. Picture A °pine-tree grows in a landscape under a sky alight with the °sun, the °moon, and fifteen °stars. Epigram world happiness wisdom appetite knowledge mystery nature point heaven earth thought wealth

HpHe world whole happincfle, and cheifc delight, •* Nay more, whofe mfedome lies in ^ppittie^ Kathcr then £**>t>^?;claimes the largcft fliarc Of that whicli plcafeth moft: nor doth it care To comprehend a higher myftcric : And therefore well doth naturc to heau'n what'jj^^/. Whicli you perceiuiug,wifely doe beftow, low. Your thoughts on Heav'n, your wealth on things beF

H.G. Mirrour

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H.G. Mirrour London 1618 p.34 34

To THI E A R L I OF M O V N T O O H I I T .

French Motto °Honi soit qui °mal y °pense. 0

Dishonoured be he who °thinks °illl of it. Picture Fimbriated, per pale, three °lions 1 0 rampant. At the chief a °crescent. The whole within the ° garter ensigned by a 0 coronet. Epigram crescent house golden Montgomery report court rust disgrace Dedicatee Earl of °Montgomery, Philip °Herbert

to a fccond Hoafe belongs, THcTheCrtjcfnt golden Crefcent (worth a Poets fongs)

Well appcrtaincs vnto thy Htufe and ihcf, Thou Arch fupportcr o£Mwntgo,mery. For not the vaprous breath of bad report, Can cloud the fplcndour thoudcfcru'ftin Court: lint as in gold no ruft can finde a placc^ Sohaththy Crcfeent noenforc'd difgracc.

English Emblem Tradition

85

H.G. Mirrour London 1618 p.35 JfE MBLEME

iS.

Latin Motto °Musica °dii placantur °musica °manes. By °music the °gods are appeased, by music the °spirits. Picture A ° woman stands playing a °lute in a landscape. She is encircled by twentyfour °ears.

A S bufic Bees vnto their Hiuc doc fwrarme^ «L\So do's th'attraftiue power of Mufickc charme All Eves with filent rapture: nay,it can Wilde Rcafifl re-contraft,diuorcd from man. Birds in their warblings imitate the Spheares: This fings the 7Vtf£/f,that the Tensur bearcs: Jte4/ls haue with liftning to a Shepheards lay, Forgot to feed, and fo huuc pin'd away: Brookes that creepe through each flowr-bcfrctt:d ficlJ, In their harmonious murmurs, mufickeyeeld : Yea>fcnfcleurc7?^« anhe old Poets fong, Thcmfelues in heapcs did fo together throng, That to high beauteous ftruftures they did fwcll Without the helpc ofha»4 This UArmony in t'humane Fa^m^^ftcalest And is the (incwcs of all Common-weales. In you this Concords fodiinnely placed: That// by>^,not^« by// is graced. F 2

Epigram bee hive swarm power music charm ear reason divorce man bird warble sphere sing treble tenor beast shepherd lay feed pinel brook flower field music stone poet song heap hand skill harmony human common-weal concord

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H.G. Mirrour London 1618 p.36

3*. ToTm LORD V M C O V N T Li«vi,

French Motto °Honi soit qui °mal y °pense. 0

Dishonoured be he who °thinks °illl of it. Picture A °pheon, the whole encircled by the 0 garter ensigned by a °coronet. Epigram emblem dart forked head endanger dead noble mind wound kill injury Dedicatee Viscount °Lisle, Sir Robert °Sidney

T Et there be no addition > this atone ••-'Will make an Emblcme, and a perfcft one* Concciue it thus then:. A Dartt firkedhtad Apt to endanger, though not (taking dead. Such is, or fhould be every noble mindy Prepared like this in moft rcfolued kind To wound, or kill oflfcnfmcinuiry, . And though vnurg d,yct threatens dangers nic.

English Emblem Tradition

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H.G. Mirrour London 1618 p.37 3*

EMBLEME 19.

Italian Motto °Ordine ° tempo °numero e °misura. In ° order, 0 measure.

°time,

° number

and

Picture The figure of °science sits on a °thronelike chair, flanked by two °tables. She supports an upright °book on the table to her right and draws a ° circle with 0 compasses on the table to her °left. Epigram Science contemplation form wit perfection order number time place theoric [=theory] practic [= practice] heat fire sun clarity twin correlative man arms scholar soldier defect grace act heart

TLJ Ere sif»ff do's in contemplation fit, * ^Diilinguiftiing by formes,the foulcofwit: Knowingjpcrfeftion has noproper grace, II wanting OrderJ] umber STtmrjxPUcei The Theorize and Prafftcke part muft be As hcate and fire: the 5***;,and Claritie : Such twins they arc^nd fuch Corrclatiues, As thc'onc without the other fcldome thr incs. Ho wean a man the feates of Armes well doc, If not a SchoILfrpnd a Souldiour too ? If cither then be miffing in'sduc place, Defect fteps in,and ftcales from all their grace: On good a&s you employthe/w