Emblem Books and the Age of Symbolism
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Printed from the Time of Gutenberg’S Were Both Scribes and Illuminators Who Established Invention1
GD 135 HISTORY OF GRAPHIC DESIGN Chapter 6: ����������������������������������������������������� TERMS: PEOPLE AND PLACES: • Incunabula (pg. 85) • Nuremberg, Germany (pg. 89) • Broadsides, broadsheets (pgs. • Martin Luther (pgs. 94-97) 85, 87) • Erhard Reuwich (pg. 89) • Exemplars (pg. 87) • Günther & Johann Zainer (pgs. • Aesop’s Vita et fabulae (pgs. 87, 87-88) 88) • Anton Koberger (pgs. 90-93) • Peregrinationes in Montem Syon • Albrecht Dürer (pgs. 93-95) (pgs. 88, 89) • William Caxton (pgs.97-100) • Nuremberg Chronicle (pgs. 90- • Arnao Guillen de Brocar (pg. 101) 93) • Dürer’s The Apocalypse (pgs. 92, 93) • Teuerdank (pgs. 94, 95) • Polyglot Bible (pgs. 100-101) From a page in Aesop’s Vita et fabulae, 1476. ���������������������������������������������������������������������������������������������������������������������������������� Chapter 6 Study Questions Historians used the term “incunabula” to describe The German brothers Günther and Johann Zainer early books printed from the time of Gutenberg’s were both scribes and illuminators who established invention1. to the end of the 15th century� What does the printing5. businesses that popularized illustrated books� They word “incunabula” mean? expanded beyond topics of religion and theology to include popular literature and folktales such as ________________� A� cradle, or baby linen C� incurable insomniac A� Historia Griseldis and Aesop’s Life and Tales� B� a new era D� a revolution B� The Papyrus of Ani and the Book of the Dead. By 1500, printing was produced in more than 140 C� The Gutenberg Bible and the Psalter in Latin� towns, replacing many of the scriptori which made manuscripts2. � Which of the following is NOT a result of this D� The Qur’an and the Diamond Sutra� new mechanized craft? Erhard Reuwich was the first _________________ to A� Books became less C� Illiteracy increased due be identified as such for his work in Peregrinationes in costly to make� to lack of books� Montem6. -
FINDING AID to the RARE BOOK LEAVES COLLECTION, 1440 – Late 19/20Th Century
FINDING AID TO THE RARE BOOK LEAVES COLLECTION, 1440 – Late 19/20th Century Purdue University Libraries Virginia Kelly Karnes Archives and Special Collections Research Center 504 West State Street West Lafayette, Indiana 47907-2058 (765) 494-2839 http://www.lib.purdue.edu/spcol © 2013 Purdue University Libraries. All rights reserved. Processed by: Kristin Leaman, August 27, 2013 Descriptive Summary Title Rare Book Leaves collection Collection Identifier MSP 137 Date Span 1440 – late 19th/early 20th Century Abstract The Rare Book Leaves collection contains leaves from Buddhist scriptures, Golden Legend, Sidonia the Sorceress, Nuremberg Chronicle, Codex de Tortis, and an illustrated version of Wordsworth’s poem Daffodils. The collection demonstrates a variety of printing styles and paper. This particular collection is an excellent teaching tool for many classes in the humanities. Extent 0.5 cubic feet (1 flat box) Finding Aid Author Kristin Leaman, 2013 Languages English, Latin, Chinese Repository Virginia Kelly Karnes Archives and Special Collections Research Center, Purdue University Libraries Administrative Information Location Information: ASC Access Restrictions: Collection is open for research. Acquisition It is very possible Eleanore Cammack ordered these Information: rare book leaves from Dawson’s Book Shop. Cammack served as a librarian in the Purdue Libraries. She was originally hired as an order assistant in 1929. By 1955, she had become the head of the library's Order Department with a rank of assistant professor. Accession Number: 20100114 Preferred Citation: MSP 137, Rare Book Leaves collection, Archives and Special Collections, Purdue University Libraries Copyright Notice: Purdue Libraries 7/7/2014 2 Related Materials MSP 136, Medieval Manuscript Leaves collection Information: Collection of Tycho Brahe engravings Collection of British Indentures Palm Leaf Book Original Leaves from Famous Books Eight Centuries 1240 A.D.-1923 A.D. -
1 a Place Is Carefully Constructed: Reading the Nuremberg Cityscape
