Emblem Books

Amongst the more than four thousand drawings of the collection of Count Charles Cobenzl, formed in Brussels between 1761 and 1768 and today mostly in the State Hermitage Museum in St Petersburg, are a number of small sheets kept under the name of Abraham van Diepenbeeck. The author clarifies their relationship to his oeuvre, identifying them as designs by different artists for in-text illustrations in books published in Antwerp in the second quarter of the seventeenth century. The history of these drawings, some of which were formerly in the celebrated drawings collection of the banker Pierre Crozat in Paris, throws light on the circulation of drawings in the eighteenth century. Moreover, it provides the first indications of the composition of the drawings collection of François-Ernest de Salm Reifferscheid, Bishop of Tournai, of which little was previously known.

Автор монографии, сопоставив гербы на каменных плитах генуэзского нобилитета XIV-XV вв. с их изображениями в гербовниках, прослеживает, как реализовывались задачи геральдической практики в генуэзских факториях Крыма.
Публикация представляет интерес для специалистов в области вспомогательных исторических дисциплин, для медиевистов-итальянистов и всех тех, что интересуется историей Северного Причерноморья.

Marcus  Gheeraerts  the  Younger’s  portrait  of  Queen  Elizabeth  I,  the  so-called  'Ditchley  Portrait' (National Portrait Gallery, London) is  among the most  well-known  and  iconic  images  of  the  queen, yet its precise meaning remains uncertain. While historians and art historians agree that it was commissioned by the courtier Sir Henry Lee as an appeal for Elizabeth’s forgiveness, no analysis has convincingly explained how the allegorical tempest,  which  is  unique  among  images  of  Elizabeth,  conveys  her  pardon. This essay  demonstrates how  the  Ditchley  Portrait  represents  Elizabeth  in  the  guise  of  the  goddess Fortune, an identity central to the visual culture of Elizabeth's court--yet unmentioned to date. Her position  balancing  atop  a  globe  in  a  landscape  divided  into  stormy  and  sunny  zones explicitly invokes iconographic traditions of Fortune. With its conjunction of Latin mottoes, vernacular sonnet, and icon of the queen, the Ditchley Portrait comprises a grandiose emblem ratifying the queen as Eliza Fortuna, arbiter of her nation’s  destiny  and  Lee’s  fate.  Ultimately,  the  portrait  renegotiates  the  contentious  nature  of  female  authority  while  also  providing  its  patron  with  a  powerful  talisman against misfortune.

ABSTRACT: We sketch out an itinerary of the development of the epigram from the autonomous compositions of witty character, festive or satirical, carried out in imitation of the Greek Anthology and the latin classics or neo-latin poets which, being part of the emblema triprex, were used by humanists like Alciato and other authors of emblem books in 16th-17th centuries with didactic and moral purposes. We report on the metrical solutions that are given to adapt the classic generic paradigms of epigram to the Spanish language and metrical forms in the books of emblems, and in order to show this we analyse 560 epigrams which belong to the works of the Spanish emblematists Juan de Horozco, Hernando de Soto, Sebastián de Covarrubias and Francisco de Villava. We analyse metrical forms, tendencies in the dispositio and elocutio, relation to the picturae and audience to which they are addressed.
RESUMEN: Se traza un itinerario de la evolución del epigrama desde las composiciones autónomas de caracter agudo, festivo o satírico, practicadas a imitación de la Antología griega y los clásicos latinos o poetas neolatinos a las que, formando parte del emblema triplex, emplean Humanistas como Alciato y los emblemistas en los siglos XVI-XVII con fines didácticos y morales. Se advierten las soluciones métricas que se dan para adaptar los paradigmas genéricos clásicos a la lengua y formas métricas españolas en los libros de emblemas, y se analizan a tal efecto 560 epigramas que corresponden a las obras de los emblemistas españoles Juan de Horozco, Hernando de Soto, Sebastián de Covarrubias y Francisco de Villava. Se analizan tendencias métricas, tendencias en la dispositio y elocutio, relación con las picturae y público al que se dirigen.

Volumen completo disponible para descarga en:

https://www.libreria.culturaydeporte.gob.es/libro/identidades-y-redes-culturales-v-congreso-internacional-de-barroco-iberoamericano_4569/

El análisis del barroco iberoamericano tuvo un importantísimo encuentro en Roma en el año 1980 a partir del cual se generaron nuevos congresos que se escalonaron en Querétaro (1991), Sevilla (2001) y Ouro Preto (2006). En el año 2021 se cumplirá, por tanto, el cuadragésimo primer aniversario de esta iniciativa, razón por la que Granada toma el testigo alternante entre América y Europa proponiendo la celebración del V Congreso Internacional de Barroco Iberoamericano, entre los días 30 de mayo y 3 de junio de 2021, con el objetivo de reunir a los investigadores senior y noveles que trabajan temáticas referidas al concepto de barroco.

