THE ART OF Making DEVISES.  
Done into English by Tho Blount Gent 1646.  
SPECTATUR CUM DEFICIT  
NUNQVAM SICCABITUR AESTU  
IMMOTUM IN MOTU  
CECIDISSE VIDETUR  
SUNT QVOS IGNIS ALIT  
SUB IUDICE LIS EST  
ALTERA LEVATUR  
SAEPE CADENDO  
POST TENEBRAS LUCEM  
Decus ET TUTAMEN IN ARMIS  
W M sculpsit   


I  
S C AR TI Sempronius Graccus Q. DESIG  
Quod si violandum est ms. regnandi gratia violandum est asijs in rebus pretatem cosas.   

II  
TI. CAESAR DIVI. Avg.. F. Augustus AR PONTIF. MAXIM.  
Boni pastoris est 〈◊〉 ecus. non. 〈◊〉.   

III  
AVGVSTVS DIVI F. AR IMP.  
Romam lateritiam accepi. marmoream relinquo.   

IIII  
C. CAESAR DIVI aug PRON. avg.. PM. TR. P IIII P.P. AE Julia Drusilla Agrippina SC  
Hilnl mag in talura mea probo quam inverecundiam.   

V  
TI claudius CAESAR aug PM TRPIM P. PP. AE augsta LIBERTAS SC  
Non eodem modo à Pulice et fera bellua cavendum est   

VI  
IMP. SER. GALBA CAESAR AVG. AR ROMA  
Mes fuit deligere, non emere milites   

VII  
NERO CAESAR AVG. P. MAX. TRP. PP. IMP. AE SC  
Priamus mirum in modum beatus fuit▪ quod patriam simul cum regno perditam vidit.   

AR  
IMP. OTHO CAESAR AVG. TR. P AR PONT. MAX.  
Multo melius iustusque est vnum pro multis. quam pro uni multos interire   

Ix.  
A. Vitellius GERMA N IMP. AVG. PM TB P. AE SC  
Optime olet occisus hostis sed melius civis   

X  
T. CAES. IMP. AVG. F. TR. P. COS. V. CENSOR AE SC  
Non oportel quenquam à conspectu Principis tristem discedere.   

XI  
IMP. CAES. VESPASIAN. Avg.. P. M. TR. P. P. COS. III. CEN. AR Judaea  
Lueri bonus odor exre qualibet   

XII  
CAES. DOMIT. AVG. GERM. P. M. TR. P. VII. IMP. AR IMP. XIIII. COS. XIIII. GER. TR. P. P. P.  
Paucis notum est quam misera sit Princip● conditio.   

13  
IMP. NERVA CAES. AVG. P. M. TR. POT. AR COS. TER PAT. PATRIAE  
Nihil me fuisse scio quo minus possem deposito Imperio. privatu tutò vinere   

14  
Hadrianus AVG. COS jiipp. AE SC  
Sic gesturus sum imperium et sciam rem populi esse, non meam privatam.   

15  
IMP CAES. NERVAE TRAIANO aug GER. DAC PM TRP COS. V P. P. AE SPQR  
Talis privatis set Imperator quales sibi priuatos optat habere   

16  
Antoninus AVG. pius P. P. TR P. COS. II. AE BONA EVENTVI SC  
Honestius est Caesari vnum civem seruare quam mille haster occidere.   

17  
Antonius augur jiin IR. R. PC AR antoninus ET Verus AVG. REST  
Non decet Imperatorem praeproperè quicquam agere.   

18  
Antoninus AVG. M. commodus FEL aug TR COS III P P SC  
Ab incolumi quamnis paulatim, negotia perfici possuni● à mortuo nihil.   

19  
Aurelius CAESAR aug PII F. AR TR POT. XV COS. III.  
Aequius est me tot et talium amicorum consisium quam tot tales meam unius voluntatem sequi   

20  
IMP. CAES. P. HELV PERTIN. avg.. AE AEQVIT. Avg.. TR P. COS. II.  
Sanctius est inopem Rempub: obtinere, quam ad diuitiarum cumulum per discrimunum atq, dedecorum vestigia peruenire    

THE ART Of making devices: TREATING OF hieroglyphics, symbols, emblems, aenigmas, Sentences, Parables, Reverses of medals, arms, Blazons, chimeres, Cyphres and Rebus.  
First Written in FRENCH BY HENRY ESTIENNE, Lord of Fossez, Interpreter to the French King for the Latin and Greek Tongues: AND Translated into English by THO: BLOUNT of the Inner Temple, Gent.  
LONDON, Printed by W. E. and J. G. and are to be sold by Richard Marriot in S. Dunstan's churchyard Fleetstreet. 1646.   

TO THE nobility AND GENTRY of ENGLAND.  
THis Piece (being sent me out of France, as a double rarity, both in respect of the subject and the quality of the Author) I had no sooner read, than (taken with its ingenuity) I was moved to clothe it in an English habit, partly out of envy, that other Nations should glory to have out-known us in any Art, especially ingenious, as is this of devices, which being the proper badges of Gentlemen, Commanders, and persons of Honour, may justly challenge their countenance and favour, whereunto 'tis sacred.  
My Author affirms himself to be the first hath written of this subject in his Mother-tongue; and I might say the like here, were it not that I find a small parcel of it in Camden's Remaines, under the title of imprese, which are in effect the same with devices. Thence, you may gather, that the Kings of England, with the Nobility and Gentry, have for some hundreds of years (though devices are yet of far greater Antiquity) both esteemed and made use of them: only in former times they arrived not (as now) to that height of perfection; for they sometimes did (as the unskilful still do) make use of Mottoes without figures, and figures without Mottoes. We read that Hen. the 3. (as liking well of Remuneration) commanded to be written (by way of device) in his Chamber at Woodstock, Qui non dat quod amat, non accipit ille quod optat. Edw. the 3. bore for his device the rays of the sun streaming from a cloud without any Motto. Edmond of Langley, Duke of York, bore a falcon in a Fetter-lock, implying, that he was locked up from all hope and possibility of the kingdom. Hen. the 5. carried a burning Cresset, sometimes a Beacon, and for Motto (but not appropriate thereunto) UNE SANS PLUS, one and no more. Edw the 4. bore the Sun, after the battle of mortimers-cross, where three suns were seen immediately conjoining in one. Hen. the 7. in respect of the union of the two Houses of York and Lancaster, by his marriage, used the White Rose united with the Red, sometimes placed in the sun. But in the reign of Hen. the 8. devices grew more familiar, and somewhat more perfect, by adding Mottoes unto them, in imitation of the Italians and French (amongst whom there is hardly a private Gentleman, but hath his particular device) For Hen. the 8. at the interview between him and King Francis the first, whereat Charles the fift was also present, used for his device an English Archer in a green Coat drawing his Arrow to the head, with this Motto, CUI ADHaeREO, PRaeEST; when as at that time those mighty Princes banding one against another, wrought him for their own particular.  
To the honour of Queen Jane, (who died willingly to save her child King Edward) a phoenix Was represented in his funeral fire with this Motto, NASCATUR UT ALTER. Queen Mary bore winged Time, drawing Truth out of a pit, with VERITAS TEMPORIS FILIA. Queen Elizabeth upon several occasions used many heroical devices, sometimes a sieve without a Motto, (as Camden relates) and at other times these words without figure, VIDEO, TACEO, and SEMPER EADEM. King James used a Thistle and a Rose united, and a Crown over them, with this Motto, HENRICUS ROSAS, REGNA JACOBUS. Pr. Henry (besides that device which is appropriate to the Princes of Wales) made use of this Motto, without figure, FAS EST ALIORUM QUaeRERE REGNA. And His majesty that now is, that other of CHRISTO AUSPICE REGNO. Our Prince bears (as all the Princes of Wales have done since the black Prince) for his device (which we commonly, though corruptly call the Prince's arms) a Coronet beautified with three Ostrich feathers, and for Motto, 
* A learned Briton is of opinion that it should be Eich din, i.e. your man, in the British tongue.  ICH DIEN, i.e. I serve, in the Saxon tongue, alluding to that of the Apostle, The heir while he is a child, differeth nothing from a servant.  
The late Earl of Essex, when he was cast down with sorrow, and yet to be employed in arms, bore a sable Shield without any figure, but inscribed, PAR NULLA FIGURA DOLORI. Sir Philip Sidney (to trouble you with no more) denoting that he persisted always one, depainted out the Caspian Sea, surrounded with its shores, which neither ebbeth nor floweth, and for Motto, SINE REFLUXU.  
Some may object, that in regard Tiltings, Tournaments, and Masques, (where devices were much in request) are for the present laid aside, therefore devices are of less use.  
Whereto I answer, that as those just or jesting Wars are disused, so have we now an earnest, though much to be lamented war, which renders them more useful than ever, I mean for Cornets and ensigns; And of these, let me also give you some examples out of the present times. On the King's party, one bears for his Cornet-Devise Saint Michael killing the Dragon for the figure, and for Motto, QUIS UT DEUS? Another is so bold as to bear the picture of a King Crowned and Armed, with his Sword drawn, and this Motto, MELIUS EST MORI IN BELLO, QUAM VIDERE MALA GENTIS NOSTRAE. A third bears only a die, with UTCUNQUE QUADRATUS. A fourth figures the beast called an 
* The Naturalists say that this beast will rather choose to die, then defile her fur.  Ermyne, with this Motto, MALLEM MORI QUAM FoeDARI. A fift represents five hands snatching at a Crown, defended by an armed hand and sword from a Cloud, with this Motto, REDDITE CaeSARI. A sixt figures a landscape of a pleasant Country, with houses, corn, &c. invaded by beggarly people, and for Motto, BARBARUS HAS SEGETES? &c.  
On the Parliaments party we find one bearing in his Cornet, the Sun breaking through a Cloud, with EXURGAT ET DISSIPABUNTUR. Another represents a Deaths-head, and a laurel-crown, with MORS VEL VICTORIA. A third figures an armed man, presenting a sword to a Bishop's breast, with VISNE EPISCOPARE? the Bishop answering, NOLO, NOLO, NOLO. A fourth says only (without any figure) TANDEM BONA CAUSA triumphant. A fift represents the sun, dissipating a cloudy storm, with POST NUBILA PHOEBUS. A sixt, figures an armed man, hewing off the corners of an University Cap with his sword, and this Motto, MUTO QUADRATA ROTUNDIS, & C.  
Now though these devices for the most part argue wit in the Composers, yet many of them are either imperfect or defective, which may be attributed to the want of the prescribed rules of this Art, which this Treatise doth afford you, together with a Synopsis or short view of hieroglyphics, emblems, Reverses of medals, and all other inventions of wit, which any ways relate thereunto. I might also show you here how many several ways devices are useful (especially for Seals, being drawn from some essential part of the bearers arms) but that I hold it not fit to forestall the Reader in a Preface. I am only to beg pardon for my less polished style, (which I shall the rather hope to obtain, since things of this nature require a plain delivery, rather then elegancy or affected phrase) not doubting but that the discovery of this Art will yield so great contentment to you, whose wits are elevate as far above the vulgar, as are your ranks and qualities that in some academical Session, you will decree the Author to be your precedent, the Art your Exercise.  
Ex Aedib. Interioris Templi 27, Mart. 1646. T. B.   

THE author's PREFACE.  
RUscelli (an Italian Author) saith, that it belongeth only to the most excellent wits and best refined judgements to undertake the making of devices, and that it is a quality which hath been sought and desired by many, but very few have been able to put it in execution. Paulus Jovius (one of the choicest wits of his time, and the first that enriched us with this Art) confesseth ingenuously, that of himself he could never make any one whereof he could be entirely satisfied. Johannes Andreas Palazzi infers from thence, that if it be a difficult matter to frame a device, completed with all its properties, That à Fortiori it is a hard thing to prescribe precepts, and score out the Way to attain to that perfection. As for myself I confess freely, that being moved unto and instructed by my late uncle Robert Estienne in making devices, eight and twenty years ago, I made a greater quantity then and found it a less labour, than now, that I know the excellency and subtlety of the Art; wherein verily I have taken so great delight, that the exercise of Arms, could never divert me from so noble an employment, which hath always been to me a well-pleasing recreation amidst the fateigues of war. And as I endeavoured (as near as possible) to attain to the perfection of this Art, I applied myself (with equal care) to read the Greek, Latin, Italian, and French Authors, who have treated of hieroglyphics, symbols, emblems, enigmass, armouries, chimeres, Blazons, Reverses of medals, devices, and such like inventions of Wit, which have some relation to each other, I distinguished them the one from the other, for my own particular use; and collected thence all that seemed most notable unto me. At length being solicited by my friends (who had a great opinion of my ability for these essays,) I have adventured to publish this little Tractate, devoid of all graces and embellishments, contenting myself only to discover to others the light which I could receive from famous Authors; To the end that those who have less experience herein then myself, may reap some profit thence. And that I may excite some better Genius (wherewith this age is much more 'em iched then the precedent) to improve my design and supply my defects; From such I hope happily to gain some favour (though otherwise my labours succeed not, according to my aim) since I am the first that hath treated of this subject in our mother tongue. In a word, there's no beginning, but is difficult, nor is there any peasant (though never so simple) that merits not some kind of recompense; in having been a guide and showed the way to a great number of captains, who following it, have atcheived their noble designs.  
I am then resolved to entreat of hieroglyphics, symbols, and reverses of medals, of the Ancients (and of those but summarily, because many have already beaten the same Tract) since most Writers draw the origin of them from our devices; Nor will I lose the opportunity to say something of aenigmas, emblems, gryphs, and Parables, As also of arms, chimeres, Blazons, ciphers, and Rebus, which the unknowing confound with devices, according to the necessity of the discourse, which shall oblige us to unfold their differences. We shall observe the definition and etymology of devices, their origin and antiquity, their utility and final end. We shall (to render them perfect) recite the rules of their bodies, which some call figures, and of their Mottoes which are termed souls and words, with the relation they have each to other, the places from whence they ought to be drawn, and generally all that is to be observed in bringing a device to perfection; yet Without undertaking to establish such inviolable Rules, either by my own particular opinion, or in the name of the Italians, but that I will submit my judgement to the more learned in this Art. Nor will it be held reasonable that we altogether subject ourselves to the Italian Laws in this occurrence of so small concernment, since in all things else they are accustomed to receive Law from our arms.  
Henry Estienne saint des Fossez. A PARIS, acheué d'imprimer pour la premiere fois le 10. Mars, 1645.   

To my Noble Friend, Mr THOMAS BLOUNT, upon his Translation.  
HOw could I style, or think myself a Friend  
To thee or Learning, should I not commend  
This curious Piece of thine? So full of wit  
As not to praise it, shows a want of it.  
Well may I term it thine, so many things  
Added by thee, with rare embellishings.  
The subject Lau's itself: the heavenly sphere  
The Elements, and works of Nature bear  
The matter of this Art; from whence to draw  
The life-conferring form thou giv'st the Law.  
What ensign, arms, or Action that aspires,  
But, to complete it, an impress requires?  
What generous soul will in a noble way  
His Mistress Court, and not his wit display  
In some device? Let those who have but soul  
Enough to eat and drink this work control:  
Wits will applaud it, and the most refined  
Dislcose most Entertainments for the mind.  
J. W. Ar.   

The Names of the Greek, Latin, Italian, and French Authors cited in this Treatise.  

Aulus Gellius.  
Alexander.  
Alciat.  
Atheneus.  
Aristotle.  
Alexandro Farra.  
Antipater.  
Arvigio.  
Academico Renovato.  
Bible.  
Budaeus.  
Bargagli.  
Bartholomy Taëgio.  
Caussinus.  
Cicero.  
Clearehus.  
Clemens Alexandrinus.  
Charles Estiennies history. of Lorraine.  
Diomedes.  
Donatus.  
Demetrius Phalerius.  
Du Belly.  
Aeschylus.  
Eusebius  
Epictetus.  
Fabius.  
Frastaglato Intronato.  
Gabriel Simeoni.  
Hannibal Caro.  
Herodotus.  
Hipparchus.  
Horace.  
Iohannes Bodinus.  
Jaques Torelly Fano.  
Johannes Andreas Palazzi.  
Lucan.  
Ludovico Dominici.  
Moscopulus.  
Olaus Magnus.  
Origen.  
Orus Apollo.  
Ovid.  
Paulus lovius.  
Philo the Jew.  
Pythagoras.  
Pierius.  
Porphirius.  
Pindarus.  
Pausanias.  
Petrarch,  
Plutarch.  
P. Critus.  
Ruffinus Aquiliensis.  
Ruscelli.  
Stacius.  
Salmazius.  
Scipione Ammirato.  
Tipotius.  
Virgil.  
Valla.  
Valerius Probus.    

THE ART Of making devices: TREATING OF hieroglyphics, symbols, emblems, aenigmas, Sentences, Parables, Reverses of medals, arms, Blazons, chimeres, Cyphres and Rebus.  

