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Digitized by the Internet Archive 
 in 2018 with funding from 
 Getty Research Institute 
 
 https://archive.org/details/religiousemblemsOOunse 
 

 
 
 
 
 
 
 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
RELIGIOUS EMBLEMS 
 
 BEING 
 
 A SERIES OF 
 
 Cngrabtngs on HS&ooti, 
 
 MESSRS. C. NESBIT, BRANSTON, CLENNELL, * HOLE, 
 
 FROM 
 
 DESIGNS 
 
 BY J. THURSTON, ESQ. 
 
 THE DESCRIP T10 NS 
 
 WRITTEN BY 
 
 THE REV. J. THOMAS, A.M. 
 
 CHAPLAIN TO THE EARL OF CORKE AND ORRERY. 
 
 SECOND EDITION. 
 
 Lonuon: 
 
 PRINTED BY SQUIRE AND WARWICK, 
 
 FumivaTs-Inn-Court, Holborn, 
 
 FOR R. ACKERMANN, AT THE REPOSITORY OF ARTS, No. 101, STRAND. 
 
 1810. 
 
 s* • 
 

 
 # 
 
 
 
 
 
 
 
 
 
 
 
 ♦ 
 
 
 
 
 
PREFACE. 
 
 Amongst the various modes of multiplying the inventions of the 
 painter, and generally diffusing the productions of human intellect, 
 though they have followed each other in rapid succession, engraving, 
 or cutting on wood, seems to have been the first introduced, and the 
 earliest in general cultivation. 
 
 In China, from time immemorial, characters have been printed, and 
 various stuffs impressed with colours from cut wooden blocks ; but, in 
 Europe, we cannot trace the discovery farther back than the fourteenth 
 century, and even here it is involved in considerable obscurity. This 
 difficulty arises from the earliest specimens of the art being entirely 
 without date, or any internal evidence or indication which might lead 
 to the knowledge of the precise period of their production. 
 
 It seems, however, certain that, before the invention of moveable 
 types, there were books composed by means of rude delineations on 
 wood, with short explanations for the convenience of those who could 
 not purchase manuscript copies of the Old and New Testament. Of this 
 description are the Historia Sancti Johannis Evangelista’, ejusque visiones 
 apocalypticce, and Historice Veteris et Novi Testamenti, commonly known 
 by the name of the Poor Man’s Bible. These books are preserved in 
 the Bodleian Library, at Oxford; they are in small folio, the leaves are 
 printed only on one side, and two leaves are pasted together. There is 
 one of a similar description in the possession of Lord Spencer; and 
 another in the Cracherode Collection, illustrative of Solomon’s Song, 
 though this is certainly of a less ancient character. 
 
 Papillon tells a story on the report of a Swiss officer, of eight 
 engravings on wood, representing the warlike feats of Alexander, which, 
 were it entitled to any credit, would carry the invention of the art as far 
 back as 1284, or 1285, as Pope Honorius the Fourth, to whom the 
 work is said to be dedicated, sat only during those years in the Papal 
 
PREFACE. 
 
 chair. But this story, ushered in with so much pomp, parade, and 
 circumstance, must fall to the ground, unless supported by better 
 authority than the mere verbal testimony of an obscure individual. 
 
 Where data are wanting on which to found opinions, conjecture 
 must supply the place of certainty. The Baron Heineken supposes, 
 and probability favours the supposition, that engraving and taking 
 impressions from wooden blocks, originated with the fabricators of 
 playing cards, which were introduced as early as 1376. The transition 
 was easy from pastime to devotion ; and we must not be surprised that 
 those who had successfully administered to the pleasures of the people, 
 should now turn their thoughts to what, in the days of monkish super¬ 
 stition, were considered as aids to the exercises of piety. Saints, martyrs, 
 devils, and dying men were now alternated with kings, queens, knaves, 
 and aces; and the same hands furnished both the bane and antidote. 
 In the course of the researches which Baron Heineken made amongst 
 the convents, monasteries, and other religious houses of Germany, he 
 had an opportunity of inspecting many of these rude and primitive 
 specimens of the art. Five prints, called Ars Moriendi, of the same 
 size as playing cards, he particularly mentions having seen in the library 
 of Wolfenbuttel; and another of a folio size, at a convent at Buxheiin, 
 near Memmingen, bearing date 1423. Of this curious print we can 
 speak with certainty, as it has since been purchased by Lord Spencer, 
 and is now in the library at Spencer House. The subject is, St. 
 Christopher carrying the infant Jesus over the sea: a hermit is lighting 
 them with a lanthorn, and behind is a peasant with a bag at his back, 
 climbing to the top of a mountain. This is, we believe, the earliest 
 dated print now extant. 
 
 These rude essays were speedily followed by sets of subjects, marked 
 with the letters of the alphabet, and surrounded by inscriptions either 
 for the purposes of instruction, or as helps to the exercises ot devotion. 
 
