2, LINE 28. Page 133, line 1. _nutat._--The editions of 1628
and 1633 both wrongly read _mutat_.

[208] PAGE 134, LINE 22. Page 134, line 25. _in recta sphaera._--The
meaning of the terms a _right_ or _direct sphere_, an _oblique sphere_ and
a _parallel sphere_ are explained by Moxon on pages 29 to 31 of his book _A
Tutor to Astronomy and Geography_ (Lond., 1686):

"A _Direct Sphere_ hath both the _Poles_ of the _World_ in the Horizon ...
It is called a _Direct Sphere_, because all the _Celestial_ Bodies, as
_Sun_, _Moon_, and _Stars_, &c. By the _Diurnal_ Motion of the _Primum
Mobile_, ascend directly Above, and descend directly Below the _Horizon_.
They that Inhabit under the _Equator_ have the _Sphere_ thus posited."

"An _Oblique Sphere_ hath the _Axis_ of the _World_ neither _Direct_ nor
_Parallel_ to the _Horizon_, but lies aslope from it."

"A _Parallel Sphere_ hath one _Pole_ of the _World_ in the _Zenith_, the
other in the _Nadir_, and the _Equinoctial_ Line in the _Horizon_."

[209] PAGE 136, LINE 1. Page 136, line 1. _praesenti._--The editions of
1628 and 1633 read _sequenti_, to suit the altered position of the figure.

[210] PAGE 137, LINE 24. {52} Page 137, line 28. _atque ille statim._--The
Stettin editions both wrongly read illi.

[211] PAGE 139. There is a curious history to this picture of the
blacksmith in his smithy striking the iron while it lies north and south,
and so magnetizing it under the influence of the earth's magnetism.
Woodcuts containing human figures are comparatively rare in English art of
the sixteenth century; a notable exception being Foxe's _Acts and
Monuments_ with its many crude cuts of martyrdoms. The artist who prepared
this cut of the smith took the design from an illustrated book of Fables by
one Cornelius Kiliani or Cornelius van Kiel entitled _Viridarium Moralis
Philosophiae, per Fabulas Animalibus brutis attributas traditae, etc._
(Coloniae, 1594). This rare work, of which there is no copy in the British
Museum, is illustrated by some 120 fine copper-plate etchings printed in
the text. On p. 133 of this work is an etching to illustrate the fable
_Ferrarii fabri et canis_, representing the smith smiting iron on the
anvil, whilst his lazy dog sleeps beneath the bellows. The cut on p. 139 of
Gilbert gives, as will be seen by a comparison of the pictures just the
same general detail of forge and tools; but the position of the smith is
reversed right for left, the dog is o