CHAP. I.  
Of hieroglyphics.  
THere is no doubt, but that after the Hebrews, the Egyptians were the first that did most precisely addict themselves to all manner of Sciences; nor did they profess any one, which they esteemed more commendable, then that of hieroglyphics, which held the first rank among their secret Disciplines, whereof Moses had without doubt a perfect Idea, as the holy Scriptures testify: From whence we gather, that he was absolutely perfect in all the learning of the Egyptians.  
Philo the Jew confirms this more clearly in the life of Moses which he hath written; where it is observed, that Moses had learned from the Doctors of Egypt, Arithmetic, Geometry, and music, as well practic as theoric, together with this hidden philosophy, expressed by Characters, which they term hieroglyphics, that is to say, some marks and figures of living creatures, which they adored as Gods: Whence we prove the Antiquity of this Science, which had Moses for her most renowned Disciple.  
And Pythagoras (whose Master in this Science was Aenopheus of Heliopolis) transferred it into Greece, where he enriched it with many symbols that bear his name.  
Nevertheless it is not probable, that the Egyptians were absolutely the first Authors of this Learning, since 
* Eusebius makes mention of this Author.  Alexander (in the history of the Jews which he compiled) saith, that Abraham lived some certain time in the City of Heliopolis, with the Egyptian Priests, to whom he taught astrology, which he gloried to have received by Tradition from Enoch. And truly, the Principles of other Sciences could not be infused by Abraham into the minds of Posterity, without these kinds of symbols and aenigmas, which serve as a Rind or Bark to conserve all the mysteries of our Ancestors wisdom.  
Besides, God framing this world with such varieties of living creatures, set before the eyes of our first Parents some draughts and resemblances, whence men might perceive, as through the traverse of a Cloud, the insupportable rays of his Divine Majesty. Therefore Epictetus to good purpose hath noted, that men have within their soul's τοῦ Θεοῦ σύμβολα {non-Roman} {non-Roman}, some symbols and marks of his Divinity, which God imprints in us, by the Species of all those objects which he sets before our eyes. 'Twas for the same reason that so many objects which presented themselves to the view of Adam, Enoch, Moses, and the other Patriarchs, were as so many Characters illuminated by the Divine splendour, by means whereof the eternal wisdom did consign his name into the heart of man. And I am the rather of this opinion, because I see, that all those, who (moved by the same spirit) have treated of the mysteries of our Religion, have shrouded them under the veils of Figures and symbols; we see nothing more frequent in the one and the other Testament. And truly the Hebrews did so esteem this way of speaking and writing by Characters, that all their discourses which were subtle and ingenious, and had in them much grace and acuteness, they called MASCHAL, which word is properly understood of Parables and Similitudes.  
But that which begot credulity that the Egyptians were the first inventors of this Science, was the great esteem they had of it, and the multitude of Figures which are engraven by them in all Monuments of Antiquity.  
Philo the Jew saith, That the Science of the Egyptians is twofold; The one vulgar, plain and exposed to all the world, to wit, Geometry, astrology, arithmetic, and Musiqne: The other obstruse and sacred, called hieroglyphics, which by the means of some symbols and enigmas, did contain the grave and serious mysteries as well of the faculty of theology as of physiology and Policy: And this was only common amongst the most learned Priests. Therefore Origen calleth this Science of symbols, ἱεράτικα γράμματα {non-Roman} {non-Roman} {non-Roman}, holy letters.  
Moreover, the Egyptians were wont to say, that there was a certain divine power that presided in the science of hieroglyphics and illuminated the understandings of those who studied it, by expelling those shades of darkness occurring in the Meanders and ambiguities of so great diversity of things, to conduct them to: perfect and true knowledge of their Characters.  
The places whereon they incised these Figures, to conserve their memory, were their laborious obelisks, the well-wrought Frontispieces of their Temples, and the huge bulk of their pyramids, whereof Lucan makes mention in these Verses: 
Nondam flumineos Memphis contexere libros  
Noverat, in saxis tantum volueresque feraeque  
Sculptaque servabant magicas animalia linguas.  
Nor yet knew Memphis (now grand Cairo named)  
With fluid ink to write what they'd have famed:  
Birds, Beasts of stone, engraven shapes they used,  
As signs, and books, of what they deeply mused.   
Ammianus Marcellinus makes ample mention of the Figures engraven upon those pyramids, and saith, that they did not make use of Letters, as we do, but that one only Letter did sometimes signify a word, and one sole word a sentence, and did also express their minds by certain Characters; As by the Bee making Honey, they meant a King that ought to observe moderation and clemency amid the rigour of his laws: and so of other Examples, which I omit, to avoid prolixity.  
Nor did the Egyptians only make use of these hieroglyphics, for that Science did extend to other Nations, even to the septentrionals, as Olaus Magnus witnesses. We have the example of Idanthura, King of the Scythians, in Clemens Alexandrinus, who threatening war against Darius, instead of Letter, sent him a Mouse, a Frog, a Bird, a Dart, and a Plough, giving him to understand, that he would constrain him to deliver up his Empire to him: By the Mouse meaning the Houses; by the Frog, the Waters; by the Bird, the air; by the Dart, the arms; and by the Plough, the soil.  
Others expound it thus: That if they did not like Birds, or hide themselves like Mice in the ground, or like Frogs in the water, that they should not avoid the power of his arms, denoted by the Dart.  
The symbol, Aenigma, emblem, Fable and Parable depend upon, and have affinity with this Science, yet they differ in some respects.   

CHAP. II.  
Of symbols.  
THis word symbol hath a large extent, according to the number of its significations: for being derived {non-Roman} {non-Roman} {non-Roman} {non-Roman} {non-Roman}, this word Symbolum must of necessity have many Interpretations, which the Grammarians as well Greeks as Latins have noted: For sometimes it signifieth that which any one brings for his part by way of contribution to a Feast, other whiles it is taken for the Feast itself: sometimes for a seal for Letters, and sometimes it signifieth the order, watchword, or fieldword, given to captains and soldiers, and divers other things, which draw their origin from thence. Besides, it importeth a kind of presage or token of some future event; such as desire to know more of it may consult Moscopulus. But that which is for our purpose above all this, it also signifies the arms of a town, or the Medal of a Prince. And as the Greeks made use of symbols for their Cities and laws, so also for intricate sentences and mystical matters. Therefore Ruffinus Aquiliensis saith, that for this reason, the Apostles published their symbol, by which they declared their belief concerning Religion. Even so the Pythagoreans in a mystical and abstruse sense, did by symbols briefly demonstrate that which they would have to be observed. In a word, the property of symbols is to be concealed and enveloped in Labyrinths of obscure sentences, which hath been so much observed by Pythagoras, that thereby we know those which are his.  
Moreover, Demetrius Phalerius doth note one thing in symbols worthy observation, That a great sense ought to be comprised under the gravity and brevity of symbols, whereof he gives an example, when we say, that the 
* Cigales are a kind of thick, broad-headed and mouthless flies, which ordinarily sit on trees, and sing (after their screaking fashion) both day and night; living only of the dew of heaven, which they draw into them by certain tongue-like prickles, placed on their breasts  Cigales sing upon the ground, as much as to say, the trees are felled. Therefore brevity mixed with a certain gravity, comprehending many things under one and the same signification, is the property of a symbol.  
There are some symbols which are of the nature of Proverbs, and Pythagoras himself made use of them, as when he saith, Exomni ligno non fit Mercurius, giving to understand, That all wits are not capable of Learning.  
It is also to be noted, that they are of three kinds, moral, natural, and theological. And that which is proposed to us in these symbols, by means of the corporeal senses, doth penetrate our understanding.  
The learned Caussinus (from whom I have borrowed the most of that which I have spoken concerning hieroglyphics) saith in a Book he compiled thereof, That symbols (in the signification we treat of) are no other, than the signs of some intricate thing: or (as Budaeus would have it) they are but similitudes and resemblances of things natural.  
Hereunto I will add, That the Ancients themselves made use of symbols instead of Epitaphs, upon the tombs of the dead, without any other Inscription, as it is to be seen in one of Antipater's epigrams of a woman, on whose urn were engraven a Bridle, a headstall, and a Cock; The Cock signified Vigilance; the Bridle, that she was the Moderatrix of the house; and the Headstall, that she was very retentive in words. There is another example hereof in the learned Salmazius his Exercitations upon Pliny.   

CHAP. III.  
Of the Aenigma.  
AENigma is a Greek word, which signifieth an obscure and intricate speech or sentence, so that in holy Scripture it is often taken for a mystical and abstruse matter, and Philosophers themselves, with other famous Authors, have attributed the name of symbol to aenigmas. Gellius saith, that aenigmas are also called gryphs, from the name of a certain Net, forasmuch as at Banquets (where aenigmas are much in request) the understandings of the Feasters are caught (as it were in nets) by obscure questions. Amongst the Greeks they also took their denomination from Cups and Goblets, for that they are used amongst such instruments. But let us leave this Discourse to Grammarians, as also the difference between Gryphe and Enigma, to come to the definition.  
The Aenigma (according to Diomedes and Donatus) is an obscure sentence, expressed by an occult similitude of things, or it is a speech hard to be understood in respect of the obscurity of the Allegory: And for this reason Fabius hath written, that the Aenigma was called a very obscure Allegory {non-Roman} {non-Roman} {non-Roman} {non-Roman} {non-Roman}, which signifies to speak obscurely and ambiguously.  
The Gryphe (according to Clearchus) is a sportive question, which exacts an information of the matter, contained in the sentence proposed, be it for honour or reprehension, Cicero doth not approve the use of it in orations, because obscurity therein is a great defect: But it may very well be used at merryments and in Prince's Courts, for as much as such questions do what men's wits, and hold them in suspense, to the great contentment of the hearers. Now or aenigmas, some are obscure in words only, some in their sense and meaning, and others both in the one and other. These are commonly derived from Similitude, Dissimilitude, Contrariety, Accidents, History, equivocal terms, and other figures of rhetoric, according to the variety of Langueges. Clearchus and Atheneus (whose opinions Aulus Gellius followeth) do allow of them in serious matters, and in other subjects of Philosophic. In times past rewards were assigned to those that could explicate aenigmas, when contrariwise, those that were nonplus by them, were condemned in a certain Fine.   

CHAP. IV.  
Of emblems.  
THough an emblem hath some affinity with the Aenigma, it differs notwithstanding in this, that drawing (as it were) the curtain from before the Aenigma, it declares the matter more plainly: For the emblem is properly a sweet and moral symbol, which consists of picture and words, by which some weighty sentence is declared. See an Example.  
Emblems are reduced unto three principal kinds, viz. of Manners, of Nature, of History or Fable. The chief aim of the emblem is, to instruct us, by subjecting the figure to our view, and the sense to our understanding: therefore they must be something covert, subtle, pleasant and significative. So that, if the pictures of it be too common, it ought to have a mystical sense; if they be something obscure, they must more clearly inform us by the words, provided they be analogick and correspondent. Thus much for the Aenigma may suffice, since Alciat, and many other Authors have entreated thereof more at large.   

CHAP. V.  
Of Parables and Apologues.  
THe Parable is a similitude taken from the form to the form, according to Aristotle: that is to say, a Comparison in one or many affections of things, otherwise much unlike. Those Grammarians are mistaken, that affirm, that a Parable cannot be taken but from things feigned, for it may be drawn from any History, as well natural as moral, and sometimes from Fables, but in such case Parables are properly called Apologues, such are those of Aesop.  
There are two kinds of Parables, the one vulgar, which comprehends the common and trivial similitudes; the other sacred, which is drawn from a more holy and mystical doctrine.  
I have spoken of all these things in the first place, to the end, that viewing the definition and natures of them, we be not henceforth troubled to discern them from devices, whereof we are about to commence our Discourse.   

CHAP. VI.  
Of the etymology and Definition of devices.  
IN this point, Scarcity restrains me on the one side, and Superfluity distracts me on the other. I find not any man that shows me the etymology of this word, Devise: And in its definition the Italians have so many different opinions, that it is a hard matter to discover which of them is the best.  
Those that have written of devices in Latin, as Tipotius, (who hath made an ample collection of them) calls it hierography; because (saith he) it is a more sacred signification of the thing, or of the person, which is not only expressed, but also impressed with Characters and Letters. He calls it sacred, not only because the invention in itself is sacred, if you attribute it to the Egyptians; or for that almost every thing was by the Pagans esteemed holy, and to be honoured with Divine Worship; But also, because that after the manner of mysteries, it conceals more than it discovers.  
He observes, that the Characters were painted, carved, or engraven, and the Letters written, either to form syllables, words, or sentences; Therefore that Author divides Hierography into hieroglyphic and symbol: whereof the first is taken for the picture, as the other for the inscription.  
The Italians call a device an Imprese, deriving it from the verb Imprendere, which signifies, to undertake; because the ancient Knights did bear upon their shields a device, discovering the design of their enterprise, which is called in Italian Imprese, and that doth also signify a gallant and heroic action. Palazzi confounds this word Devise (which he so calls in Italian) with that of Liurée, but we take it not according to that signification: For Liurées are Badges, Liveries, or cognisances, and a device is nothing else with us, but the Imprese of the Italians, and in that sense Gabriel Simeoni takes it. Therefore I am of opinion, that the device, having the same end and scope, ought also to have the same original; And it is very probable, that this French word is taken from Architecture: For when a Master Mason, or Architect, undertakes a building, he lays the platform and device of it, to make the agreement; insomuch, as from this word Devise (which is the discourse made upon the Structure of the whole edifice) comes the term of devising a work, or devising a building; that is to say, to lay the plot or design of it, and from thence, without doubt, cometh this word device, which is, as an Image of our inclinations or affections. Besides, we have a more particular definition of it, in this French word Deviser; whereof Du Belley makes use, when he saith Deviser quelqu'un, in stead of describing or displaying people's manners: And truly, a man cannot better depaint the humour or passion of any person, then by making his device. It is by it (as Palazzi saith) that we represent and discover human passions, hopes, fears, doubts, disdain, anger, pleasure, joy, sadness, care, hatred, friendship, love, desires, and all other motions of the soul. This I take to be the true etymology of the word, which relates more to the purpose, and hath a more proper signification than the Imprese of the Italians, since they do not only express generous designs by their imprese (as Bargagly saith) but also all kinds of fancies, and other affections, which nevertheless the verb Imprendere doth not include in the Italian signification.  
As for the definition of a device (according to the Tract which Ammirato hath compiled on this subject, and entitled, Il'Rota) the true device is that which beareth the picture of some living creature, Plant, Root, Sun, Moon, stars, or of any other corporeal subject, with some words, sentence, or proverb, which serve as it were for its soul. Moreover, this Author adds, that a device is no other thing, than an expression of our mind, or a declaration of our thoughts, veiled nevertheless under a knotty conceit of words and figures: so that being too obscure, and therefore unintelligible, it rather merits the name of an Aenigma, then that of a device: He saith further, that as some define Poetry to be a Philosophy of Philosophers: that is to say, a delightful meditation of the learned: so we may call a device the philosophy of Cavaliers.  
But Bargagli (who is one of the last Authors that hath seriously handled this Art) checks this definition of Ammirato, and proves it insufficient, and not particular enough for a device; for that the emblem and Reverse of Medals may be comprised in it: Therefore he defines it thus particularly; saying, That a device is an amassing or connexion of figures and words, so strictly united together, that being considered apart, they cannot explicate themselves distinctly the one without the other.  
But to give you a definition, which may be essential, and more apposite for the device, it is needful to know the substance, true form and propriety of it: Let us therefore search out these three parts of the device in other Authors.  
The secret academics of Bresse hold that a device is a mystical medley of picture and words, representing in a narrow room to all those, whose fancies are not altogether blunted with want of knowledge, some secret meaning, in favour of one or more persons.  
Contile is of opinion, that a device is a thing compounded of figures and words, which discover some gallant and heroic design: And (to explain himself) saith, that the term of Composition holds the place of a Genus & Predicament in this desinition; That that resemblance or relation which discovers the author's intention is to be found in the figure, That the words represent a short discourse in some sort obscure, the sense whereof relates to the particular quality of the figure, whereto it serves in lieu of a soul: And that the heroic design holds the rank of Difference, being here, as the form that specifies the true propriety of the device.  
Bargagli doth not altogether opprove of this definition, having observed, that an essential part of the device is therein wanting, which is the Comparison, and upon the word Similitude (he saith) that Author doth not sufficiently explicate himself; besides that, devices are not always framed for noble and magnanimous designs, but indifferently to represent any passion of the mind.  
And according to Palazzi, a device is a means to express some one of our more particular conceptions, by the portrait of some thing, which of itself hath some relation to our fancy, and by the use of some words, which are proper to the subject. This Author unfolds also the parts of this Definition, putting for the Genus, that a device is a means to express some Conceptions, and for the Difference, he adds, that the conceit of our fancy is expressed by the Figure, and that this Figure is necessarily accompanied with a concise Motto. By the term of our fancy, he shows that 'tis in this, that a device differs from an emblem, which is put for a general precept, and not for any one particular person. By the figure of one thing and not of divers, for that one only thing sufficeth to make a perfect device, though we may make use of two or three; so that this number, ought never to be exceeded: nevertheless, we may say that by those two or three, one only thing is represented. He adds thereto, this term (of itself) to the end, that all help of colours (which we use in Blazons) may be excluded. He adds further, that it hath some relation; that it to say, it is not to be used without reason; to the end, that ciphers in particular be rejected, whereof the figures serve to no other end then to represent the names of the persons for whom they are made. And lastly he saith, that the Figure must be accompanied with a Motto, to show the difference between a device, and other representations, where words are not requisite, as in devices, where the Motto is an essential part, giving the form, and as it were the soul to the body. The Commentator upon Paulus Jovius saith, That a device is a proper Badge of any one, taken to serve as an ornament or declaration of some thing, which he hath done, is to do, or is still in doing But this (according to Bargagli is proper to the Reverse of Medals, where matters of Fact are represented. But amongst all the definitions. that of Bargagly is the most exact, where he saith, That a device is no other thing, but a particular and rare conceit of wit, which is made by means of a similitude or comparison, having for that purpose the figure of something either natural (so it be not human) or artificial, accompanied of necessity with acute subtle, and concise words.  
The first part of this definition is taken for the Genus: For as much as we may express those conceptions by other means, by gestures or actions, words, characters, and letters. Therefore he immediately saith, that 'tis by way of Comparison, and therein is the principal, and essential difference of the definition; since he doth not allow that to be called a device, which hath no similitude or comparison, with the figure of some natural or artificial thing. These terms give us better to understand the difference of the definition, in explaining the way of the comparison, which is drawn from the nature or propriety of the thing figured; from whence, (as from their proper place) similitudes may be drawn, fit for our purpose. Nevertheless, he doth not allow us to make use of the human figure therein: But adds further, that the figure must be accompanied with a concise and subtle Motto; to the end, we may distinguish a perfect device, from that which hath no words (and which for that reason merits not that name;) as also to distinguish it from emblems. Reverses of medals, and such like inventions.  
This last definition seemeth to me the most exact and rigorous of all: For to say the truth, to set forth or defend a perfect device, it ought to have all those conditions, according to the general opinion of the most learned Authors, And Paulus Jovius (though he hath not always been so exact an ob'server of that Law, which in devices prohibits the use of any figure of human body) is surely as well excusable therein, as those Authors. who to good purpose, and gracefully have made use of the Images of some false Divinities: And as for the comparison, I am clear of opinion, that in it consists the greatest slight and subtlety of this Art; Not but that very handsome devices may be composed by other means: but they cannot be perfect in all points, unless they be formed upon some comparison.  
As for the Connexion of the words with the body of the Devise, I am of his opinion, that there is no invention that merits the title of device, if it be deprived of a Motto.   