 The Chiromancy of Dr. Hartlieb, is the next dated work of this kind 
 which is noticed in the Idee generate d'une Collection complette d’ estampes. 
 It is in small folio, and consists of twelve leaves, printed on both sides. 
 At the beginning is a curious vignette, which displays Dr. Hartlieb on 
 his knees, presenting his book to the Princess Anne. This book bears 
 date, 1448. 
 
PREFACE. 
 
 But the invention of moveable types soon put an end to the 
 publications of the card makers. Wood engraving now began to 
 assume a new characterit was cultivated by men of talent, and 
 asserted its claims to be considered not merely as the handmaid of 
 printing, but as the purest and best method of multiplying and 
 perpetuating the noblest conceptions of the painter. 
 
 The folio Chronicle of Schedel, which appeared at Nuremberg in 
 1493, was embellished with engravings on wood, by Pleydenwurff and 
 Wolgemut, executed in a style of great comparative excellence. The 
 latter of these artists was tutor to Albert Durer, who now burst upon 
 the world in all the splendour of superior genius. This great man may 
 be considered the Shakespeare of painting. Unacquainted with the 
 treasures of antiquity, with which the Italians were surrounded, he 
 sought in nature alone for the principles which were to direct his studies. 
 In his time the art was an unknown sea, to traverse which, without 
 chart or compass, required no common powers. The commanding 
 genius, and unconquerable perseverance of this great man, overcame 
 every obstacle that obstructed his course, and, to pursue the simile, we 
 may say, that his soundings were as accurate as his discoveries were 
 extensive. To Albert Durer wood engraving was indebted for its 
 character ; and it is to his works we must constantly refer when we 
 would fix its rank and estimate its powers. 
 
 Albert Durer was followed by Albert Altdorfer, Hisbel Pen, Virgil 
 Solis, and many others ; indeed almost all the German artists engraved 
 on wood, as v/ell as copper. One splendid work of this period we 
 must not omit mentioning ; first, because its magnitude and merit 
 entitle it to a place in the history of the ai t; and, secondly, because as 
 the original blocks on which it was executed are now in existence, we 
 can speak of it with more confidence and security. The work to which 
 we allude is the Triumphs of Maximilian, executed in 1316, 1317, 1318, 
 1519, by various engravers, from the designs of Burgmair, on a 
 hundred and thirty-five blocks, forty of which were found in the cabinet 
 of curiosities at Ambras, in the Tyrol, where they most probably had 
 remained since the death of the emperor, and the rest were discovered 
 at a college of Jesuits, at Gratz, in Stiria; they were transmitted, in 
 
PREFACE. 
 
 1779 , to the imperial library at Vienna, and are at this moment open to 
 the inspection of every visitor.* 
 
 According to the account given by the editor of the work, as 
 reprinted at Vienna, in 1796, these triumphs were first painted in 
 miniature on sheets of vellum, and afterwards copied, or rather freely 
 translated on wood by Burgmair. 
 
 Sandrart, who speaks highly of their execution, and tells us they 
 were destroyed by fire at Augsburg, supposed that they were engraved 
 by this artist, whose initials appear on the face of every print ; but, 
 by an inspection of the blocks, the following names of the different 
 engravers are found at the backs of their respective works:—Jerome 
 Andre, Jean De Bonn, Cornelius, Ilans Frank, Saint Germain, 
 Guillaume, Cornelius Liffrink, Guillaume Liffrink, Alexis Lindt, 
 Negkher, Vincent Pfarkercher, Jaques Rupp, Ilans Schaufflein, Jean 
 Taberith. Indeed had we not this authority, the internal evidence of 
 the several prints would be sufficient to prove that they were not the 
 work of one hand. 
 
 We have thought it necessary to be thus particular in the description 
 of these engravings, as we may have occasion again to refer to them. 
 
 But perhaps the most extraordinary work of this kind that ever was 
 produced, is the series of engravings known by the name of Holbein’s 
 Dance of Death. These splendid specimens of the art possess all the 
 vigour of Drawing, and truth of detail, so conspicuous in the works of 
 Albert Durer, connected with a much greater delicacy of execution, and 
 more refined taste. The date of the first edition of these prints is 1530. 
 
 Though the Germans undoubtedly took the lead in the cultivation 
 of wood engraving, Italy, France, and Holland produced many excellent 
 artists in this way ; and the Venetian painters were copied on wood with 
 great brilliancy and truth. That the scholars of Titian f practised it 
 
 * There is now in the possession of Messrs. White and Co. Fleet-Street, a vellum copy 
 of this splendid work, which there is every reason to think is unique. 
 
 t Notwithstanding the authority of Papillon, we are disposed to doubt whether Titian 
 himself practised it. It is now almost decided that the monogram on wooden prints, 
 generally stands for the designer only, and that the name of the engraver frequently does not 
 appear. This is the case with the Triumphs of Maximilian. 
 