"Emblèmes et pensée symbolique en Lorraine (1525-1633) : ""Comme un jardin au coeur de la chrétienté"" / Paulette Choné. - Paris : Klincksieck, 1991. - 830 p. : ill., cartes ; 25 cm. Sources p. 781-791. Bibliographie p. 693-807. Index p. 809-820."

Este trabajo estudia el emblema LXIII, el último y más extenso
de la colección, que el jurista y poeta francés Denis Lebey de Batilly
(Dionysius Lebeus Batillius) dedicó a la amistad (Amicitia) en sus
Emblemata (Fráncfort, T. de Bry, 1596). El argumento es la imagen
alegórica de la Vera amicitia que describieron autores como Robert
Holcot, Gregor Reisch, Paulus Fagius, Lilio G. Gyraldi, Laurens van
Haecht y Cesare Ripa. Por un lado, se identi% ca al mitógrafo Gyraldi
como fuente indiscutible del emblema y, por otro, se señala la procedencia
de todos los extractos de la paraphrasis que lo acompaña.
Asimismo, se muestra que el método seguido por el autor en la composición
de la paraphrasis es el característico de un compilador de
florilegios o de libros de loci communes, seleccionando, y a veces
manipulando, un rico surtido de excerpta greco-latinos relativos a
la amistad.

This paper studies the emblem LXIII, the last and longest of
the collection, dedicated to the friendship by the French jurist and
poet Denis Lebey de Batilly (Dionysius Lebeus Batillius) in his
Emblemata (Frankfurt, T. de Bry, 1596). The subject is the allegorical
image of the Vera amicitia described by some authors, such as Robert
Holcot, Gregor Reisch, Paulus Fagius, Lilio G. Gyraldi, Laurens van
Haecht and Cesare Ripa. On one side, Gyraldi is identfied as the
indisputable source of the emblem and, on the other, the origin of all
extracts of the paraphrasis accompanying the emblem is identified.
Also, the method followed by the author in the composition of the
paraphrasis —as it remains demonstrated— is the characteristic of a
compilator of florilegia or the loci communes books, selecting —and
sometimes manipulating— a rich stock of Greek-Latin excerpta on
the friendship.

The author analyzes the development of the heraldic studies in connection with the historical development of Italy. By the beginning of the 20th century the initial accumulation of facts on the history of heraldry and nobility and of urban and territorial symbols were completed. In the first half of this century requirements to the reliability of heraldic information have increased. The central position in the study of noble heraldry owns the most developed cities (in the past signorial or republic). Founded in 1877 Italian Institute of Genealogy still exists, being transformed into a Noble Academy of heraldry in Italy. Since the 1960s began to revive thirst for understanding the symbolism of the past, that reached its climax in the last third of the 20th century. The main works in the field of Italian heraldry were written by J. Bernabò di Negro, A. Agosto, R. Pavon. J., and M. Del Baskape Piazza, who tried to identify the criteria for a scientific approach to the study of Heraldry. Today, the level of Italian heraldry is defined by scientific researchs and by publication of the sources. At the same time the level of works of amateurs who have to take into account the world experience of the scientific heraldry, has significantly been changed.

This paper studies the three emblems dedicated to the friendship by the poet, artist and antiquarian Jean Jacques Boissard in his Emblematum Liber (Frankfurt, T. de Bry, 1593), with two new and important contributions: ?rst, the sources of the res signi#cans of the emblem so much as those of the Latin paraphrasis that accompanies it are identi?ed; and second, the method followed by the author in the composition of the paraphrasis – as it remains demonstrated – is characteristic of a compilator of medieval anthologies, selecting and even sometimes manipulating excerpta of long tradition on the friendship, in a subtle combination of classicism and christianism.

This article introduces the emblem book Cor Iesv amanti sacrvm by Antonius Wierix, written around 1586/87 with 18 engravings accompanied by brief Latin poems of two stanzas with three lines each. After a general introduction to the work, this study presents an iconographic analysis of the picturae, interpreted together with their corresponding subscriptio-nes. This text and image composition is then regarded as religious language, typical of Jesuit emblem books. By comparing different editions of this book, the order of the 18 emblems-suggested (but not explained) by Menon-is confirmed, and a new sequence is proposed, highlighting the main objective of this work, viz. the promotion of the triple mystic way.