CHAP. VII.  
Of the excellency and utility of devices.  
ONe of the advantages which raises us above all other living Creatures, is the principle and faculty which enables us to communicate and understand each others' will. Hoc enim uno prestamus vel maximè feris quod colloquimur inter nos, & quod exprimere dicendo sensa possumus, saith Cicero: But amongst all external ways of expressing our conceptions, be it by word, sentence, or gesture; there is one which we call device, by means whereof the most pregnant wits discover to their like, all the motions of their soul; their hopes, fears, doubts, disdains, affrights, anger, pleasure and joys, anguishes and sorrows, hatred and love, desires and other heart-possessing passions. And by how much this way of expression is less usual with the common people, by so much is it the more excellent: For it is clean another thing to express our conceptions by a soul and a body, or (if you will) by figures and words, then to manifest them by way of Discourse. Bargagli saith with good reason. That a device is nothing else, but a rare and particular way of expressing one's self; the most compendious, most noble, most pleasing, and most efficacious of all other that human wit can invent. It is indeed most compendious, since by two or three words it surpasseth that which is contained in the greatest Volumes. And as a small beam of the Sun is able to illuminate and replenish a Cavern (be it never so vast) with the rays of its splendour: So a device enlightens our whole understanding, & by dispelling the darkness of error, fills it with a true Piety, and solid virtue. It is in these devices as in a mirror, where without large Tomes of Philosophy and History, we may in a short tract of time, and with much ease, plainly behold and imprint in our minds, all the rules both of moral and civil life; tending also much to the benefit of History, by reviving the memory of such men, who have rendered themselves illustrious in all sorts of conditions, and in the practice of all kinds of virtue.  
It is the most noble way, since the persons, for whom devices ought lawfully to be composed, aught to be of a very eminent quality, or of an extraordinary virtue; such as all sovereigns or Ministers of State, Emperors, Kings, Princes, Generals of Armies, Persons of Honour, and the most renowned professors of Arts and Sciences. And to say truth, Princes and their chief Ministers are the persons that do most earnestly desire them, as if those noble minded souls (created by God to command and rule) had received from him a particular inclination to whatsoever is Divine, or August, as well on earth, as in the minds of men. There are also some Princes, that have addicted themselves to the invention of devices; of which there is no small number amongst the Italians. And with the French, we find the great King Francis, who (besides the glorious Title of conqueror) deserved that of learning's Restaurator; and to whom the Family of the Estiennes hath such particular obligations: I mean Francis the first, who daigned himself to become the Author of his own device, where he caused a Salamander to be put into a fire with this Italian Motto, NUTRISCO ET EXTINGO, i. e. I am nourished by it, and perish by it, As Paulus Jovius doth assure us.  
Moreover, the invention is pleasing and efficacious, since to the contentment of the sight, it adds a ravishing of the mind, and that to the satisfaction both of the one and the other; it brings also some profit and utility, which is the perfection of a work: wherefore it surpasseth not only all other Arts, but also Painting, since this only representeth the body and exquisite features of the face, when as a device exposeth the rare conceits, and gallant resolutions of its Author, far more perspicuously and with more certainty, than Physiognomy can, by the proportions and lineaments of the face. It also much excelleth Poetry, in that it joineth profit with pleasure; for as much as the most part of poetical inventions tend only to administer delight, when as none merit the Title of true and perfect devices, unless they beget content with their gentillesse, and yield profit by their Doctrine. For they not only express our best fancies, but also render them in a more delightful and vigorous manner, then that which is used either in speaking or writing. By the conceits of the device, you declare the humour or inclination of him that bears it, during the whole course of his life, and in respect the invention of the device is grounded upon some good design, the bearer is obliged, ever to appear to all the world, such, as he hath declared himself by it; as if it were an obligation signed with his hand, and sealed with his seal, which should constrain him never to depart from the exercise of virtue, or as if it were a continual renewing of the Protestation he hath made, as well by the Figure, as by the Motto of his Devise, not to commit any unworthiness, nor any thing contrary to that conception of mind.  
The efficacy of a device spreads itself yet further externally, serving as an example to others; insomuch, as by its quaint conceptions and similitudes, the Beholders are excited and enslamed to the search of virtue, and to propose to themselves some such gallant designs. It is not only useful to those that are near us, but also to those that are further off; yea to those that shall come after us, by leaving them a perpetual remembrance of the excellency of wit, & commendable qualities of him that did compose or bear it: Besides, it is a means, much more proper than either prose or verse, to make his friends or confidents understand his secret intention: a Lover may use it, as the Spokesman of his affection to his Mistress; a Master to his Servitor; a Prince to his Officers, or Subjects: for the length of Poems, and prolixity of great Discourses in books, often foil the Readers, when as the whole meaning of a device is no sooner looked upon, but conceived by the intelligent Reader. Moreover, a device presents itself to the eyes of all the world, in being placed upon Frontice-pieces of houses, in Galleries, upon arms, and a thousand other places, whence it becomes a delightful object to the sight, even whether we will or no, and by that means we are in a manner obliged to learn the Conception of him that bears the device.  
'Tis true, this Art is one of the most difficult, that any wit that is acute, and rich in invention can practise (according to the judgement of Paulus Jovius) and doth only appear facile to those that never did exercise it; or though they have made some essays of it, I do assure myself, their devices were not legitimate, nor their Rules observed: For devices are not like those Vessels of Earth, which are made as soon as the Potter hath cast them in the Mould. Read Hannibal Caro upon this subject, who writes his opinion to the Duchess of Vrbain in these very terms. devices are not things which are met with in books, or which are made according to the sudden fancy of an Author; they often require long meditation, and it seldom happens that they are created by a Caprichio, or an extravagant sally of wit; 'tis true, such are sometimes better than those, that have made us pump a longer time; but it belongs only to the expert Professors of that Art, to be thus happy in the production of devices.  
My design in proposing all these difficulties hath not been to withdraw good wits from these neat essays; but only to show that this Art hath this common property with the best and most excellent things of this world, that it is difficult, and not acquired but by a long study.   

CHAP. VIII.  
Of the Origin and Antiquity of devices.  
THose (whose scrutiny into the Origin of devices soars highest) do derive it from God himself, and affirm that he is the first Author of them, since he planted the Tree of Life, or rather the Tree of knowledge of Good and Evil in the terrestrial Paradise, explaining himself by these words, NE COMEDAS. Besides, in the old Testament in building the Tabernacle & the Ark, he appointed the Figures which he would have to be engraven, with his own mouth, as the Cherubins of Gold, Bells, Candlesticks, the Table and Altar of Cedar (which is subject to no corruption) the brass Grates about the Altar, the pomegranates upon the Borders of the High priest's Vestment, to signify Concord and Union, and several sorts of Vessels, Instruments, precious Stones, Figures, Colours, Vestments, and other things. In the New Testament, the Paschall Lamb with this Motto, ECCE QUI TOLLIT PECCATA MUNDI: The lion, ox, Eagle, and Man, to signify the four Evangelists. It is there also where we see the Holy Ghost denoted by the Dove, and our Saviour Jesus Christ by the pelican, who hath shed his precious blood for his young ones: we may also see him represented there by the Sun, the Rock and the lily.  
If the source of devices have not so noble and ancient an Origin it must be at least derived from the hieroglyphics of the Egyptians, who by the forms and figures of divers Animals, several Instruments, Flowers, herbs, Trees, and such like things accoupled and composed together in stead of letters did deliver their minds and conceptions. As when they would signify a vigilant man, they would figure the head of a lion; because (according to the Naturalists) that Beast sleeps with his eyes open: When they would express an acknowledgement of some good turn, they painted a Stork, and so of others; whereof many examples are to be seen in Orus Apollo (curiously translated and commented on by Causinus) Pierius, Porphirius, in the Fourth Book of Abstinence from Meat, and elsewhere. And that which Poets feign of Proteus to have transformed himself sometimes into a lion; sometimes into a Bull; sometimes into a Serpent, fire, water, and into a thousand other shapes, proceeded without doubt from this, that he was learned in the Science of the hieroglyphics: This King (the most ancient of the Egyptians) did bear upon his head sometimes the head of a lion; sometimes of an ox, or of some other living Creature, to signify the conception of his mind, and the designs which he had in hand.  
Against this opinion of Andreas Palazzi, Bargagli affirms, that devices have no more resemblance with the hieroglyphics of the Egyptians, then with those of the holy Scriptures, which express unto us the mysteries of Religion, and of all things sacred; nor doth he allow, their Origin to be deriuded from Reverses of Medals; forasmuch as they did only serve to represent some memorable thing, happening at that time, and had no design to manifest any affections, or human passions; whereas the device serveth to discover to our friends or equals the conceits of our minds, which we would not have known to others.  
As for myself, I am of opinion, that as all Arts and Sciences were not perfected in their Infancy, but were completed by little and little: so these hieroglyphics and symbols were a Species of that, which we call device: For it is certain, that under these veils lie hid some rare meaning, and that those who first framed devices had no other Idea then only that.  
But (setting aside the hieroglyphics) do we not see a great resemblance of devices, even from the time of the Theban war (which was 1300. years before the Incarnation of our Saviour) as Aeschylus noteth, in his Tragedy, entitled, The seven before Thebes, where (speaking of Capaneus) he saith, that in his Shield he had a naked man painted with a flaming Torch in his hand, and these words written in Letters of Gold, JE BRUSLERAY LA CITE, I will burn the City. The same Author (speaking of Eteocles) saith, That he bore upon his Buckler or Shield the picture of an armed man, placing a Ladder against a wall, with these words, MARS MESME NE ME POURRA REPOUSSER DE LA MURAILLE, i. e. Mars himself shall not repulse me from the wall. We see in Pindarus, that in the same war, Amphiaraus boat a Dragon on his Shield. Stacius likewise writeth, that Capaneus and Polynices bore, the one an Hydra, the other a Spynx. The Ancients for the most part made use of these kind of devices in their Shields, and chimeres, or habiliments for the head, which is plainly seen in Virgil, Aeneid. 8. when he numbers the people that came in the behalf of Turnus, against the Trojans. Therefore in this I approve the opinion of Palazzi, and reject that of Bargagli, though it be true, that all the rules of devices are not there observed; for in some, you may see human figures and bodies without souls or words: But these Censurers should have lived before those Ancients to have prescribed them the Law. I am easily persuaded that if those inventions of wit merit not the name of devices, that they have at least, a great affinity with. them, and that they were the Pettern by which ours were contrived. But (I beseech you) shall we not approve of that which we read in Pausanias concerning Agamemnon, who going to the Trojan wars, bore the head of a lion carved upon his Shield (to intimidate the enemy) with these words.  
HIC PAVOR EST HOMINUM, MANIBUS GERIT HUNC AGAMEMNON.  
This Agamemnon in his hands doth bear.  
To strike you mortals with a panic fear.  
For we may perceive in it some essential parts of a device; the figure taken from nature, and without human face, accompanied with words, and a fit comparison, proposing a gallant design, and a particular conceit of wit. That also which Caesar fixed on the Gates of his Palace, cannot be altogether rejected by Bargagli, though he approve it not: 'Twas an oaken Crown, which the Romans called Civique, to signify, that his affection towards the people was so tender, that he made more account of the preservation of one citizens' life, then of the destruction of many Enemies; That was at least intelligible in those times, when all the world knew that the Civique Crown was given for a guerdon to him that had saved a Citizen: do we not see that it declares a conception, and proposes that which he desires to execute? Is not this design commendable, and doth it nor savour of Gallantry?  
As touching the hieroglyphics, and the symbols of holy Scripture, which Bargagli affirms to have no resemblance with our devices; because by them sacred mysteries and points of Religion were only proposed: will he banish Piety from the device? will he that so noble and so excellent an invention shall serve to no other end, but to express our amorous conceptions, our hatred, joys, sorrows, friendship, ambition, and other human passions? How many devices of Kings, Princes, & Persons of quality, do we see wholly replenished with devotion? We have a number of Examples in Tipotius his collection of devices, which he hath so learnedly and piously expounded. How many mystical and sacred ones are there in his first Tome, as well of the Holy cross, as of the blessed Sacrament?  
I confess Medals are somewhat more different, in that their scope was but to immortalize the memory of Emperors, Consuls, and republics, setting forth, as in a Tablet, their most heroic actions and hopes, as being found that the memory of them would continue longer in brass, silver, and gold, then in Histories written upon paper; yet there are some of them that resemble our devices, as that of Vespasian, where there is a 〈◊〉 in about an Anchor, as who should say, PROPERA TARDE It is true, this wants words, which are an essential part of a device (according to the opinion of Bargagli) but as I have already said, nothing is perfected at its first birth; besides, some Italian Authors of no mean esteem, do admit in devices a figure without words, and words without a figure. Then searching nearer hand for the Origin of devices, let us observe with Paulus Jovius, that the ancient Knights and Paladins of France (the memory of whom is not altogether fabulous) had each one a particular badge, whereby to express his humour or design. Renaldus of Montauban bore a lion barred: Ogier the Dane a scaling Ladder: Solomon of Betaign a Chequer board: Oliver, a Griffin: Astolphus, a Leopard: and Cannes a falcon, and so of others: As also the Knights of the Round Table of Arthur King of Britain, and many others, whereof examples are to be found in all ages, as we may read in Palazzi's Treatise of devices; nevertheless, I must not omit the ancient device of a Prince sprung from the race of the French Kings, which is of Charles, brother to Lotharius King of France, the first Duke of Lorraine, that enjoyed that dukedom independent, and in respect of that freedom and immunity, took for device an arm armed; issuing out of a cloud, in the year 983. as Charles Estienne reciteth in his History of Lorraine.  
Furthermore, we may find in Histories, that all Kings have had such like devices, ever since the reign of Barbarossa, under whom it was ordained, that all sovereigns should distribute marks of noble Families (which we call arms) to those gallant Spirits, which should render themselves famous, by their heroic actions in the time of war: But since in this latter age, that the use of Blazons hath been in vogue, the fantastical inventions of chimeres, and those diversified pictures wherewith Escotcheons are beautified, are also introduced, as we may see in many places, especially in ancient Churches. And Paulus Jovius saith, that above all Nations, the French are most curious in these kinds of devices, and that at the time of Charles the 8. and jews the 12, passing into Italy, all the French captains made use of them to adorn their Escotcheons, and to enrich their ensigns, Banners, Guidons, and Cornets, whereby their troops and Companies were distinguished. And from hence the Italians learned the use of devices, in the composure of which at this day they appear to be the most ingenious.   