PREFACE. 
 
 with success is evident, from the many prints from that master now 
 extant; such as the Labours of Hercules, the Deluge, the Book of 
 Costume, Esop’s Fables, &c. &c.; but perhaps there is none more 
 universally known than the caricature of the Laocoon, which, notwith¬ 
 standing the great celebrity of its author, and the good object it was 
 meant to accomplish, we do not hesitate to pronounce destitute of wit, 
 meaning, or satire. 
 
 In 1613, the Low Countries produced Vichem, an artist of great 
 merit. He was soon followed by Jegher, whose splendid productions 
 eclipsed those of all his cotemporaries, and whose name marks an epoch 
 in the art. On the prints of this artist the eulogist of wood engraving 
 may take his stand with confidence ; here is no “ translation,” no 
 mixture of styles, as is the case with engraving on copper ; it is Rubens 
 reproduced, and living again in all the luxuriance of his taste, and the 
 negligent grandeur of his pencil. But here our catalogue of names 
 must end : from the time of Jegher, in proportion as engraving on 
 copper was cultivated and encouraged, this interesting art continued to 
 decline, till, according to Papillon, who wrote in 1738, it was despised 
 by every body, and practised only by ignorant quacks or mercenary 
 speculators ; and, if we may judge from the vignettes dispersed through 
 his volumes, Papillon, notwithstanding all his love for the art, was not 
 calculated to advance its interests, or elevate its character. 
 
 In England, the art of wood engraving was introduced as early as 
 1481. Caxton’s Mirror of the World, and Game of Chess, which are 
 among the first specimens of printing in this country, abound with this 
 sort of decoration. The sumptuous edition of the Bible, in the reign 
 of Henry VIII, and the Prayer Book and New Testament of 
 Queen Elizabeth, prove that it was cultivated at that time with success, 
 and practised by artists of ingenuity. The residence of Holbein at the 
 English court, may account for its rapid advancement ; but we know 
 not what reason to give for the total neglect and disuse into which it 
 has since fallen ; for, from the time of Elizabeth to the present day, 
 there is scarcely one specimen that deserves notice. The Bewicks, of 
 Newcastle, were the first to bring this art to any perfection. With what 
 success they have practised it, their works on natural history, which are 
 in every body’s hands, sufficiently evince ; and it is no small addition 
 
PREFACE. 
 
 to their praise, that to the pupils of this school we owe every work of 
 celebrity that has since been executed. 
 
 The fashionable mode of decorating books with vignettes, and the 
 popularity of Mr. Thurston’s drawings, soon paved the way for its more 
 general introduction ; but as the eyes of the multitude had been long 
 accustomed to the highly-finished works of the copper engravers, it 
 became necessary for the engraver on wood likewise to assert his claims 
 to finished excellence. Whether the title has been made out, and 
 whether these productions deserve the praise that has been awarded 
 them, will be proved by an examination of the following sheets. To 
 draw into one focus all the talent of the day, was the intention of the 
 proprietor. Whether he has or has not succeeded, must be left to the 
 decision of the public. 
 
 We cannot conclude this rapid sketch of the history of wood 
 engraving without observing, that this long-neglected art has lately 
 excited the attention of Mr. West, Mr. Flaxman, and Mr. Stothard ; 
 and from the love which these gentlemen are known to possess for every 
 thing genuine or elevated, we may expect to see it, by their exertions, 
 revived in all its former splendour, and restored to its ancient and 
 legitimate rank. 
 
 It will be observed, and possibly with some surprise, that in the 
 foregoing account we have not hinted at the probability of any other 
 material than wood having been used in the production of the engravings 
 which have passed under our notice; we are not, however, ignorant that 
 a doubt, has arisen in the minds of some antiquaries upon this subject. 
 Mr. Landseer, in the lectures which he delivered with so much eclat 
 at the Royal Institution, gave it as his opinion, that type metal was 
 formerly used instead of wood ; that the lights were possibly corroded 
 away, or that the tablet was cast from a ££ prototype, or matrix,” 
 previously cut in “ intaglio.” 
 
 This opinion is grounded, first, on ££ the freedom and frequency of 
 the cross-hatchings, which distinguish the works of the old masters from 
 modern wood engraving and, secondly, on the circumstance of none 
 of the old wooden blocks being now discoverable, notwithstanding the 
 most diligent enquiry. 
 
