I. represents the mummy and the departing soul, II. the hawk found sitting on the mummy, and III. the external mummy

BAIETH: and this name in decomposition signifies soul and heart; for the word BAI is the soul, and ETH the heart and the heart according to the Egyptians is the shrine of the soul; so that in its composition the name signifies 'soul enshrined in heart.' Whence also the hawk, from its correspondence with the soul, never drinks water, but blood, by which, also, the soul is sustained."

And in a similar way many of the sacred engravings or drawings are interpreted. A serpent with its tail covered by the rest of its body, "depicts Eternity;"* "to denote an only begotten, or generation, or a father, or the world, or a man, they delineate a SCARABÆUS;" + a LION symbolises intrepidity,—its FOREPARTS, strength, and its HEAD, watchfulness; the STORK denotes filial affection, the CRANE on the watch, a man on guard against his enemies, and the FEATHER of an Ostrich, impartial justice,for, adds the author, "this animal, beyond other animals, has the wing feathers equal on every side." §

Christian Art, like the Religious Art of the world in general, -from the thou and thee of simplest Quakerism, outward and audible sounds of an inward and silent spirit, up to the profoundest mystic ritualism of the Buddhist,

Christian Art

+ Bk. i. c. 10.

§ Bk. ii. c. 58, 94, 118.

abounds in Emblems; gems and colours, genuflexions and other bodily postures supply them; they are gathered from the mineral, animal, and vegetable kingdoms, and besides are enriched from the whole domain of imaginary devices and creatures. Does the emerald flash in its mild lustre ?—it is of "victory and hope, of immortality, of faith, and of reciprocal love," that it gives forth light. Is blue, the colour of heaven, worn in some religious ceremony?—it betokens "piety, sincerity, godliness, contemplation, expectation, love of heavenly things." Do Christian men bare the head in worship?—it is out of reverence for the living God, whose earthly temples they have entered. The badge of St. John the Baptist, is a lamb on a book,—that of St. John the Evangelist is a cup of gold with a serpent issuing from it. The Pomegranate, "showing its fulness of seed and now bursting," typifies the hope of immortality;—and a Fleur-de-lys, or the Rose of Sharon, embroidered or painted on a robe,— it marks the Blessed Virgin. With more intricate symbolism the Greek Church represents the Saviour's name |HCOYC XPICTOC,-IesuS CHristuS. The first finger of the hand extended is for I, the second bent for C or s, the thumb crossed upon the third finger for X or Ch, and the fourth finger curved for C or s. Thus are given the initial and final letters of that Holy Name, the Saviour, the Christ.*

Of early Emblems examples enough have now been given to indicate their nature. Whether in closing this part of the subject we should name a work of more ancient date even than the Greek version of Horapollo would admit of doubt, were it not that every work partakes of an emblematical character, when the descriptions given or the instances taken pertain, as

For a further and very interesting account of the Emblems of Christian Art, reference may be made to a work full of information,-too brief it may be for all that is desirable, but to be relied on for its accuracy, and to be imitated for its candid and charitable spirit:-Sacred Archeology, by Mackenzie E. C. Walcott, B.D., 8vo, pp. 640 London, Reeve & Co. 1868.

:

Whitney says, "to vertue and instruction of life," or "doe tende vnto discipline, and morall preceptes of living."

Under this rule we hesitate not to admit into the wide category of Emblem writers, EPIPHANIUS, who was chosen bishop of Constantia in Cyprus, A.D. 367, and who died in 402. His Physiologist, published with his sermon on the Feast of Palms, is, like many writings of the Fathers, remarkable for highly allegorical interpretations. An edition, by Ponce de Leon, a Spaniard of Seville, was printed at Rome in 1587, and repeated at Antwerp in 1588. * It relates to the real and imaginary qualities of animals, and to certain precepts and doctrines of which those qualities are supposed to be symbolical. As an example we give here an extract from chapter xxv. p. 106, "Concerning the Stork."

The Stork is described as a bird of extreme purity; and as nourishing, with wonderful affection, father and mother in their old age. The "interpretation" or application of the fact is;"So also it behoves us to observe these two divine commands, that is to turn aside from evil and to do good, as the kingly prophet wrote; and likewise in the decalogue the Lord commands, thus saying;-Honour thy father and thy mother."

In a similar way the properties and habits of various animals,of the lion, the elephant, the stag, the eagle, the pelican, the partridge, the peacock, &c., are adduced to enforce or symbolize virtues of the heart and life, and to set forth the doctrines of the writer's creed.

To illustrate the Emblem side of Christian Art a great variety of information exists in Sketches of the History of Christian Art, by Lord Lindsay (3 vols. 8vo: Murray, London, 1847); and Northcote and Brownlow's Roma Sotterranea, compiled from De Rossi (8vo: Longmans, London, 1869) promises to supply many a symbol and type of a remote age fully to set forth the same subject.

CHAPTER II.

SKETCH OF EMBLEM-BOOK LITERATURE PREVIOUS TO A.D. 1616.

SECTION I.

EXTENT OF THE EMBLEM LITERATURE TO WHICH
SHAKESPEARE MIGHT HAVE HAD ACCESS.

N the use of the word Emblem there is seldom a strict adherence observed to an exact definition, so, when Emblem Literature is spoken of, considerable latitude is taken and allowed as to the kind of works which the terms shall embrace. In one sense every book which has a picture set in it, or on it, is an emblem-book,-the diagrams in a mathematical treatise or in an exposition of science, inasmuch as they may be, and often are, detached from the text, are emblems; and when to Tennyson's exquisite poem of " ELAINE," Gustave Doré conjoins those wonderful drawings which are themselves poetic, he gives us a book of emblems;-Tennyson is the one artist that out of the gold of his own soul fashioned a vase incorruptible,-and Doré is that second artist who placed about it ornaments of beauty, fashioned also out of the riches of his mind.

Yet by universal consent, these and countless other works, scientific, historical, poetic, and religious, which artistic skill has embellished, are never regarded as emblematical in their character. The "picture and short posie, expressing some particular