Chair’s Message 1 Contents January, 2017 January, Newsletter 60 Newsletter Letter the Chair from We will also have a business meeting in Nancy with a business meeting in Nancy will with also have We During mourned the death of our we the past year - proceed volume of our Kiel conference The last all in Nancy! I hope to meet you most welcome. are New ideas and suggestions We all are looking forward looking all are Conference to the next SES We For 3 to 7 July. which will from take place in Nancy, the Society for Emblem history, the first time in our deeply are grateful and we Studies will meet in France, She and us to Nancy. has invited Choné that Paulette for the program on hard been working her team have what I myself can and appreciate remember months. Paulette it means to organize such conference. a huge being able to contact: in constant remained and I have to day watch the number of participants from increase events such Many as experience. was a wonderful day and of in preparation, are and exhibitions excursions dinner. course a great with our Together importantsome to make. decisions - in prepar is engaged Board the Executive President, will discuss We ing a draft of our new constitution. this with the Advisory it to and then present Board so that everybody the conference our members before Adopting can part take updating the constitution. in main tasks of the new will of the be one constitution our business meeting. in The conference friend colleague and Daniel Russell. - Nancy to think of him and to com will be the venue for the emblem society memorate work, him and his to Dan plan to devote a session We and far beyond. that will includeand his work several contributions. It will for print. ings is with the publisher and ready I want be available at the beginning of the new year. to thank Simon for McKeown our very busy and Despite closeproductive collaboration this volume. on and all the world, over in Europe problems the many cooperation, in full cross-border able to work are we forward and to look and get-together to a conference colleagues all and friends parts from of of scholars, in emblem studies. the world engaged who are Please send them to me! Chair Ingrid Hoepel, [email protected] 1 3 4 19 19 2 3 3 4 19 19 20 20 20 21 21 22 12 13 13 15
Contents of Newsletter 60 Contents
Advisory Board Representatives National committee and executive President Membership information Subscription rates Virtual emblematics collect? invitation” “Do An you In memoriam: †VictorIn memoriam: (1950–2016) Infantes de Miguel Contact information Contact †Daniel S. Russell, on Menestrier on Russell, †Daniel S. Editor’s note Editor’s Calls for papers and submissions Announcements; Review4 numismatics and Alciato on Rubem Amaral, Heinsius on Tung, Mason emblematics Portuguese on Filipa Medeiros, emblems and imprese in portraits on Malcolm Jones, Conference The 2017 SES ...... Varia Society information...... Research articlesResearch and notes...... Research activities of interest to members activities...... Research of interest Letter the Chair...... from Society for Studies Emblem Members of the organizing committee de l’art histoire - moderne Univer (PR Choné ém. Paulette Franche-Comté) sité Bourgogne (PR anglaise Université Chardin littérature Jean-Jacques de Strasbourg) Corbet (PR médiévalePatrick de Lor histoire Université - raine) l’artCatherine de Chédeau (MCF histoire moderne Laboratoire des Sciences de Franche-Comté, Université Historiques) de (PR moderne Université histoire Giuliano Ferretti Alpes) Grenoble Daniela Gallo de l’art (PR histoire de moderne Université Lorraine) du Directeur (PR française, littérature Laurence Grove Text/Image Stirling for the Study Centre Maxwell of University of Glasgow) Cultures, Pierre Martin (PR française littérature de Université Poitiers) anglaise littérature Mathieu (MCF honoraire Françoise de Lorraine)Université hdr Langues Rolet (MCF Anne latines et et literatures de Nantes) néo-latines Université de Stéphane latine Université Rolet (MCF littérature VIII) Paris Marie de l’art Chaufour (Docteur histoire moderne Uni- Franche-Comté) Bourgogne versité Marie Curie Université (Post-doctorante Rosa De Marco de Liège) Uni- Fellow Research Germano Leal (Postdoctoral Pedro do Rio de Janeiro) Federal versidade de Émilie Jehl (Doctorante anglaise Université littérature Strasbourg) tos (Universidad de Chile), Alicia Bielak (University of (University Alicia Bielak of de Chile), tos (Universidad Silvia de Málaga), Casalla Canto (Universidad Warsaw), Budapest), Loránd (Eötvös Agnes Kusler University, Efthymia (University of Cyprus). Priki Below: “La place Stanislas à Nancy et son jardin éphémère “La Stanislas éphémère place jardin à Nancy et son Below: Commons; under Creative licensed (Dimitri Destugues, d’automne” https://commons.wikimedia.org/wiki/File:Place-Stanislas.jpg).