 But with all our respect for the opinions of the ingenious lecturer, 
 
PREFACE. 
 
 we cannot help thinking, that, in this matter at least, he is mistaken ; 
 the reasons for our dissent are as follow:—• 
 
 First, so far from its being obvious that the old masters adopted the 
 easiest mode of accomplishing their object, we conceive the exact 
 contrary to be the fact. In the infancy of every art there is always 
 much unavailing labour; ease and rapidity increase as it advances, and 
 the short-hand methods are the finishing strokes to its maturity and 
 perfection. Besides, the obvious intention of wood engraving was, that 
 the impression from the block should be, as much as possible, a fac 
 simile, or reproduction of the drawing in all its purity. To accomplish 
 this it was necessary that whatever fell from the painter in the fervour 
 of composition, tvhatever added to the soul, the vigour, the originality 
 of the work, should be most faithfully and religiously preserved. Of 
 this description are the cross-hatchings, which must always occur in 
 drawing with the pen, unless studiously avoided. Removing then the 
 interstitial spaces, became, in the eye of the painter, an object of no small 
 importance, and worthy of all the pains and care requisite for its 
 accomplishment; and as to the objection on the score of time, though 
 we do not mean to go the length of the French editor of the Arch of 
 Maximilian, who roundly asserts that Albert Durer never engraved any 
 of his own designs ; yet we cannot see any reason why he should be 
 supposed to have occupied his time in the shadows and inferior parts, 
 which might be done just as well by his pupils and assistants. 
 
 In this opinion we are supported and confirmed by a most intelligent 
 wood engraver* of the present day, who, having himself produced the 
 dark crossings with ease and freedom, may be allowed to speak upon 
 the subject “ as one having authority.” 
 
 Again,—the total silence of Papillon on this subject, whose father 
 and grandfather were wood engravers, and who consequently must have 
 had traditionary evidence of the practice of Jegher and his cotemporaries, 
 seems another presumptive proof that that great master (who certainly 
 used the cross hatchings, with quite as much freedom as the earlier 
 artists) did not know, or, at any rate, did not adopt this supposed 
 
 * Mr. Luke Clennel. The print to which we refer is the diploma of the Highland Society, 
 from a drawing by Mr. West. 
 
PREFACE. 
 
 metallic process. Further, if metal were used instead of wood, why 
 were not the tablets cast large enough to take in the whole subject? 
 That this is not the case, a very cursory inspection of the prints of the 
 old masters will convince us. In prints of large folio size, several blocks 
 are constantly used, and, in some cases, the joinings are so imperfect as 
 to become exceedingly offensive. 
 
 So much for Mr. Landseer’s first objection. The second can be 
 answered much more easily, because it is a fact, that the blocks of 
 peartree-wood, on which the Triumphs of Maximilian the First are 
 designed and engraved by the pupils and cotemporaries of Albert 
 Durer, are in existence ; that they have been inspected by several 
 persons of veracity in this country, and may be seen by any body who 
 shall take the trouble to go to Vienna for the purpose; and, to come 
 nearer home, there is in the possession of Mr. Douce, of the British 
 Museum, one of the small blocks of Albert Durer’s Passion of Christ, 
 of the authenticity of which that learned antiquary does not, we believe, 
 entertain a single doubt. 
 
 Such are our reasons for adopting the old-fashioned opinion ; it is, 
 however, an interesting subject of investigation, and, we hope, the 
 enquiry will still be pursued with diligence. 
 

 
 
 
 
 
 
 
 
 
 
 
 
 'I 
 
 
 
BFST3UTCTION OF BFATH MB SIM, 
 
 When the cruel destroyer. Death, has at length completed his work 
 of desolation, and subdued all animated nature under his power, he 
 shall himself be overthrown, his crown torn from him, and his iron 
 sceptre broken in pieces, by the mightier power of the Saviour. 
 
 Then shall his beloved help-mate, the enchantress Sin, be despoiled 
 of all her destroying arts and charms, and, joined in his fall, shall 
 crown the final triumph of our blessed Redeemer. 
 
DESTRUCTION OF DEATH AID 
 
 tn^Vrran ybi 
 
 He will swallow up death in victory. Isaiah xxv. 8. 
 

 
 
 
 
 
 c -. 
 
 ! 
 
 
 

 
 
 
 
 
CAJLJL TO YIGITANCJE, 
 
 Slumberer, awake! see thy perilous situation. The foe is preparing 
 his unerring shaft to strike thee down from thy couch of fancied 
 security, into the dreadful gulph of perdition, that opens wide beneath 
 to receive thee ! 
 
 Slumberer, awake! suffer not the syren Sin, with pleasure in her 
 train, to lure thee through the broad and easy road that leads to 
 destruction; but rather follow thou the track of bright Religion, whose 
 ways are ways of pleasantness, and all whose paths are peace: for 
 remember, that the wages of sin is death, but the gift of God is 
 eternal life. 
 
CALL TO VIGILANCE 
 
 TpYiyOptiTS KCCl 'UJpO'TEV%EO'VE W% jLOJ 
 EICTEXQyjTE Eig 'EJElpCCO'fjLOV. 
 
 Watch and pray, that ye enter not into temptation. 
 
 St. Mark xiv. 3S. 
 

 
 
 
 
 
 
 
 
 
THE WORLD MADE CAPTIVE. 
 
 The watchful enemy has seized this globe of lightness and vanity, and 
 is endeavouring to secure it in his car; while lust and gluttony, with 
 the rest of his infernal team, are hastening wdth their prize down the 
 deep descent to perdition. The danger is extreme. It is on its polar 
 anchor, the redeeming cross and the strong chain of divine love attached 
 thereto, that all hopes of deliverance must depend. 
 

