Mapping England's Trade Through Depictions in English Emblems. Valerie J

Total Page:16

File Type:pdf, Size:1020Kb

Mapping England's Trade Through Depictions in English Emblems. Valerie J East Tennessee State University Digital Commons @ East Tennessee State University Electronic Theses and Dissertations Student Works 5-2011 Mapping England's Trade Through Depictions in English Emblems. Valerie J. Erickson East Tennessee State University Follow this and additional works at: https://dc.etsu.edu/etd Part of the European History Commons Recommended Citation Erickson, Valerie J., "Mapping England's Trade Through Depictions in English Emblems." (2011). Electronic Theses and Dissertations. Paper 2258. https://dc.etsu.edu/etd/2258 This Thesis - Open Access is brought to you for free and open access by the Student Works at Digital Commons @ East Tennessee State University. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of Digital Commons @ East Tennessee State University. For more information, please contact [email protected]. Mapping England‟s Trade Through Depictions in English Emblems ____________________ A thesis presented to the faculty of the Department of History East Tennessee State University In partial fulfillment of the requirements for the degree Master of Arts in History ____________________ by Valerie J. Erickson May 2011 ____________________ Dr. Brian Maxson, Chair Dr. Henry Antkiewicz Dr. Doug Burgess Dr. Melvin Page Keywords: English Emblems, English trade, English shipping, English Empire, Empire-building, colonial expansion. ABSTRACT Mapping England‟s Trade Through Depictions in English Emblems by Valerie J. Erickson This thesis explores the growing interaction between England and foreign countries comparing their trade with contemporary later sixteenth century and seventeenth century English emblems. The emblems used are those available over the internet from several different library and university sources. As England expanded its trade throughout the world, English emblems began to show the exchange occurring between England and its various trading partners. Historians have largely overlooked this valuable source of information. By studying emblems historians gain invaluable insight into the economy, society, politics, religion, and other matters with which England was concerned. 2 Copyright 2011 by Valerie J. Erickson, All Rights Reserved. 3 DEDICATION This work is dedicated to my husband Joseph for his unending support and enthusiasm. To my children, Tiana, Nora, Trevin, and Arlewyn and my son by marriage, James. Thank you for supporting me and being so patient as you grew up while your mom was following her dream. To my mom, Sandra, for her editorial skills and backing and to my dad, Darwin, for his encouragement. To the wonderful Dr. Jennifer Hall, my deepest appreciation, for a debt I cannot repay, for having introduced me to the world of emblems. To my dear professors, David Knowles and Darrel McGhee, for challenging me, giving me advice, and always believing in me. Lastly, thank you to my thesis committee, Dr. Brian Maxson, Dr. Mel Page, Dr. Doug Burgess and Dr. Henry Antkiewicz for your endless patience, guidance, and teachings. 4 ACKNOWLEDGMENTS Thank you greatly to the Bodleian Library, Glasgow University and Pennsylvania State University for allowing me to use images from their collection of emblem books. Thank you to Ms. Emily Redd of East Tennessee State University for her assistance in helping me format my thesis. 5 CONTENTS Page ABSTRACT……………………………………………………………………………… 2 LIST OF FIGURES……………………………………………………………………… 7 Chapter 1. INTRODUCTION………………………………………………………….. 11 2. ANDREA ALCIATO AND THOMAS PALMER…………………………. 17 3. WHITNEY, PS, AND PEACHAM………..……………………………….. 35 4. GEORGE WITHER………………………………………………………… 93 5. CONCLUSION………………………………………………………………. 102 BIBLIOGRAPHY………………………………………………………………………… 104 VITA………………………………………………………………………………………. 106 6 LIST OF FIGURES Figure Page 1. “By Knowledge Only, Life we Gain, All Other things to Death pertain.” George Wither, A Collection of Emblemes, Ancient and Moderne, Pennsylvania State University 13 2. “Mutuum Auxilium.” Andrea Alciato. Emblematum libri II, University of Glasgow……. 19 3. “In Deo Laetandum.” Andrea Alciato. Livret des Emblemes, University of Glasgow…… 20 4. “Non tibi sed religioni.” Andrea Alciato. Emblematum libri II, University of Glasgow… 21 5. “Cosilio, & virtute Chimaeran Superari, id est, fortiores & deceptores.” Andrea Alciato. Emblemata, University of Glasgow……………………………………………………. 