404 



NOTES AND QUERIES. 



[No. 108. 



attached to, and wi'itten 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 

 aecompany them, would form a beautiful volume. 

 This, however, is a su^sestion different from, and 

 secondary to, Mr. Willmott's. 



Emblems, figures, symbols, &c., constitute a vast 

 ocean of associations which all enter on, all under- 

 stand, all sympathise with more or less. They 

 enrich our language, enter into our commonest 

 thoughts and conversation, as well as our compo- 

 sitions in poetry and prose. 



Often the clearest ideas we have on abstruse 

 points are derived from them, e.g. the shamrock 

 or trefoil is au emblem of the JBlessed Trinity. 

 Nothing perhaps helps us to comprehend the resur- 

 rection 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 eni- 

 blemsj entitled Schola Cordin, sioe Aversi a Deo 

 Cordis, ad eumdem reductio et instructio, Authore 

 Benedicto Haefteno, Antv. 1633. (This Benedict 

 Haeften was also the au.thor of Regia Via Crucis, 

 published fit Antwerp the same year as the above, 

 in 2 vols. Svo-, 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 XL VII 

 Emblems : London, printed for M. Blunder at the 

 Castle in C(n-nhill, 1647, 12mo. pp. 196. The 

 authorship of this English Schola Cordis is gene- 

 rally 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 1843 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 con- 

 tain forty-five prints, all from Herman Hugo's Pia 

 Desideria, which has that number of emblems. 

 Quarles sometimes translates, sometimes para- 

 phrases 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 Literaria: Atitiquitate, an 



excellent work ; and of De Militia Equestri antiqna 

 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 f § 1 Poenitentis. 



2. Vota J .9 [• Sanctffi. 



3. Suspiria y^ J Amantis. 



Each book contains fifteen emblems. The prin- 

 cipal editions are, Antv. 1624, ed. princeps; Antv. 

 1628, 1632; Grajcii, 1631; Lond. 1677, sumpti- 

 bus Roberti Pawlet, Chancei-y Lane. This Lon- 

 don edition contains only verse, whereas all the 

 other editions contain metre and prose before each 

 picture, the prose being fixr 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 Retro- 

 spective Review, ix. 123 — 140. ; Critical Review, 

 Sept. 1801 (attributed to Southey) : see also Will- 

 mott's Lives of Sacred Poets (Wither and Quarles) ; 

 Ca3sar Ripa's Iconologia, Padua, 1627 ; and Al- 

 ciati Eniblemata, 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 re- 

 specting these Emblems, let him compare Hugo 

 and Quarles together. I forgot to give the title 

 of the first edition of Hugo : Pia Desideria Em- 

 blematis, Elegiis et AJfectibus, SS. Patrum Illus- 

 trata, vidgavit 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 

 Edni. Arwaker, M.A., Lond. 1686, 8vo., pp. 282., 

 dedicated to the Princess Anne of Denmark, -iyith 

 forty-seven plates by Sturt. Mabiconda. 



FOLK LOKE. 



Music at Funerals. — Pennant, in his MS. relating 

 to North Wales, says, " there is a custom of singing 

 psalms on the way as the corpse is carried to 

 church" (Brand's Pop. Ant., ed. Ellis, vol. ii, 

 p. 268.). In North Devon the custom of singing 