 
 THE! WORE® MADE CAPTIYE. 
 
 TIsplE'GJ'ZTYICr&TE X.0CT0C TOV OUUJVCC TOV KOT^X TOVTH 
 
 koltoc, tov OLgxovra, tyis E^ovo'tocg tom ctspog. 
 
 Clenncll sculpt. 
 
 Published by R. Ackermann , 101 , Strand. 
 
 3 
 
 Ye walked according to the course of this world, according to the prince of the power of the air. Ephesians ii. <2. 
 

 
 / 
 
 9 
 
THE JOYFUL RETRIBUTION. 
 
 The dying moments of the righteous man are cheered by the sweet 
 assurances of approaching bliss: Hope, kindling into confidence, points 
 to the emblems of his salvation through suffering. The cup of bitter- 
 ness, says he, has been thy portion in this world; like thy divine 
 Master, thou hast been “ despised and rejected of men, a man of sor¬ 
 rows, and acquainted with grief.” But here thy sufferings shall cease; 
 expect now the glorious retribution that awaits thee; prepare now to 
 enter into the joys of thy Lord, to hear him pronounce the reward 
 for thy faith and truth in this transporting sentence : “ Come, ye 
 
 blessed ! enter now into the kingdom of your Father, prepared for 
 you since the foundation of the world;” there to hymn eternal praises 
 to him who is, who was, and is to come—Holy! Holy! Lord God 
 Almighty ! 
 
THE JOYFUL RETRIBUTION 
 
 MxXCipiOt ol VEXpOt ol EV XVplCV OL'SJoOvYl'TXOVTEt . 
 
 Blessed are they which die in the Lord. Revelation xiv. 13. 
 

 
 
 , 7 
 
 r 
 
 
 
 
 
 
 
 
 
 
 
 
 
 *. 
 
 
 
 
 

 
 
HOPE BJEFARTIN <Gr. 
 
 Behold the awful close of an ill-spent life! See the last friend of 
 human kind forsakes the impious man in his dying moments. The 
 last lingering ray with which Hope cheers the departing spirit is with¬ 
 drawn from his shuddering and benighted soul : a dreadful and aveng¬ 
 ing horror seizes on his brain. Earth and heaven seem armed against 
 him. Conscience proclaims to him that the one he has outraged, and 
 the other he has defied. Desperate in guilt, he rejects'with horror 
 the mediation and redeeming grace of the Saviour ; and, spurning his 
 Holy Sacrament, he sets the seal on his own destruction. 
 
HOPE DEPARTING, 
 
 nrra£ rfcmn 
 jiiNn cyttn mpm 
 
 C. Ncsbit sculpt. 
 
 Published by P. Aekermann , 101, Strand. 
 
 The hope of the righteous shall be gladness 3 but the expectation of the wicked shall perish, 
 
 Prov. x. 28, 
 
. 
 
 t; 
 
 
 
 
 
 
 
 y 
 
 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
FJLOCKS REFRJESHEB. 
 
 The flocks, faint with heat and wearied with travel over the burning 
 desert, arrive at a place of rest and refreshment. 
 
 The friendly palm receives them under its ample shade, while they 
 slake their thirst at the clear fountain that bubbles at its foot: as 
 when of old, Moses, by divine command, struck the rock at Horeb, 
 whence gushed forth waters to allay the thirst of the exhausted Israelites. 
 
 Such is thy saving grace, thou blessed Redeemer of mankind ! to 
 thy fallen and sinful people. 
 
FLOC KS REFRESHED. 
 
 Aeote ropo; u.e TOavTE; oi xootiwvtej 
 
 xat WE^opric7^EVOi, xayw Gtva'nrtxhC'W t^aj. 
 
 Published b>( P- /Ichcrmnnu, 101. Strand. 
 
 Clcnnell sculpt. 
 
 ¥ 
 
 Come unto me all ye that labour and are heavy laden, and I will refresh you. St. Matthew xi. 23 . 
 

 
 
 
 
 
SEE! 33) SOWN. 
 
 As the seed is deposited in the earth, from whence it will, at the 
 appointed season, spring forth and flourish; so is the human body 
 placed in the same humble receptacle, waiting for that awful moment 
 when the trumpet shall sound, and the dead shall be raised incor¬ 
 ruptible, and we shall be changed; then shall be brought to pass the 
 saying that is written ; ‘ Death is swallowed up in victory. O ! death ! 
 where is thy sting ? O ! grave! where is thy victory? The sting of death 
 is sin, and the strength of sin is the law. But thanks be to God, who 
 giveth us the victory through our Lord Jesus Christ.’ 
 
! 
 
 SEED SOWN. 
 
 A^pov, ail o aaa Eipo^-, a ^wotcoieitok, 
 iotv fj.ri tx.'aoQotvn- 
 
 Hole sculpt. 
 
 Published by R. dckcrmann, 101, Strand. 
 
