left, and bears the inscription, "Mortalium immortalitas." "Vivit post funera Virtus" is a Latin saying which has been adopted as a motto by several families, and which occurs on a few "Sterbethaler" and mortuary medals. On the sepulchral monument of Dr. Caius, at Caius College Chapel, Cambridge, is the inscription: "Fui Caius. Vivit post funera Virtus. Obiit 1573, Æt. 63." A German mortuary medal of 1701 tells us, "Forma perit, virtus remanet." The inscription on the grand sepulchral monument (1525) in Rouen Cathedral of Cardinal Georges d'Amboise, Archbishop of Rouen, who died in 1510, ends "Mortuus en jaceo, morte extinguuntur honores, Cf. the Latin pentameter line: "Excipe virtutem, cetera mortis erunt." A French commemorative bronze plaquette of Philippe de Girard, by L. E. Mouchon (1892), bears an allegorical representation of posthumous fame. History, like Fame, is sometimes represented warding off destructive Time (a figure, like Death, holding hour-glass and scythe), as on a medal of the historian, L. A. Muratori, by T. Mercandetti, of Rome. A Renaissance engraving of the "Triumph of Fame over Death" 186 (printed at Paris by Charles le Vigoureux in the last part of the sixteenth century) represents, after Petrarch's Trionfi, the triumphal car of Fame. crushing the bodies of the three Fates or Parcae, Clotho, Lachesis, and Atropos (emblematic of the effects of time. 186 See Pétrarque, l'Illustration de ses Écrits, by Prince d'Essling and Eugène Müntz, Paris, 1902, p. 251. and death). The car is drawn by elephants and surrounded by the poets, philosophers, and rulers of ancient times: Virgil, Homer, Cicero, Aristoteles, Alexander, Plato, and Charlemagne. A French sixteenth-century design represents Good Fame standing triumphant over the prostrate bodies of the three Fates.187 Fine Flemish early sixteenthcentury tapestries exist at Madrid (Royal Palace), London (Victoria and Albert Museum), and Hampton Court, with various designs of the Triumph of Fame inspired by Petrarch's Trionfi. On a Hampton Court tapestry,188 the three Fates on their chariot of Death are falling down at the blast of Fame, who is flying towards them, whilst, all around, the heroes of legendary history and romance (Priam, Menelaus, Jason, Lucretia, King Arthur, Tristan, Charlemagne, Roland, &c.) are rising from their tombs. On the Madrid tapestry," 189 Fame, blowing her long trumpet, is being borne along in an aërial chariot, with Death lying conquered at her feet. A French sixteenthcentury miniature (Bibliothèque Nationale, Paris, Manuscript, Fonds Français, No. 594) of Fame overcoming Death,190 shows the dead body of Petrarch's Laura stretched on the oxen-drawn car of Death. Death, a shrivelled figure of the Mediaeval traditional type, with a serpent coiled around him, standing over the body, staggers and lets fall his scythe at the trumpet-blast of Fame. Around the car Alexander the Great, Julius Caesar, Scipio Africanus (Minor), and the heroes of antiquity are seen rising from their graves at the call of Fame (Fig. 29). The companion miniature, "The Triumph 187 Prince d'Essling and E. Müntz, op. cit., p. 235. 188 Ibid., the plate facing p. 210. of Fame" (Fig. 30), shows Fame holding her long horn, standing victorious on her elephant-drawn car, with Death seated conquered at her feet. Julius Caesar, in Renaissance armour, rides on her right, and Pompey the Great, holding a pennant, on her left. The car is surrounded by Alexander the Great, Scipio Africanus Minor, Scipio Africanus Major, Mucius Scaevola, Fabricius, Cato, Brutus, Drusus, Fabius Maximus, Manilius (Manlius Capitolinus), Octavianus (Augustus), Hippolyte, Penthesilea, and other famous men and women of ancient history and tale. Behind come Aristoteles, Plato, Pythagoras, Seneca, Gellius, Virgil, and other ancient philosophers, poets, and writers. Behind these come chaste virgins holding palmbranches. Another aspect of the relation of fame to death, very different to Petrarch's idea, but likewise illustrated to some extent by works of art, is furnished by the vision of the ruin, destruction, and death due to ambition and the relentless, insatiate, and sightless pursuit of Fame, who, just as Fortune, can reckon amongst her victims many who have pursued her and many more who have been destroyed by the blind rush of the pursuers, regardless of those around and dependent on them. (Cf. Part II. vi., last portion.) According to Tacitus (Hist., iv. 6): "Etiam sapientibus cupido gloriae novissima exuitur" ("The desire for fame is the last desire that is laid aside even by the wise"). St. Augustine, Bishop of Hippo, preached against the love of fame and unreasonable desire for human praise; one of the chapters of his De Civitate Dei (lib. v. cap. 14) is headed: "De resecando amore laudis humanae, quoniam justorum gloria omnis in Deo sit." In another chapter of his work (op. cit., lib. v. cap. 18) he quotes the following line from Virgil (Aeneid, vi. 823), "Vincit amor patriae laudumque immensa cupido "-and remarks: "Haec sunt FIG. 29.-Fame overcoming Death, after Petrarch. Photo of French sixteenth-century miniature in the Bibliothèque Nationale, Paris. duo illa, libertas et cupiditas laudis humanae, quae ad facta compulit miranda Romanos" ("It is these two things, liberty and the desire for fame, that impelled the Romans to their admirable deeds"). FIG. 30.-The Triumph of Fame, after Petrarch. Photo of French sixteenth-century miniature in the Bibliothèque Nationale, Paris. Lecky, in his History of European Morals, writes: "The desire for reputation, and especially for posthumous Р |