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DISCOVERIES South-Central Renaissance Conference News and Notes Volume 17, Number 2 Spring 2000

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DISCOVERIES South-Central Renaissance Conference News and Notes Volume 17, Number 2 Spring 2000 ISSN: 1097-3494 DISCOVERIES South-Central Renaissance Conference News and Notes Volume 17, Number 2 Spring 2000 Practical Reason and Action: The Teaching of Prudence Through Renaissance Emblem Books Lynette C. Black University of Memphis Ld.fimmeprudente. mposed of a picture plus a motto nd often an epigram, emblem C ooks provide insight into the defi­ nition of the virtuous life during the early modem period. For example, in the emblem "La femme prudente," from Guillaume Gueroult' s Premier livre des emblemes (Fig. 1), a woman rests her foot on a tortoise, in­ dicating that, like the tortoise, she stays inside her house. The epigram explains, In This Issue... "Femme qui est sage ne court c;a, ne la/ La F cmmc qui cfrfagc folle et volage n'ayme que cela" [The Practical Reason and Action: N c courc ~a,nc la, woman who is wise does not run about LafoHe &' vohgc; The Teaching of Prudence hither and thither; the foolish and flighty Through Renaissance woman likes only that. ]1 The emblematist N'aymeque ~da. Emblem Books uses the medieval opposition of Prudence Fig. 1. Guillaume Gueroult: Premier livre des by Lynnette Black C. and Folly to show that a woman who as­ emblemes, 1550. 1 serts herself beyond her household An Invisible Notation: represents the opposite of prudence. rhetorical and humanistic context. The per­ On the Invention of German Gueroult' s presentation offers a suasive character of the emblem book Lute Tablature glimpse into the rich range of allusions to extends beyond the overtly didactic. The by Hiroyuki Minamino Prudence in emblem books spanning the prominence of prudence suggests a surpris­ 3 sixteenth and early to middle seventeenth ing subtlety in the persuasive method of the centuries. Here an astonishing array of emblem books, as they teach virtue indi­ Review: icons portrays Prudence: the serpent, the rectly through the act of reading. David Alan Brown on the stag, the bifrons or three-headed figure, the The priority of prudence, which icono­ Young Leonardo Da Vinci mirror, the book, the eye, the sieve, the cen­ graphic variety suggests, appears in rev. by Jane Andrews Aiken taur, the owl, the crane, and the fox. emblematists' statements concerning the 4 Emblems conflating her with wisdom, time, four virtues. Barthelemy Aneau in his com­ occasion, eloquence, reason, or maturity, or mentary to Alciati' s emblem on Anteros, To Have and to Hold: King associating her with Mercury, Pallas, or which he entitles "Contre Amour ou amour Lear and the 1559 Book of Minerva, suggest her ubiquitous quality.2 Common Prayer de vertu," explains that Prudence is the in­ This study describes prudence as a by Martha A. Oberle tellectual force behind the actions expressing 5 common thread among emblem books of the other virtues: " ... Vertues, qui sont en varying national traditions to show the general quatre Cardinales desquelles la "The Children of Venus": underlying relationship of the genre to its premiere est Prudence, par contemplation An Anonymous 16th-Century residente au chef: les autres trois, Justice, All illustrations in this article are reproduced Venetian Engraving Force, & Temperance, gisent en action et by permission ofThe Stirling Maxwell by Herbert C. Turrentine Collection, Glasgow University Library, pource sont aux mains et autres parties du 7 Department of Special Collections. corps[... virtues, which in general number Spring 2000 Discoveries An Invisible Notation: On the Invention of German Lute Tablature By Hiroyuki Minamino Mission Viejo, California "[The lutenists] were quite drunk at that time when they All the systems of lute tablature (except the German one) invented their tablature." This comment made by Martin are graphic presentations of the fingerboard. The six hori­ Agricola in 1529 is incorrect. It was not some intoxicated zontal lines represent the six courses of the lute. Arabic lutenists but a blind organist who invented German lute numerals or letters of the alphabet decide the vertical divi­ tablature.1 sions of strings in semitone interval. Therefore, a specific After its invention in the late thirteenth century in spain, the lute became one of the most popular musical instruments of the Middle Ages and the Renaissance. Poets praised it, .5 c k p ,, J -e .k artists painted it, professional and amateur musicians played 4 i 0 l d it. At first, it was played with a plectrum or quill, thus being d J l capable of producing only a single line of musice, but in the 3 c h n s z. c -h mid-fifteenth century, the method of plucking the strings with the fingers was invented and widely cultivated. This 2 b g m t y ii -8 technical change enabled the lutenist to pluck non-adjacent strings simultaneously, giving him a means to