"An _Oblique Sphere_ hath the _Axis_ of the _World_ neither _Direct_ nor _Parallel_ to the _Horizon_, but lies aslope from it." "A _Parallel Sphere_ hath one _Pole_ of the _World_ in the _Zenith_, the other in the _Nadir_, and the _Equinoctial_ Line in the _Horizon_." [209] PAGE 136, LINE 1. Page 136, line 1. _præsenti._--The editions of 1628 and 1633 read _sequenti_, to suit the altered position of the figure. [210] PAGE 137, LINE 24. {52} Page 137, line 28. _atque ille statim._--The Stettin editions both wrongly read illi. [211] PAGE 139. There is a curious history to this picture of the blacksmith in his smithy striking the iron while it lies north and south, and so magnetizing it under the influence of the earth's magnetism. Woodcuts containing human figures are comparatively rare in English art of the sixteenth century; a notable exception being Foxe's _Acts and Monuments_ with its many crude cuts of martyrdoms. The artist who prepared this cut of the smith took the design from an illustrated book of Fables by one Cornelius Kiliani or Cornelius van Kiel entitled _Viridarium Moralis Philosophiæ, per Fabulas Animalibus brutis attributas traditæ, etc._ (Coloniæ, 1594). This rare work, of which there is no copy in the British Museum, is illustrated by some 120 fine copper-plate etchings printed in the text. On p. 133 of this work is an etching to illustrate the fable _Ferrarii fabri et canis_, representing the smith smiting iron on the anvil, whilst his lazy dog sleeps beneath the bellows. The cut on p. 139 of Gilbert gives, as will be seen by a comparison of the pictures just the same general detail of forge and tools; but the position of the smith is reversed right for left, the dog is omitted, and the words _Septrenio_ and _Auster_ have been added. [Illustration] In the Stettin edition of 1628 the picture has again been turned into a copper-plate etching separately printed, is reversed back again left for right, while a compass-card is introduced in the corner to mark the north-south direction. In the Stettin edition of 1633 the artist has gone back to Kiliani's original {53} plate, and has re-etched the design very carefully, but reversing it all right for left. As in the London version of 1600, the dog is omitted, and the words _Septentrio_ and _Auster_ are added. Some of the original details--for example, the vice and one pair of pincers--are left out, but other details, for instance, the cracks in the blocks that support the water-tub, and the dress of the blacksmith, are rendered with slavish fidelity.