This paper examines the role of loss and historical memory evoked by allusive mechanism in the Merian/Zincgref Emblemata Ethico-Polticorum Centuria of 1619 and its subsequent re-printing in 1624. While loosely inspired by the Benjaminian concept of ‘trauer’, it extents the idea of mediums of mourning to the emblem as graft, hieroglyph or rebus, and self-reflexive historical commentary. Playing on the emblems of tree species and fruit, it reads the book through the lens of the Hortus Palatinus in Heidelberg and its subsequent descent into ruin during the Thirty Years War. Ultimately, this essay argues that as a coping mechanism, the emblems of the Emblemata Ethico-Polticorum Centuria are both bitter and sweet; restoring the sensation of a briefly harmonious past whilst at the same time, inoculating against, and foretelling the emotional consequences of, its destruction.

CONFERENCE PAPER TRANSCRIPTION: International Society for Emblem Studies,  Kiel 2014

This paper studies emblem XXVIII, Paci studere praestat quam bello, by
the French jurist Denis Lebey Batilly in the two editions of his book Emblemata (Frankfurt, Th. de Bry, 1596 and Heidelberg, Voegelin, 1600). The subject is the contest between Athena and Poseidon, a well-known myth to signify the allegorical image of Peace. On the one hand, I identify the variants of this myth and, on the other hand, I show that the analysis of sources of the res significans, as well as those of the Latin paraphrasis that accompanies the emblem, reveals that Pierio Valeriano’s Hieroglyphica (Basel, 1556) is the primary source of the emblem.

W XVI-wiecznej ikonografii Jana Zamoyskiego wyraźnie wyłania się plastyczne wyobrażenie „Utraque civis” („Dwojako obywatel”), czyli specyficzny wizerunek, zawierający ukrytą narrację werbalną jako rozwiązanie abstrakcyjne w formie nadbudowanej fabuły... - abstrakt wystąpienia na konferencji naukowej pt. "Oblicza portretu" (Muzeum Narodowe, Gdańsk 24.05.2018)

The translation of the Catholic book The human heart by
J. E. Gossner (1812) by the Presbyterian A. Jensen (1914): the
promotion of a Catholic imaginary or its Protestant review?

Abstract
This paper interprets The heart of man, written by J. E. Gossner in 1822, from its Catholic background and compares the result with its translation into Portuguese, produced in 1914 by André Jensen, a Brazilian Presbyterian. To achieve this, we study the iconography of its ten emblems and the iconology of its accompanying texts. We conclude that Jensen believed the contents of the original version were generally consistent with
his understanding of the Presbyterian tradition. He subtly presents Calvin as the representative of the religio cordis and discreetly omits non-Presbyterian concepts, such as
the Catholic zuvorkommende Gnade (prevenient grace). Moreover, Jensen reorganizes the sequence of emblems according to the late Protestant scheme of the “broad and narrow
way”, which, in fact, reaffirms only a central aspect of the book’s original message, its unilateral negative understanding of the world as seductive or oppressive. Thus, even the
introduction of freedom in place of generosity, that is, of a distinct Protestant concept, did not contribute to the creation of a more Protestant rereading. There is a prevailing dichotomous imaginary of a battle between God and the devil in and by the human
heart focused on reaching a holy death, with no intention of transforming the world. Keywords: Johannes Evangelista Gossner, André Jensen; Das Herz des Menschen; The
book of the heart; “cordial” religion; religio cordis.

¿La traducción del libro católico El corazón humano de J. E.
Gossner (1812) por el presbiteriano A. Jensen (1914): promoción
de un imaginario popular católico o relectura protestante?

