Act ii. sc. 2, lines 32–35.
Thus presented in Symeoni’s “TETRASTICHI MORALI,” edition Lyons, 1561, p. 35,—
_SIGNOR DI S._ VALIER.
An Italian stanza explains the device,—
“_Nutriſce il fuoco à lui la cera intorno, Et la cera l’eſtingue. ò quanti ſono, Che dopo vn riceuuto & largo dono, Dal donator riceuon danno & ſcorno._”
“Qui me alit, me extinguit.”
The sense of which we now endeavour to give,—
“The wax here within nourishes the flames And the wax stifles them; how many names Who after a large gift and kindness shown, Get from the giver harm and scorn alone.”
“Who nourishes me, extinguishes me.”
Symeoni (from edition Lyons, 1574, p. 200) adds this little piece of history:—
“In the battle of the Swiss, routed near Milan by King Francis, M. de Saint Valier, the old man, father of Madame the Duchess de Valentinois,[97] and captain of a hundred gentlemen of the king’s house, bore a standard, whereon was painted a lighted torch with the head downward, on which flowed so much wax as would extinguish it, with this motto ‘QVI ME ALIT, ME EXTINGVIT,’ imitating the emblem of the king his master; that is, ‘NVTRISCO ET EXTINGVO.’ It is the nature of the wax, which is the cause of the torch burning when held upright, that with the head downward it should be extinguished. Thus he wished to signify, that as the beauty of a lady whom he loved nourished all his thoughts, so she put him in peril of his life. See still this standard in the church of the Celestins at Lyons.”[98]
Paradin, who confessedly copies from Symeoni, agrees very nearly with this account, but gives the name of the Duchess “Diane de Poitiers,” and omits mentioning “the emblem of the king.”
_Qui me alit, me extinguit._
As stated in the _fac-simile Reprint_ of Whitney’s _Emblemes_, p. 302, Douce in his _Illustrations of Shakespeare_, pp. 302, 393, advances the opinion that the translation of Paradin into English, 1591, by P. S., was the source of Shakespeare’s torch-emblem; “but it is very note-worthy that the torch in the English translation is not a torch ‘that’s turned upside down,’ but one held uninverted, with the flame naturally ascending. This contrariety to Shakespeare’s description seems fatal therefore to the translator’s claim.” P. S., however, renders the motto, “He that nourisheth me, killeth me;” and so may put in a claim to the suggestion of the line,—
“Which can as well inflame as it can kill.”
Let us next take Whitney’s stanza of six lines to the same motto and the same device, p. 183; premising that the very same wood-block appears to have been used for the Paradin in 1562, and for the Whitney in 1586.
“Even as the waxe dothe feede, and quenche the flame, So, loue giues life; and loue, dispaire doth giue: The godlie loue, doth louers croune with fame: The wicked loue, in shame dothe make them liue. Then leaue to loue, or loue as reason will, For, louers lewde doe vainlie languishe still.”
Now, comparing together Symeoni, Paradin, Whitney, and Shakespeare, as explanatory of the fourth knight’s emblem, we can scarcely fail to perceive in the _Pericles_ a closer resemblance, both of thought and expression, to Whitney than to the other two. Whitney wrote,—
“So, loue giues life; and loue, dispaire doth giue,”
which the _Pericles_ thus amplifies:
“Which shows, that beauty hath this power and will, Which can as well inflame as it can kill.”
We conclude, therefore, from this instance, that Whitney’s _Choice of Emblemes_ was known to the author of the _Pericles_, and that in this instance he has simply carried out the idea which was there suggested to him.
A slight allusion to this same device of the burning torch is made in _3 Henry VI._ (act iii. sc. 2, l. 51, vol. v. p. 281), when Clarence remarks,—
“As red as fire! nay, then her wax must melt;”
but a very distinct one in Hamlet’s words (act iii. sc. 4, l. 82, vol. viii. p. 112),—
“O shame! where is thy blush? Rebellious hell, If thou canst mutine in a matron’s bones, To flaming youth let virtue be as wax And melt in her own fire; proclaim no shame When the compulsive ardour gives the charge, Since frost itself as actively doth burn, And reason panders will.”
