Its estimation in England is shown by the translation which was issued in London in 1585, entitled, “THE Worthy tract of Paulus Iouius, contayning a Discourse of rare inuentions, both Militarie and Amorous, _called Imprese. Whereunto is added_ a Pre_face_ _contay_-ning the Arte of composing them, with _many other notable deuises_. _By Samuell Daniell late Student_ in Oxenforde.” Intimately connected with Giovio’s little work, indeed often constituting parts of the same volume, were Ruscelli’s “DISCORSO” on the same subject, Venice, 1556; and Domenichi’s “RAGIONAMENTO,” also at Venice, in 1556. From the testimony of Sir Egerton Brydges (_Res Lit._), “Ruscelli was one of the first literati of his time, and was held in esteem by princes and all ranks of people.” Very frequently, too, in combination with Giovio’s Dialogue on Emblems, are to be found Ruscelli’s “IMPRESE ILLVSTRI,” Venice, 1566; or Symeoni’s “IMPRESE HEROICHE ET MORALI,” Lyons, 1559; and “SENTENTIOSE IMPRESE,” Lyons, 1562. Roville’s Lyons edition, of 1574, thus unites in one title-page Giovio, Symeoni, and Domenichi, “DIALOGO DELLIMPRESE MILITARI ET AMOROSE, De Monsignor Giouio Vescouo di Nocera _Et del S. Gabriel Symeoni Fiorentino_, Con vn ragionamento di M. Lodouico Domenichi, nel medesimo soggetto.” Taking together all the editions in Italian, French, and Spanish, of these four authors, single or combined, which I have had the opportunity of examining, there are no less than _twenty-two_ between 1555 and 1585, besides five or six other editions named by Brunet in his _Manuel du Libraire_. Roville’s French edition, 4to, Lyons, 1561, is by Vasquin Philieul, “Dialogve des Devises d’Armes et d’Amovrs dv S. Pavlo Iovio, _Auec vn Discours de M. Loys Dominique_—et _les Deuises Heroiques et Morales du Seigneur Gabriel Symeon_.” At this epoch we enter upon ground which has been skilfully upturned and cultivated by Claude Francis Menestrier, born at Lyons in 1631, and “distinguished by his various works on heraldry, decorations, public ceremonials, &c.” (Aikin’s _Gen. Biog._ vii. p. 41.) In his “PHILOSOPHIA IMAGINUM,”—_Philosophy of Images_,—an octavo volume of 860 pages, published at Amsterdam, 1695, he gives, in ninety-four pages, a “JUDICIUM,” _i.e._, _a judgment respecting all authors who have written on Symbolic Art_; and of those Authors whom we have named, or may be about to name, within the Period to which our Sketch extends, he mentions that he has examined the works of