22 6. “Amicitia Etiam Post mortem Durans.” Andrea Alciato. Emblematum Liber, University of Glasgow……………………………………………………………………................... 23 7. “In Ill Audata Lau-dantes.” Andrea Alciato. Emblematum Liber, University of Glasgow 24 8. “Peace.” Andrea Alciato. Emblematum Liber, University of Glasgow………………… 25 9. “Nec quaestioni quidem cedendum.” Andrea Alciato. Les Emblemes, University of Glasgow………………………………………………………………………………… 26 10. “Leopard.” Paul of Devonian farm. Ontology2, website source in figure…………….. 27 11. “Lioness.” Paul of Devonian farm. Ontology2, website source in figure………………. 27 12. “Impossibile.” Andrea Alciato, Emblematum Liber, University of Glasgow…………… 27 13. “Impossibilie.” Andrea Alciato, Emblematum Libellus, University of Glasgow………… 28 14. “Tumulus Iounnis Galeatii vice comitis, primi ducis Mediolani.” Andrea Alciato, Liber Emblematum/Kumstbuch, University of Glasgow…………………………………. 29 15. “Temeritas.” Geffrey Whitney. A Choice of Emblemes and Other Devices, Pennsylvania State University…………………………………………………………………………… 30 16. “Etiam Ferocissimos Domari.” Andrea Alciato, Emblematum Liber, University of Glasgow…………………………………………………………………………………… 31 17. “Impossibile.” Andrea Alciato, Emblemata, University of Glasgow…………………….. 33 7 18. “Nec verbo nec facto quen quam laedendum.” Andrea Alciato. Emblematum Libellus, University of Glasgow…………………………………………………………………... 35 19. “Intestinae simultates.” Geffrey Whitney. Choice of Emblems, Pennsylvania State University………………………………………………………………………….……. 39 20. “Te stante, virebo.” Geffrey Whitney. Choice of Emblems, Pennsylvania State University………………………………………………………………………………… 40 21. “In Sinualere Serpentem.” Geffrey Whitney. Choice of Emblems, Pennsylvania State University………………………………………………………………………………… 41 22. “Otium sortem exspectat.” Geffrey Whitney. Choice of Emblems, Pennsylvania State University…………………………………………………………………………………. 42 23. “Nus quam tuta fides.” Geffrey Whitney. Choice of Emblems, Pennsylvania State University……………………………………………………………………………….… 44 24. “Elephant.” Andrea Alciato. Toutes les Emblemes, University of Glasgow…………… 45 25.“Elephant.” Andrea Alciato. Emblematum libri II, University of Glasgow……………. 45 26. “African and Asian Elephants.” Paul of Devonian farms. Ontology2, website source in figure…………………………………………………………………………… 45 27. “Victoria Cruenta.” Geffrey Whitney. Choice of Emblems, Pennsylvania State University………………………………………………………………………………… 47 28. “Auxilio Divino.” Geffrey Whitney. Choice of Emblems, Pennsylvania State University………………………………………………………………………………… 49 29. “Res humana in summon declinant.” Geffrey Whitney. Choice of Emblems, Pennsylvania State University………………………………………………………….… 52 30. “Constantia comes Victoria.” Geffrey Whitney. Choice of Emblems, Pennsylvania State University…………………………………………………………………………… 54 31. “Aethiopian Lavare.” Geffrey Whitney. Choice of Emblems, Pennsylvania State University…………………………………………………………………………………. 55 32. “Infortunia nostra, alienis collate, leviora.” Geffrey Whitney. Choice of Emblems, Pennsylvania State University………………………………………………………. …. 56 33. “Caeus amor prolis.” Geffrey Whitney. Choice of Emblems, Pennsylvania State University………………………………………………………………………………… 57 8 34. “In copia minor error.” Geffrey Whitney. Choice of Emblems, Pennsylvania State University………………………………………………………………………………… 58 35. “Stultorum quanto status sublimior tanto manifestior turpitudo.” Geffrey Whitney. Choice of Emblems, Pennsylvania State University……………………………………… 58 36. “Stultorum quanto status sublimior tanto manifestior turpitudo.” Barthelemy Aneau, Picta Poesis, University of Glasgow……………………………………………………… 59 37. “In Curiosos.” Geffrey Whitney. Choice of Emblems, Pennsylvania State University.. 60 38. “Providentia.” Geffrey Whitney. Choice of Emblems, Pennsylvania State University.. 61 39. “Tempore Cuncta mitiora.” Geffrey Whitney. Choice of Emblems, Pennsylvania State University……………………………………………………………………………..…. 62 40. “Plus.” PS. Heroicall Devises of M. Claudius Paradin-Translated into English by PS, Pennsylvania State University……………………………………………………….…… 64 41. “Caecus Amor prolis.” PS. Heroicall Devises, Pennsylvania State University………. 65 42. “Colligavit nemo.” PS. Heroicall Devises, Pennsylvania State University…………… 66 43. “Grandeur, per grand heur.” PS. Heroicall Devises, Pennsylvania State University…. 67 44. “Classis monumenta subactae.” PS. Heroicall Devises, Pennsylvania State University. 