The “AMORVM EMBLEMATA,”—_Emblemes of Loue,—with verses in Latin, English, and Italian_: 4to, Antverpiæ, M.DC.IIX., gives the same variation in the reading of the motto as Shakespeare does, namely, “Quod” for “Qui;” and as Daniell had done in _The Worthy Tract of Paulus Jouius_, in 1585, by substituting “_Quod me alit_” for “_Qui me alit_.”[99] The latter is the reading in Paulus Jovius himself,—and is also found in some of the early editions of this play. (See Cambridge _Shakespeare_, vol. ix. p. 343.) The _Amorum Emblemata_, by Otho Vænius, named above, and dated 1608—one year before “PERICLES, PRINCE OF TYRE,” was first published, in quarto—has the Latin motto, “QVOD NVTRIT, EXTINGVIT,” Englished and Italianised as follows:
“_Loue killed by his owne nouriture._”
“The torche is by the wax maintayned whyle it burnes, But turned vpsyde-down it straight goes out & dyes, Right so by Cupids heat the louer lyues lykewyse, But thereby is hee kild, when it contrarie turnes.”
“Quel che nutre, estingue.”
“_Nutre la cera il foco, e ne lo priua Quando è riuolto in giù: d’Amor l’ardore Nutre e sfare l’Amante in vn calore, Contrario effetto vn sol suggetto auiua._”
At a much earlier date, 1540, Corrozet’s _Hecatomgraphie_ gives the inverted torch as a device, with the motto, “Mauluaise nourriture,”—
“Quelcun en prenant ses esbatz M’ainsi mise contrebas La cire le feu nourrissant L’estainct & le faict perissant.”
DEVISES Sic spectanda fides.
But the “device” and “the word” of the fifth knight,—
“An hand environed with clouds, Holding out gold that’s by the touchstone tried; The motto thus, _Sic spectanda fides_,” (Act ii. sc. 2, lines 36–38,)
“So is fidelity to be proved,”—occur most exactly in Paradin’s “DEVISES HEROIQUES,” edition 1562, leaf 100, _reverse_; they are here figured.
Paradin often presents an account of the origin and appropriation of his emblems, but, in this instance, he offers only an application. “If, in order to prove fine gold, or other metals, we bring them to the touch, without trusting to their glitter or their sound;—so, to recognise good people and persons of virtue, it is needful to observe the splendour of their deeds, without dwelling upon their mere talk.”[100]
The narrative which Paradin neglects to give may be supplied from other sources. This Emblem or Symbol is, in fact, that which was appropriated to Francis I. and Francis II., kings of France from 1515 to 1560, and also to one of the Henries—probably Henry IV. The inscription on the coin, according to Paradin and Whitney’s woodcut, is “FRANCISCVS DEI GRATIA FRAN. REX;” this is for Francis I.; but in the _Hierographia Regvm Francorvm_[101] (vol. i. pp. 87 and 88), the emblem is inscribed, “Franciscus II. Valesius Rex Francorum XXV. Christianissimus.” A device similar to Paradin’s then follows, and the comment, _Coronatum aureum nummum, ad Lydium lapidem dextra hæc explicat & sic, id est, duris in rebus fidem explorandam docet_,—“This right hand extends to the Lydian stone a coin of gold which is wreathed around, and so teaches that fidelity in times of difficulty is put to the proof.” The coin applied to the touchstone bears the inscription, “FRANCISCVS II. FRANCORV. REX.” An original drawing,[102] by Crispin de Passe, in the possession of Sir William Stirling Maxwell, Bart., of Keir, presents the inscription in another form, “HENRICVS, D. G. FRANCORV. REX.” The first work of Crispin de Passe is dated 1589, and Henry IV. was recognised king of France in 1593. His portrait, and that of his queen, Mary of Medicis, were painted by De Passe; and so the Henry on the coin in the drawing above alluded to was Henry of Navarre.
The whole number of original drawings at Keir, by Crispin de Passe, is thirty-five, of the size of the following plate,—No 27 of the series.
The mottoes in _Emblemata Selectiora_ are,—
“PECUNIA SANGUIS ET ANIMA MORTALIUM. Quidquid habet mundus, regina Pecunia vincit, Fulmineoque ictu fortius una ferit.”
“’T GELD VERMAG ALLES. ’t Geld houd den krygsknecht in zyn plichten, Kan meer dan’t dondertuig uit richten.”
“MONEY THE BLOOD AND LIFE OF MEN. Whatever the world possesses, money rules as queen, And more strongly than by lightning’s force smites together.”