Resumen
En el documento se interpreta el libro Das Herz des Menschen [El corazón humano], de J. E. Gossner de 1822, desde su base católica y compara el resultado con su traducción
al portugués, realizada en 1914 por el brasileño presbiteriano André Jensen. Para ello, se estudia la iconografía de sus diez emblemas y la iconología de los textos adjuntos. Llegamos a la conclusión de que Jensen cree que el contenido de la versión original en general es de acuerdo con su comprensión de la tradición presbiteriana. Para ello, presenta sutilmente Calvin como representante de la religio cordis, y omite discretamente conceptos no presbiterianos, como el católico zuvorkommende Gnade (la gracia proveniente). Además Jensen reorganiza la secuencia de los emblemas de acuerdo con el esquema del “camino ancho y el camino angosto” del protestantismo tardío que, en realidad, sólo reafirma un aspecto central del mensaje original: su lectura unilateralmente negativa del mundo como seductor o acosador. Por lo tanto, hasta la introducción de la libertad en lugar de la generosidad, o sea, un concepto distinto del protestantismo, no contribuye a una relectura protestante. Predomina un imaginario dicotómico de una batalla entre Dios y el diablo, en y por lo corazón humano, con el único objetivo de lograr una muerte santa, sin ninguna pretensión de transformar el mundo.
Palabras clave: Johannes Evangelista Gossner; André Jensen"

This essay introduces the book Emblèmes or devises chrestiennes of Georgette Montenay as an extraordinary female voice in the initial phase of Calvinism,with its reinterpretation of the religio cordis in the tradition of Luther and Calvin in form of an Emblem Book. With this, the bridesmaid of Jeanne d’Albret, Queen of Navarre, presents Protestant emphasis to humanist and aristocrats circles in a time when the French society was discussing its religious future. Behind the text appears a modern woman, assuming her role  in history, competent in her dominion of a new communication technique and clear in her articulation of a theological position.

Keywords: Calvinism; Georgette of Montenay; emblem books; emblèmes chrestiennes or devises; protestant woman.

Resumo:
Este ensaio apresenta o livro de Emblèmes ou devises chrestiennes,de Georgette  de Montenay, como uma extraordinária voz feminina na fase inicial do  calvinismo, oferecendo uma releitura da religio cordis na tradição dos reformadores Lutero e Calvino, no formato de um livro emblemático. Com isso, a dama de honra de Jeanne d’Albret, a Rainha de Navarra, apresenta  para os círculos humanistas e aristocratas da época as ênfases protestantes  no momento em que a sociedade francesa estava discutindo seu futuro religioso. Aparece, uma mulher moderna, assumindo o seu papel na história,  competente no domínio de novas técnicas de comunicação e clara na sua  articulação e posição teológica.
Palavras chaves: Calvinismo; Georgette de Montenay; livros emblemáticos; emblèmes ou devises chrestiennes; mulher protestante.

ABSTRACT: We sketch out an itinerary of the development of the epigram from the autonomous compositions of witty character, festive or satirical, carried out in imitation of the Greek Anthology and the latin classics or neo-latin poets which, being part of the emblema triprex, were used by humanists like Alciato and other authors of emblem books in 16th-17th centuries with didactic and moral purposes. We report on the metrical solutions that are given to adapt the classic generic paradigms of epigram to the Spanish language and metrical forms in the books of emblems, and in order to show this we analyse 560 epigrams which belong to the works of the Spanish emblematists Juan de Horozco, Hernando de Soto, Sebastián de Covarrubias and Francisco de Villava. We analyse metrical forms, tendencies in the dispositio and elocutio, relation to the picturae and audience to which they are addressed. RESUMEN: Se traza un itinerario de la evolución del epigrama desde las composiciones autónomas de caracter agudo, festivo o satírico, practicadas a imitación de la Antología griega y los clásicos latinos o poetas neolatinos a las que, formando parte del emblema triplex, emplean Humanistas como Alciato y los emblemistas en los siglos XVI-XVII con fines didácticos y morales. Se advierten las soluciones métricas que se dan para adaptar los paradigmas genéricos clásicos a la lengua y formas métricas españolas en los libros de emblemas, y se analizan a tal efecto 560 epigramas que corresponden a las obras de los emblemistas españoles Juan de Horozco, Hernando de Soto, Sebastián de Covarrubias y Francisco de Villava. Se analizan tendencias métricas, tendencias en la dispositio y elocutio, relación con las picturae y público al que se dirigen.

“Oedipi et Sphingis Dialogus, ms FLP Lewis E 164, An Unknown Rendering of the Oedipus Legend and a New Dynamic between Oedipus and the Sphinx,” is the first-ever study of an unusual paper manuscript, Lewis E 164 of the Free Library of Philadelphia, from the late 1500s in France, which features a text not otherwise known, Oedipi et Sphingis Dialogus (Dialogue between Oedipus and the Sphinx).  This text constitutes a unique version of the Oedipus legend as well as a novel take on the emblem book genre. Popular in the sixteenth and seventeenth centuries, emblem books featured symbolic drawings that represented moral lessons. Lewis 164’s Christian focus, paired with frequent mention of classical gods and goddesses, and its deliberately obscure emblems were uncommon for this genre. The new dynamic between Oedipus and the Sphinx along with other features of the codex negotiate issues of self and Other across several domains: West and East; male and female; and the animal/monstrous and the human/civilized.