CHAP. ix..  
Rules for devices.  
We are now entering into a Sea, little known to those of our Nation, where the Sands are imperceptible, the shelus level with the water, the current troublesome, the tide incertain, and the Coast infrequented: Therefore 'tis requisite, we strike a part of our sails, and steer on with a gentle gale, till such time as we shall consult our guides, and take advise of the most expert Pilots, and Master of our Ship, who hath much more than we frequented this Ocean.  
Our guide shall be Paulus Jovius, who first enterprised this voyage; Ruscelli, Palazzi, Contile, Ammirato, and other Italians shall be the Mariners I most consult in this Navigation: But Bargagli (who last went this passage, and who hath with most diligence sought out the Coasts of this Sea, who made the Card, most carefully observed all the dangerous passages, and hath made a great return by his imbarqment) shall be acknowledged for the most expert Pilot, and sure Conductor of our Navigation.  
We will therefore propose the tenants of the first, and compare their opinions with the last, to conclude at length upon all matters, circumstances, and conditions of devices.  
Paulus Jovius propounds five Conditions requisite in a perfect device.  
1. First, a just proportion or relation of the soul to the Body.  
2. That it be not so obscure, as to need a sibyl to interpret it; nor yet so plain, as the common people may comprehend it.  
3. That above all things, it have a sweet appearance, which shall succeed, by inserting therein either Stars, Sun, Moon, Fire, Water, green Trees, mechanical Instruments, diversified, and fantastical Beasts and Birds: Howbeit, I am of opinion, that coloured figures are not receiveable in the bodies of devices.  
4. That it must not have any human figure.  
5. And that the Motto (which is the soul of the device) be in a strange language, or other then that which is used in the Country, where the device is made, to the end, that the intention of it be a little removed from common capacities.  
A device requires five Conditions more; whereof the first is,  
1. That the Motto be concise or brief, but not doubtful; insomuch, that the soul shall be the more perfect, when it exceeds not the number of two or three words, unless it be of an Hemisticke or whole verse.  
2. It must be observed, that the body and soul (being very complete) do not produce too ambitious a conceit, lest he (for whom it is made) be accused of vanity and presumption.  
3. A device ought to relish somewhat of magnanimity, generosity, and subtlety.  
4. It must satisfy the eye by the body, and yield content to the mind by the soul.  
5. Those devices, which have but one only word or one syllable, are held by this Author very absurd.   

CHAP. X.  
The opinion of Hieronomy Ruscelli.  
RVscelli (contrary to the opinion of Paulus Jovius) saith, that the Motto of the device ought not to be called the soul, though the figure represent the body, As in all other subjects where there is a body, it doth not follow that there is always a soul, as in music we may say, the Notes represent the body, and the words are correspondent to the soul: But if the device must have a soul, it would rather be the intention or signification than the words.  
He distinguisheth devices into two kinds, the one with, and the other without words.  
Figures were heretofore more commonly joined to devices than Mottoes; because the figures were known to every one, but the Mottoes were not so generally understood.  
As for the opinion of those, who affirm, that the Motto ought not to be called soul, Ruscelli confirms it; for that, saith he, otherwise it were to admit of Bodies without souls, there being devices which have no mottoes, and are nevertheless approved of. Notwithstanding, he concludes, that it would be a very difficult thing to abolish the use of these two terms, or that ancient manner of speaking of Body and soul upon the subject of devices; though in truth the Motto be less than the soul of a device, than is the intention or design of an Author.  
According to the judgement of this Author, a device (to be true and perfect) ought to have all the conditions following. It must be invented and composed with conveniency, quaintness, security, and to the glory of its Author. Besides, he adds, that the Figure and the Motto are its necessary parts, the one to allure the eye, the other to invade the mind▪ This is also Paulus Jovius his opinion in his Fourth Consideration? But besides these Conditions, and essential parts, it must have some qualities, which are proper unto it, clearness and brevity, and above all, this last is of necessity requisite as well in the Body as in the soul: For the parts of the Body, or the substantial Figures of the device, must not be more than two, nor must the words exceed the number of three, unless it be to make use of an half verse, or at the most to accomplish the whole one: However some Authors are not so scrupulous, as not to admit of a verse and a half for their Motto, but surely those are not commended, nor do they succeed well: forasmuch, as the great number of words doth confound the Motto with the Figure in such sort that those devices which are exposed and born ordinarily at Tournaments or Masques, would not be distinctly known in this form by the Spectators. We may say the like of those that are used upon Standards, ensigns, Cornets, and coins, in respect of the little room wherein they are comprised. Therefore when the Motto is short, the figure doth discover itself more easily, and the words are better retained in the memory; But if at first sight, they be not understood, the knowledge of them is found out by meditation: And by reflecting the eyes of the mind upon the Idea, which we there retain, we come at last to penetrate the meaning of the Author.  
For the precise number of one, two, or three figures, it must be understood of different kinds or Species, & not of individuals: & for a perfect example, I'll propose to you the device of Card: De Medicis, where he hath many little Stars and a Comet, which we nevertheless take but for two figures, because those Stars without number represent but one only Species; As also in that of the Duke of Mantua, the two Swans which fight against an ingle, are taken but for the nature of the Swan. It may happen notwithstanding that in the selfsame device, there be four Figures of several Species, so well disposed and with such relation each to other, that they may seem essential to the subject, and by consequence equally necessary to the body of the device; And so we may represent a Diamond upon an anvil, with two hammers, beating upon it in the midst of the fire, for so much as then the number of all those instruments is determined by the unity of the action, which is equally common unto them, and which only intends the breaking of the Diamond.  
We are sometimes obliged (as well for ornament as for better expression) to add to the Figure Landship, Sky, Earth, other Element, or such like thing, yet without being said to exceed their precise number, As you may see in the device, where there are two columns, the one of a Cloud, the other of Fire, with this Motto, ESTE deuces, Be ye the Conductors, having over all a Heaven whose Sun rested on the Column of the Cloud, and the Moon upon that of Fire, to demonstrate more plainly, that two columns served as a conduct to the people of Israel, the one in the day time, the other in the night. This licence is permitted to Authors, which abuse it not, but use it with discretion; without which, there is neither rule, nor maxim so certain, that can succeed happily.  
Against the particular opinion, of Paulus Jovius in his Fifth Consideration, excellent devices may be met with, that result from the conjunction of one Figure with one sole word; so that they sort well together, and do not signify one and the same thing; As in that known device of Festina lentè: For that were, to take two servants, to the end, that one might serve the other, and not that both should serve the Master: For the Author of a device makes choice of two subjects for his design: to wit, the figures and words, that they may serve to convey to the eyes, ears, and thence to the mind, the fancy or conception of him that composed or bears the device.  
Those figures that require a diversifying with colours, are not to be used, nor things that are hard to be distinguished; in which rank, we place certain herbs which resemble one another, as Parsley and Hemlock, and some Birds, as the Linnet and the Sparrow.  
Those figures of devices are excellent, which are taken from the arms of some Family: to which, something is either added, diminished or changed, according to the subject that is in hand, and in pursuance of the design we have, in favour of the person that bears that kind of Blazon.  
Ruscelli condemns Paulus Jovius of ignorance in matter of devices (though he be otherwise a learned Historian) and principally for that he altogether rejecteth from devices, the figure of human body, though elsewhere he practiseth the contrary, by approving some of that sort inserted in his own Treatise, and (amongst others) that of Lewis Sforce, where there is a blackamoor, who with a pistol kills a Lady; That which he himself made for a Lord, his particular friend, where there is an Emperor upon a Triumphant Chariot with this Motto, SERVUS CURRU PORTATUR EODEM, the Slave is carried by the same Chariot; and the device of the Duke of Florence, with many others, by which we may well perceive, that that Law, which the Legislator himself makes no scruple to violate, is inconsiderable. Then is it in vain to pretend to exclude human figures by authority, since the hieroglyphics of the Egyptians, the medals, as well of the Romans as Grecians, and finally all the Memorials of Antiquity, are full of them; There is much less reason to debar the use of them in devices: For hwy shall it be lawful to make use of the Figures of Plants, living creatures, and mechanical instruments, or other things wrought by the hand of man, and shall yet be prohibited to use the figure of the man himself, which is nevertheless the most excellent of all? It is true, it would not be seemly to insert in a device, the figure of a man only clad after the ordinary fashion, because that would be too common, but it would be more fit to represent him disguised, as they do in Masques and Mommeries. This Author approves of the figure of women in devices, whether they be represented naked or clothed, as also that of Nymphs, satyrs, terms, or such like Divinities, which are not usual in our sight, and whereof the representation may handsomely make up the bodys of devices, as we see in some examples, as well Ancient as modern.  
devices and emblems have this common resemblance with each other, that they may be indifferently used with or without words; And their difference is taken from this, that the words of the emblem may demonstrate things universal, and hold the rank of moral precepts, which may as well serve for all the word, as for the proper author of the Emblem. This general application of the Motto, is a great error in a device, which ought to be particular, and the words thereof proper and suitable to the person only, in whose favour the device is made. Nevertheless, this Condition hinders not, but that the device which hath been by me already used, may also serve another day to express the same inclination, design or passion in some other person; yet we must not conclude by this, that the devices of Fathers ought to serve his Children, unless they bear the same arms, have the same inclinations, or be continued in the same offices. So States, and some particular Families, retain still for their devices, the columns of Hercules, the Golden Fleece, Saint Michael, and other badges of honour.  
The same Author pretends, that it is neither vice nor theft to appropriate to one's self the device of one that is already dead, so that there be something added or changed, according to the design in 〈◊〉. Was it not with this licence, that a certain Pedant took 〈◊〉 device which the deceased Robert Estienne made for the Duke of Suilly, as then Grand Master of the Artillery? Having therein placed an Eagle, holding▪ Thunderbolt, and these words, QUO JUSSA JOVIS, As far as the command of Jupiter. This impudent Plagiary could not be content to keep the Condition of that Licence, but without changing a tittle, he took the boldness to apply it (as an invention of his own) to the marquess of Rosny, son of the said Duke, and in his father's life time.  
He observes also another difference between emblems and devices, which is, that in those, we may have many figures, but in these, only three.   

CHAP. XI.  
Of Mottoes, according to the opinion of the said Ruscelli.  
MOttoes require the same qualities, as the Figures, that is to say, clearness and Brevity, which must be observed, according to the circumstances of time and subject, whereupon the device is made, as if it be only to be seen at one time, at a just or mask, than it must be plain and intelligible, but if the Devise be for a longer continuance, than we must add some ornament, grace or majesty, to render it less common.  
The amorous and moral ones ought not to be so obscure (as Jovius would have it) since they ought to be understood by the generality, otherwise they would be fruitless, especially the amorous, unless the author desire, that the device be not apprehended by any person, but his Mistress, and so of others.  
I am of opinion with P. Jovius, that the Mottoes of devices which are for continuance, aught to speak in a strange language, and the amorous ones and such as are for Tournaments, masks and Comedies, in a vulgar, or at least a known tongue, since they are but for a short time, and are exposed to the view of the unlearned.  
The plurality of words doth no less encumber the apprehension of the device, than the great number of figures. It is a hard thing to express one's self by one only word, 2 or 3. suffice to render a very exquisite device, and the more it exceeds that number, the less gentile is it, unless it be to use an hemistich or whole verse, be it Greek, latin or any other strange language, which is in respect that verses or measured sentences have a certain grace, harmony and cadence, which cause them to be read with facility, and retained with delight.  
As for the connexion of the figure with the Motto, we must take heed that the words do not explicate the figure, but rather that the figure lead the reader to the understanding of the words, and that the Motto, disunited from the figure, may not have any signification. As in the device of the Duke of Ferrara, {non-Roman} {non-Roman} {non-Roman} {non-Roman} {non-Roman}, so all things. These words considered apart from the figure, which representeth Patience, signify just nothing.  
We must also take heed, not to make any mention of the figure in the words, as if in the body of a device there be the representation of a mountain, in any ease speak not of mountain in the Motto.  
The best mottoes are those which have no verb expressed, Provided the verb be such as may easily be understood, without equivocation.  
devices are made to represent ourselves or some other Person, dear and considerable unto us for a Lady we love, for our Prince, or for some such particular person; those which are made for others are more rare; but I do not understand it a making for another when I frame a device for a person of quality that requested it of me, for I do then but give him the invention, and lend him my labour: For a device ought not to acknowledge any other Master or legitimate possesser, but the person in whose favour it is invented.  
In devices which we make for ourselves, the author is signified, either by the figure alone, or by the Motto alone, and further more out of the figure and Motto both, that is to say, out of the whole device. He is represented by the figure, when he feigneth the figure to speak for him, by saying that which he would say, if he were in it its place; if there be two figures, the Author is represented by one alone, or by both, which is done more rarely.  
An Author expresseth himself quaintly by the Motto, when he feigns it to speak, not to the figure, but to himself or to the people, as in this, where there is the garden of Hesperides, the golden apples, and the dragon dead before the door, with these words, you MEJOR LAS GUARDARE, I'll guard them better: For here he speaks not to the figure, but of the figure to himself, by the Motto; sometimes he declares himself by speaking to the figure of the device, as in that of the 2 columns alleged before, ESTE deuces.  
When the Author himself is neither comprehended in the Motto nor in the figure, we may then suppose, that he is excluded the device, and that he hears another speaking to him, or giving him advise: As in the device, where there is an arrow, which being directly in the middle of the white, cleaves the pin with this Motto, {non-Roman} {non-Roman} {non-Roman} {non-Roman} {non-Roman}, shoot thus.  
There be others, by which we can neither conceive whence not to whom the Author speaketh, whether within or without the device; But it seems that the whole device is indifferently addressed either to the people, or to the Author, or to his Mistress, or some other, as the Temple of Juno Lacinia, whose Motto is JUNONI LACINIae.  
But the most perfect devices are those, whose bodies and souls are taken as well for others, as for the Author. As the Chariot of Phaeton with this Motto, MEDIO TUTISSIMUS Jeis▪ Thou shalt go securely in the middle, that is to say, neither too high not too low: For it seems, the Author speaks to himself, with a mind inclining to mediocrity, and by way of advice addresseth himself to others. Thus we see that this device is very excellent in all her properties, having a very recreative figure, a gentile Motto, an intention, whereof the morality is very profitable, and an admirable address as well to the Author as to others.  
When the Motto is taken out of some approved or well known Author, it requires the fewer words, provided the rest be easy to divine at, as in the device, where there is a Tree, whereof one branch being cut off, another buds forth, with this Motto, UNO auulso, one being plucked off: which being taken out of Virgil, sufficeth for the declaration of the figure, because the rest of the Verse, NON DEFICIT ALTER, another is not wanting, is easily understood.  
See here the most part of Ruscelli's conceptions upon the subject of devices, which I collected out of his Book, and have translated with all possible fidelity.   

