The Coronation Scene in _Henry VIII_., act iv. sc. 1. l. 81–92, describes the solemnities, when Anne Bullen, “the goodliest woman that ever lay by man, “with modest paces Came to the altar; where she kneel’d, and saint-like Cast her fair eyes to heaven, and pray’d devoutly:” Each sacred rite is then observed towards her;— “She had all the royal makings of a queen; As holy oil, Edward Confessor’s crown, The rod, and bird of peace, and all such emblems Lay’d nobly on her.” And down to Milton’s time the original meaning of the word Emblem was still retained, though widely departed from as used by some of the Emblem writers. Thus he pictures the “blissful bower” of Eden, bk. iv. l. 697–703, _Paradise Lost_, “each beauteous flower, Iris all hues, roses, and jessamin, Rear’d high their flourish’d heads between, and wrought Mosaic: underfoot the violet, Crocus, and hyacinth, with rich inlay Broider’d the ground, more colour’d than with stone Of costliest emblem.” Thus, in their origin, Emblems were the figures or ornaments fashioned by the tools of the artists, in metal or wood, independent of the vase, or the column, or the furniture, they were intended to adorn; they might be affixed or detached at the promptings of the owner’s fancy. Then they were formed, as in mosaic, by placing side by side little blocks of coloured stone, or tiles, or small sections of variegated wood. Raised or carved figures, however produced, came next to be considered as Emblems; and afterwards any kind of figured ornament, or device, whether carved or engraved, or simply traced, on the walls and floors of houses or on vessels of wood, clay, stone, or metal. These ornaments were sometimes like the raised work on the Warwick and other vases, and formed a _crust_ which made a part of the vessel which they embellished; but at other times they were devices, drawings and carvings on a _framework_ which might be detached from the cup or goblet on which the owner had placed them, and be applied to other uses.[11]