An Embleme is but a silent Parable. Let not the tender eye check, to see the allusion to our blessed Saviour figured in these Types. In Holy Scripture he is sometimes called a Sower; sometimes a Fisher; sometimes a Physician: And why not presented so as well to the eye as to the ear? Before the knowledg of Letters God was known by Hieroglyphicks. And indeed what are the Heavens, the Earth, nay every Creature, but Hieroglyphicks and Emblemes of his Glory?
—Francis Quarles in his Emblems.
Les
Emblemes d’amour divin et humain ensemble. Expliquez par des
vers françois. Par un Pere Capucin. A Paris: Chez Pierre Mariette, [1600].
Omnia Andreae Alciati V.C. emblemata: cum commentariis, quibus emblematum omnium aperta origine, mens authoris explicatur, & obscura omnia dubiaque illustrantur. Paris: Apud Hieronymum de Marnef, & Viduam Gulielmi Cavellat sub Pelicano monte D. Hilarij. 1583.
Diverse imprese accommodate a diuerse moralità, con versi che i loro significati dichiarano insieme con molte altre nella lingua italiana non piu tradotte. Tratte da gli Emblemi dell’ Alciato. In Lione, Appresso Gulielmo Rovillio. 1564.
Andrae Alciati Emblemata cum commentarijs amplissimis. Patavii apud Petrum Paulum Tozzium, 1621. —The notes are indeed amplissimi: they often take up four or five double-column folio pages for each engraving, so that the whole book is more than a thousand pages.
Theatrum Vitae Humanae. A I. I. Boissardo Vesuntino conscriptum, et à Theodoro Bryio artificiosissimus historiis illustratum. Excussum typis Abrahami Fabri, Mediomatricorum Typographi. (Frankfurt, 1596.)
Iani Iacobi Boissardi Vesuntini Emblematum liber. Emblemes Latins de. I. I. Boissard, avec l’interpretation françoise du I. Pierre Ioly Messin. Iani Aubrij Typis. Metis, Excudebat Ambrahamus Faber, 1588.
Mascarades Recuillies & mises en taille douce par Robert Boissart Valentianois 1597.
Iacobi Bornitii I.C. Emblematum Sacrorum et Sivilium Miscellaneorum Sylloge Prior et Sylloge Posterior. Heidelbergae: Apud Clementem Ammonii, 1659. —Each emblematic engraving is enclosed in a circle and surrounded with a motto—usually Latin, but sometimes other languages; each is interpreted by a couplet in Latin and German.
Iacobi â Bruck Angermundt Cogn. Sil. Emblemata Moralia & Bellica. Nunc recens in Lucem edita. Argentorati Per Iacobum ab Heyden Iconographum Anno 1615.
Mundi
lapis lydius, sive, Vanitas per veritatem falsi accusata
& conuicta. Opera D. Antonii a Burgundia Arch-diaconi Brugensis. Typis
Viduae Ioan. Cnobbari Antuerp: 1639.
Another copy.
Typicus hieropolitarcha, in antitypo expressus, anno Christi eodem : quo TheoDorVs ADoLphVs PaDerbornensIs AntIstes XXXXVI a sVIs rIte InaVgVratVS Ista sVa eXhIbebat InsIgnIa. Paderbornae, imprimebat Ulricus Huberus. —You may notice that for several lines every letter that could stand for a Roman numeral is enlarged—plus one stray S. You may puzzle that out if you like.
Centuria exquisitissimorum symbolorum et emblematum historiarum sacro-prophanarum moralium & politicarum cultoribus perquam utilis & necessaria ex eruditissimis prisci & moderni saeculi auctoribus collecta, quae propter illorum praestantiam tanquam continuatio famosi Joachimi Camerarii intitulari potest. Francofurti: Sumptibus Ludovici Bourgeat, 1680.
Hadriani Iunii Medici Emblemata, ad D. Arnoldum Cobelium. Eiusdem Aenigmatum libellus, ad D. Arnoldum Rosenbergum. Antuerpiae: Ex officina Christophori Plantini ,1565.
Sacra emblemata LXXVI in quibus summa unius cuiusque Evangelii rotunde adumbratur; das ist, Sechsundsibentzig Geistliche Figürlein in welchen eines ieder Evangelij Summa Kürtzlichen wird abgebildet. Inventirt und Gepredigert Dürch M. Johann Mannuch. Nürnberg, 1624.
Io. Mercerii I. C. Emblemata. Queyr. sculpsit. The librarian notes, “Dedication signed: ‘Auarici Biturigûm, Kal. Maij, anno 1592.’ ”
Sammlung Geist- und Sinnreicher Gedancken uber Verschiedene aus der Natur, Kunst, und Wissenschafften vorgestellte Sinn-Bilder durch alle Gattungen der Hoch-Teutschen Reim-Kunst, theils zur Jugendsamen Lehr, und nutzlicher Gemüths-Ergötzung, theils zur angenehmen Gesang, im Druck heraus ggeben, von P. Joanne Oppelt. Prague: Charles Ferdinand University, 1749.
Bellerophon, of, Lust tot vvysheyd. Begrijpende veel zeedighe, stichtlijcke en leerlijcke sinne-beelden met haere verklaringhen. T’Amstelredam. By Dirck Pietersz, 1614.
Emblemes. By Fra. Quarles. London: John Marshall, 1635.
Emblems, by Fra. Quarles; with the Hieroglyphicks: All the Cuts Being newly Illustrated. London: Printed for M.G. and W.F. and to be sold by Roger Clavel at the Pecaock in Fleetstreet, and Andrew Bell at the Cross-Keys in the Poultrey. 1696.
Gabrielis
Rollenhagi selectorum Emblematum Centuria
Secunda. Utrecht: ex officina Crispiani Passaei, 1613.
Another
copy, with a slightly different title page.
Nucleus emblematum selectissimorum, quae Itali vulgo impresas vocant priuata industria studio singulari vndiq. conquisitus, non paucis venustis inuentionibus auctus, additis carminib. illustratus. A Gabriele Rollenhago Magdeburgense. Coloniae: E Museo coelatorio Crispiani Passaei, [1611].
Symbola et Emblemata Jussu atque auspiciis Sacerrimae Suae Majestatis Imperatoris Moschoviae Magni Domini Czaris, et Magni Ducis Petri Alexeidis, etc. Amstelaedami: Apud Henricum Wetstenium, 1705. —A beautiful engraved title page in Russian and Latin; each emblem has a descriptive title in Dutch, and then its motto in eight languages, viz., Russian, Latin, French, Italian, Spanish, Dutch, English, and German.
Emblemata, cum aliquot nummis antiqui operis, Ioannis Sambuci Tirnaviensis Pannonii. Antverpiae, ex officina Christophori Plantini, 1564. —The librarian gives the author (Ioannes Sambucus) as János Zsámboki and the illustrators as Pieter Huys and Lucas de Heere.
Le
Centre de l’Amour, Decouvert soubs Divers Emblesmes Galans et
Facetieux. A Paris, Chez Cupidon, [1680]. A series of satirical engravings
and poems.