A Place is Carefully Constructed: Reading the Nuremberg Cityscape in the Nuremberg Chronicle Kendra Grimmett A Sense of Place May 3, 2015 In 1493 a group of Nuremberg citizens published the Liber Chronicarum, a richly illustrated printed book that recounts the history of the world from Creation to what was then present day.1 The massive tome, which contains an impressive 1,809 woodcut prints from 645 different woodblocks, is also known as the Nuremberg Chronicle. This modern English title, which alludes to the book’s city of production, misleadingly suggests that the volume only records Nuremberg’s history. Even so, I imagine that the men responsible for the book would approve of this alternate title. After all, from folios 99 verso through 101 recto, the carefully constructed visual and textual descriptions of Nuremberg and its inhabitants already unabashedly favor the makers’ hometown. Truthfully, it was common in the final decades of the fifteenth century for citizens’ civic pride and local allegiance to take precedence over their regional or national identification.2 This sentiment is strongly stated in the city’s description, which directly follows the large Nuremberg print spanning folios 99 verso and 100 recto (fig. 1). The Chronicle specifies that although there was doubt whether Nuremberg was Franconian or Bavarian, “Nurembergers neither wished to be 1 Scholarship on the Nuremberg Chronicle is extensive. See, for instance: Stephanie Leitch, “Center the Self: Mapping the Nuremberg Chronicle and the Limits of the World,” in Mapping Ethnography in Early Modern Germany: New Worlds in Print Culture (Basingstoke; New York: Palgrave Macmillan, 2010), 17-35; Jeffrey Chipps Smith, “Imaging and Imagining Nuremberg,” in Topographies of the Early Modern City, ed. -
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. -
Press Relation: City Museum at Fembo's House
Press release 23.11.2016 City of Nuremberg Municipal Museums Contact: PR department Hirschelgasse 9-11 City Museum at Fembo’s House 90403 Nuremberg Tel.: +49 (0)911 / 2 31-54 20 Fax: +49 (0)911 / 2 31-1 49 81 Nuremberg's only surviving large Late Renaissance merchant's house [email protected] – halfway up the hill to the Imperial Castle – invites visitors to . experience a trip through the city's past. Priceless original rooms, City Museum at the Fembohaus staged settings and audio plays bring 950 years of Nuremberg's Burgstraße 15 history to life. The museum's Exhibition Forum, with its changing 90403 Nürnberg Tel.: +49 (0)9 11 / 2 31-25 95 presentations, is a showcase for the city's history, art and culture. Fax: +49 (0)9 11 / 2 31-25 96 stadtmuseum-fembohaus@ For centuries, Nuremberg had been at the center of German and European stadt.nuernberg.de history. It was one of the most powerful imperial cities of the Holy Roman Empire and was the city most frequently visited by German emperors and museen.nuernberg.de kings. Trade and crafts brought Nuremberg wealth, power, and recognition. By the fourteenth century, the city had developed into a flourishing trade center. Nuremberg merchants had extensive international trade connections, maintained branch offices all over Europe, and were represented at all trade fairs and markets. During the German Renaissance, Nuremberg was home to famed artist Albrecht Dürer and Europe's largest printer-publisher, Anton Koberger. In 1525, Nuremberg was one of the first major German cities to introduce Lutheran Reformation. -
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. -
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. -
Printers: New Cultural Actors in Europe Beginning in the Late fifteenth Century
Humanists and Europe Printers: new cultural actors in Europe beginning in the late fifteenth century Catherine KIKUCHI ABSTRACT Printing was born in Germany with the production of the Gutenberg Bible, although printers set up shop across all of Europe beginning in the first decades of the century. They specialized, organized, and collaborated with merchants and bookshops. This new industry was particularly concentrated in merchant cities and university towns. Their editorial strategies sought to reach an increasingly broader audience which was not limited to persons of letters, although important printers worked with the Humanists for the diffusion of high quality revised editions. Their collaboration involved ancient