CHAP. XII.  
The opinion of Scipione Ammirato upon devices.  
WHosoever would compose a work, that may have the virtue and efficacy of a device, must do it in such sort, as the body may have a connexion with the soul, that is to say, that the words may relate to the figure.  
This Author accords with Ruscelli, that it importeth not of what language the words are, so they be pleasant and acute; nevertheless with Paulus Jovius, he prefers the Latin Tongue above all others, as being that, which is most generally known, and common to all Nations of the world: And for my own particular opinion, I think that those Mottoes are much more exquisite, and better accepted, which are taken out of some famous Author, as Virgil, Horace, Catullus, Ovid, Lucan, or others. And 'tis in that kind of borrowing, wherein the Devisors dexterity and subtlety best appears, when he diverts the sense of an ancient Author, and applies it properly to his own intention.  
For the connexion of the Motto with the Figure, he consents with Ruscelli, that we must take heed that the soul of the device do not serve simply to decipher the body, nor to explicate the Picture only, as if upon the Representation of the City of Venice, we should write this word VENETIA. It is best then to consider the Motto of a device, as the Major Proposition of a syllogism, and the Figure, as the Minor, from the conjunction of which, will result the Conclusion, which is nothing else, but the meaning of the Author: So that the Motto ought not to be the Interpreter of the Body, nor that, the Interpreter of the soul: only 'tis requisite, that from the conjunction of the soul with the body, the Reader may draw the mystical sense, and discover the intention of the Author, as by hieroglyphics involved in the two essential parts of a device.  
He doth not desire we should be so superstitious observers of the Rules, as to lose the true and natural substance of the thing.  
He agrees in opinion with all the other Authors, that as the soul of the device ought to be conceived with choice, stately and significant terms; so the body ought to have some sweet appearance, and to consist of a figure, neither too common or abject, nor yet too far fetched or monstrous; Therefore we are not to admit of any prodigious things nor unknown beasts, lest we make an Anigma instead of a device: the Anigma being for the universality of people, and not in particular for itself.  
For the admiration, which a device ought to beget in the mind of the Reader, doth not depend upon extraordinary figures; but rather upon the connexion of the soul with the body, which ought to be seperately intelligible, in so much as the result or composition of the two things may produce a third, mixed with the one and the other.  
As for the clearness, which Rescelli requires in a device. This Author saith, that, as the Comedy ought to please both the eyes and ears of the common people, as well as of the learned: So the device ought not to be so much removed from the knowledge of the vulgar, but that it may give content to all; Yet must we take heed that we use not things too vile and abject, as a Kettle, a Frying-pan, a dripping-pan a Chasing-dish, pair of bellows, and such like instruments.  
The conjunction and copulation of the Body with the soul is very handsome, when it is made by comparison, either of its like, greater, lesser, or contrary. And this Comparison is not only made with this Particle (SIC) or such like, but also by leaving it out, and to be understood with far more grace. Wherefore Bargagli hath reason to banish all particles of speech, which serve to the reduction of a comparison.  
But above all, he commends the encounter of words, alike in termination of sound, and unlike in signification, as in this Motto, DEFFICIAM AUT EFFICIAM. EFFERAR AUT REFERAM. There are devices consisting partly in similitude partly in dissimilitude, as for the stone 
* Asbestos is a kind of stone, which being once set on fire cannot be extinguished.  Asbestos, PAR IGNIS, ACCENSIO DISPAR, there is like fire, but different burning.  
They are also made by contraries, and that is, when the Motto says the contrary to what is seen in the Figure, as for a Temple of Diana burned, NOS ALIAM EX ALLIS, We seek another fame elsewhere. I not only call that contrary, which is directly opposite to the nature of any subject, as sweet to bitter, but also every thing that is different, though it be not contrary, as in the precedent example.  
Some may be invented, by alluding to the proper names of persons, for whom they are made, but certainly such are hard to be met with, in so much, that for the most part, a Rebus or some idle fancy is made instead of a good device, which the Author thought to have fall'n upon: you may see many such examples in Paulus Jovius.  
When we put some figure in the body of a device, which of itself is not sufficiently significative, we may add the name, as upon the Frontispiece of the Temple of Juno Lacinia, we may put this Motto, JUNONI LACINIae, upon that of mount Zion this other, MONS Zion: so likewise upon the Temple of Honour, and others. But if these Mottoes (which are not of the body of the device) do not please, we may distinguish the Temples (which are the hardest figures to know) by the image of that god or goddess to whom they are dedicated: And if we fear to overcharge or perplex the body of the device with the portraicts of Deities, we may decipher them, by the characters which are attributed, or by such creatures as were anciently sacrificed unto them. Thus we know the Temple of Janus by the keys, that of Jupiter by an Eagle, and that of Saturn by a sith.  
And this is the only means, that I approve for the distinction of Temples; As for the inscription of the proper name, this usage was not allowable, but in those times when painting was yet so gross, that the figures of Animals needed the name of the kind to be known by, as is yet to be seen upon some old Tapestries and Pictures.  
When we use a Motto without a Figure, we ought not to call it the soul of a device, but rather a facetious conceit, a witty saying, a Proverb, a Sentence; as those pretty conceits, dictions or sentences, which Hipparchus, the seven Wise men of Greece, and many other moral Philosophers have delivered. In like manner may we make a Picture without a Motto, as a Venus with shackles at her feet, a Jupiter with three eyes, a Janus with two faces, and such like Caprichio's, however signifying something; in which case we do not say we have made a body without a soul, but rather a picture, a fancy, or such like thing.  
Of necessity the device must have one part clear, and the other obscure, so that it be without contradiction: For as in Poetry, especially comical, 
The French Comedies are all in Verse.  which is intended for all sorts of people, the greater part of the Auditors do easily judge it to be Verse, and not Prose; They know very well the sound and cadence of rhythms, and the sense of some parts of the poem, which pleaseth them most: But as for the conceited imaginations of the Poet, the high-towring conceptions of his fancy, the description of passions, the force of reasoning, the choice of terms, and the subtlety of elocution: these are not discovered, but only to the eyes and ears of the more learned O ators, and Poets acquainted with that kind of dramatic poem. In like manner the Author of a device is not obliged to frame it so, that it be understood by every one equally; it shall suffice that the more simple do know the body of the device, and that they clearly discern it to be the figure of a Fish, Bird, Horse, Tree, Temple, Bridge, or such like thing, either natural or artificial, for that only is capable of contenting their sight; whilst the learned feast their understandings with the consideration of the propriety of the creatures represented, and of the usage of the things artificial, until they have found out the true subject of the comparison, and discovered the author's design, whose invention and subtlety they will doubtless commend.  
The body of a device is borrowed either from Nature or Art, or from Events: From Nature you may take tame or wild beasts, birds and Fishes: from Art you may borrow the instruments of all kinds of Arts, vessels, obelisks, Triumphant Arcks, Sepulchers, mechanical tools, and all that depends on the hand of man. The bodies which are taken from Art are not (in this author's opinion) so beautiful, nor always and in every part so intelligible, as those which are borrowed from Nature, who (to say truth) is Mother and Mistress of all things, besides her jurisdiction comprehends all sorts of subjects, and yields us a larger field of inventions. As for events, they are divided into fabulous and historical: from the fable we derive all the fictions of Poets, the Pegasus, Argus', Tantalus, the Rivers of Hell, Bellerophon, the garden of Hesperides, and other imaginations of fabulous antiquity: And from History we borrow the figures which depend upon the ordinance of institution of man, as the Temple of Honour, the Temple of Diana at Ephesus, the Temple of Faith, the head of a slave with his hat on, King Hierous dog, who threw himself into the fire after the death of his Master, and such like figures. Ludovico Dominichi consents in opinion with Paulus Jovius in every thing.  
See her the precepts which I have learned from these worthy Seamen; disdain not to fear also the Arguments of our Pilot, and by the way examine the reasons of some other Authors, as of Palazzi, Frastaglato Intronato, Alexandro Farra, Aruigîo, and others, to the end that you may the more freely resolve to follow the Rules, which are most necessary to the perfection of the Art of devices.   

CHAP. XIII.  
The opinion of Bargagli.  
A device ought to be almost like poesy, or rather as a thing nobly vulgar, in such sort that it may be understood without difficulty and with delight, not only by the learned, but also by all those, who (besides a good common understanding) have moreover the knowledge as well of things natural as artificial, and of the languages which we use in the Motto; It importeth not much if Idiots or gross ignoramuses do not at all conceive them, since such dainties are not intended for vulgar appetites.  
Nevertheless devices ought not to be taken out of those Arts or liberal Science, whereof the entire knowledge is reserved to the Professors or artisans themselves, unless we be obliged for complacence, to frame a device in the behalf of one that hath a particular knowledge of the Art of Science, from whence the device should be taken.  
Moreover, the learned Bargagli is of opinion, that the Comparison or similitude is so necessary to a device, that the mind cannot joy or take delight therein, if the Similitudes be wanting.  
Ruscelli in his 6. Article also admits the Comparison as a part, wherein consists the subtlety of a perfect device, for questionless no seemly ones can be invented without comprehending any Comparison; But I intend here to propound the rules and model of a Devise completed in all points.  
And to that end we first banish the human figure from this requisite comparison, for as much as we cannot make a proper comparison of a man, with a man, but it must be taken from things different either in the Genus or the species. I know it well, that many have made use of the figures of Pagan Gods, when they have taken the subject of their devices out of the Fable, and truly those figures do reasonable well to adorn the body of a device; yet 'tis better not to use them at all, according to the reasons of Rargagli. He saith then that a man of judgement, will never ground the conceit of a true and solid thing upon that which is purely feigned and imaginary; seeing that we pretend with so much ardour, to establish the conceptions of our brain, and to make them pass for approved in all men's opinions.  
He adds further, that is must be known and expressed as well by figures as by words, and the figures ought to be taken for a proof of the conception, which is formed upon the relation or similitude of a certain and true quality, which they have in themselves; Besides that the object of the device is to treat only of things unfeigned, to clear and prove them; And because the most noble conceptions, of human wit are of that nature, we ought to exclude all fictions, and never to make use of them in devices. Ruscelli, Contile, André Palazzi, and Alexandro Farra, admit of no human figure, unless it be fabulous, monstrous or historical, because otherwise they believe, that a device would resemble the medal.  
Some other Doctors do not think fit that the Devise be deprived of so noble and excellent a thing, as the figure of a man, in favour whereof they urge many seeming reasons, which I omit the more willingly, because I do not intent to persuade others to that which I approve not myself.  
Frastaglato Intronato permits in in case of necessity, whereto we may answer, that things done by necessity, seldom or never succeed well, besides it happens rarely, that a device receives any constraint, having a field of so great extent, as all those things which Art and Nature do afford.  
'tis true, Aristotle proves, that we may take comparisons from the human body, but he doth not affirm them to be equally good with those which are borrowed elsewhere. The very Poets take no Comparisons from the same Species, so long as fancy affords them others of a different. So the Author that frameth a device, aught to ground it upon the most noble and sure Basis of Comparison, that can be taken from a different Species.  
The Author which compiled a discourse at Rome upon the device of the academics, called Renovati, is yet more rigorous, in not admitting of any part of human body, nor hands, nor arms, nor heart, but surely that is too great a scruple: For what grace can a hammer striking upon an anvil have, unless a hand be bestowed upon it? And how can we represent the winds (which serve for bodies of very excellent devices) if we be not permitted to add a head to them? it were indeed to incur a great inconvenience, wherein a certain Pedant vaunting a skill in that Mystery, as being professor of the 2 best languages in the world, and reputed to have so prodigious a memory, that it consumed all his judgement, as the Epitaph doth witness, which is already prepared for him before his death. This universal Doctor then, causing a device to be drawn by an excellent Limmer (who understood as little the art of making them, as theend whereto they tended) discovered unto him his intent to have the body of a Devise drawn, whereof the Motto was, Quo FLANTE CORUSCANT, & the figure was burning coals upon a Chafing-dish: And because it wanted the blowing of wind, (for the expression of which he was much troubled) the Painter proposed the adding of a little face, as it is usual in such cases. Apagè, Apagè, said this great devisor, I will have no human face; the Artificer in a merry and jovial humour, answered him smilingly, Sir, I know no way more fit to represent your intention, unless you apply unto it, the other part of the body that hath no face, and yet makes wind; At last he concluded to set a pair of bellows unto it. Is not that (I pray) a figure of a goodly appearance and proportionate to a gallant and magnanimous design? nor is it for that these figures have no relation one with another, nor are derived from the same art of Kitchinry, (well known to the universities.) I give you this example, to let you see, that that man is ofttimes deluded that useth too much subtlety; And this passage is the more credible, in regard I had it from the self same Artificer, who telling me of it, did then complain, that the Doctor had not to that day paid him for his labour, according to his promise. I had not mentioned this conceit, if the subject we handle had not engaged me to it. I could rehearse a prank, no less unjust, than the other ridiculous, but that I have already insinuated it under the title of Ruscelli's opinions, concerning the condition that ought to be observed in appropriating to one's self the device of another Author: It is there where I have made mention of the device, which my late Uncle Robert Estienne did invent in honour of the Duke of Rosny, since Duke of Suilly, grand Master of the Artillery, by whom he had the honour to be beloved, it was then received with so general applause, that it was judged worthy to be eternised in Gold and brass, and to say truth, it was stamped upon all the Ordnance that were cast at that time in the arsenal, embroidered upon the Officers Cassocks, and upon the ornaments of the shops of Artillery: It is not possible therefore that this new Devisor should be ignorant as well of the name of the first Master, as of the common use of this device, however by dissembling it, he did appropriate to himself the invention of it, and was so bold, as to give it as an original, wholly and without alteration, to another Lord that had the same command among the great Officers, of that crown, and who in that kingdom held the place of its rightful possessor.  
Mottoes are absolutely necessary in a device, though some Authors have held the contrary, for according to their opinion the device being a kind of Metaphor (which is in a manner nothing else but a Comparison) it needs but one subject changed into another; But these Authors are deceived in this point, since the figure of an Animal, plant, or such like subject, is of itself indifferent to the signification of the particular qualities that the thing represented may have; In so much that it ought to be determined by the Motto, to some one of its qualities, that is to say, to that, which the Author intends to attribute to the person, of whom he makes the device. From thence it cometh that the greatest confusion or difficulty in understanding some devices ariseth from the bodies being altogether naked an destitute of words, which should distinguish their different proprieties, whence the conception, fancy and invention of another may be justly formed.   

CHAP. XIIII.  
The principal Causes composing a device.  
A device (as a subject composed of a body and a soul) ought to have his essential causes: the material is no other, but the figure of the bodies, or the instruments of those things, which are inserted in the device.  
The formal cause, which gives it life, is is the resemblance or comparison, which (to express the author's meaning) occurs in the natural or artificial properties of the figure.  
The final cause, is the signification or Comparison understood, by means whereof we express more clearly, with more efficacy and liveliness, a rare and particular conception of wit. But here we must observe, that these terms of singular and rare are due to the definition of device, for as much as a device ought not to be made use of for the expression of trivial or vulgar fancies, the invention being only to declare virtuous thoughts or heroical designs with grace and subtlety; And it is to the end that this kind of conceptions may be held worthy to spring and grow in generous souls by the power and efficacy which devices have to ravish and excite the most noble spirits, which way soever they comprehend them; and with so much the more ease, by how much they shall discover the rarity and gentillesse of the device in the conception.  
The efficient cause, is the wit or understanding, disposed to know the relations, similitudes and conformities which meet in the things figured; there being nothing in this world, but hath a conformity, resemblance or relation, with other, though the subjects be more or less unlike.  
It is not needful to produce any other reason for the formal cause of a device: because we do not say that the Motto is the form, nor have we called it the soul, as Paulus Jovius and others have done; Seeing that as the proper and substantial form of a living Creature is the Soul, and not the breath, or tone of the voice, which he uttereth in token of his inward meaning, and to express his affections or passions: So is it very certain that the resemblance or comparison is the form of a device, and by consequence its life and soul. And the Motto is but as the breath, or tone of the voice, which declares the nature and propriety of the thing, whence the comparison is taken. Therefore we may say that the motto (added to these four causes) is the instrumental cause, which is made use of, to discover (by virtue of the words) the proper quality of the figure, and by discovering it to distinguish the other qualities, that have their being in it; In so much as the Motto (considered alone by itself) by no means makes a device, as the commentator upon Jovius would have it, who holds that a device may be framed of a Motto without a body, and of a body without a Motto.  
The end of a device (according to Ammirato, Contile, Aruigio, among the academics of Bresce, Johan, André Palazzi, the Boleniam Doctor and Academico Renovato) is nothing else but to express covertly by means of figures and words a conception of human wit. And some of these Authors say that it ought to be expressed in such sort that it be intelligible to the learned, and hidden from the illiterate.  
To this purpose, I am resolved to make a small digression; for it seems to me, that all devices (as to the facility and understanding of them) ought not to be handled in that manner. Paulus Jovius and some others do distinguish them into Amorous and heroic, and will, that under these two kinds, divers Species be contained. And truly there is no doubt, but that there are as many sorts of devices, as we have passions and inclinations. Therefore it is needful to distinguish them, and to observe what we have already said, That only some devices ought to be known and intelligible to every one, and that others ought to be more obscure or less common, according to the circumstances of time, place, and persons for whom they are made, as if they be for Tournaments, Masques, or such like, I am of Ruscelli's opinion, that the device ought then to be clear and intelligible to all, and that the Motto may be in a vulgar tongue, provided the words be well chosen, emphatic, or significative and brief. The like may be said of Amorous devices, unless the Author would have his intentions only discovered to his Mistress or particular friends, in which case the device may be made obscure, and he that bears it may reserve the exposition to himself.  
The moral devices, which are not made for any particular person, but only for instruction, aught to be so contrived, that every one may receive some profit by them: Not that I approve the Mottoes of these to be in a vulgar language, but I could wish them to be taken out of some good well-known Author, and the least obscure that can be met with; for if they be put in a vulgar tongue, for the foresaid reason of Ruscelli, (viz.) to the end that every unlettered person may understand them; that would deprive us of another benefit, which a moral device should bring with it, which is, to be understood by the generality of men, and in that case, strangers (though learned) will not comprehend it. Therefore it is better some of the unlearned should be deprived of the understanding of your device, (by which also they would not be much edified) then that all the learned men of foreign parts should be debarred from the knowledge of it. I know well that an Author may compose devices of Love, Morality, or such like subjects, wherewith to adorn the chimney-peeces, Closets, or Galleries of his house, with intention to have them understood by his Compatriots; but this reason hinders not, the Mottoes being in an universal language, because strangers (that shall visit you out of a curiosity to see rarities) will take as much pleasure in contemplating the acuteness of your wit, as in beholding the magnificence of your buildings, and your countrymen will receive the same contentment, and no less profit, when they shall be entertained by you with the exposition of the words.  
We may say as much of those devices which are made for Cornets, ensigns, Standards and Guidons, in regard we do not willingly bear arms at home, bat rather make them known in foreign parts, where we ought to be very free in making our courage appear, and to denounce some kind of terror by the gallant designs of our devices. And for that which concerns the devices of Kings and all sovereign Princes, it is of absolute necessity, that the mottoes (if intended for seemly & profitable) be either in Latin or Greek, to the end that the erterprises or heroical designs of those Princes (whose virtues are very exemplar to all people) may be understood by the generality, by making use of those ancient languages, which cannot receive any such alteration, as the vulgar ones do, which (whilst the academics strive to reform) the common people do daily corrupt, by the confusion of strange idioms. And we may with so much the less difficulty, use these two Mistress tongues, by how much it is most certain, that the body of a device, taken either from nature or art, hath the same proprieties and use in all Countries. I am also of opinion that we ought not to make use of my other language in such devices as are made in these days for the Coins or Stamps of Princes and Communities, since they serve instead of reverses of ancient medals, and are stamped in lasting mettle, to serve as tradition and historical memory to posterity.  
A perfect device (as we have already showed) takes its essence from the Comparison or Metaphor: these two figures of rhetoric are only employed in discourse, to give some light to those things, which of themselves have none: and if they have any, to render it more perspicuous and delightful. Besides, they serve to make themselves intelligible, not only to the learned, but to all indifferently, and even to those, whose understandings are not so clear-sighted as others, to conceive the nature and essence of things, and 'tis by this means, that those clouds are dissipated  
As for the efficient cause of the device, I may say, that the knowledge, the attaining of like subjects, and the conformity or relation which is found amongst divers things, may easily be effected, by a Wit that hath great lights, as well of nature, as of study or acquisition of Arts and Sciences, or that is but meanly exercised in the propriety of many works and effects of nature.  
Now the resemblances which meet in things, are either intrinsical, occult, natural and essential, or otherwise extrinsical, manifest, artificial, known and accidental.  
Bargagli (considering the comparison, as an essential part of a device) doth not call those that are deprived of it by the name of devices, but conceits rather, or figurate sentences, in which rank he placeth that of Charles the 5. of the two Pillars, with this Motto, PLUS ULTRA, and that of pens, with these words, HIS AD AETHERA, as much as to say, that by the means of great Learning, we acquire an everlasting fame, because he doth not perceive any comparison in these: But this is to be somewhat too rigorous, and by subjecting ourselves wholly to that rule, we lose many excellent conceptions of wit, which might by some other means be effected. For this reason I grant that devices made by Comparison or Metaphor are the richest and most excellent. And accordingly we shall treat of them at large, yet without rejecting or condemning the others, when they are acute, gentile and magnanimous, and when they do not trespass against the other general Rules, approved by all Authors.  
As for the hieroglyphics of the Egyptians, (which may be made use of in perfect devices) we must have a care not to use them as simply as the Egyptians did, forasmuch as from those significations of things, which are not proper or natural, we cannot draw any true similitude or comparison; besides, they discover not any intention or enterprise that they had, but only something already done, as by the figure of a Hat, they would show, that they had enfranchised a slave, or some other person, for a reward: Even so by giving of an Oaken crown to a Soldier, they signified that he had saved the life of a Citizen. Moreover, the greatest part of these hieroglyphics are grounded upon the ancient customs and Ceremonies of their Religion, which is now (God be thanked) altogether abolished by the light of faith, or is at least known at this time, but to some few persons, whereas a device ought to be understood by many. I admit that subjects taken from hieroglyphics, and considered according to their nature, and not according to the institution of men, are proper for devices. As if you consider a hat, as it is an instrument invented to keep off the sun and rain, you consider it purely according to its nature; but if you take it for a figure of liberty, you suppose then that either God or man have already imposed this signification upon it. Hence it cometh, that to artive (with our Author) to the perfection of devices, and to express the conceptions of our mind, there is nothing so proper, so gentile, so powerful, nor so spiritual, as those similitudes and relations, which we discover, walking in the spacious fields of the wonderful secrets of nature, and qualities of things, as also of the proper effects of our intentions, to find therein the correspondency of qualities natural, and usage of things artificial, with your own thoughts; and herein consisteth as well all the grace of a device, as the skill of him that makes it.   

