Biography has, too, its place in this playing-card cosmography, though it has not many examples. The one we give (Fig. 19) is German, of about 1730, and is from a pack which depicts a series of heads of Emperors, poets, and historians, Greek and Roman--a summary of their lives and occurrences therein gives us their _raison d'être_. [Illustration: FIG. 20.] Of Geographical playing cards there are several examples in the second half of the seventeenth century. The one selected for illustration (Fig. 20) gives a sectional map of one of the English counties, each of the fifty-two cards of the pack having the map of a county of England and Wales, with its geographical limitations. These are among the more rare of old playing cards, and their gradual destruction when used as educational media will, as in the case of horn-books, and early children's books generally, account for this rarity. Perhaps the most interesting geographical playing cards which have survived this common fate, though they are the _ultima rarissima_ of such cards, is the pack designed and engraved by H. Winstanley, "at Littlebury, in Essex," as we read on the Ace of Hearts. They appear to have been intended to afford instruction in geography and ethnology. Each of the cards has a descriptive account of one of the States or great cities of the world, and we have taken the King of Hearts (Fig. 21), with its description of England and the English, as the most interesting. The costumes are those of the time of James II., and the view gives us Old London Bridge, the Church of St. Mary Overy, on the south side of the Thames, and the Monument, then recently erected at the northern end of the bridge to commemorate the Great Fire, and which induced Pope's indignant lines:-- "Where London's column, pointing to the skies Like a tall bully, lifts its head and--lies." The date of the pack is about 1685, and it has an added interest from the fact that its designer was the projector of the first Eddystone Lighthouse, where he perished when it was destroyed by a great storm in 1703. [Illustration: FIG. 21.] Music, too, is not forgotten, though on playing cards it is seen in smaller proportion than other of the arts. To the popularity of the "Beggar's Opera" of John Gay, that satirical attack upon the Government of Sir Robert Walpole, we are indebted for its songs and music appearing as the _motif_ of the pack, from which we give here the Queen of Spades (Fig. 22), and the well-thumbed cards before us show that they were popular favourites. Their date may be taken as nearly coincident with that of the opera itself, viz., 1728. A further example of musical cards is given in Fig. 23, from a French pack of 1830, with its pretty piece of costume headgear, and its characteristic waltz music. [Illustration: FIG. 22.]