68 45. “Ex viroque Caesar.” PS. Heroicall Devises, Pennsylvania State University…………. 70 46. “Flavescent.” PS. Heroicall Devises, Pennsylvania State University…………………. 71 47. “Nisi desuper.” Henry Peacham. Minerva Britanna, Bodleian Library………………. 73 48. “Quem timuisti, timet.” Henry Peacham. Minerva Britanna, Bodleian Library……… 74 49. “Veritas.” Henry Peacham. Minerva Britanna, Bodleian Library…………………….. 76 50. “Patientia Laesa furorem.” Henry Peacham. Minerva Britanna, Bodleian Library…… 77 51. “Merenti.” Henry Peacham. Minerva Britanna, Bodleian Library……………………. 78 52. “Sic vos non vobis.” Henry Peacham. Minerva Britanna, Bodleian Library…………. 79 53. “Umbra tantum.” Henry Peacham. Minerva Britanna,
Recommended publications
  • What Is an Emblem Book
    A brief introduction to the Stirling Maxwell Collection of Emblem Books at the University of Glasgow. David Weston April 2011 The last forty years have witnessed an increasing interest in emblem literature as a potential key to a fuller understanding of the Renaissance and Baroque mind. At an early stage in this development the importance of the collection of emblem books formed in the 19th century by Sir William Stirling Maxwell was recognised as a major resource for anyone pursuing research in this area. With some 1200 emblem books in the collection in 1958, it proved an invaluable source of information to Mario Praz in the production of his Studies in seventeenth century imagery, especially the bibliography, where he frequently refers to copies seen at Nether Pollok, the country house of the Maxwell family now within the boundaries of Glasgow. Since then few works published in emblematics fail to mention the Stirling Maxwell Collection and frequently they are illustrated with prints taken from copies in the collection. Sir William Stirling Maxwell, writer on Spanish art and history, a discerning and tireless collector of paintings, books and porcelain, a poet, politician, distinguished public figure, and last but not least, a breeder of short-horn cattle and Clydesdale horses, was without doubt a most remarkable figure. Born on the 8th of March, 1818, into the ancient Scottish family of Stirling, plain William Stirling as he was then, was educated privately in Buckinghamshire and later at Trinity College Cambridge. As the only son of Archibald Stirling of Keir, he inherited his father's estates in 1847, and subsequently, on the death of his uncle Sir John Maxwell of Pollok, he inherited the title, acquiring the additional name of Maxwell.
    [Show full text]
  • THE EARLY MODERN BOOK AS SPECTACLE by PAULINE
    THROUGH A GLASS DARKLY: THE EARLY MODERN BOOK AS SPECTACLE by PAULINE E. REID (Under the Direction of Sujata Iyengar) ABSTRACT This dissertation approaches the print book as an epistemologically troubled new media in early modern English culture. I look at the visual interface of emblem books, almanacs, book maps, rhetorical tracts, and commonplace books as a lens for both phenomenological and political crises in the era. At the same historical moment that print expanded as a technology, competing concepts of sight took on a new cultural prominence. Vision became both a political tool and a religious controversy. The relationship between sight and perception in prominent classical sources had already been troubled: a projective model of vision, derived from Plato and Democritus, privileged interior, subjective vision, whereas the receptive model of Aristotle characterized sight as a sensory perception of external objects. The empirical model that assumes a less troubled relationship between sight and perception slowly advanced, while popular literature of the era portrayed vision as potentially deceptive, even diabolical. I argue that early print books actively respond to these visual controversies in their layout and design. Further, the act of interpreting different images, texts, and paratexts lends itself to an oscillation of the reading eye between the book’s different, partial components and its more holistic message. This tension between part and whole appears throughout these books’ technical apparatus and ideological concerns; this tension also echoes the conflict between unity and fragmentation in early modern English national politics. Sight, politics, and the reading process interact to construct the early English print book’s formal aspects and to pull these formal components apart in a process of biblioclasm.