 7 
 
 Thou fool! that which thou sowcst is not quickened, except it die, 
 
 Corinthians xv. 36. 
 

 > J 
 
 
 
 
 
 
 
 
 
 
 
 
 
 ♦ 
 
 
 
 
 
 * 
 
 
 / 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 * 
 
 
 
 
 
 
 
 . '< 
 
 ■ 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
RESCUED FROM THE FLOODS 
 
 Seated on the rock of salvation, our blessed Lord stretches forth the 
 powerful arm of his mercy to rescue sinking sinners from the floods. He 
 holds out to them the strong cable of his gracious and divine promises, 
 by which they who have faith to trust to it, are firmly attached to the 
 anchor of redemption, and thereby securely drawn through the tem¬ 
 pestuous ocean of sin, and landed in transports of grateful love at the 
 feet of their ever-glorious Redeemer ; who shall be to them as a covert 
 from the storm, and a refuge from the floods. 
 
RESCUED 
 
 FROM THE FLOODS, 
 
 ':n 7™ D’wa tnvn ’3 
 
 J'PSBB' niTOl 
 
 Branston sculpt. 
 
 Published by R. Ackermann, 101, Strand. 
 8 
 
 When thou passest through the waters, I will he with thee : 
 
 And through the rivers, they shall not overflow thee* Isaiah xliii. i- 
 

 
 
 
 * . 
 
 
 
 
 
 
 
 
 
 
 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
CONSTANCY, 
 
 Stedfast Christians cling fast to the cross of Christ, and will neither 
 be driven or enticed from its sheltering protection. 
 
 By the inspiration of the Holy Spirit, which is graciously granted 
 to their constant and fervent prayers, their good resolutions gradually 
 acquire a degree of strength and confirmation that renders them 
 invincible to all the assaults of the world, the flesh, and the devil; and 
 they can behold without terror all the mental and physical storms that 
 rage around, and vainly strive to shake them from the firm pole of 
 security. 
 
CONSTANCY. 
 
 r«K otctt o; a Gavara, '<cu Jiao-w cro» 
 tov crTElfosvov t*;; 
 
 Be thou faithful unto death, and I will give thee a crown of life. Revelation ii. 10 . 
 

 
 
 
 
 
 
 ' 
 
 
 
 1 
 
 
 
 
 
 \ 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 I- 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

 
 
 
 
 
 
 
 
 
THE FATE OF AVARICE. 
 
 How dieadful must be the summons of death to the avaricious man S 
 with what reluctance does he resign the keys of his adored, his solely 
 adored treasures ; and whilst he perceives the ill-concealed rapture and 
 impatience that spaikle in the eyes of the prodigal fool to whom he is 
 compelled to leave them, and thence reads their approaching fate, 
 how must the anguish of his lot be imbittered ! Such, and so dreadful 
 would be his feelings, were he but departing to non-existence, to anni¬ 
 hilation ! but what overwhelming weight of sorrow must accrue from 
 his reflections on the terrible futurity that awaits him ; and when he 
 thinks on the following awful and solemn truth—Thou fool! this night 
 shall thy soul be required ot thee; then whose shall those things be 
 
 o 
 
 which thou hast provided ? 
 
THE FATE OF AVARICE. 
 
 Qnaa. ypi^srs v^li Qr,croivpti; mi r nj yn otch crti; xou j3pucn; 
 a.tya.vifyi, y-yA otos xkmryA choovovutn y.va xXe wrou<7i. 
 
 Lay not up for yourselves treasures upon earth, where moth and dust doth corrupt, 
 and where thieves break through and steal. St. Matthew vi. ly. 
 


 
 
 
 . 
 
 
 
 
 
 
 
 ■ 
 
 
 
 
 
 
 ■ 
 
 
 ■ 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
SEJLF=SUFFI€IJENT INQUIRERS. 
 
 Behold the emblem of those proud reasoners, who, blind to the 
 radiations of the Holy Spirit, think to attain a saving knowledge by 
 the unaided efforts of their own speculations; who retire into darkness 
 to search out the light; who say, in the pride of their hearts, human 
 nature alone is adequate to the discovery of divine truths, and human 
 virtue to the performance of the duties requisite to salvation. O vain 
 and foolish, for is it not written, “ I will destroy the wisdom of the 
 wise, and will bring to nothing the understanding of the prudent/’ 
 
SEE F= SUFFICIENT INOUIRERS. 
 
 <nsy 
 
 Ot wot ra txitevo; rara (ppovt^wTEpot ttWEp rag 
 wyg ra (fwTog Etg tuv yina.* ttiv iolvt m curt. 
 
 The children of this world are in their generation wiser than the children of light. St. Luke xvi. «. 
 

 < 
 
 
 
 
 
 
 
 
 
 
 

 
 
 
 
 
 
 
 
 
 
THE WORLD WEIGHED. 
 
