(ἐπιβλέπων, literally, that which is put in or on, something inlaid, from ἐπιβλέπω, to cast in or insert), in its ordinary acceptation, denotes a figurative representation which, by the power of association, suggests to the mind some idea not made evident to the senses; or, in other words, a figure or picture which represents one thing to the eye and another to the understanding. It has been otherwise defined as a kind of painted enigma, or a figure representing some obvious history instructing us in some moral truth. Such is the image of Scrova holding his hand in the flames, and inscribed with the words "Agere et pati fortiter Romanum est." The Greeks applied the term ἐπίβασις to inlaid or mosaic work, and also to all kinds of raised ornaments on vases, &c. The Romans too used emblems in the same sense. Thus Cicero, reproaching Verres with his plunder of statues and other works of art from the Sicilians, calls the ornaments upon them emblematia. It may be farther observed, that the Latin authors frequently compare the figures and ornaments of discourse to these emblematia. Thus, an ancient Latin poet, praising an orator, says, that all his words were ranged like the pieces in mosaic:

Quam lepide aequa composita, ut tessellae omnes, Arte pavimento, atque emblematibus vermiculato.

The word emblem is now chiefly applied to a figure or representation intended to convey some moral or political instruction. Thus a balance is an emblem of justice; and in Scripture a white robe is an emblem of purity or righteousness. An emblem differs from a device in that the words of an emblem have a full and complete sense of themselves; while those of a device are significative only with reference to some particular person or thing. This difference will be more apparent by a comparison of the emblem above quoted with the device of a candle lighted, and the words Juvenal consumor, "I am wasted in doing good."