Title:
The origins of the emblem book The human heart by Johannes Evangelista Gossner: continuity and new readings of the religio cordis between the 16th and 19th century

Abstract
This paper investigates the textual and pictorial sources of the book The human heart (1812) by Johannes Evangelista Gossner. He shows how the iconography of the German Gossner depends on Flemish and especially French iconographies, in its more pessimistic view of the world and without the lightness of the Baroque and Rococo religio cordis. Face to face with revolutionary movements and the Napoleonic Wars we see a version of the religio cordis as withdrawal with personal internal piety, consciously disconnected from the distrusted world.

Keywords
Religio cordis. Miroir du pécheur. Michel Nobletz. Vincent Huby. Johannes Evangelista Gossner.

Resumo
Este artigo investiga as fontes textuais e imagéticas do livro O coração do ser humano (1812), de Johannes Evangelista Gossner. Ele mostra como o alemão Goss-ner depende de iconografias fla-mengas e, especialmente, france-sas, em sua visão do mundo mais pessimista e sem a leveza da religio cordis do barroco e rococó. Face a face aos movimentos revolucioná-rios e as guerras napoleônicas, apresenta-se uma versão da religio cordis como recuo ao cuidado com o interior pessoal, conscientemen-te desconectado do mundo e des-confiando do mundo.

Palavras-chave
Religio cordis. Miroir du pécheur. Michel Nobletz. Vincent Huby. Johannes Evangelista Gossner.

La iglesia del convento de Jesús de Setúbal se decora en 1781 con un rico programa de emblemática aplicada. Los diecinueve paneles de azulejo que lo conforman, de los cuales quince se conservan hoy, se basan en la Elogia Mariana de A.C. Redelius, publicada de forma póstuma en Augsburgo en 1732. Sus ilustraciones, grabadas por M. Engelbrecht sobre invención de C. T. Scheffler, se corresponden con las invocaciones de la letanía lauretana y codifican las prerrogativas que la Iglesia Católica le atribuye a la Virgen María; no obstante, su interpretación no siempre resulta sencilla al carecer las imágenes de comentarios explicativos. Este apoyo textual sí se encuentra en las dos obras anteriores de las que derivan sus composiciones emblemáticas: la Elogia Mariana de I. Oxoviensis (1700) y el Asma Poeticum de P. Stoergler (1636). Este libro reconstruye la confusa genealogía de la Elogia Mariana de Redelius y ofrece la lectura iconográfica del ciclo azulejar setubalense a partir de las claves proporcionadas por sus referentes impresos.

Emblems pertaining to the French religious wars can be divided into two main categories: descriptive emblems, often drawing from classical allusions or adages to depict disorder and upheaval; and polemical emblems, which are less frequently inspired by classical culture and focus on attacking or debasing a specific target. In both cases, depictions of the religious wars hinge on the topos of the world upside-down: descriptive emblems present the world as out of bounds, returned to primeval chaos, self-destructive and inverted, while polemical emblems point out that the people responsible for the conflicts are inverted beings with topsy-turvy behaviours.
I will show how the emblematists’ treatment of conflicts evolved throughout the sixteenth century. The main shift occurs after the 1560s, with the beginning of the religious wars and the rise of the religious emblem book as a genre. While the first generation of French emblematists follows Alciato and alludes to well-known classical and medieval topoi to describe the social disorders, Huguenot emblematists like Montenay and Bèze refer to contemporary polemical pamphlets and prints, thus making their emblems more aggressive and more topical. The kind of inversion at play also shifts from the depiction of an unstable and chaotic world, subjected to topsy-turvy rules and discord, to the debasement of the Church.
Through iconographical and textual analysis, this paper will show how the emblem tradition incorporates common polemical elements from the 1560s onwards, and how it relates to its socio-political context.

Interpretación de las alegorías del Nationalmuseum de Estocolmo España, el Tiempo y la Historia y la Alegoría de la poesía como expresión de que las letras son el modo que tiene el sabio o virtuoso  de conseguir la eternidad, siguiendo el neoestocismo del Theatro Moral de la Vida Humana y la posibilidad de que formasen parte del programa iconográfico de los tondos alegóricos de la agricultura, la industria, el comercio y la ciencia, procedentes del palacio de Godoy.