The following are instances of where the several designs which are reproduced may be found. They however occur in many other volumes. Figure IX.--"The Arte of English Poesie," 1589. " XIII.--"Orlando Furioso," 1607. " XIV.--Spencer's "Fairie Queen." " XV.--"Florentine History translation," 1595, and 1636 edition of Barclay's "Argenis." " XI.--"Sonnets." " XVI.--Simon Pateriche's translation of "Discourse against Machiavel." " XVII.--Lodge's translation of "Seneca," 1614. " XVIII.--Shakespeare Folio, 1623. " XIX.--"Dæmonologie," 1603. " XX.--Alciat's "Emblems," published in Paris, 1584. FOOTNOTES: [44] Plates Nos. VI. to XXI. will be found after the Appendix. [45] In the "Advancement of Learning" Bacon says that Demosthenes went so far in regard to the great force that the entrance and access into a cause had to make a good impression that he kept in readiness a stock of prefaces. CHAPTER XIX. BACON AND EMBLEMATA. In "Shakespeare and the Emblem Writers" the Rev. Henry Green endeavours to show the similarities of thought and expression between the great poet and the authors of Emblemata, but the line of enquiry which he there opened does not appear to have been followed by subsequent writers. To-day the Emblemata literature is a _terra incognita_ except to a very few students, and yet it is full of interest, romance, and mystery. Emblem literature may be said to have had its origin with Andrea Alciat, the celebrated Italian jurisconsult, who was famous for his great knowledge and power of mind. In 1522 he published at Milan an "Emblematum Libellus," or Little Book of Emblems. Green says: "It established, if it did not introduce, a new style of emblem literature, the classical in the place of the simply grotesque and humorous, or of the heraldic and mythic." The first edition now known to exist was published at Augsburg in 1531, a small octavo containing eighty-eight pages with ninety-seven emblems, and as many woodcuts. It was from time to time augmented, and passed through many editions. For some years the Emblemata appears to have been produced chiefly by Italians, with a few Frenchmen. Until the last half of the sixteenth century the output of books of this character was not large. Thenceforth for the next hundred years the creation of emblems became a popular form of literary exercise. The Italians continued to be prolific, but Dutch, French, and German scholars were but little behind them. There were a few Englishmen and Spaniards who also practised the art.