book consisting of three heads or “ questions ” on one page.

The central “ question ” is “ Si annulus occulte teneatnr in digito aliquo et scire cupias, super quern digitum steterit ?”
The next tractate, of 100 pages, is entitled “ De Templo Musicse,” in seven books. On the title is a picture repre- senting probably Apollo, with the lyre, giving instruction to a number of scholars, who have different stringed instruments by them. Prefixed to the treatise itself is a large plate, which may be called the Temple of Music. A descriptive preface or note follows. It represents the Temple of Music on Mount Parnassus, the abode of the Muses, where the goddess Concord presides, and where the choirs of nymphs and shepherds, led by Pan, make the sylvan shades, hills and valleys, to resound with divine melody, so that harmony, peace, and concord join all heaven and earth together in joy and love. The lower part of this mystic building is occupied by those who make the instruments. A number of naked artificers are occupied
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in making a rod. Near by is a furnace for their use. The series of layers of dressed stone which form the foundation of the temple have on each layer one of the musical notes ; thus together these rows form an octave. Organ pipes, violin, trumpet, lyre, guitar, and harp are represented in the entablatures of the temple. Only one interior de- partment is opened for us, where the teacher, pointer in hand, is explaining a piece of music fully noted. Time, with scythe in hand, and winged, stands on the top of his sandglass ; above are a tower and three turrets. On one of the turrets are a series of statues. The treatise on Music is very fully illustrated with plates of musical exercises and instruments. Musical time is illustrated by a curious dial and a series of specula. The sixth book, with more curious illustrations, treats of different sorts of musical instruments. In the seventh book, Fludd gives an account of a new instrument of music which he had himself devised. It is a square frame, worked by a sort of miniature windlass. The notes are iron teeth on the different bars of the frame. These, of course, represent musical notes. This frame is filled into another — a triangular frame — and the whole seems to work by a handle.
The next treatise, of thirty pages, is “ De Geometria sen arte Metrica.” This is followed by a treatise on Optics in twenty-three pages. Prefaced by an illustrated description of the optic organs, such as a doctor of medicine might be expected to give, the treatise concludes with a series of optic experiments. The treatise, “ De Arte Pictoria,” follows in twenty-four pages. On the title-page, a boy is represented in an oval painting of a rural scene, the sides of the square plate holding figures of painters’ implements. An anatomical drawing is illustrated from a full length of the human figure. Perspective and the “ in- struments of the pictorial art” are explained and illustrated. The author’s idea of a mermaid, with her glass, serves for one of the latter. The second book treats of the Geometric
Art as used in painting. The use of the right angle, of the
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triangle, of the square, of oval figures, and of the circle, are explained. Page plates of the method of delineating pictures of the human eye, face, and of the foot are given. The method of the circle is explained in figures of the sun and of a cup. Other objects not capable of being treated geometrically are then introduced. The effect of shade is explained.
The next treatise is “ De Arte Militari.” About eighty pages are devoted to this section. The ‘‘ Ars militaris docet locorum muniendorum modum, qui est Naturalis aut Arti- ficialis.” The first book treats “ De munimentis et propug- naculis.” The things required for the construction of fortifications are laid down — first internal, then external, the rules for ditches, the shapes of fortifications, the order and figures of camps. Then the material, the foundations, and the heisflit and inclines are given. Bastions of different construction are described, from different examples, all of which are illustrated by picture and plan. The second book treats of the requirements for sieges and of batteries. The next book (the third) refers to the ordinary exercises of the army in camp, treating of the exercises of the Spaniards, the French, the German, and the English. Some very curious plates are inserted at the end of the book, showing the disposition of bodies of troops, cavalry and infantry, with guns on horse carriages, a Spanish force on march, the Imperial army on march, with waggons and gun carriages, followed by horses with baggage. The fourth book treats of other necessary military machinery, including instruments of military music, drums, &c. ; the sighting of guns by the quadrant, instruments for slingers, &c., are also figured. Some curious tables are affixed.
The next treatise is that ‘‘ De Motu,” which is divided into four books. Descriptions of many different machines are given, and the cause and effect of different motive powers are explained. The third book treats of the motion generated from the four elements. The author states some
O
very curious experiments, especially in the production of
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musical sounds. Some of these are on the same principle as the musical boxes, working on cylinders notched and fitted. These instruments are caused to work by a current or stream of water playing upon and turning a wheel, which in its turn acts on the cylinder, the notches on which operate on fixed pipes similar to those of an organ. Another acts on a stringed instrument of the nature of a harp.
