LIB. II. 27. 



217 



enim regie habet similes istlnnos, et similia promonto- 

 ria, quod non temere accidit. 



Item novus et vetus orbis ; in eo quod utrique orbes 

 versus septentriones lati sunt, et exporrecti ; versus 

 austrum autem angusti et acuininati 69 . 



Item instantia conformes nobilissimse sunt, frigora 

 intensa in media (quam vocant) aeris regione ; et ignes 

 acerrimi, qui saepe reperiuntur erumpentes ex locis 

 subterraneis: quse duae res siuit ultimitates et extrema; 

 naturae scilicet frigidi, versus ambitum coeli, et naturae 

 calidi versus viscera terrae ; per antiperistasin, sive re- 

 jectionem naturae contrarice 70 . 



Postremo autem in axiomatibus scientiarum 1 , notatu 

 digna est conformity imtantiarum. Veluti tropus rhe 

 torics, qui dicitur prater ed pectattim 72 , conforaiis est 

 tropo musicac, qui vocatur dedinatio cadentia. Simi- 

 liter, postulatura mathematicum, ut qua eidem tertio 



69 This shape of all the countries, 

 viz. the tendingto a point towards the 

 South, as in Japan, South America, 

 India, Africa, is a physical fact 

 which has been often noticed. 



70 These two are only Analoya in 

 so far as their opposition increases 

 or decreases regularly; degrees of 

 Heat increasing as we penetrate of 

 Cold as we ascend. For Antiperi- 

 stasis, see supr. II. 12. Inst. 24. 



71 Such, e. g. as in the case of the 

 Intensity of Light varying exactly 

 as the Intensity of Gravity does. 



72 &quot; Prater expectation,&quot; nap 

 drrpocrSoKrjTov anything which hap 

 pens in a startling way contrary to 

 what one was expecting. 



73 &quot; Declinatio Cadentia?.&quot; Ex 

 plained in the Adv. of Learning, p. 

 130. &quot; Is not the Trope of Music, 

 to avoid or slide from the close or 

 cadence, common with the Trope of 

 Rhetoric of deceiving expectation?&quot; 



i. e. when you are expecting your 

 player to end, he suddenly makes a 

 fresh and unexpected start : see also 

 Sylv. Sylv. 113. &quot;At first I thought 

 it meant a Cadenza d Inganno, 

 or false cadence ; but I have now 

 satisfied myself that such a thing 

 was unknown in Bacon s time. I 

 am rather inclined to think it refers 

 to a species of false close, such as 

 we find in the last bar but two of 

 Tallis s Nunc Dimittis in D, where 



the Harmony proceeds to ^ and * 

 4 ; 3 



on A for a Bass, as though it were 

 about to close immediately on the 

 chord of D ; when suddenly the 

 Tenor strikes a C^, which neces 

 sitates a modulation into the chord 

 of G, thus leading to a Plagal 

 Close. &quot; This is an explanation 

 kindly forwarded me by Sir F. A. 

 Gore Ouseley, Bart. M.A. and Prof. 

 Mus. in the University of Oxford. 



