The School of the Heart; or The Heart of Itself Gone Away from God; Brought Back Again to Him; and Instructed by Him. With The learning of the Heart and Hieroglyphics of the Life of Man. London: Printed for Thomas Tegg...1845. [Together with:] Quarles, Fr
[ Bindings ]. Quarles, Francis.

London: Thomas Tegg, 1845. With 142 emblematic cuts in the text. The Hieroglyphics of the Life of Man, which appears at the end of The School of the Heart, has its own half-title, with a woodcut, but does not have a separate pagination. The title-page for Emblems bear a woodcut portrait Binding worn in one small area near back joint, but otherwise in fine condition. A little light foxing, brown stain to fore-edge, not noticeable when book is closed. A remarkable survivor. This binding is virtually identical to the one pictured in McLean, which is of the Eric Quayle copy, which came up at auction in 2006. We have not been able to find another copy appearing on the market since In a black papier-maché binding in the "monastic style" (Ruari McLean, Victorian Book Design, p. 210). All edges gilt, gauffered edges, gilt turn-ins, and designs on the edges of the covers. Two volumes in one, smal viii. 264; vii, [5], 312 (Item ID: 16091)


Francis Quarles (1592-1644), poet, Royalist, and sometime secretary to Bishop Ussher, is best known for his Emblems, which was first published in 1634. With forty-five emblems from Pia desideria in the original order, he also drew selectively from Typus mundi. His poems "…exploit the mimetic quality of the pictures and transform them into allegories of spiritual truth. They speak in the different voices of dramatic dialogue, meditative soliloquy, spiritual love song, irony, or flippancy. Conceits, sometimes derived from patristic texts, are often elaborated with semantic precision and dense intertextuality and repay close study. The overall structure of the work preserves patterns of the spiritual pilgrimage and the Ignatian meditation" (Oxford DNB). The work was very popular, especially among the common people, who could enjoy the cuts even if they read haltingly.

Ruari McLean calls this style of binding, called "the monastic style" by Cundall, "the most successful of all the ingenuities of Victorian commercial bookbinding." Such bindings are done in large numbers, normally 1,000 or more copies, as they are cast in moulds, an expensive process. About eight different titles seem to have been bound in this style, as well as at least two small Bibles.

Site by Bibliopolis