    [Show full text]
  • Florida State University Libraries
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2018 Book Illustration and Intersemiotic Translation in Early Modern England Taylor Clement Follow this and additional works at the DigiNole: FSU's Digital Repository. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF ARTS AND SCIENCES BOOK ILLUSTRATION AND INTERSEMIOTIC TRANSLATION IN EARLY MODERN ENGLAND By TAYLOR CLEMENT A Dissertation submitted to the Department of English in partial fulfillment of the requirements for the degree of Doctor of Philosophy 2018 © 2018 Taylor Clement Taylor Clement defended this dissertation on March 19, 2018 The members of the supervisory committee were: A. E. B. Coldiron Professor Directing Dissertation Stephanie Leitch University Representative Gary Taylor Committee Member Bruce Boehrer Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the dissertation has been approved in accordance with university requirements. ii ACKNOWLEDGMENTS I would like to thank my doctoral committee for their guidance, time, and instruction as I worked to complete this dissertation. Thanks especially to Dr. A. E. B. Coldiron for her rigorous training in Renaissance Lyric and History of Text Technologies, and her invaluable assistance and bright encouragement from the beginning stages of this project to the finished work. Thanks to Dr. Stephanie Leitch for her contagious enthusiasm and for teaching me to Rethink the Renaissance. Thanks also to Astrid, whose marker-board portrait of Man Behind a Window (c. 2014) inspired my research on portraiture. To Dr. Bruce Boehrer for suggesting readings about fowling and mousetraps, and to Dr.
    [Show full text]
  • Newsletter 4
    Society for Emblem Studies Newsletter 59 July, 2016 2017 Conference The 2017 SES Conference The Eleventh International Conference of the Society for Emblem Studies will take place from Monday, July 3 to Friday, July 7, 2017, in Nancy (France) at the Université de Lorraine (Faculté de droit, sci- ences économiques et gestion), under the direction of Paulette Choné and her organizing committee. Please note that the deadline for submission of proposals to be included on the conference program is 1 Septem- 1 ber 2016, and that all proposals should be sent jointly to Mme Choné ([email protected]) and 2017 3–7 July, Ingrid Höpel, Chair of the Society (ihoepel@kunstge- schichte.uni-kiel.de). The conference organizers have proposed eight broad themes. What follows is extracted from the Call for Papers, which may be found at the Society web site (http://www.emblemstudies.org/files/2016/03/ CfP-07-03-16.pdf ). Contents of Newsletter 59 1. Making an emblem book Research activities of interest to members ........................ 1 This theme should focus on the various agents in The 2017 SES Conference: Call for Papers 1 the conception and production of emblem books Other calls for papers and contributions 3 (publishers, printers, patrons, academies, engrav- Recent publications 4 ers, draftsmen, copperplate printers, authors, com- Workshop reports 4 mentators, translators, proofreaders...), as well as on In memoriam: Daniel S. Russell .....................................3 the steps and procedures of its creation (edition and Research notes ................................................................11 re-edition, re-use, recurrence, plagiarism, counterfeits ; cooperation, competition...) until its sale. Rubem Amaral, on reuse of woodcuts from Alciato 11 Mason Tung, on John Hall’s versification 16 2.
    [Show full text]
  • The Library, 7.1.4, December Zooo 453 Conclusions Regarding the Venetian Music Printing Business Are Impressive
    The Library, 7.1.4, December zooo 453 conclusions regarding the Venetian music printing business are impressive. This book proves to be complementary to the existing works in the field and is thoroughly deserving of a place on the shelf beside them. Oxford MARTIN HOLMES Charta of Greek Printing: The Contribution of Greek Editors, Printers and Publishers Downloaded from https://academic.oup.com/library/article/1/4/453/943484 by guest on 01 October 2021 to the Renaissance in Italy and the West. Vol. I: Fifteenth Century. By KONSTANTINOS SP. STAIKOS. Cologne: Jiirgen Dinter. 1998. lxix + 557 pp. + 128 illus., one folding map. 500 DM. ISBN 3 924794 19 7. THIS IS A VERY LARGE, very handsome, and very expensive book. It is also infuriating: so much effort expended to produce a guide (a map, in the word of the title) that can do nothing but mislead the unwary, perpetuate old errors, and start new ones. It is not about the printing of Greek, but as the subtitle puts it, 'The Contribution of Greek Editors, Printers and Publishers to the Renaissance in Italy and the West'. It is thus a long essay in Renaissance cultural history from a strictly Hellenic perspective. There are many faults with Staikos's lists. Practically everyone who knew Greek in Quattrocento Italy is said to be a pupil of Chrysoloras (d. 1415), including Nicholas V, who was born the year that Chrysoloras started his short stint of teaching in Florence (p. 70). Throughout chapter 1, Staikos wobbles between Johannes and Vindelinus de Spira as prototypographer of Venice, an honour accorded to Nicolas Jenson in the index.