“MONEY CAN DO EVERYTHING. To his duty the warrior, ’tis money can hold,— Than the thunderbolt greater the influence of gold.”
Very singular is the correspondence of the last two mottoes to a scene in _Timon of Athens_ (act iv. sc. 3, lines 25, 377, vol. vii. pp. 269, 283). Timon digging in the wood finds gold, and asks,—
“What is here? Gold! yellow, glittering, precious gold!”
and afterwards, when looking on the gold, he thus addresses it,—
“O thou sweet king-killer, and dear divorce ’Twixt natural son and sire! thou bright defiler Of Hymen’s purest bed! thou valiant Mars! Thou ever young, fresh, loved, and delicate wooer, Whose blush doth thaw the consecrated snow That lies on Dian’s lap! thou visible god, That solder’st close impossibilities, And makest them kiss! that speak’st with every tongue, To every purpose! O thou touch of hearts! Think, thy slave man rebels; and by thy virtue Set them into confounding odds, that beasts May have the world in empire!”
The Emblem which Shakespeare attributes to the fifth knight is fully described by Whitney (p. 139), with the same device and the same motto, _Sic spectanda fides_,[104]—
“THE touche doth trye, the fine, and purest goulde: And not the sound, or els the goodly showe. So, if mennes wayes, and vertues, wee behoulde, The worthy men, wee by their workes, shall knowe. But gallant lookes, and outward showes beguile, And ofte are clokes to cogitacions vile.”
If, in the use of this device, and in their observations upon it, Paradin, either in the original or in the English version, and Whitney be compared with the lines on the subject in _Pericles_, it will be seen “that Shakespeare did not derive his fifth knight’s device either from the French emblem or from its English translator, but from the English Whitney which had been lately published. Indeed, if _Pericles_ were written, as Knight conjectures, in Shakespeare’s early manhood, previous to the year 1591, it could not be the English translation of Paradin which furnished him with the three mottoes and devices of the Triumph Scene.”
To the motto, “AMOR CERTVS IN RE INCERTA CERNITVR,”—_Certain love is seen in an uncertain matter_,—Otho Vænius, in his _Amorum Emblemata_, 4to, Antwerp, 1608, represents two Cupids at work, one trying gold in the furnace, the other on the touchstone. His stanzas, published with an English translation, as if intended for circulation in England, may, as we have conjectured, have been seen by Shakespeare before 1609, when the _Pericles_ was revived. They are to the above motto,—
“_Nummi vt adulterium exploras priùs indice, quam sit Illo opus: haud aliter ritè probandus Amor. Scilicet vt fuluium spectatur in ignibus aurum: Tempore sic duro est inspicienda fides._”
“_Loues triall._
As gold is by the fyre, and by the fournace tryde, And thereby rightly known if it be bad or good, Hard fortune and distresse do make it vnderstood, Where true loue doth remayn, and fayned loue resyde.”
“Come l’oro nel foco.
_Sû la pietra, e nel foco l’or si proua, E nel bisogno, come l’or nel foco, Si dee mostrar leale in ogni loco l’Amante; e alhor si vee d’Amor la proua._”
The same metaphor of attesting characters, as gold is proved by the touchstone or by the furnace, is of frequent occurrence in Shakespeare’s undoubted plays; and sometimes the turn of the thought is so like Whitney’s as to give good warrant for the supposition, either of a common original, or that Shakespeare had read the Emblems of our Cheshire poet and made use of them.
King Richard III. says to Buckingham (act iv. sc. 2, l. 8, vol. v. p. 580),—
“O Buckingham, now do I play the touch, To try if thou be current gold indeed.”
And in _Timon of Athens_ (act iii. sc. 3, l. 1, vol. vii. p. 245), when Sempronius observes to a servant of Timon’s,—
“Must he needs trouble me in’t,—hum!—’bove all others? He might have tried Lord Lucius and Lucullus; And now Ventidius is wealthy too, Whom he redeem’d from prison: all these Owe their estates unto him.”
The servant immediately replies,—
“My lord, They have all been touch’d and found base metal, for They have all denied him.”
Isabella, too, in _Measure for Measure_ (act ii. sc. 2, l. 149, vol. i. p. 324), most movingly declares her purpose to bribe Angelo, the lord-deputy,—
“Not with fond shekels of the tested gold, Or stones whose rates are either rich or poor As fancy values them; but with true prayers That shall be up at heaven and enter there Ere sun-rise, prayers from preserved souls, From fasting maids whose minds are dedicate To nothing temporal.”
