word, _Quid nisi Victis dolor!_ A Vine tree watred with Wine, which instead to make it spring and grow, maketh it fade, the word, _Mea sic mihi prosunt_. A wheel rolled from a Mountain in the Sea, the word, _Piena di dolor voda de Sperenza_. Which appeareth to be her own, and it should be, _Precipitio senza speranza_. A heap of Wings and Feathers dispersed, the word, _Magnatum Vicinitas_. A Trophie upon a Tree, with Mytres, Crowns, Hats, Masks, Swords, Books, and a Woman with a Vail about her eyes or muffled, pointing to some about her, with this word, _Ut casus dederit_. Three crowns, two opposite and another above in the Sea, the word, _Aliamque moratur_. The Sun in an Ecclipse, the word, _Medio occidet Die_.” “I omit the Arms of _Scotland_, _England_, and _France_ severally by themselves, and all quartered in many places of this Bed. The workmanship is curiously done, and above all value, and truely it may be of this Piece said, _Materiam superabat opus_.”[77] It would be tedious to verify, as might be done in nearly every instance, the original authors of these twenty-nine _Impreses_ and Emblems. Several of them are in our own Whitney, several in Paradin’s _Devises heroiques_, and several in _Dialogve des Devises d’armes et d’amovrs dv S. Pavlo Jovio, &c._, 4to, A Lyon, 1561. From the last named author we select as specimens two of the Emblems with which Queen Mary embellished the bed for her son;—the first is “the _Impressa_ of King _Francis_ the First,” who, as the _Dialogue_, p. 24, affirms, “_changea la fierté des deuises de guerre en la douceur & ioyeuseté amoureuse_,”—“And to signify that he was glowing with the passions of love,—and so pleasing were they to him, that he had the boldness to say that he found nourishment in them;—for this reason he chose the Salamander, which dwelling in the flames is not consumed.” (See woodcut next page.) The second, p. 25, is “the _Impressa_ of _Henry_ the second, the _French King_,” the son and successor of Francis in 1547. (See woodcut, p. 127.) He had adopted the motto and device when he was Dauphin, and continued to bear them on his succession to the throne;—in the one case to signify that he could not show his entire worth until he arrived at the heritage of the kingdom; and in the other that he must recover for his kingdom what had been lost to it, and so complete its whole orb.