    [Show full text]
  • Emblem Books and the Age of Symbolism
    8. The Renaissance The two defining achievements of the Renaissance, the revival of classic- ism and the invention of the printing press assured the simultaneous tri- umph and demise of the age of symbolism. On the one hand, scholars were faced with the recovery of a complete literary and artistic culture which in spite of its historical and aesthetic attractions knew nothing of Christian orthodoxy. Undaunted, these scholars reacted by attempting to reconcile the two traditions, classical and Christian, and to integrate them into one coherent system, one effect of which was to reinforce and per- petuate the culture of symbolism. At the same time, printing enabled the widespread dissemination of the literature of symbolism including the new genres of emblem and device. By the end of the 17th century tens of thousands of these books had been sold and hundreds of thousands of emblems, devices and enigmas as well as other genres had been com- posed, read and deciphered and their symbolism contemplated and ab- sorbed. But the same benefits of printing applied to the nascent scientific revolution. The rapid spread of knowledge, the sharing of information, the loosening of the censorship of the Church slowly but inexorably brought about the triumph of empiricism. 209 · Recovery of the Ancient Texts · The politics of Europe at the end of the Middle Ages had been dominat- ed by the centuries long struggle between the Papacy and the Holy Ro- man Empire for control of the Church, finally ending with victory for the Popes. It was natural that after relative political stability had been achieved by the formation of self-contained city-states, the Renaissance should begin in Italy.
    [Show full text]
  • The Catalogue Is the Exhibit: Artists’ Books at Memorial University Libraries
    The Catalogue Is the Exhibit: Artists’ Books at Memorial University Libraries "" The Catalogue Is the Exhibit: Artists’ Books at Memorial University Libraries from the holdings1 of Archives & Special Collections The Catalogue Is the Exhibit: Artists’ Books at Memorial University Libraries 2 The Catalogue Is the Exhibit: Artists’ Books at Memorial University Libraries The Catalogue Is the Exhibit: Artists’ Books at Memorial University Libraries Selected from the holdings of Archives & Special Collections Catalogue by Patrick Warner QUEEN ELIZABETH II LIBRARY 2018 3 The Catalogue Is the Exhibit: Artists’ Books at Memorial University Libraries Cover Image Bryan, Tara. Walking on Eggs. St. John’s. Walking Bird Press. 1997. Title Page Image Detail from Tara Bryan’s Walking on Eggs. Walking Bird Press. 1997. Acknowledgements Photographs: Rich Blenkinsopp, Marketing and Communications, Memorial University. Catalogue design: Rochelle Baker and Patrick Warner. ISBN: 978-0-8891-490-6 4 The Catalogue Is the Exhibit: Artists’ Books at Memorial University Libraries Introduction Artists’ books announce themselves in extravagant ways. They exist on a continuum between the traditional book (the codex) and book objects that resemble sculptures. There is no general agreement about when artists’ books first appeared; depending on who is asked, it was either in the early decades of the twentieth century or sometime in the 1960s. Nor is there any consensus about what constitutes an artist’s book: it is perhaps a traditional book reimagined, a sculpture, a painter’s portfolio, a coffee table book, a book of photographs, a novelty item, a work of art in book form, or some combination of the above.
