Another instance of Emblem-like delineation, or description, we have in _King Henry V._ act iii. sc. 7, lines 10–17, vol. iv. p. 549. Louis the Dauphin, praising his own horse, as if bounding from the earth like a tennis ball (see woodcut on next page), exclaims,— “I will not change my horse with any that treads but on four pasterns. Ça, ha! he bounds from the earth, as if his entrails were hairs; le cheval volant, the Pegasus, chez les narines de feu! When I bestride him, I soar, I am a hawk: he trots the air; the earth sings when he touches it; the basest horn of his hoof is more musical than the pipe of Hermes.[86] _Orl._ He’s of the colour of the nutmeg. _Dau._ And of the heat of the ginger. It is a beast for Perseus: he is pure air and fire; and the dull elements of earth and water never appear in him, but only in patient stillness, while his rider mounts him: he is indeed a horse; and all other jades you may call beasts. _Con._ Indeed, my lord, it is a most absolute and excellent horse. _Dau._ It is the prince of palfreys; his neigh is like the bidding of a monarch, and his countenance enforces homage.” [Illustration: _Bocchius, 1555._] This lively description suits well the device of a Paris printer, Christian Wechel, who, in 1540,[87] dwelt “a l’enseigne du Cheval volant;” or that of Claude Marnius of Francfort, who, before 1602, had a similar trade-mark. At least three of Reusner’s _Emblems_, edition Francfort, 1581, have the same device; and the Dauphin’s paragon answers exactly to a Pegasus in the first Emblem, dedicated to Rudolph II., who, on the death of his father, Maximilian, became Emperor of Germany. ΣΥΝ ΔΥΩ ΕΡΧΟΜΕΝΩ. Non abſque Theſeo. _EMBLEMA I._ [Illustration: _Reusner_, 1581.] _Ad Diuum Rudolphum Secundum_ _Cæſarem Romanum._ Here[88] we have a Pegasus like that which Shakespeare praises; it has a warrior on its back, and bounds along, trotting the air. In other two of Reusner’s _Emblems_, the Winged Horse is standing on the ground, with Perseus near him; and in a third, entitled _Principis boni imago_,—“Portrait of a good prince,”—St. George is represented on a flying steed[89] attacking the Dragon, and delivering from its fury the Maiden chained to a rock, that shadows forth a suffering and persecuted church. Shakespeare probably had seen these or similar drawings before he described Louis the Dauphin riding on a charger that had nostrils of fire. The qualities of good horsemanship Shakespeare specially admired. Hence those lines in _Hamlet_, act iv. sc. 7, l. 84, vol. viii. p. 145,—