Lessons in morality in a changing world Allegories of virtue and vice in the Baillieu Library Print Collection Amelia Saward As evident in texts ranging from the concurrent rediscoveries of ancient Hieronymus Wierix (c. 1553–1619).6 Bible to the writings of Aristotle philosophical teachings. Giotto’s The two representations of vice— and Thomas Aquinas, humans have figures of the virtues and vices Pride and Lust—are part of tried for millennia to understand and (situated below the cycle of frescoes Aldegrever’s series. explain the concept of morality and, on the life of the Virgin and Christ) The Raimondi prints, as well as more precisely, the human virtues and in the Scrovegni Chapel (Arena the majority of those by Beham and vices. Consequently, it is no surprise Chapel) at Padua, dating from Aldegrever, are from the significant that representations of morality 1303–05, are one of the earliest gift made by Dr J. Orde Poynton populate Western art throughout Renaissance examples.2 Along with (1906–2001) in 1959, while the history. Such representations usually an advanced understanding of time remaining prints mentioned were take the form of allegory. In the and temporality that began in the purchased by the university, bar one Renaissance’s age of humanism, medieval period, this re-emergence donated in recent years by Marion where Church principles and pagan of ancient theories heralded an era and David Adams.7 traditions were paradoxically mixed, characterised by an unsurpassed Although morality has been these representations demonstrated desire to understand the human a subject of human inquiry since the emergence and establishment of condition. ancient times, much of the Greek the three holy virtues (faith, hope The Baillieu Library Print and Roman philosophical work on and charity) and four cardinal virtues Collection at the University of the subject was only rediscovered in (prudence, temperance, fortitude and Melbourne includes at least 25 the 12th and 13th centuries, spurring justice) as a fluid set.1 examples of prints depicting the a renewed interest.8 In medieval Allegorical depictions of the seven seven virtues, at least 20 of which times the four cardinal virtues were virtues, sometimes contrasted with date from the Renaissance and frequently represented in a variety the vices (pride, envy, wrath, sloth, early baroque periods, represented of media and contexts, such as in avarice, gluttony and lust), occur allegorically and personified in the four corners of illuminated throughout European Renaissance the female form, along with two manuscripts. In contrast, during and baroque art, and in a variety representations of vices from the the Renaissance the seven virtues of mediums, such as painting and approximate period. They include six first appeared in art, after Thomas drawing. Unsurprisingly, however, of the seven images from the series Aquinas’ seminal text Summa many are in the form of print, a The seven virtues by Italian engraver theologica.9 Renaissance scholars, medium that flourished at that Marcantonio Raimondi (1480– priests and humanists all sought to time, allowing easier access and 1527/34) after drawings by Raphael;3 better understand the subject and broader reach among the population. ten examples from Germany convey their conclusions to their Allegorical portrayals of the virtues by Little Masters Hans Sebald fellow men. Moreover, churches and vices during the period appear Beham (1500–1550)4 and Heinrich used prints to appropriate such to stem from the unprecedented Aldegrever (1502–1555/61),5 and subject matter and disseminate exploration of the antique and four Netherlandish prints by their teachings, attempting to Amelia Saward, ‘Lessons in morality in a changing world’ 39 Marcantonio Raimondi, after Raphael, Fortitude, plate 4 from series The seven virtues, c. 1515–25, engraving, 21.5 × 10.5 cm. Reg. no. 1959.3685, gift of Dr J. Orde Poynton 1959, Baillieu Library Print Collection, University of Melbourne. secure their hold on a particular Both Raimondi and Raphael village or city. The result was an worked in the stile classico and were injection of morality into teaching highly influenced by antiquity, at all levels, including through the favouring mythological subjects print, one of the most accessible and mixing in humanist circles. In forms of education for the less Raimondi’s personifications of virtue learned members of the population. this classical influence is strongly Allegorical and symbolic depictions evident. The female figures stand of virtue and vice emulated the new in recessed archways evocative teachings of the intellectuals and the of classical—and subsequently churches and brought them to wider Renaissance—architecture. In audiences. Fortitude (see left) the influence of An eminent printmaker of the classicism is also seen in the figure’s Italian Renaissance, Marcantonio left arm and the drapery from her Raimondi (1487–1539), was at dress, thoughtfully placed over a the forefront of the movement