CHAP. XV.  
Of Reverses of medals, and the difference between them & devices.  
IN the Reverses of medals, we may make use of hieroglyphics, Fables, Histories, and customs of the Ancients, because medals are only made to eternize, by the means of the metals of Gold, Silver, brass and copper, the memory of the heroic Arts of Emperors, Kings, Commonwealths, States, and such illustruous and praiseworthy persons, as well by their own virtue, as by the eminency of their quality; Therefore I am of opinion, that some of those things may be permitted in the devices of coins or stamps, which have a great affinity with Medals, and wherein we ought not to be so scrupulous, as in other devices, nor so much subject ourselves to the rules of the Italians, who have not written of the devices of stamps or Counters, the use whereof is elsewhere less known then in France: And 'tis perhaps for that reason that my deceased Uncle Robert Estienne (who in his time was much esteemed for the invention of devices) was not always so strict an observer of their rules. And yet for the Reverse of medals, in rejecting the Fable and some other inventions of the Ancients, we may make use of the things themselves, and there is no doubt, but they would succeed far better.  
A device differs from a medal or Reverse, in this, that the device is a declaration of the thoughts by way of Comparison, taken from the propriety of natural or artificial things; whereas a Reverse is generally, but a memorial of things which are done and past, evidenced by figures, which simply represent the fact, though there be some, which discover the quality of the wit; Besides, the device is to demonstrate a rare and particular intent, not yet effected; But the Reverse is to preserve the memory of some heroic act at heived by him, whose picture is on the other side: So that the device regards only the future, and the Reverse the time past. And again, a perfect device ought not to admit any divine or human figure, be it fictitious or fabulous, but in Reverses both the one and the other may be received according to ancient custom. Whereof see Examples.  
Nor do I think that these rules be altogether necessary in the devices of coins, in respect of the resemblance they have with medals, for we see many wherein the illustrious Acts of Kings are graven, and many others wherein the figures of false gods are made use of to good purpose; as the device which my deceased Uncle made, after the late King Henry the Great of France, had reduced the Duke of Savoy to reason: The Duke (who thought he had laid hold of a good opportunity to quarrel with the said King during the troubles of France, thereby to possess himself of the Marquisate of Salusses) caused coins or money to be stamped, where there was a centaur trampling a crown royal under his feet, with this word, OPPORTUNE, but soon after, that invincible Monarch made him repent himself of his enterprise, and derided his foolish presumption, when he poured his Forces into his Country, and in an instant (forcing all his towns) made himself Master of the whole Province, and constrained the Duke to have recourse to his mercy. After that glorious victory, to counterbalance the device of the Duke, my Uncle invented this for the stamps of the King about the year 1601. whereon we might see a Hercules subduing a centaur, with this word, OPPORTUNIUS: And truly this kind of encountering of devices is handsome, and I believe Bargagli himself would approve it, for the differences that follow, they, may easily be admitted in the device of coins, to wit, that hieroglyphics have no place in devices, but in medals: that in these the figures ought not to be named, as they are in others. And that in devices the words are absolutely necessary, but not in medals.  
Bargagli doth not admit of any figures of Temples, Triumphant Arcks, or amphitheatres, though they are effects of Art. Nevertheless I am of opinion with Scipione Ammirato, that they are very graceful in devices, when they are rightly applied, and so that the Temples be easily known of themselves, without need of beating their names inscribed.  
Contrary to the opinion of Ammirato and Contile, Bargagli would neither have devices drawn from History, Events, nor Fable: And Frastaglato concurs with Contile, so that the application be made by comparison or similitude, and that the History, Event or Fable be generally known. See Bargagli's Reasons.  
As for me (saith he) I can neither approve of the Fable, Events, nor History; I cannot believe that another man's fancy can be perfectly expressed by the proof of a particular action, which perhaps hath never happened above once; Therefore I hold, that he must draw it from things universal of their own nature, and from Arts, which are daily renewed, and which continue, even till they become immortal. Rhetoricians hold, that that proof which is made by examples, is a very weak argument, as proceeding from particular things; whereas the Induction (which is but a collection, or heap of many like particulars) becomes as an universal nature, whereof the power is greater, and the grace more conspicuous. In matter also of devices, historical events hold the place of an Example, but natural qualities, and the usage of things artificial, shall hold the place of Induction.  
'tis true, this kind of perfect devices is the most difficult to practise on, and therefore not a work for every common wit, nor for those, who (to avoid trouble) make use indifferently of all that comes into their fancy. And for conclusion of this controversy, I am of opinion (with our Author) that we may draw very excellent conceptions, as well from Fables as from history; but those that shall be taken from Nature and Art, shall come nearest to perfection.   

CHAP. XVI.  
Observations for devices, taken from nature and Art.  
HAving already concluded, that the most proper and fruitful vein of the world, from whence devices may be drawn, is from Nature and Art; we must observe, that there are two dangerous rocks, which (if not avoided) may easily shipwreck our little vessel.  
1. First then, in expressing our thoughts by signs taken from Nature or Art, we must take heed not to intermix in the same body of a device, natural works with artificial, since they have no conformity at all each with other, nor that we put in the same body, divers natural things accumulated one upon another, nor divers artificial, which have no relation to each other. As for example, a Dolphin embracing an Anchor, with these words, FESTINA LENTE: This is a device, which trespasseth against that first maxim, besides other visible defects that it hath, the Motto requiring no figure, it being intelligible enough of itself, and making a complete sentence, it needed no figure to express entirely the sense of the Author. Besides, those words are too common, and have been so familiar in the mouth of Augustus Cesar, that at this day they deserve not to be made use of in devices. But the greatest fault that Bargagli finds therein, is the conjunction of a Dolphin with an anchor, which have no relation to each other, for as much as the Anchor (having no other use then to stay Ships) cannot have any other resemblance with the Dolphin, or any other fish, except with the Remora, which (they say) is able to stop a Ship. And yet 'tis not long since a recent Author made use of it in a device almost of a like design; whether it succeed well, I refer myself to those, who having seen it, are able to judge of the Copy, by the original, and of the effects of an ill pattern.  
For example, of the unhandsomeness of crowding many natural things together, I will only instance the device of a Tortoise which hath wings, with this Motto of that most excellent Poet, Hannibal Caro, AMOR ADDIDIT, Love, hath added them. Is not this to compose a chimaera, and forge to one's self a fantastical monster, by joining in one body the nature of a bird to that of a beast? Whence you may gather what absurdity followeth the conjunction of natural with natural things, nor need you doubt but that the repugnancy of many artificial things are no less insufferable.  
2. You must have a care, that (in placing the figures of natural subjects) you do not destroy their essential properties, or that (for expressing your conceptions) you do not mat their proper quality, by abusing the use of them, and that you drag them not as it were by the hair, wresting or constraining them to come to your design, after the manner of that Author of a device, where there is a bat that looks steadily upon the sun, contrary to her nature, with this Motto, AD INSUETA ●EROR, i.e. I force myself, to an unaccustomed thing. do you not see in this example, that the comparison is taken from a false quality, which this Author attributes to the bat, who can by no means endure the rays of the sun? 'tis true, this kind of false supposition is permitted to Poets, (who have more elbowroom, and whose procession is to feign and metamorphize at pleasure) but not to the Authors of devices, who are obliged to be strict observers of the truth.  
Here we must also observe, that it is lawful to use the propriety of a natural subject, be it animal, plant, fruit, or other thing, according to the general approbation or received opinion of ancient Authors, though the moderns have lately discovered it to be false, because the comparison which is grounded upon a quality, reputed true by the generality, though indeed it be false, shall be more universally received, and better understood, then if it were grounded upon a true property, which nevertheless were held false, and which were altogether unknown to the greater part of the learned. Thus the holy Fathers did use the comparison of the phoenix to prove the Resurrection of Jesus Christ. We may also appropriate to this sense, the quality of the bear, who (according to the general opinion) brings forth her young ones like a lump of flesh, without form or distinction of members, until with long licking, she renders them perfect and polished; though Johannes Bodinus hath lately proved the contrary in his historical Treatise. But for all that, it is not lawful to make use of it, according to the known truth, without citing the Author.  
All that we have now said touching figures, borrowed from Nature, ought also to be understood of those which are taken from Art; And we must take heed never to alter the proper use of instruments, nor of such like things; As he that for a device caused a yoke to be represented with this word SUAVE. For although Jesus Christ said, that his yoke was sweet, JUGUM MEUM SUAVE, it doth not follow that the yoke signifies Empire or command, unless it be in a parabolical sense, as that which our Saviour then used, and whereof the usage is much different from a device, for that this Comparison is taken, contrary to the propriety of that instrument, for no beast that hath born the yoke did ever find it sweet, but rather sour, troublesome and ponderous.  
As for the manner of drawing Comparisons from Arts, to the end to make an impression or trial of some conception of our wit, we ought to take the similitude from subjects, by drawing it, not from the accidents or defects which are in them, but rather from the essential quality, which puts them always in use, of by which they receive most commendation: we must also have a care, if there be sundry figures of Art, that they relate to each other, and tend to the same end.  
We must not only avoid the using of a figure against its own nature, as the Bat looking steadily upon the sun, but also the attributing unto the figure any quality, but what is proper unto it, though by chance it may sometimes so happen, and seem probable. Nevertheless we may draw comparisons from qualities, which are accidental to natural subjects, so that they discover themselves by a like natural, ordinary and known way, as the talking or prating of a Parrot, who strives to speak in imitation of man, which properly is but an accident, whereof nevertheless we may make use in devices, as of a known and true thing. The like is to be practised in making use of instruments, in such sort as always to have regard to their proper use: And 'tis against this maxim that Contile hath erred, who inserted a Ship arrived in a haven between Rocks with this Motto, labour ET VIRTUTE, considering the Ship, not having power to come to the haven of herself, needed some other means to conduct her thither.  
For the clearness of the Comparison, as the Mataphors ought no to be taken from things too much removed, or which are less preceptible, than the subject which we would have to be made known by them: So the Comparisons ought to be drawn from things that are clear and intelligible, because the device is only invented to discover & explicate the intention of the Author, or of him for whom it is made, in the best most efficacious manner that may be.  
Moreover, it is to be noted, that those things sometimes used, which have no correspondence with the conceptions of the mind, as if we had a design to express the care and affection that a Gallant Captain should have for the safety and conservation of his Prince a Turtle dove would be figured, because maturall love obligeth that bird never to part from her company. A gentleman that would testify that he could not live, without being conjoined to a Lady whom he sued in the way of marriage, made use in his device of a Snake, with this Motto, AUT JUNGI AUT MORI, Eeither to be joined or die, because the nature of that Serpent is to have every part, so true a friend to each other, that being cut or divided into several pieces, they easily join and reunite themselves, so that her skin may but touch the skin that is cut: in which you perceive well, there is no Coherence, since 'tis probable the gentleman was never conjoined to the Lady because he sought her by the way of honour, whereas the Snake cut in pieces had been joined and united before she was cut.  
If we pretend to render a device perfect in all parts, decency and civility must be observed, as well in the figures as in the words; For as the ears of the virtuous are offended at obscene words, so are their eyes at an immodest figure. Many Italians are guilty of this crime, whereof I list not to bring examples, left by condemning incivilities and indecencies in devices, I become offensive to your eyes or ears. It shall suffice to take notice, that that Author did incur a reproach, who caused a Cat to be represented hiding her ordure, with this word, TEGENDUM, it must be hid. However my meaning is not that it is necessary to reject or banish the instruments of any servile trades, nor venomous or ugly beasts from devices, so that the action represented, or quality employed, be decent in the picture, and in the comparison, which the Author intends by it. But if the Devise be to express itself in favour of some renowned person, there must not be any abject instruments inserted, such as Dripping-pans, Frying-pans, chafing-dishes, and bellows, which would render the comparison odious. And (tell me) would it not be a very ridiculous invention to represent the dignity of a Grand Master of the Artillery by a Chasing-dish, because the principal and essential effects of that charge depends on the fire; and that the command of the Prince is like the bellows that kindles that fire, and puts it in action against the enemies of the State? By the supposition of this example you may judge how much it importeth, the intention or design of an Author to be demonstrated by bodies or figures, which be proper and agreeable to the person.  
The arms of Families may very well be converted into devices, and the Authors who undertake these kind of Blazons, may give themselves some licence, in respect of the great difficulty there is in lighting upon some quaint conceit of wit, especially in those, where nothing can be added or diminished; but in this point we must observe, that whensoever a Coat hath many pieces alike, as three flowers-de-luce, three Roses, three Cressants, Stars without number, and the like; the Motto may be attributed to one only, as to a Flower-de-luce, a Rose, a crescent, a Star, because in this case the plural number is not considered, but in substance, and in the representation of the same natural quality.  
A device may also be handsomely framed from two different Coats of arms, as of the Husband and his Wife, of two friends, of two Kings, of two States united and confederate. Will you have an example of it, taken out of our Author Bargagli? A Husband bearing unde in his arms, and his Wife Roses, gave occasion to join them together in one Blazon, with these words, IRRIGATae VIVATIORES, i.e. they are more lively when they are watered.  
But if we put Mottoes simply upon arms, which speak or address themselves to God, to a Prince, or to the world, without having any relation to the figure, that cannot by any means be called a device, only a Cimier.  
By the way, let us observe with Bargagli, that his ingenuity must not be condemned, who from the same matter (whereof others have made use) seeketh new qualities, which he expresseth in another manner, and applies to new designs.  
As for the bodies of devices, 'tis good to be advertised, that there are many things in nature, which neither draught, sculpture, nor painting itself can represent, and therefore are of no use for devices, though we might draw from thence many pretty fancies; As from dull, and from the gravel which flies carry under their wings, to the end they may not be carried away by the wind.  
We must so order it, that things as well natural as artificial, be represented in such exact manner, as that they may resemble the natural, as near as may be, and it is for that reason, that Bargagli approves of the immediate use of living things, and real instruments, without painting, in the combats of Tournaments and at Masques, which are but of one days' continuance.  
The Allegory ought to have no place in the device, since this is a metaphor continued or amplified, and that hath neither the force, nor lustre of a metaphor.  
Though the quantity or plurality of figures (which is necessary in the composition of a Dtvise) be no part of its essence, but only an accident, it is nevertheless expedient to know, that for the perfection of a device more than three figures must not be inserted, unless all of them relate to one and the same species, and be of the same nature and quality; such is that Devise where we see an Elephant and a flock of sheep, with this Motto, INFESTUS INFESTIS, i. e. offensive to the offending: For as much as all the individuals which make up the flock are only inserted to show the proper nature of the whole Species, and to express the natural simplicity of that creature. See here my particular opinion against that of Bargagli, who doth not regard the number of figures, so they have some relation to each other, and serve to the comparison: He holds also, that that Devise (whereof the body is composed of three figures, necessary to the comparison) hath a better appearance, then that where there is only one; besides that, it is more difficult to appropriate the quality of divers bodies to one only soul, then to animate one sole body by one Motto.  
Bargagli rejects the opinion of those, who would have the body of a Devise not to be otherwise represented then in black and white, and saith, that this practice is nowhere admittable, but in Deserts, where we can neither find colours, nor workman of ability to draw them otherwise; therefore this Author allows of all sorts of colours in devices.  
As for my part, I should be of his opinion, as to those devices which are for Tiltings, Tournaments and Masques, for ensigns and Cornets; but for those that are to be applied to coins, or other subjects of metal or stone, which are cast, molten, coined or carved, colours are utterly to be rejected, otherwise we must make no devices, whereof the body can be comprehended or known without the help of colours, for to say truth, an absolute Prince (who hath been long Master of a device) will not only dispose it upon ombroidered Cassaques, upon Chimney-pieces or Cabinets, but also upon his coins, Marble-stones, brass, and other metals. Moreover, when colours are not requisite, nothing can hinder the inserting of devices in all convenient places.  
We have already spoken of those ornaments, which we utterly reject in devices, unless they be hands, that hold some kind of thing according to custom, or human faces, to represent the winds, which would otherwise be very hard to decipher.   