cope with sev­ 1 a f I q x -a f .eral polyphonic voices simultaneously on a single instrument. The lutenist arranged the polyphonic voices before he at­ Figure 1. German lute tablature (five-course version). tempted to perform them-but this new lute style required a special kind of notation: lute tablature. note is determined by an axis between a horizontal line and There are three kinds of lute tablature used in the fif­ a numeral or an alphabet letter. For instance, if the lutenist teenth and sixteenth centuries: Italian, French, and German, sees the letter "b" on the highest line in French lute tablature, the last one being the oldest. The question is: who invented he places his left-hand finger on the first fret of the highest German lute tablature? string of the lute (the letter "a" is reserved for open strings) "I hear that there was a blind man born in Nuremberg and then plucks this string. and buried in Munich, named Meister Conrad from German lute tablature, however, is not made up of lines Nuremberg, who in his time was famous and praised above and fret divisions. Indeed, there are no lines. Individual other instrumentalists. He directed that the entire alphabet tablature characters denote each string and each fret. The be written [crosswise] on the five courses and on the seven lute had five strings when German lute tablature was in­ frets of the neck [of the lute]. And when it had been used vented. The numerals denote these open five strings: the once, he started again from the beginning of the alphabet numeral 1 for the lowest string, 2 for the second lowest string, and doubled all these letters for the second alphabet." Thus and so on. Letters of the alphabet are applied across the wrote the German music theorist Sebastian Virdung in his strings, but not for the division of strings. Each fret is de­ treatise on musical instruments, entitled Musica getutscht, noted by an individual character; the letter" a," for example, published in Basel in 1511. 2 His comments, however, caused signifies the first fret of the fifth string, the letter "b" denotes immediate skepticism from one of his fellow music theorists. the first fret of the fourth string, and so on. (See Figure 1.) Martin Agricola, whose music treatise of 1529 borrows heavily from Virdung's, regarded the story as untenable.3 In other tablature systems, successive tablature charac­ As can be seen from the comment quoted at the beginning of ters indicate neighboring tones of the chromatic scale. In this essay, Agricola disliked everything about German lute German lute tablature, they look like a random succession of tablature. He questioned how a blind person could have been numerals and letters. Thus, whoever invented German lute capable of inventing a lute tablature or indeed how he could tablature was very little concerned about the visual appear­ have understood any form of musical notation. Although ance of music that could be achieved by notation. This brings Agricola's opinion was biased (since he needed a justification us back to Virdung's allegation that a blind instrumentalist for the proposal of his own tablature system to replace the invented the tablature. German system), he still had a point. But the peculiar system "Meister Conrad" is no doubt identical with Conrad in German lute tablature that distinguishes it from other Paumann, who was the most famous organist and composer tablature systems speaks strongly against Agricola's condem­ (See Minamino: Lute Tablature, page 13) nation. 3 Spring 2000 Discoveries 23 Eugene Garver, Machiavelli and the Histon; of Prudence Aneau's translation, but most of the poem is spent on the (Madison: U of Wisconsin P, 1987); see esp. pp. 28, 50, 89. two meanings of the helmet. 24 (London, 1612), 5. 30 Premier livre des emblemes, Emblem 16 "Fortune 25 Daniel Russell, The Emblem and Device in France, favorise sans labeur" (44), and Emblem 23 "Bien se doit French Forum Monographs 59, eds. R. C. La Charite and V. acquerir par labeur" (58). A. La Charite (Lexington: French Forum, 1985), 175-76. 31 Pp. 45, 46, and 47, respectively. 26 (Lyon: Mace Bonhomme, 1552). 32 "Introduction," Theater of Fine Devices, by Thomas 27 Pegme (London, 1612), 110. Emblem 32, the title of Combe, ed. Mary V. Silcox (Aldershot Scolar Press, 1990), 17. which is "La sainte ecriture est un couteau tranchant de deux 33 Iconologia (Paris, 1677), 180. cotes" [Holy Scripture is a blade with two cutting edges]. 34 Cartari, Les Images des Dieux des Anciens, trans. 28 Les Emblesmes (Anvers, 1675), 35. The title of the em­ Antoine du Verdier (Lyon: Barthelemy Honorat, 1571), 2. blem is "Mesme fontaine de salut & de mort" [Same fountain 35 Iconologie (Paris, 1677). _,y of salvation and death]. 29 P. 215. The title of the emblem is "De guerre Paix" in Minamino: Lute Tablature (from page JJ German tablature, on the other hand, he would simply say, "l, f, q, 2, g, 3, h, and n." (See Figure 2.) in fifteenth-century Germany.
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