 The earth, when weighed in the scales of divine truth, is found lighter 
 than vanity; neither will the addition of wealth and honour, nay, nor of 
 all that the heart of carnal man can devise or covet, be found sufficient 
 to turn the beam. For what are the pleasures of youth, the honours of 
 manhood, or the wealth of age ? Will they last, and can we carry them 
 with us beyond the grave ? Alas ! no ! they will all vanish as the shadow 
 of a dream. But in thy heavenly kingdom, O thou God Eternal! 
 there is neither darkness nor vanity, neither dreams nor shadows ; but 
 all is truth, all is light for ever and ever. 
 
THE WOULD W1EIGIIEB 
 
 irhyb D^tam 
 :irp nsn 
 
 To be laid in the balance, tliey are altogether lighter than vanity. Psalm Ixii. 9. 
 

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CASTING OFF INCUMBRANCES. 
 
 Let us cast off every thing that may entangle, or obstruct our flight, 
 to the mansions of our heavenly Father; every earthly pleasure, how¬ 
 ever dear, we should resolutely discard and tear from our hearts, if 
 they tend to alienate us from God, and oppose the grand interests of 
 our salvation. 
 
 For what is a man profited, if he shall gain the whole world, and 
 lose his own soul? or what shall a man give in exchange for his soul? 
 
CASTING OFF INCUMBRANCES. 
 
 AotoSw^ieSo. gw ra ipya. ra <txot&s xoct 
 iv$ucrui/j.s9ct. roc. otnAa. rn tytvro;. 
 
 Branston sculpt. 
 
 Published by R. Ackermann, 101, Strand. 
 
 I 
 
 13 
 
 Let us therefore cast off the works of darkness, and let us put on the armour of light. Romans xiii. 12. 
 

 
 
 
 
 
 
 
 
 
 
 8 
 
 
 
 
 
 
 
 
 I 
 
 

 
THE DAUGHTERS OF JERUSALEM, 
 
 The soul that has enjoyed the ecstatic bliss of divine communion, and 
 been wedded to her Redeemer, feels for her glorious bridegroom an 
 inexpressively ardent affection. If it please him to withdraw awhile 
 from her presence, and hide the brightness of his countenance, his 
 absence tills her bosom with anxiety and terror; in all the agonies of 
 despairing love, she addresses herself to every one professing to know, 
 and have influence with her divine partner, beseeching them to aid her 
 with their prayers and supplications, “ to move his pity and regain 
 his love.” 
 
THE DAUGHTERS OF JERUSALEM 
 
 dV^vv m:n anna ^nyntrn 
 nrr na Kjmn qn 
 nnn k s rtama *h n^n hd 
 
 I charge you, 0 daughters of Jerusalem, if you find my beloved, that you tell him, that I am sick of love. 
 
 The Song of Solomon, v. 8. 
 

 
 
 
 
 ■ 
 
 • •. 
 
 1 
 
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FAINTING FOR THE EIYIMG- WATERS, 
 
 O thou refresher of wearied and distressed spirits—thou who quenchest 
 the noisome thirst of this world—thou who purifiest the sinner from 
 ail unrighteousness—let me taste of the living waters of thy sweetness, 
 that I may feel thy virtues and behold thy glories. O ! let me slake 
 my thirst with the streams of thy mercy; for thou art the spring of 
 life, the source of immortality, the fountain of bliss eternal. 
 
FAINTING FOR THE RIVING WATERS 
 
 cd by nyn b'&s 
 : C'n^ ~\'h^ :nyn p 
 
 As the hart panteth after the water-brooks, so panteth my soul after thee, O God. Psalm xlii. l 
 

 
 
 
 
 
 
 V 
 
 
 
 
 -• 
 
 
 
 
 

 
 
 
 
 
THE SOUL ENCACEH1, 
 
 The body is the cage in which the soul is confined ; the imprisoner 
 and deliverer. Birth and Death, sit opposite to each other. How dif¬ 
 ferent are their aspects! The treacherous charms of the one, full of 
 the most ensnaring promises, with an averted face courts our sight 
 from behind the veil of time.—Death, with an honest frown, shews the 
 keys of freedom; and the captive, turning an anxious eye towards the 
 door of deliverance, awaits, in trembling hope, for the announcing of 
 the Divine mandate, which will command the conqueror of the body. 
 The King of the Grave , through its portals to set the imprisoned soul 
 at liberty. 
 
THE! SOUL ENCAGEB 
 
 'vz: -1:020 nw’^nn 
 -piy n» irmrb 
 
 Clennell sculpt. 
 
 Published by R. Aekermcinn, 101, Strand. 
 
 16 
 
 Bring my soul out of prison, that I may praise thy name, 
 
 Psalm exlii. 8. 
 
•V 
 
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SINNJERS HIBING- IN THE! GRAYJE. 
 
