"An history of emblems in all languages, with specimens of the poetry
and engravings, accompanied by some account of the authors, would be a
very interesting contribution to our literature." Thus speaks the author
of a work remarkable for interest, information, and elegance of taste,
viz., _Lives of Sacred Poets_, by Robert Willmott, Esq.; and truly such
a work would be a great _desideratum_ were the idea here suggested
efficiently carried out.
In our own, and in other languages, many beautiful poems--some of them
very gems--exist, attached to, and written on some of "the most
ridiculous prints that ever excited merriment." A tasteful collection of
the more beautiful poems, with some spirited woodcuts, or engravings to
accompany them, would form a beautiful volume. This, however, is a
suggestion different from, and secondary to, Mr. Willmott's.
Emblems, figures, symbols, &c., constitute a vast ocean of associations
which all enter on, all understand, all sympathise with more or less.
They enrich our language, enter into our commonest thoughts and
conversation, as well as our compositions in poetry and prose.
Often the clearest ideas we have on abstruse points are derived from
them, _e.g._ the _shamrock_ or _trefoil_ is an emblem of _the Blessed
Trinity_. Nothing perhaps helps us to comprehend the resurrection of the
body, and in a glorified state through preserving its identity, as the
apostle's illustration and emblem of the _growth of corn_.
In a work on the subject it would be desirable to keep the classical,
artistic, political, and other emblems apart from the sacred and moral,
&c.
I must now say a few words on a book of emblems, entitled _Schola
Cordis, sive Aversi a Deo Cordis, ad eumdem reductio et instructio,
Authore Benedicto Haefteno, Antv._ 1635. (This Benedict Haeften was also
the author of _Regia Via Crucis_, published at Antwerp the same year as
the above, in 2 vols. 8vo., I think, and afterwards translated into
French.) This work suggested _Schola Cordis, or the Heart of itself gone
away from God, brought back again to Him and instructed by Him, in XLVII
emblems_: London, printed for M. Blunder at the Castle in Cornhill,
1647, 12mo. pp. 196. The authorship of this English _Schola Cordis_ is
generally attributed to Christopher Harvie, the author of _The
Synagogue_. (Vide Lowndes, and a note in Pickering's edition of George
Herbert.) The second edition was printed in 1674, third in 1675, fourth
in 1676.
Now, Mr. Tegg in 1845 printed an edition of this _Schola Cordis_ as the
production of Francis Quarles; what was his authority I know not, he
certainly did not attempt to give any.
The last three books of Quarles's _Emblems_ contain forty-five prints,
all from Herman Hugo's _Pia Desideria_, which has that number of
emblems. Quarles sometimes translates, sometimes paraphrases Hugo, and
has a good deal of original matter. His first two books are not in
Hugo's work, and I do not know whence they are derived; nearly all the
cuts contain a globe and cross.
Herman Hugo had the talents and versatility which characterise his order
(the Order of Jesus), "he was a philosopher, a linguist, a theologian, a
poet, and a soldier, and under the command of Spinola is said to have
performed prodigies of valour." He was the author of _De prima Scribendi
Origine et Universa Rei Literariae Antiquitate_, an excellent work; and
of _De Militia Equestri antiqua et nova_ amongst others. His _Book of
Emblems_ was first published at Antwerp, 1624. It is divided into
_three_ books, viz.,
Pia Desideria.
1. Gemitus {A } Poenitentis.
2. Vota {n } Sanctae.
3. Suspiria {imae} Amantis.
Each book contains fifteen emblems. The principal editions are, Antv.
1624, ed. princeps; Antv. 1628, 1632; Graecii, 1651; Lond. 1677,
sumptibus Roberti Pawlet, Chancery Lane. This London edition contains
only verse, whereas all the other editions contain metre and prose
before each picture, the prose being far the better of the two. The only
prose that Pawlet's edition has is a motto from one of the Fathers at
the back of each picture.
There are two or three English translations. I have seen but one, a
miserable translation of the verse part, I suppose from Pawlet's
edition. There are short notices of emblems in the _Retrospective
Review_, ix. 123-140.; _Critical Review_, Sept. 1801 (attributed to
Southey); see also Willmott's _Lives of Sacred Poets_ (Wither and
Quarles); Caesar Ripa's _Iconologia_, Padua, 1627; and _Alciati
Emblemata_, Lugd. 1614. The Fagel Library, Trinity College, Dublin, has
a fine copy of the first edition of the _Pia Desideria_, and upwards of
sixty books of emblems, principally Dutch.
P.S.--When I penned the above I was not aware that any mention of the
_School of the Heart_ had been made in "NOTES AND QUERIES." I find in
Southey's fourth _Common-place Book_ that he quotes from the _School of
the Heart_ as Quarles's. He has the following note on Quarles's Emblems:
"Philips erroneously says that the emblems are a copy from Hermannus
Hugo." I know not what Philips exactly intended by the word "copy;" but
if any one doubts what I have before said respecting these Emblems, let
him compare Hugo and Quarles together. I forgot to give the title of the
first edition of Hugo: _Pia Desideria Emblematis, Elegiis et Affectibus,
SS. Patrum Illustrata, vulgavit Boetius a Bolswert_, Antv. 1624. Also
the title of our English translation: _Pia Desideria; or, Divine
Addresses_, in three books, written in Latin by Herm. Hugo, Englished by
Edm. Arwaker, M.A., Lond. 1686, 8vo., pp. 282., dedicated to the
Princess Anne of Denmark, with forty-seven plates by Sturt.