column. Raphael’s composition and to establish printmaking as a included elements refer symbolically mass commercial enterprise and to the antique philosophical origins develop the print as a commodity. of virtue and vice.11 Renowned for his engravings In the 1520s, Raimondi was made after the paintings, frescoes, arrested by Pope Clement VII for woodcuts and designs of some engraving erotic works based on of the most notable artists of the Giulio Romano’s images.12 His series Renaissance, such as Albrecht on virtues is perhaps therefore ironic Dürer and Raphael, Raimondi had and appears to be merely a copy of a close working relationship with subject matter rather than a heartfelt Raphael’s assistant Baviera.10 He expression of his own moral beliefs, also trained many students, such particularly given the popularity of the as Marco Dente, further helping virtues as subject matter. Raimondi’s to establish and cement the print experience helps illuminate the roles trade. Raimondi’s series The seven of state and Church in deciding virtues is after drawings by Raphael, and policing so-called virtuous and so it is also to Raphael that we look unvirtuous behaviours. Moreover, to understand the iconography and it shows that although Renaissance basic stylistic traits of Raimondi’s scholars discussed ‘natural’ virtue based engravings. on ancient texts, in reality, power and 40 University of Melbourne Collections, issue 17, December 2015 Heinrich Aldegrever, Pride, from series Virtues and vices, 1552, engraving, 10.3 × 6.3 cm. Reg. no. 1959.2170, gift of Dr J. Orde Poynton 1959, Baillieu Library Print Collection, University of Melbourne. consequently money also played a part in establishing the morality of the period, at least on the surface.13 Heinrich Aldegrever was born in the German town of Paderborn in 1502, but moved to nearby Soest in around 1527, where he stayed for the remainder of his life.14 Soest joined the Reformation in 1532 and presumably this appealed to Aldegrever, who— as is apparent from his prints— was Lutheran.15 This provides an interesting context when examining his complex and highly symbolic representations of the virtues and vices. Aldegrever was well acquainted with Dürer’s work and, even when adopting a more Italianate style in his latter years, such early influences can still be seen. His work from the 1550s (compatible with the dates of the Baillieu Library’s virtues and vices) also demonstrates familiarity with Raimondi’s work and the influence of Italianism.16 It is worth noting that whereas Raimondi’s series includes only the seven virtues, Aldegrever also depicts the contrasting vices, potentially in an effort to question the Church and its morality. His print of Pride (the first plate in his series of the seven vices—see right) is represented by a female figure riding an animal, consistent with the other plates from the series. In the case of Pride, the figure is riding a rearing horse, with Amelia Saward, ‘Lessons in morality in a changing world’ 41 a lion walking alongside. She carries during the Reformation in Germany, sits on a column base holding a lamb, a flag depicting an imperial eagle; when earning a good income was symbolic of Christ’s sacrifice—the in the top-left corner of the print difficult for artists, and religious ultimate exemplar of patience—and is a coat of arms featuring a lion artworks were also statements thus represents self-control during rampant surmounted by a peacock of allegiance, the works of both a challenge or hardship. She also as the crest—all are symbolic of Aldegrever and Beham are clearly faces the devil’s onslaughts on the pride and earthly glory. Moreover, products of their context. Given the right of the image and is crowned she is wearing the papal triple- common reference to Beham and by cherubs with a laurel wreath. crown, reflecting the anti-Catholic his brother Barthel as the ‘godless Beham’s works demonstrate the sentiment prominent in German painters’, it is likely his works were significant influence of both German art of the Reformation period. The not religiously commissioned or and Italian masters—namely Dürer text below the image (Vicious pride, inspired, but created for educational and Raimondi—and therefore the first mother of wicked things and purposes, as a satirical comment on dissemination of stylistic traits welling spring of all kinds of evil)17 the Catholic Church, or simply to throughout Europe. reinforces the overall theme of the make money.18 The series of prints depicting work, but, through the papal crown Of the six Beham virtue prints virtues, by Hieronymus ( Jerome) reference, Aldegrever makes a specific held in the Baillieu Library, Wierix (1553–1619), is stylistically link between pride and Catholicism. one image, Pacientia (Patience, different from the other examples in Stylistically, the print typifies the illustrated opposite), appears to be the university’s collection discussed European artistic climate during the from a different series; this is also here.