    [Show full text]
  • SES Newsletter 55 (July 2014): 14)
    SOCIETY FOR EMBLEM STUDIES NEWSLETTER Number 56, January 2015 Sabine Mödersheim, Wim van Dongen, Editors __________________________________________________________ President of the Society: Michael Bath Chairperson: Ingrid Höpel Treasurer: Elizabeth C. Black Website: www.emblemstudies.org The Newsletter is vital to our community of researchers, providing information and updates on research, conferences, publications and other information. Please send us your updates for inclusion in the next Newsletter. We ask that you update your subscription information (if you haven’t done so before) to include your e-mail address for electronic delivery of the Newsletter. Please write to Elizabeth Black, [email protected], to update your contact information and to inquire about subscription payments. National Representatives The National Representatives for the Society are as follows: Austria: Elisabeth Klecker, Universität Wien, Institut für Klassische Philologie, Universitätsring 1, 1010 Wien, [email protected] Belgium & The Netherlands: Wim van Dongen, Molenstraat 31, B-2018 Antwerp, [email protected] Canada: Mary Silcox, Department of English, Chester New Hall 321, McMaster University, 1280 Main Street W., Hamilton, Ontario, L8S 4L9, [email protected] Page 1 France: Anne-Elisabeth Spica, 5 Rue des Piques, 57000 Metz, [email protected] Germany: Gilbert Heß, [email protected] Great Britain & Ireland: Alison Adams, Stirling Maxwell Centre, SMLC, University of Glasgow, Glasgow G12 8QQ, Scotland, [email protected], [email protected] Japan: Misako Matsuda, 1-16-13 Nakamachi, Tokyo 158-0091. Poland: Justyna Kilianczyk-Zieba, [email protected] Spain: Sagrario López Poza, C/ Cerquidos, 1, 15660 Cambre (A Coruña), [email protected] Switzerland: Seraina Plotke, Universität Basel, Deutsches Seminar, Nadelberg 4, CH - 4051 Basel, [email protected] U.S: Debra Barrett-Graves, 125 Shoreline Circle, Apt.
    [Show full text]
  • Mesotext. Digitised Emblems, Modelled Annotations And
    Mesotext Cover design: René Staelenberg, Amsterdam Lay-out: Peter Boot ISBN 9789089641878 NUR 600/983 © Peter Boot / Pallas Publications – Amsterdam University Press, 2009 All rights reserved. Without limiting the rights under copyright reserved above, no part of this book may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means (electronic, mechanical, photocopying, recording or otherwise) without the written permission of both the copyright owner and the author of the book. Mesotext Digitised Emblems, Modelled Annotations and Humanities Scholarship Mesotekst Gedigitaliseerde emblemen, gemodelleerde annotaties en de geesteswetenschappen (met een samenvatting in het Nederlands) Proefschrift ter verkrijging van de graad van doctor aan de Universiteit Utrecht op gezag van de rector magnificus, prof.dr. J.C. Stoof, ingevolge het besluit van het college voor promoties in het openbaar te verdedigen op vrijdag 20 november 2009 des middags te 12.45 uur door Peter Boot geboren op 25 september 1961 te Alphen aan den Rijn Promotoren: Prof.dr. E.M.P. van Gemert Prof.dr. P.W.M. Wackers Co-promotoren: Dr. A.J. Gelderblom Dr. F. Wiering Table of Contents Table of Contents .............................................................................................. 5 Part I. Context of this Study ................................................................................. 11 1 Introduction ............................................................................................ 13 1.1 Subject
    [Show full text]
  • Continental Books
    BERNARD QUARITCH LTD 40 SOUTH AUDLEY STREET, LONDON W1K 2PR Tel. : +44 (0)20 7297 4888 Fax : +44 (0)20 7297 4866 e-mail : [email protected] website : www.quaritch.com Bankers : Barclays Bank PLC, 1 Churchill Place, London E14 5HP Sort code : 20-65-82 Swift code : BARCGB22 Sterling account IBAN: GB98 BARC 206582 10511722 Euro account IBAN: GB30 BARC 206582 45447011 US Dollar account IBAN: GB46 BARC 206582 63992444 VAT number : GB 840 1358 54 Mastercard, Visa and American Express accepted Recent Catalogues : 1431 Travel & Exploration/Natural History 1430 Philosophy, Politics, Economics Recent lists : 2015/5 The Library of Robert Ball: part I 2015/4 Autograph Letters & Manuscripts 2015/3 From the Library of Cosmo Alexander Gordon Front cover illustration taken from item 47, Rozier Rear cover illustration taken from item 26, Horapollo © Bernard Quaritch Ltd 2015 CONTINENTAL BOOKS Pius II’s Asia – Carthusian statutes – monstrous births – Turkish and Roman tapestries – Hildegard’s letters – the rhetoric of whores – a rare Vérard Book of Hours, illuminated – annotated Juvenal – Joachim’s apocalyptic prophecies – an incunable Sammelband from Johann Protzer’s library – fortune-telling by cards – Parisian rhodomontades – a Czech portrait book – Postel on the original language – Brescian emblems – Scandinavian emblems – the first book printed in Syriac – Stimmer’s Bible illustrations – Ramus on geometry, profusely annotated BERNARD QUARITCH Catalogue 1432 MMXV 1. ABSTEMIUS, Laurentius (i.e. Lorenzo ASTEMIO, or sometimes BEVILACQUA). De quibusdam locis obscuris. Venice, Bernardino Benagli, [n. d., but c. 1494.] 4to, ff. [24]; roman letter, spaces and guide-letters for initials; sparse contemporary annotations in the margins (slightly shaved); textblock splitting at gutter between a1 and a2, some light waterstaining in inner margins, occasional light soiling, but generally clean and crisp; modern binding re-using eighteenth-century carta rustica (worn).