CHAP. XVII.  
Of Mottoes.  
THe Motto serveth for no other thing, but for a kind of Minister, interpreter, or necessary instrument, to bring in the Comparison and to discover the quality and propriety of the figure, in so much as the use of it, is in respect of this Art, what Speech is to the nature of man, to express his thoughts.  
Three things are to be considered in the Motto; What it ought simply to be towards the proper figures of the device: What it ought to be in extracting the quintessence, and demonstrating the natural or artificial proprieties of the figure: And lastly, what it must be in regard of itself.  
According to the opinion of Ruscelli and of many others, whom I find to be guided by reason in this point, no figure of the body ought to be named in the Motto; yet sometimes 'tis lawful to name some part of the body, as in that device where there is a Ship with sails and oars without any gale of wind, with this Motto, ARRIPE REMOS, whereof the last term is necessary, to give to understand, that when the one fails, we may make use of the other, that is to say, of the oars. We may also name that part of the body, which is hidden in the figure, & which the pencil cannot express, as the Spring of a Gun, or Watch, the Shaft of a Mill-wheel, the Axis upon which the sphere of the world moves, and so of divers others, which we must use with discretion.  
Also we must not make use of those terms, which demonstrate or decipher the figures, that induce the reader's inspection: It is therefore requisite that we avoid some certain useless words, which derogate much from the grace and neatness of a device, in which number are, HIC, HINC, HOC PACTO, QUI, QUae, HOC, SIC, &c. especially when they are inserted for the illustration of the Comparison, since the Reader (if not blinded with ignorance) may behold the figures, call to mind their actions and discover their application, without the help of these demonstrative terms.  
Though a device may be called a Metaphor in some kind, and that this figure of Phetorick is requisite thereunto, yet is there a difference between speaking by Metapher and speaking by means of a device, because in speaking by a Metaphor you demonstrate the thing, which you intend to signify, by the words only, when as in discoursing by devices, you explicate the matter partly by words and partly by figures. Whereupon have a care that the expression of the quality of the figure, which is done by the Motto, retain nothing metaphorical, but that it be altogether proper and pure, to the end you do not incur the reproach of heaping Metaphor upon Metaphor no more in matter of device, then in the composition of verse or Prose.  
Now as Metaphorick and transported terms always appear to our understandings with two significations, whereof the one is the proper and the other the strange, extern and borrowed, by means of the Similitude, which it hath in common with the first: Even so may we say, that devices present themselves to our understandings with two significations; the one is, the natural quality, or the usage of the thing represented by the figure; and the other is, the meaning of the Author. Now to come to the apprehension of the device, we must abandon the first signification, and discover the second, by means of the resemblance, which the quality or usage of the thing figured hath with the conception of the author's fancy. To prove that the Motto ought always to speak properly, and to be taken in its first signification, we shall only need to instance the example of him, who caused a ball of crystal to be represented with this Motto, INTUS ET IN CUTE, i. e. within and upon the skin, where this word IN CUTE is altogether Metaphorick, crystal having neither skin, nor any thing on the surface answerable to a skin, therefore it had been more proper to have said, INTUS ET EXTRA, within and without. nevertheless, we may with discretion use a metaphorical word, when by long use is rendeed so familiar, that we receive it no longer, as transported from one sense to another, but as proper to the subject we intend. This is that condition which causeth the phrase of petrarch to be approved, when he saith, that he hath seen two lights weeping, VIDI LAGRIMAR QUE DUE BE LUMI; For certainly Lights shed no tears; and it would be without ground, whosoever should attribute to a light the capacity of weeping, if that word [Lights] were not commonly received to signify the two eyes of a man, in such like discourse.  
We ought to forbear the use of Synonima's, Connotatives, Epithets, and other Adjuncts, for fear lest the Motto offend against that brevity, which is requisite thereto; and for the same reason, two Verbs are never to be admitted to discover the same conception of mind, unless one doth not sufficiently express the use or nature of the thing. Nor must we make use of those kind of terms which Logicians call Abstracts and absolutes, virtue, vice, envy, mercy, nature, knowledge, felicity, art, and such like substantives, which ought rather to be expressed and demonstrated by the nature and usage of those things which are figured in the body of the device, and afford matter for the comparison.  
For expression of the propriety of figures, and the meaning of the device, it much importeth, the Motto to be subtle, and that the Reader may comprehend it with pleasure and perspicuity, endeavouring to outreach the propriety of the figure, and to serve into the very meaning of the Author; For he that should only express the nature or usage of the figure, would not be capable of touching the fancy of the reader so vigorously, as to leave a pleasant relish behind it, nor of producing those other admirable effects, which ought to accompany the understanding of a perfect device. Against this particular, that device would much trespass, which for its whole body should only have a Diamond, and for Motto these 2 words, MACULA CARENS, because this Motto would only serve to declare simply the prerogative of this precious stone, for the knowledge whereof the reader needed not any subtlety or acuteness of wit.  
As for the sense of the Motto, though it hath been handled before, yet my intent is to give you here the opinion of our Author, who haldeth, that the Motto ought not to be too intelligible, nor yet too obscure, for as much as the first excess would diminish much of the force, grace and quaintness of the device, and the latter defect would in no wise discover the design or meaning of the Author; As in the device of the sun and a sundial, if there were but these words, NI ASPICIATUR, the Reader could not conceive, that it is the quality of the Sun, which leads to the intention of the Author, therefore the word which is added unto it, NON ASPICITUR, is most proper and necessary thereunto, because it renders it more intelligible, (viz.) unless the Sun reflect on the dial, the dial is not regarded.  
The words are inserted in the device either by Prosopopoeia (Which is a certain manner of speech used by Rhetoritians, very efficacious to move and strike the mind, by supposing that the words come from the very mouth of the things figured) or by introducing a third person to utter the words in form of a Sentence, discovering with acuteness of wit, the quality of the figure, which composeth the body of the device. And as for the use of the Prosopopoeia, you need not fear, to cause all kind of beasts, all mechanical instruments and other things as well natural as artificial to speak, thouph they have no Principle, faculty or organs proper to form words; And it is in respect that devices ought in some sort to imitate Poetry which doth not only introduce brute beasts, but also frequently causeth inanimate things to speak, for greater delight, to express the fancy better, and to persuade more powerfully. But for the introduction of the person who bears the device, to speak in the Motto, Bargagli forbids it, yet some other Writers do approve thereof; And for my own part, I think that the choice of this introduction depends upon the conceits and discretion of the Author.  
The manner of drawing the conception out of a device, hath never any vigour or grace, when the words declare nothing of the quality of the body; And this is only to be understood of those figures which are either borrowed from nature or Art: As for those devices which are drawn from Events, they appertain not to this Rule.  
The comparison derived from the quality of the figure, ought not to be expressed in the Motto, otherwise it is to prove one obscure thing by another, no less obcure than that; for as much as the propriety of the figure ought to serve as a means to make the proof of a good conceit. You will comprehend the practice of this Rule more easily, by the defects of that device, where the words are, SIC DIVINA LUX MIHI, and for body, the figure of the herb called Lotos, which hath the property of rising out of the water, and of elevating itself measurably, to the sun's ascent above our Horizon, and of sinking down with the same proportion as that Planet declines toward, setting. The first defect that I discover in the Motto of this device, is, that it doth not in any fashion explicate the property of the herb, which notwithstanding was necessary, since it could not be demonstrated by the figure, that this Plant is subject to follow the motions and exaltation of the Sun, rising and setting. The 2 error is in this term (SIC) employed to reduce the Comparison, which is not comprehended, but by the operation of the understanding, and not by means of the words. Bargagli finds a third defect in it, in that the words are uttered by the Authors own mouth: But for my part I dare not condemn it in this point, since I have not as yet met with any other Author that hath disapproved it, but on the contrary, many able ones that have thought it fit to be imitated. After so exact a censure, the critic was obliged to reform that example, and to propose unto us the same device without fault, substituting in place of the precedent Motto, these words following, PER TE MERGO ET EMERGO, i. by thee I sink and by thee I swim, where you may see the defects repaired, and the qualities better expressed.  
The mottoes of devices are more facile in the 1. & 3. person, then in the 2. But those also that can be taken both in the one and in the other, are far better, because it seems the 3 person hath something more solid, sententious and grave, as the first carries with it something of more life & lustre, which discovers the design of the device, and strikes the reader's understanding more sprightfully, in that he seems to see and hear the thing itself, which speaks by Prosopopoeja. But (to judge of this more exactly) the choice of persons ought to be made rather according to the occurrences, and the quality and usage of the things figured, then in pursuance of the tenor of our Rules.  
Palazzi is of opinion that the verb may be handsomely understood in the mottoes of devices, neither is it unseemly when 'tis expressed, nor likewise when there are two, which serve for a more clear demonstration; the whole depends upon the judgement and dexterity of the Author, and the occasion of it ought to be taken from the quality of the figures, and the propriety or the language used therein.  
Amongst all the moods of verbs, which we may use indifferently, as well as the tenses. The Indicative or demonstrative mood is the most proper for a device, the Imperative is sometimes used to very good purpose: But the Optative, Subjunctive and Infinitive have neither certainty or constancy enough to express our conceptions.  
The mottoes that are formed by way of interrogation, have ordinarily more vigour, than those which contain an affirmative proposition.  
As for Adverbs, they may have place therein, to the number of two, but the negatives are most becoming; as in the device of the Flame, NUNQUAM DEORSUM, never downwards. Ruscelli doth not approve of the Motto that is simply negative, as for the full moon, NON SEMPER EADEM, she is never the same. A Motto may also be negative and affirmative both together, as JACTOR, NON MERGOR, I am tossed, but not drowned, speaking of a Gourd, or a bottle made of the emptied rind thereof, which swims on the water.  
But setting apart these trivial searches into, and conditions of mottoes, let us resume the manner of drawing with dexterity, by virtue of the Motto the propriety & usage of the body of a device: Alexandrè Farra and Barthelemy Taëgio consent, that if the words do but simple express the nature of the thing represented in the device, they resemble those persons, whose lives being deprived of the intellectual faculty, remain buried (as it were) in corporeal senses, yet there ire many Authors that have not taken notice of that defect in mottoes, no, not P. Jovius himself, as Farra observeth, though other wise, he deserves to be acknowledged for the Master of devices, since he was the first that treated of them: For amongst other devices which he hath made, that of Alviano hath this great error, where an unicorn is seen, touching the water of a fountain, and about him many venomous beasts, with this Motto, VENENA PALLO, I dispel venom. And this is that Motto, which hath not the principal condition of a device, that is to say, that it should have something more mysterious.  
In the third place, we consider the Motto of a Devise simply in itself, and for that respect the words ought to be very brief, subtle and energetical: We are therefore to reject those words which are long, languishing, drailing and vulgar, to the end, that the Motto received by the ear, may give a smart and pleasing touch to the understanding of him that hears or sees it.  
But as to the brevity of the words, the number cannot easily be prescribed, because that depends upon the judgement of the Author, and upon the subject which he treats of, and intends to unfold, yet we may say that the Motto may receive 4. or 5. words, and like wise a whole verse, according to the opinion of Bargagli; But according to Ruscelli, devices are so much the more removed from perfection, by how much the Motto exceeds the number of 3 words, unless the Authority of a great Poet, or the excellency of a rare and happy conceit give you leave to make use of an hemistich or whole verse, The number of the words is then just and precise (according to our Author) when there is nothing surabounding in the Motto, nor of too much restraint, and when all concurs to the understanding of the device; yet so, as that we are sometimes permitted to enlarge it to give a greater grace and quaintness to the discourse; But in a word, the greatest slight and subtlety of this Art consists in the brevity of the words.  
The order or situation of the terms is also considerable, because there are some that are more suitable in one place, then in another, as well for the sense, as for the cadence, and the fewer words you employ, the more careful must you be to choose them pure, noble, acute and graceful: To bring them to that perfection, 'tis good to communicate them to your friends, and to make many reflections both of your eyes and mind thereon, and not to be scrupulous in altering that Motto, which you have found to be good at other times, when you meet with a better; This is that reformation which is practised by the greatest Poets, orators, and all the Masters in this Art, who are not Idolaters of their own conceptions.   