The next tract is “ De tempore,” in three books. The year, the month, the day, form the subject of the first book ; the art of dialling, the second book ; a machine, a sort of water clock, the invention of the author, under the title, ‘'De machina nostra horologica,” occupies the third book.
The next tract, in three books, treats, “ De Cosmo- graphia,” the zones, division of the hemispheres, parallels. The illustrations include maps of Europe and France. This introduces the next tract, “ De Astrologia,” in seven books, pp. 558-714. The tract treats chiefly of the signs of the Zodiac, beginning with that of Aries, explaining the nature, place in the heavens, disposition of the native in soul and body, calamities, &c. After each of the constellations follows a section, “ De dispositione stellarum fixarum tarn in [Cancri] corpore.” The fourth book treats of the erection of schemes of nativity ; the fifth book of weather, the foretelling of storms, of meteors, of eclipses, of conjunctions of planets. The whole book is full of tables and charts of nativities, &c.
The next tract is “ De Geomantia,” in four books. In the commencement of this tract, we have a little bit of interesting biography. Fludd tells us how that, in the last year of Elizabeth’s reign, intending to pass into Italy, he was detained at Avignon by the quantity of snow, which was so great that he was unable to pass over the Alps. He remained at Avignon the whole winter. When there, becoming acquainted with a number of young men, of generous and enquiring natures, he was introduced by them to some Jesuits. One evening, after vespers and at
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Slipper, the conversation seems to have turned to the subjects of astrology and geomancy — that' is, fortune-telling by the stars and by combinations of numbers. Some stiffly denied the virtue of such arts, but others, including Fludd himself, defended their use. Supper being over, Fludd returned to his own room, and he was followed there by one of the company, who desired that he might explain the art which had been the subject of the evening’s conversa- tion. Fludd at first excused himself from doing this, but eventually agreed to give explanations. A geomantic figure, therefore, having been drawn up, a question is proposed. It was a love query, “ would the girl the young gentleman loved, return his love from the very depths of her soul ?” The proper information having been given as to the young lad}q her figure, stature, the answer was worked out. It showed the young lady to be inconstant. The eyes of the lad were opened, and those who knew the girl quite ap- proved of the answer. This result caused the affaii' to be spoken of. The Jesuits got wind of it. The whole affair was brought by them to the knowledge of the Vice-Legate, who, notwithstanding their attempts, would not condemn the art. Being afterwards at supper with the Vice-Legate, the conversation turned again upon geomancy. Fludd defended the art from his own experience, and said that there must be a good intention and God besought in prayer. The mind also must be directed aright. The human mind and the human body go together to serve God, who is just as able as an earthly king to send a picture of Himself by His servants to another. They can carry the drawing, however ignorant they may otherwise be. Tlius the human body can be the means by which the divine message can be sent. Some bishops and other clergy were present, and Fludd tells us that his learning was found more accurate than that of his accusers. One of his chief friends at Avignon was the Papal apothecary, Malceau. But his dearest friend there was a certain modest and ingenious youth called Reinaudius, with whom he appears to have
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further prosecuted the study. But being rather suddenly called from Avignon to Marseilles by the Duke of Guise, to be mathematical tutor to his brother, a knight of Malta, he was unable to accept the invitation of Reinaudius to visit him and his brothers.
The treatise thus derived begins with a list of the names, forms, and natures of geoinantic figures. The art of geo- mancy was wrought by throwing eitlier pebbles or dice. Accordino’ to the fioaires and numbers formed on the earth
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or table, conjectures were formed. The Arabians were, however, more recondite in their performance of the art. They “ founded it on the effects of motion under the crust of the earth, the chinks thus produced, and the noise or th underings heard.”
Geoman cy is reall}' a development of the “lot” — a manner of divination or enquiry approved by Scripture itself, and practised by the Apostolic College in the most solemn circumstances. The rules of divination by this art may be erroneous, or even improper, but as to the “ casting” itself, the approval of antiquity is that of Solomon — “ The lot is cast into the lap ; but the whole disposing thereof is of the Lord ” (Prov. xvi. 33).
At page 785, we have a title of a new volume, “ Secun- dum, de Natural!, Artificial!, et printer natural! Microcosm! historia,” &c. The contents, in two pages, follow, but a note is added in which the printer informs the reader that he had not then received the “ copy” from the author, so could not at present proceed further.