In the dialogue from _King John_ (act iii. sc. 1, l. 96, vol. iv. p. 37) between Philip of France and Constance, the same testing is alluded to. King Philip says,—
“By heaven, lady, you shall have no cause To curse the fair proceedings of this day: Have I not pawn’d to you my majesty?”
But Constance answers with great severity,—
“You have beguiled me with a counterfeit Resembling majesty, which being touch’d and tried, Proves valueless: you are forsworn, forsworn.”
One instance more shall close the subject;—it is from the _Coriolanus_ (act iv. sc. 1, l. 44, vol. vi. p. 369), and contains a very fine allusion to the testing of true metal; the noble traitor is addressing his mother Volumnia, his wife Virgilia, and others of his kindred,—
“Fare ye well: Thou hast years upon thee; and thou art too full Of the wars’ surfeits, to go rove with one That’s yet unbruised: bring me but out at gate. Come, my sweet wife, my dearest mother, and My friends of noble touch, when I am forth, Bid me farewell, and smile.”
So beautifully and so variously does the great dramatist carry out that one thought of making trial of men’s hearts and characters to learn the metal of which they are made.
To finish our notices and illustrations of the Triumph Scene in _Pericles_, there remain to be considered the device and the motto of the sixth—the stranger knight—who “with such a graceful courtesy delivered,”—
“A wither’d branch, that’s only green at top,[105] The motto, _In hac spe vivo_;” (Act ii. sc. 2, lines 43, 44;)
and on which the remark is made by Simonides,—
“A pretty moral: From the dejected state wherein he is, He hopes by you his fortune yet may flourish.”
With these I have found nothing identical in any of the various books of Emblems which I have examined; indeed, I cannot say that I have met with anything similar. The sixth knight’s emblem is very simple, natural, and appropriate; and I am most of all disposed to regard it as invented by Shakespeare himself to complete a scene, the greater part of which had been accommodated from other writers.
_Illicitum non ſperandum._
“SPES _ſimul & Nemeſis noſtris altaribus adſunt, Scilicet vt ſperes non niſi quod liceat._”
The unlawful thing not to be hoped for.
“HERE NEMESIS, and Hope: our deedes doe rightlie trie, Which warnes vs, not to hope for that, which justice doth denie.”
Yet the sixth device and motto need not remain without illustration. Hope is a theme which Emblematists could not possibly omit. Alciatus gives a series of four Emblems on this virtue,—Emblems 43, 44, 45, and 46; Sambucus, three, with the mottoes “Spes certa,” “In spe fortitudo,” and “Spes aulica;” and Whitney, three from Alciatus (pp. 53, 137, and 139); but none of these can be accepted as a proper illustration of the _In hac spe vivo_. Their inapplicability may be judged of from Alciat’s 46th Emblem, very closely followed by Whitney (p. 139).
In the spirit, however, if not in the words of the sixth knight’s device, the Emblem writers have fashioned their thoughts. From Paradin’s “DEVISES HEROIQVES,” so often quoted, we select two devices (fol. 30 and 152) illustrative of our subject. The one, an arrow issuing from a tomb, on which is the sign of the cross, and having verdant shoots twined around it, was the emblem which Madame Diana of Poitiers adopted to express her strong hope of a resurrection from the dead;[106] and the same hope is also shadowed forth by ears of corn growing out of a collection of dry bones, and ripening and shedding their seed.
The first, _Sola viuit in illo_,—“Alone on that,” _i.e._, on the cross, “she lives,”—we now offer with Paradin’s explanation; “_L’esperance que Madame Diane de Poitiers Illustre Duchesse de Valentinois, a de la resurrection, & que son noble esprit, contemplant les cieus en cette view, paruiendra en l’autre après la mort: est possible signifié par sa Deuise, qui est d’vn Sercueil, ou tombeau, duquel sort vn trait, acompagné de certains syons verdoyans._” _i.e._,—“The hope which Madame Diana of Poitiers, the illustrious Duchess de Valentinois, has of the resurrection, and which her noble spirit, contemplating the heavens in this life, will arrive at in the other, after death: it is really signified by her Device, which is a Sepulchre or tomb, from which issues an arrow, accompanied by certain verdant shoots.”