    [Show full text]
  • Painting in the Dutch Golden Age: a Profile of the Seventeenth Century
    Painting in the Dutch Golden Age Golden Dutch the in Painting NATIO N AL GALLERY OF A R T | D I V I S I O N O F Ed UCATIO N DEPARTME N T O F Ed UCATIO N P UBLICATIO N S Painting in the Dutch Golden Age A Profile of the Seventeenth Century A Profile of the Seventeenth Century Seventeenth the of Profile A N A TION A L ga L L E R Y O F A R T, W NATIO N AL GALLERY OF A RT as HIN WASHI ng TO N G TON Painting in the Dutch Golden Age A Resource for Teachers Painting in the Dutch Golden Age A Profile of the Seventeenth Century National Gallery of Art, Washington Acknowledgments This teaching packet is a project of the National Gallery of Art, department of education publica- tions. Writers Carla Brenner, Jennifer Riddell, and Barbara Moore extend sincere thanks to colleagues at the Gallery: curator of northern baroque paint- ings Arthur Wheelock, exhibition research assistants Jephta Dullaart and Ginny Treanor, and curatorial assistant Molli Kuenstner, who generously shared books and expertise; head of the education divi- sion Lynn Pearson Russell; editor Ulrike Mills and designer Chris Vogel; and fellow staff members Ira Bartfield, Barbara Bernard, Ricardo Blanc, Bob Grove, Peter Huestis, Greg Jecmen, Leo Kasun, Yuri Long, Donna Mann, Marjorie McMahon, Rachel Richards, Carrie Scharf, Neal Turtell, and Barbara Woods. We also thank our colleague Anna Tummers, lecturer in art history, University of Amsterdam, for her original manuscript, sustained collaboration, and precise editorial comments, which have nurtured this book to its final form.
    [Show full text]
  • MAIER Count of the Imperial Conſiſtory M.D., Eq
    ATALANTA FUGIENS THE FLEEING ATALANTA — or — NEW CHYMICAL EMBLEMS OF THE SECRETS OF NATURE — by — MICHAEL MAIER Count of the Imperial Conſiſtory M.D., Eq. ex. &c OPPENHEIM Printed by Hieronymous Gallerus Publiſhed by1 Johann Theodor de Bry 1618 *** ***** *** Michael Maier’s alchemical emblem book Atalanta fugiens was first published in Latin in 1617. It was a most amazing book as it incorporated 50 emblems with epigrams and a discourse, but extended the concept of an emblem book by incorporating 50 pieces of music the ‘fugues’ or canons. In this sense it was an early example of multimedia. An English translation exists in the British Library MS. Sloane 3645. Clay Holden was kind enough to allow his transcription of emblems 1 to 10, and Hereward Tilton has transcribed 11 to 34, and Peter Branwin has completed the work by transcribing 35 to 50. Peter Branwin is currently working on a new translation of the discourses from the original Latin. [There is another English translation in Mellon MS. 48 at Yale in the USA.] — Adam Maclean. The text following is for the most part taken from the transcriptions mentioned above, as posted on the Alchemy website; these gave Latin and English mottoes for emblems 1-10, English mottoes only for 11-46 and none at all for the last four. The Latin epigrams were only given for 1-10, of which only the first was translated. All the omitted Latin mottoes and epigrams have been restored from the facsimiles published by H. M. de Jong in her Michael Maier’s Atalanta Fugiens: Sources of an Alchemical Book of Emblems (Leiden: E.J.
    [Show full text]