CHAP. XVIII.  
Of what language the mottoes ought to be.  
THe opinion of Authors upon the choice of the language with we ought to make use of in the mottoes of devices are very different: for some hold, that the language most proper for that purpose, is that which is most ancient, others prefer that which flourisheth in the greatest number of Authors, and which hath most authority, and some others attribute that property to the language, which is most generally understood in all Countries, and is most in use among rare wits. Contile commends the Spanish tongue above all others for love matters, the Tuscan for pleasant and conceited mottoes, the German for heroic and grave ones, the Greeks for fictions, and lastly the Latin for all sorts of mottoes, especially for the serious and majestical. But the opinion of Bargagli (who condemns not the judgements of others, though they be not grounded upon my reason or solid authority) is very particular on this subject, and admits the use of all those idioms; For saith he, that concise Motto which we aim at, is to be taken out of that Language, where we meet with the best words, the gravest sayings, the noblest proverbes or most proper terms to declare the quality of the thing represented in the figure; so that the Motto (in whatsoever language it be expressed) do immediately strike the mind of him that reads or hears it, provided that the words which we borrow from one language be defective in another, and that they have more energy and signification in that language then in any other, which virtue in words may be found out by the traduction or version of them. Yet I would not have an unknown language admitted, nor one that is much removed from ordinary use, as the Persian, Turkish, Muscovian, Polonian and the like, but rather the Latin which is received through all the world, without adding the version in any other language, because (according to the opinion of Bargagli) to express one fancy by a multitude of words in the same device, is insupportable.  
But for my part I cannot absolutely reject any of these opinions, only I find it most proper to follow the mod common, which is that of the Latin, since that truly is the language which is most known, most pleasant, most energique, and most authentic, of any other in all Europe▪ This elegy which we give the Latin, ought not to lessen the esteem, which we are to have of the Greek, which is much more ancient, rich, and significative; And indeed we may use it freely, when occasion presents itself, and yet more rarely, because it is not so familiar, nor so generally understood as the Latin is. Besides that as Bargagli desires the bodies of devices to be drawn from Nature and Art, because their qualities and usages are the same everywhere, and no ways subject to change: So I could wish that the mottoes should be taken from the Greek or Latin, in regard they are the Mistresse-tongues, which are best understood by the learned, and generally of all men, and which can hereafter receive no more alteration, since they arrived to the comble of their perfection with the Roman Empire.  
I commend much (with our Author) the use of rhetorical figures in mottoes, as those words which Counterpoint one another, which fall in a like cadence, which end in a like termination, and which carry a like tone, though they have a different signification, and so of others: For all these ornaments of discourse and ways of speaking, do as much beautify and illustrate devices, as Orations, so that on the other side they retain the brevity required, and no metaphorical term, according to the Rule which we have already prescribed.  
Those Mottoes which are drawn from ancient Authors have more grace, more virtue and authority, than those which we ourselves invent; And yet there are some modern ones, who have made us see, that the vivacity of their wit hath not been incapable of inventing and producing some themselves.  
For borrowing from the Ancients, we must have a care that the mottoes be not so maimed, as to leave an essential part of the subject to be understood or divined at, as if all the world were obliged to know punctually the whole Author, from whence the Motto is taken: This defect is noted in that device where there is a Comet in the midst of many stars with this Motto, INTER OMNES. For the Author of the device who had a Mistress called Julia Gonzaga, pretended that the subtlety of the device consisted in the sequel of these words of Ovid, — MICAT INTER OMNES JULIUM SYDUS, the Julian star outshines the rest, so that if some words of the authority must be omitted, to conserve brevity in the Motto, 'twould be better to cut them off in the head then in the tail, that is to say, that the latter words should be rather inserted than the precedent, here's an example of it. A gentle gale of wind blowing a fire, with this Motto, GRANDIOR NECAT. Which is the end of one of Ovid's verses,  
LENIS ALIT FLAMMAS, GRANDIOR AURA NECAT, An easy wind nourisheth the fire, but a greater destroys it.  
Now though I commend the dexterity of him that takes his Motto from some famous Author, yet I cannot approve the impudence of some moderns who make use of the same Motto, which another Author of a device hath invented, because that is but to propose always one and the same thing, though the body of the device be changed, whereas in borrowing the Motto from an ancient Author, you quite change the nature of it, by appropriating it to the body of your device. We must not likewise accuse him of theft, that makes use of the same body, which another hath heretofore employed, so that the conception be different, because an Animal, plant, instrument or other thing which is represented in the body, may be diverely considered in their qualities and sundry uses, whereof every one may freely make use, and apply them to his intention.  
It is not necessary that the sense be altogether completed in the Motto, for it ought to give occasion of some kind of study to the Reader. From thence it cometh that in the device of the fish, which the Italians call Muscarolo, the Latins Nautilum, and the Greeks {non-Roman} {non-Roman} {non-Roman} {non-Roman} {non-Roman}, this Motto, TUTUS PER SUPREMA PERIMA, i. e. safe, both, at, top, and, bottom, would be more concise and subtle, if the first word Tutus were cut off.   

CHAP XIX.  
From whence devices are to be drawn.  
AS for the places, from whence a perfect device may bedrawn, I am of Bargagli's opinion, who approves it not to be taken from a like, a greater, a less, a contrary, a like and unlike together, from a fable, history, events, hieroglyphics, and other places recited by Ammirato, as from the cause to the effect, from the effect to the cause, from the Genus to the species, & from the species to the Genus, since in a word Nature or Art do afford subjects know from whence to derive the Comparison, Similitude or Metaphor: Now these three figures of rhetoric have but the same end in substance, which is to demonstrate the correspondence, conformity and resemblance, which is between two different subjects, as the form of a device consists principally in the finding out in the whole Universe a natural quality, or the usage of some thing, which may correspond with and relate unto the propriety of our thoughts, and conceptions of mind.  
But if you ask me in particular a proper place, from whence you may frame a subject of or matter for devices, I shall refer you to good Authors, who have written of the nature and propriety of Animals, Plants, minerals, precious stones, of the parts of heaven and earth, of the liberal Sciences, mechanical Arts and other subjects as well natural as artificial. 'tis verily the reading of such Treatises, which will discover to you some virtues or proprieties which will easily relate to the intention of your devices. This field is so ample, and the harvest so great, that of one only subject, be it natural or artificial, we may form not only one, 2, or 3 fancies, but also an infinite number of devices, as may be proved by the quantity which are made upon the subject of those great Luminaries, the Sun and Moon, and which are many times drawn simply from their proper parts, sometimes from those which have a correspondence one with another, and sometimes from the virtues and influences, which these Planets do diversely diffuse upon all inferior bodies. The like may be practised upon the subject of Arts and mechanical instruments.  
For the choice of the Mottoes drawn from ancient Authors, we must regard the words with great prudence, that they may be appropriated to our design, and that (being added to the body of our device) they may form a spiritual and delightful composition.  
But besides the rich matters, which Art and Nature are able everlastingly to furnish us with, we may yet draw other from the Apologues and fables of Aesop, from sentences, proverbs and maxims of the Sages and moral Philosophers. Yet observe that my meaning is not, that we should borrow from fables, the subject of the fable, as the unfeathered Crow of Horace; but that we make use of the proprieties of things which are met with in many places of fables, so likewise for matter of sentences, I think it were good we only used those which are enriched with Comparisons, and 'tis for this advantage that proverbs deserve to be preferred.  
I will not speak here of the places where devices ought to be fixed, for though Ruscelli hath treated amply thereof, that choice depends upon the custom of every Country, and upon the will of those for whom they are made. It shall suffice for me to observe, that they serve gently for a Scale, and (as it seems to me) they are much more graceful than a man's proper arms, especially when the device is formed and grounded upon the subject of Letters missive or of a seal, as that of one named Blind in the academy of the Intronati, where there is a Dart or Arrow, with this Motto, IRREVOCABILE. 'tis true nevertheless that devices of seals are yet much more handsome, when they are framed from the arms of those that use them, for which purpose it is not necessary to convert the whole Coat into devices, but it sufficeth to take an essential part of the Blazon, or that which may be reduced into a device.  
devices may also be put upon the Reverse of Prince's coins, and upon Stamps or Counters, as it is frequently used in France, in which case they are exempted from some of the rigour of our Rules, and in respect of their affinity with the medal, there is no doubt but they may as well notify an heroic action of a Prince, as demonstrate a gallant intention to be put in execution.  
They are also very seemly on ladies' Pictures, for as that Table represents the exterior part of the body, or the features of the face: Even so the device represents the inclinations of the person or virtues of the Lady. And as the instruments proper to every profession, are the places befitting a device, as the Swords, Pistols, and head-pieces for men of war: So (Methinks) the most proper place for a Ladies Devise, is her looking-glass: For 'tis no less necessary for a Lady to contemplate her interiours, and examine the motions of her soul, then to consider her visage, and preserve it immaculate; since by the mirror she only sees the exterior quality of her face, whereas by the device she discovers the inclination of her mind, and excites herself more often to the exercise of virtue, or to the execution of some noble design, whereof the device renews the memory, as often as she beholds it. And it seems this custom may be conformable to the intention of Pythagoras, who ordained that his Scholars should often behold themselves in a glass, to the end that considering the beauty of their bodies, they might be equally careful to imbolish their minds thereby to render them worthy of so fair an abode. Lady's may also place their devices on their Coaches, Cabinets, Beds, Hangings, Cushnets, Carcanets, and on other parts of their ornaments and apparel.  
Though we have disapproved all kind of ornaments for the bodies of devices, because they may encumber the figure; and though we admit of an hand to hold something with greater grace, as we have already observed; yet notwithstanding I approve the inserting for ornament round about the device, between the body and the edge, some Garlands or Coronets, some Chaplets and Bordures; For example, you may use a wreath of Myrtle for Amorous, of laurel for heroic, of cypress for mourning devices, and so for others; so that within the branches we leave a certain space for a commodious insertment of the words.  
There are some kind of devices, which can in no wise merit the title of Perfect; in which number maybe the calumnious, which are forged against the principal end of a legitimate device; those that by a simple Metaphor discover the conceit of an accident already happened, without demonstrating any virtuous proposition, or noble design to be put in execution; and those also whereof the conception is purely of a thing present. We must nevertheless except the devices of stamps or Counters, which change every year, either in declaring the heroic design, which the Prince intends that present year to put in execution, or rather presenting to men's eyes, that which the same Prince hath already atcheived of more glory the year precedent.  
As for devices of detraction, though they should be formed according to the tenor of our Rules, they ought to be utterly rejected from the number of the perfect, since the Author doth thereby neither propose a virtuous subject to imitate, nor any laudable design to execute, besides they are oppugnant to the etymology of the word Devise, which in Italian signifies an enterprise, and in French, a design, without having respect to the particular term of device, whereof the signification is of a greater extent in the French tongue, and by consequence affords a greater liberty or licence: For deriving it from this word (Deviser) which, (according to the example of Sieur du Belley) is taken to depaint the natural disposition, or describe the conditions of any one, it might include the calumnious devices, as well as those which regard the time present, pad, and future.  
devices may with equal commodity as well relate to the name as to the arms of the possessor, so that those which allude to the name be not taken from some signification too much remote from common sense or ordinary use; as the names whereof the etymology is drawn from the Greeks or Hebrews. And for a pregnant example take that of a noble Gentleman called FORT-ES-Cu, i.e. Strong shield, who caused a Spartan Buckler or shield to be represented alluding to his name with this Motto, {non-Roman} {non-Roman} {non-Roman} {non-Roman} {non-Roman}, an ancient and famous saying of a Lacedaemonian mother to her son, when she delivered him a Shield going to the war, and is as much as to say, son, either bring back this shield, or be thou brought back thyself (dead) upon it. again, the great Constable Colonna being received into the academy of the Humoristi in Rome, used for his device an egg with drops of dew upon it, drawn up by the beams of the sun, with this Italian Motto, IL SUPERFLUO, expressing thereby, that he was a superfluous member of that great and famous academy of the Humorists, where you may observe the body of this device to allude well by the humour or moisture of the dew to the name of the academy.   

CHAP. XX.  
Which are the best devices, either those which are taken from Nature, or those which are drawn from Art.  
THough I approve those devices which are taken from Art, yet I set a greater value upon those which are drawn from Nature, because this is as it were the Mistress of the other: Besides, Nature is subject to no change, continuing still the same; whereas the instruments and effects of Art depend upon the fancy of men, and have divers usages, according to times and new inventions, there being some which are not known but in some certain Countries and in particular towns only. I conclude in a word that all the excellence and virtue which we find in things artificial receive their origin from Nature, whereunto the nearer Art approaches, so much the more perfect and excellent are its operations. Whence it cometh that the bounty of nature is known to be essential and solid: contrariwise that of Art appears every day inconstant and accidental to the subject. Bargagli is pleased to produce some reasons to prove, that in matter of devices, things artificial are more valuable than subjects natural. But for my part, I judge the decision of this problem no ways requisite to a Treatise of devices; since all Authors agree, that we serve ourselves indifferently both from Art and nature, and likewise from both together extreme gentilely, though those which are severally composed of the one and the other are the choicest. Bargagli will have it, that those devices which we draw from Art and Nature together are to be ranked in the number of artificial; because that part of nature, which is in the body of the device, were not able of itself to produce the effect, whereof the Comparison is made, by means of which we endeavour to discover our meaning; for so much as things take their denomination either from their end or from their form.  
Now for as much as ciphers have some affinity with devices, I have (for distinction sake, and to preserve the Reader from falling into the inconvenience of making a cipher or a Rebus instead of a device) here translated what Palazzi hath delivered upon this subject.   

CHAP. XXI.  
Of ciphers according to Andreas Palazzi.  
CYphers are principally of 2 kinds, (to wit) of Actions and of words.  
ciphers of actions are such as that of Tarquin Superbus, who made no other answer to the ambassador sent on the behalf of his son, but only in his presence whipped off with a wand the heads of the highest Poppies in his Garden, giving him to understand, that the chiefest Citizens should be so dealt with.  
Those of words: some are simply of words, as those which compose a certain jargon, or gibberish understood by none but by themselves: Others are made of words written: of these some are called ciphers, in respect of the matter, with which we write, as with salarmoniack, juice of onions, juice of Lemons, and many other secrets, too long to recount, wherewith Letters are written, some of which are not legible but by help of the fire, others in water, others in a looking glass: others are called ciphers in respect of the matter upon which they are written, 〈◊〉 Histicus did who, having caused a Slave to be shaved, wrote upon the skin of his head, then letting the hair grow till the writing could be no longer discerned, sent him to Aristagoras, advertising him to shave the said slave De-novo: And that also which the Spartans made use of, which the Greeks call Scitala, as Plutarque writes in the life of Lisander. And likewise the invention of Dumaratus, who wrote upon 2 Tablets and then covered them with wax, as Herodotus relates in the end of his 7. book: sometimes we call those things ciphers, which are shrow under the obscurity of words or mysterious sense, such are aenigmas, as this of Samson, Out of the eater came meat, and out of the strong issued sweetness. And that of Valla▪ We have not lost one of the animals that escaped our hands, and we have lost those we did light upon. Here is another of Jacques Torelly Fano. Vulcan begot me, Nature brought me into the world, the air and Time have been my Nurses, Minerva instructed me, my force is great, and proceeds from a small substance, three things furnish me with body and nourishment. My Children are destruction, ire, ruin, and noise. By this signifying the Artillery.  
Finally, there are others also called ciphers, in respect of the matter whereof they are written, of which one kind are with figures and the other without. ciphers without figures are those which in these day's Ministers of State, Princes and Kings do make use for writing their secrets and negociations, according to their occasions, but principally in time of war; And there are ciphers made by new and unknown Characters, such as Cicero used, every Character whereof signified an entire word, as P. Critus and Valerius Probus do testify, like those used by the Jurisconsults: when instead of digests they make use of a double ff●the letter L. for Law, this mark 〈◊〉 for Paragraph, and so of others.   

CHAP. XXII.  
Of Sentences and Rebus.  
A Sentence is a plain Conception or saying of some particular thing or person, to express his passion, the state wherein he is, his desire, or some certain proposition, as the Spartan Buckler with these words, AUT CUM HOC, AUT IN HOC, i. e, I will live with it, or die on it.  
Those devices which are deprived of Comparisons are no other but Sentences or figurate Conceptions, As this of Pens, HIS AD AETHERA, i.e. I shall by them acquire an immortal renown, or by them I shall raise myself even to the heavens.  
Behold here the difference between figured Sentences and figured Ciphers. The Author makes no other use of the figures which he proposes, but to express one or more names: And the figured sentences and conceptions serve to demonstrate the intention of the Author, by the signification of things inserted in the figure, and by the words of the Motto, which explain them, as in the before mentioned examples. ciphers are but the works of inferior wits, unless some able man do sometimes make of them for his pleasure. Some have been desirous to prescribe Rules for them, saying, that besides the figure, they should have some words, which were to be a distinct thing from the figure, and that from them joined to the quality of the thing, we should draw the conception, as in these examples. First of a false Diamant with these words, POUR QUOY M'AS TU DELAISSE? the meaning thereof being DY-AMANT FAUX, POUR QUOY M'AS TU DELAISSE? False lover, why hast thou forsaken me? 2. A Lady called 〈…〉 her servant, he in passion expresses himself with this figure 66▪ and these Italian words, PER CHE MI FAI MORIRE, which words added to the figure 66. SE SANTA SEI, conclude, SE SANTA SEI, PER CHE MI FAI MORIRE? that is, if thou be'st holy (as thy name imports, and the figure 66) why dost thou kill me? Thirdly, Mary Queen of Scotland, Grandmother to His i th' now is, was presented by Francis the second of France, (then Suitor, but afterwards her husband) with a rich Tablet of gold, in which was her picture exquisitely drawn, and which (being besides enriched with many precious stones) had on the one side a fair amethyst, and under it as fair an Adamant with this Motto, AMAT-ISTA ADAMANTEM, i.e. She loves her dearly-beloved, alluding also to the names of the stones. For my part I hold these to be the same things, or but little differing from the Rebus of Picardy.   

CHAP. XXIII.  
Of chimeres of arms.  
CImiers derive their name from nothing else, 
The Motto and crest of a Coat of arms being simply put together without relation to each other, make that which we (from the French) call a Cimier: But if the Motto relate to the crest or figure, and out of both arise a Comparison, then 'tis properly a device.  but from the name of the place they are set, that is to say, upon the Cimier or summit of the timber or Helmet.  
There are some without words, and others accompanied with words. We may see plenty of examples upon the arms of the French Lords, Italians, English and other Nations, but particularly the Germans, whereof few are without them, wherein they make use of all sorts of Animals, and plants, as also of human figures, as of wild men, Sirens and others. Most draw them from some part of their arms, which they every with a Motto, Devise-like, according to their Fancies.  
APR. 26. 1646. Imprimatur, NA: BRENT.   
FINIS.