A Century of Emblems

A CENTURY OF EMBLEMS

Printed by R. & R. Clark, Edinburgh.

A

Century of Emblems

BY

G. S. CAUTLEY

VICAR OF NETTLEDEN,
AUTHOR OF 'THE AFTERGLOW,' AND 'THE THREE FOUNTAINS.'

WITH ILLUSTRATIONS

By the Lady Marian Alford, Rear-Admiral Lord W. Compton,
Ven^ble. Lord A. Compton, R. Barnes, J. D. Cooper,
and the Author

London
MACMILLAN AND COMPANY
1878

To the Memory

OF

CHARLES DOUGLAS,
MARQUIS OF NORTHAMPTON,

THIS LITTLE BOOK,

MAINLY DUE IN ITS PRESENT FORM TO

HIS GENEROSITY AND COUNSEL,

IS DEDICATED,

IN ALL GRATEFUL AND TENDER RECOLLECTION

BY

THE AUTHOR.

PREFACE.

This small volume is the latest of above three thousand[1] of a similar kind, which, under the general title of "Books of Emblems" have followed in the wake of the Libellus Emblematum,[2] a work, much resembling a child's primer in outward appearance, published at Augsburg in A.D. 1532, and composed by Andrea Alciati, a famous lawyer, antiquary, and litterateur of Milan.

This book consisted of nearly a hundred Latin Epigrams, some original, some translated or paraphrased from the Greek, and each accompanied by a rude woodcut illustration. Alciati was the first author who gave the name of Emblem to this form of expressing his ideas: and the notion for so doing was suggested by the original meaning of the word Emblem, which signifies anything inserted. The Greeks and Romans used to insert small pictures or bas-reliefs in the sides of vases, drinking-cups, and various other utensils: these little works of art were called Emblems: they were sometimes accompanied by mottoes or verses, and often made removable at pleasure, so that they formed no necessary part of the article which they adorned.

Alciati, therefore, considering that the illustrations formed no necessary portion of his book, and that they were only inserted, as he says himself, to make his moral and philosophical teaching more attractive, gave to his collection of poems and pictures the name of "Book of Emblems."

This idea took greatly with the public of his day, and for upwards of two hundred years afterwards, and generated a class of books now reckoned among the fossils of literature, which may be dug out of ancient libraries, or procured by chance here and there through the agency of those useful purveyors, the publishers of Catalogues of second-hand works.

Now Emblem books have had their day, and are no longer regarded as a means of instruction or delight. They have done their duty as ornamental wits and lively educators, and now make way for others more suited to the age. There will be found very few theological teachers of our day who would, like Sebastian Stockhamer,[3] not only advise a patron to have the Emblems of Alciati always at hand at home and abroad, but suggest that he should do as Alexander did with the works of Homer, sleep with them under his pillow.

He, therefore, who ventures to put forth his own conceits, clothed in this old-fashioned dress, before the present world of critical thinkers and impatient novel readers, must apologise for his intrusion and crave indulgence. Some, perhaps, who may look into these pages, will sympathise with the Author in the pleasure he has enjoyed in following the footsteps of the ingenious Emblematists of old, and will accept the subjoined Emblem as an illustration of their common feeling upon the subject:—

Though the new be gold, some love the old.

The Author thinks it necessary to say, that circumstances over which he had no control prevented him from carrying out his original idea, which was that every set of verses should be accompanied by an illustration; and it is only by the assistance of many friends, to whom his best acknowledgments are due, that he has been able to provide the comparatively few accompanying woodcuts.

FOOTNOTES:

CONTENTS.

ILLUSTRATIONS.

A CENTURY OF EMBLEMS

PROEM.

FOOTNOTE:

EMBLEMS EVERYWHERE.

THE SUN AN EMBLEM OF THE CREATOR.

SUNSET ON CAMPAGNA OF ROME.