texts, such as the Greek editions of Aldus Manutius, as well as religious texts, the Bible in particular. Printing was thus a driver of religious and intellectual renewal, but was also suspected of conveying harmful and heretical ideas; with the Reformation and Counter-Reformation, printers were increasingly controlled by political and religious authorities, a control that some of them were able to circumvent. The invention and diffusion of printing The birth of printing in Europe is dated as 1452, when Johann Gutenberg produced the 42-line Bible in Mainz with the help of Peter Schöffer and funding from Johann Fust. This invention takes its place in the long-term history of technology, stretching from Chinese and Korean printing methods to engraved Bibles for the poor in the fourteenth and fifteenth centuries. The true change with Gutenberg was not so much the press itself, but the use of movable type. Furthermore, the success of printing was also due to its connection with important merchants who invested in this new art, such as Johann Fust. -
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. -
A Short History of English Printing : 1476-1900
J \ Books about Books Edited by A. W. Pollard A Short History of English Printing BOOKS ABOUT BOOKS Edited bv A. W. POLLARD POPULAR RE-ISSUE BOOKS IN MANUSCRIPT. By Falconer Madan, Bodley's Librarian, Oxford. THE BINDING OF BOOKS. By H. P. HORNE. A SHORT HISTORY OF ENGLISH PRINTING. By II. K. Plomer. EARLY ILLUSTRATED BOOKS. By A. W. POLI.ARD. Other volumes in pi-eparatioit. A Short History of English Printing 1476-1900 By Henry R. Plomer London Kegan Paul, Trench, Triibncr & Co., Ltd. Broadway House, 68-74 Carter Lane, E.C, MDCCCCXV I-'irst Edition, 1900 Second (Popular) Edition, 1915 The rights of translation and of reproduction are reserved Editor's Preface When Mr. Plomer consented at my request to write a short history of EngHsh printing which should stop neither at the end of the fifteenth century, nor at the end of the sixteenth century, nor at 1640, but should come down, as best it could, to our ovm day, we were not without appre- hensions that the task might prove one of some difficulty. How difficult it would be we had certainly no idea, or the book would never have been begun, and now that it is Imished I would bespeak the reader's sympathies, on Mr. Plomer 's behalf, that its inevitable shortcomings may be the more generously forgiven. If we look at what has already been written on the subject the diffi- culties will be more easily appreciated. In England, as in other countries, the period in the history of the press which is best known to us is, by the perversity of antiquaries, that which is furthest removed from our own time. -
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. -
Spotlights Albrecht Dürer and the Renaissance North of the Alps
Spotlight: The New Apelles Albrecht Dürer and the Renaissance North of the Alps DR. JÖRN GÜNTHER · RARE BOOKS AG Manuskripte unD seltene Bücher [email protected] www.guenther-rarebooks.com How is it possible that the son of an ordinary – successful, but not outstanding – goldsmith became not only Germany’s most celebrated ar:st but also an interna:onal leading figure in Europe’s cultural life? Centuries of reflec:on, studies, and research on the topic of Albrecht Dürer have brought to light new insights and discoveries about the ar:st and his works. Moreover, Dürer – and his father before him – have passed down a family chronicle that tells us about the personal history of the ar:st and his next of kin. But s:ll, many ques:ons about the great ar:st remain open and Albrecht Dürer, Self-portrait at 13 years, unanswered. silverpoint, Vienna, Graphische Sammlung, Alber:na His father, as we can deduce from his own self portrait, was a very talented draughtsman, who apparently learned the best part of his craft during his years of travel in the Netherlands, where he became familiar with the celebrated works of the “great masters” (Jan van Eyck, Rogier van der Weyden, and others), as his son would later call them in his chronicle. The young Albrecht Dürer learned his outstanding mastery in silverpoint pen and burin during his apprenticeship in his father’s workshop. Albrecht the Elder must have been very proud of his son and eager to hand the family business over to him one day.