The motto of the second is more directly to the purpose, _Spes altera vitæ_,—“Another hope of life,” or “The hope of another life,”—and its application is thus explained by Paradin (leaf 151 _reverso_),—“_Les grains des Bleds, & autres herbages, semées & mortifiées en terre, se reuerdoyent, & prennent nouuel accroissement: aussi les corps humains tombãs par Mort, seront relevés en gloire, par generale resurrection._”—_i.e._, “The seeds of wheat, and other herbs, sown and dying in the ground, become green again, and take new growth: so human bodies cast down by Death will be raised again in glory, by the general resurrection.”
We omit the woodcut which Paradin gives, and substitute for it the 100th Emblem, part i. p. 102, from Joachim Camerarius, edition, 1595, which bears the very same motto and device.
SPES ALTERA VITÆ.
“_Securus moritur, qui scit se morte renasci: Non ea mors dici, sed noua vita potest._”
“Fearless doth that man die, who knows From death he again shall be born; We never can name it as death,— ’Tis new life on eternity’s morn.”
A sentence or two from the comment may serve for explanation; “The seeds and grains of fruits and herbs are thrown upon the earth, and as it were entrusted to it; after a certain time they spring up again and produce manifold. So also our bodies, although already dead, and destined to burial in the earth, yet at the last day shall arise, the good to life, the wicked to judgment.”... “Elsewhere it is said, ONE HOPE SURVIVES, doubtless beyond the grave.”[107]
“MORT VIVIFIANTE,” of Messin, _In Morte Vita_, of Boissard, edition 1588, pp. 38, 39, also receive their emblematical representation, from wheat growing among the signs of death.
“En vain nous attendons la moisson, si le grain Ne se pourrit au creux de la terre beschée. Sans la corruption, la nature empeschée Retient toute semence au ventre soubterrain.”
At present we must be content to say that the source of the motto and device of the sixth knight has not been discovered. It remains for us to conjecture, what is very far from being an improbability, that Shakespeare had read Spenser’s _Shepherd’s Calendar_, published in 1579, and from the line, on page 364 of Moxon’s edition, for January (l. 54),—
“Ah, God! that love should breed both ioy and paine!”—
and from the Emblem, as Spenser names it, _Anchora speme_,—“Hope is my anchor,”—did invent for himself the sixth knight’s device, and its motto, _In hac spe vivo_,—“In this hope I live.” The step from applying so suitably the Emblems of other writers to the construction of new ones would not be great; and from what he has actually done in the invention of Emblems in the _Merchant of Venice_ he would experience very little trouble in contriving any Emblem that he needed for the completion of his dramatic plans.
The _Casket_ Scene and the _Triumph_ Scene then justify our conclusion that the correspondencies between Shakespeare and the Emblem writers which preceded him are very direct and complete. It is to be accepted as a fact that he was acquainted with their works, and profited so much from them, as to be able, whenever the occasion demanded, to invent and most fittingly illustrate devices of his own. The spirit of Alciat was upon him, and in the power of that spirit he pictured forth the ideas to which his fancy had given birth.
Footnote 93:
Thus to be rendered into symmetrical lines of English,—
“The Sun, the eye of heaven, with beams the world illumes, And the pale Moon afar scatters black night. So virtue, the soul’s sun, our pining senses illumes, And genial faith dispels the darkness of the mind. If virtue to the mind,—so leading the way to virtue shines Faith in her purity: nothing can be brighter than this. The golden splendour of virtue and faith, O Philip, Throwing out beamings, shows to thee paths to the sky. This in truth is the Sun of life, and the one Light-bringer, This in truth the Moon which by shining drives away night. While in thy mind these lights thou seest on high,—of the world The darkness and terrors untrembling thou dost behold. Sun and Moon and the Light-bringer flash light to their orbs, And the while on thee shine, too, virtue and faith.”
Footnote 94:
Of cognate meaning is Messin’s motto in Boissard’s _Emblems_, 1588, pp. 82–3, “Plvs par vertv qve par armes,”—_Plus virtute quàm armis_,—the device being a tyrant, with spearmen to guard him, but singeing his beard because he was afraid of his barber,—
“Et vuyde d’asseurance, il aymoit fier La façon de son poil au charbon, qu’au barbier Tant l’injustice au cœur ente de meffiance.”