 Vain, confident sinners, deceive not yourselves with the fallacious hope 
 that your offences may remain unobserved by the all-searching eye of 
 divine justice; rather fall down penitently at the feet of your blessed 
 Redeemer, and trust to his infinite mercy, than presumptuously attempt 
 to elude his search, or resist his power. Think not that in the close 
 recesses of the grave, or under the dark extended mantle of Hades, you 
 will find shelter from the lightnings of divine vengeance; for though 
 you dig into hell, thence shall his hand take you ; and though you 
 climb up to heaven, thence will he bring you down also. 
 
SINNERS HIRING IN THE GRATE, 
 
 "fmna hin 
 : mis "pBo n:sn 
 
 C. Ncshil sculpt. 
 
 Published by R. Ackermunn, 101, Strand. 
 
 17 
 
 Whither shall I go from thy.Spirit? Or whither shall I flee from thy presence ? Psalm cxxxix. 
 
V. 
 
 
 
 
 
 , 
 
 
 
 
 
 
 b 
 
 
 
 
 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
AWAITING- THE DAWN, OR DAY-SPRING. 
 
 This dark globe of earth, surrounded with foggy vapours, intercepts 
 from my longing eyes the divine light of the sun of righteousness. 
 
 I sit among the tombs, involved in dismal shades, with no other 
 light than the faint glimmering of the taper of sense fixed in the eyeless 
 socket of a skull! —When will these glooms disperse ? Hasten on thy 
 course, O cheering harbinger of day ! give me the blessed hope and 
 assurance that the heavenly light will at length appear and chase away 
 the darkness that now sits heavy on my soul. 
 
AWAITING THE HAWN OR BAY-SPRING 
 
 TO nT«n 
 inmn |‘C'« p 
 
 Published b>i R. Ackennann, 101, Strand. 
 IS 
 
 Psalm xiii. .1* 
 
 Lighten mine eyes, lest f sleep the sleep of death 
 
. 
 
 
 
 
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 ■ 
 
 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
WOUNBEB IN THE MEMTAJL EYE, 
 
 When the sinner, gazing on the objects which ensnare his soul, is 
 wounded in the mental eye (his conscience) by the shafts of divine 
 love, and struggles rebelliously against the pain, that would, if endured, 
 throw off all evil propensities and corruptions; Satan, the arch-empiric 
 of this world, is ever ready to administer his treacherous aid.—Ah, 
 Sinner ! beware of trusting to his art! the balm he pours into the 
 wound is an enchanted poison; it may indeed assuage the anguish, and 
 charm the mind to repose ; but with the sense of pain all feeling is 
 destroyed, and each drop from his accursed vial by degrees corrodes 
 the nerves of true vision, and finally extinguishes the sight. Blind, 
 though believing (by the deceiving vapours fuming in his head) that 
 he sees dearer than ever, he sinks into the arms of oblivion; he clings 
 to her bosom in fatal security; and drinks, as the finisher of his cure, 
 large draughts from the intoxicating vessel of the world, which com¬ 
 pletes his delusion, and confirms his fate. 
 
 For “ The end of the carnal mind is death.” 
 
WOUIBED IN THE MENTAL EYE 
 
 tFN pi ©* 
 
 :mn nrvnnNi 
 
 I 
 
 19 
 
 Tlicrc is a way which scemcth right unto a man; but the end thereof arc the ways of death. Proverbs xiv. 12 . 
 
/ 
 
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FERTILIZING- RILL 
 
 From the foot of the cross, seated on the heavenly mount of mercy, 
 issues out the pure spring of redeeming grace; it divides into many 
 streams, which in their descent carry fertility and beauty to all the 
 inferior regions, dispensing abundance to the flocks and herds that 
 inhabit them. 
 
 How pure an emblem is this of the divine influence which the 
 gospel of Christ has upon those who receive it gladiy! To them it 
 cometh with healing in its wings, it visits them like the day-spring 
 from on high, it pitieth their sufferings and healeth their sorrows; and, 
 lastly, leads them to life eternal. 
 
FERTILIZING RIELS. 
 
 0$ y<xv min sk ry vScct o 5 * ov tyw ctoocu 
 
 hJ fxw ^L^r.CTY) iij T OV CClCUVOC. 
 
 CCVTW, 
 
 But whosoever clrinketh of the water that I shall give him, shall never thirst. 
 
 St. John iv. H 
 

 • . 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
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THE FORJEST-FEJL1L3ER. 
 
 The human race are as trees in the vast forest of this world, various in 
 their forms and character, and in their degrees of utility, strength, and 
 beauty : but they are alike destined to fall under the ax of the undis¬ 
 tinguishing and inexorable feller. 
 
 They are then made use of according to their different qualities— 
 some are applied to the noblest purposes. The cedars of Lebanon 
 are the temple of the Most High ; while the vile and worthless are cast 
 into the fire and perish. 
 
THE FOREST FELLER, 
 
 ITciv JsvJpov y.Yi 7roiyv jcaprov xaA ov y 
 xat 'nig jSaAAsm*. 
 
 EKKOT-TETCa 
 
 Every tree that bringeth not forth good fruit is hewn down and cast into the fire. St. Matthew vii. 19. 
 

 
 
 
 
 
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