Footnote 95:
See _Penny Cyclopædia_, vol. xxi. p. 343, where the _Pericles_ and eight other plays are assigned “to the period from Shakspere’s early manhood to 1591. Some of those dramas may possibly then have been created in an imperfect state, very different from that in which we have received them. If the _Titus Andronicus_ and _Pericles_ are Shakspere’s, they belong to this epoch in their first state, whatever it might have been.” See also Knight’s _Pictorial Shakspere_, supplemental volume, p. 119, where, as before mentioned, the opinion is laid down,—“We think that the _Pericles_ of the beginning of the seventeenth century was the revival of a play written by Shakspere some twenty years earlier.”
Footnote 96:
It may be mentioned that Paradin describes five other Roman wreaths of honour.
Footnote 97:
Symeoni, in 1559, dedicated “All’ Illustrissima Signora Duchessa di Valentinois,” his “VITA ET METAMORFOSEO D’OVIDIO,” 8vo, containing 187 pages of devices, with beautiful borders.
Footnote 98:
“_Nella giornata de Suizzeri, rotti presso à Milano dal Rè Francesco, Monsignor di San Valiere il Vecchio, padre di Madama la Duchessa di Valentinoys, e Capitano di cento Gentil’huomini della Casa del Rè, portò vno Stendardo, nel quale era dipinto vn torchio acceso con la testa in giù, sulla quale colaua tanta cera, che quasi li spegneua, con queste parole_, QVI ME ALIT, ME EXTINGVIT, _imitando l’impresa del Rè suo Padrone: cio è_, NVTRISCO ET EXTINGVO. _È la natura della cera, la quale è cagione che ’l torchio abbrucia stando ritto, che col capo in giù si spegne: volendo per ciò significare, che come la bellezza d’vna Donna, che egli amaua, nutriua tutti i suoi pensieri, così lo metteua in pericolo della vita. Vedesi anchora questo stendardo nella Chiesa de Celestini in Lyone._”
Footnote 99:
See _Essays Literary and Bibliographical_, pp. 301–2, and 311, in the Fac-simile Reprint of Whitney’s _Emblemes_, 1866.
Footnote 100:
“_Si pour esprouuer la fin Or, ou autre metaus, lon les raporte sus la Touche, sans qu’on se confie de leurs tintemens, ou de leurs sons, aussi pour connoitre les gens de bien, & vertueus personnages, se faut prendre garde à la splendeur de leurs œuures, sans s’arrester au babil._”
Footnote 101:
See _Symbola Diuina & Humana Pontificvm, Imperatorvm, Regvm_, 3 vols. folio in one, Franckfort, 1652.
Footnote 102:
This original drawing, with thirty-four others by the same artist, first appeared in _Emblemata Selectiora_, 4to, Amsterdam, 1704; also in _Acht-en-Dertig Konstige Zinnebeelden_,—“Eight-and-thirty Artistic Emblems,”—4to, Amsterdam, 1737.
Footnote 103:
Or it may be a few years later. The drawings, however, are undoubted from which the above woodcut has been executed.
Footnote 104:
This Emblem is dedicated to “GEORGE MANWARINGE _Esquier_,” son of “Sir Arthvre Menwerynge,” “of Ichtfeild,” in Shropshire, from whom are directly descended the Mainwarings of Oteley Park, Ellesmere, and indirectly the Mainwarings of Over-Peover, Cheshire.
Footnote 105:
The phrase is matched by another in _Much Ado about Nothing_ (act ii. sc. 1, l. 214, vol. ii. p. 22), when Benedict said of the Lady Beatrice, “O, she misused me past endurance of a block! an oak but with one green leaf on it would have answered her.”
Footnote 106:
“The sixth device,” say the _Illustrations of Shakespeare_, by Francis Douce, vol. ii. p. 127, “from its peculiar reference to the situation of Pericles, may, perhaps, have been altered from one in the same collection (Paradin’s), used by Diana of Poitiers. It is a green branch springing from a tomb, with the motto, ‘SOLA VIVIT IN ILLO,’”—_Alone on that she lives._
Footnote 107:
“_Frvmentorvm ac leguminum semina ac grana in terram projecta, ac illi quasi concredita, certo tempore renascuntur, atque multiplices fructus producunt. Sic nostra etiam corpora, quamvis: jam mortua, ac terrestri sepulturæ destinata, in die tamen ultima resurgent, & piorum quidem ad vitam, impiorum vero ad judicium._”... “_Alibi legitur, SPES VNA SVPERSTES, nimirum post funus._”