mblémistes en France e
F https://aeef.hypotheses.org/ Nancy, 3–7 July 2017 Nancy, AEE The 2017 SES Conference The 2017 SES Les Amis des Études The personal data form together with both abstracts data The personal form with both abstracts together Please Choné send this material and Ma- to Paulette for the 5 July pre-booking It is not too late to send your Académiede The Nancy travel Stanislas in will award The organizing committee received nearlyreceived The organizing committee responses 140 covering every been theme that had to the call for papers, early-career delighted to see so many are We proposed. scholars participating one of our for the first time in approach, diversity of discipline, with great conferences, and geographical origin (32 countries represented). are the by call received has for papers reception The warm a veryenabled us to put together rich program—includ- plenarying five and 40 sessions—supplemented lectures Our atten- projected large and site visits. exhibitions by our choice with together of Nancy and the Grand- dance, has as the site for this international conference, Est region a verymade the local on authorities impression favorable support providing to the conference. that are or Eng- (the main abstract and the short in French one Final be sent no later than 1 February 2017. lish) must 2017. 1 to 31 March will from take place registration rie [email protected] Chaufour : the accommodation the 6 July dinner, Conference outing, Please be left Hall (20 rooms only). in GEC Students’ for the confer- accommodation your to book as well sure reservationonline The service rooms still has some ence. du the Office of also take advantage may You available. write to [email protected]. Tourisme: early-career to five Zivi the bursaries Foundation from Javiera Barrien- scholars participating in the Conference: SES NEWSLETTER 60 (01/17) NEWSLETTER SES 2017 Conference 2 Conference committee Announcments, Calls 3 Editor’s Note Janus mblems: New Online Project Emblems: Polish Sixteenth Century Studies and Conference SES NEWSLETTER 60 (01/17) NEWSLETTER SES Calls for Papers and Submissions and Calls forPapers Please send your suggestions, preferably pan- for entire Please suggestions, send your
The goal of this ambitious new project is to raise the goal of this ambitious new is to raise the The project literature, Polish emblematic of the corpusprofile of of em- the circulation and to increase broadly construed, researchers. and foreign blem scholarship Polish between Alicja Bielak Overseen by an editorial directed board by this site is housed at http://polishemblems. (editor), volume of the first where uw.edu.pl/index.php/en/project, The four essays appeared. peer-reviewed essays has already as follows: 1 are in volume Sforza: Alciatus and Bona “Andreas Bartłomiej Czarski. “Emblematum Liber” of Traces In Pursuit of the Oldest In Poland.” “The Małgorzata Monogram of the Biłozór-Salwa. Virgin Mary Jan Ziarnko (1605) by as Maria De Medici’s Watchword.” Emblematics “‘Vidi Faciem’: ad Deum Facie Alicja Bielak. Works.” Meditative Hińcza’s in Marcin of the Iconography “Some on Remarks Kołos. Anna Regum” “Peristromata Emblematic Exhortations in the AndrzejCollection by Maksymilian Fredro.” digital magazine invites members of The Society for of members Janus digital magazine invites to emblem studies on Emblem Studies works to submit which willbegin in early 2017 appear in the new issue, Janus accepts 2017. open until December, and will remain and uses a system English and Italian, papers in Spanish, Once the paper has passed review. of double-blind peer and the the publication time is minimal, the review, It also publishes magazine has achieved circulation. a wide of de Janus (Annexes “Anexos in the section digital books Sagrario to be directed Submissions may López Janus)”.
ditor’s Note ditor’s E Announcements Correction by Michael Bath Correction by Newberry Library Discovery as interim This is my final issue of the Newsletter for your support, DG support, for your is unusual in being given over over is unusual in being given This issue of the Newsletter including two primarily notes, of research to a wealth limited the usual items whose length extends beyond an inventoryThese are of material scope of such items. Pinterest fascinating of Malcolm Jones’s section one from in Elizabethan and listing emblematic occurrences site, on Menestrier and an unfinished essay portraits, Jacobean While both these pieces Russell. the late Daniel S. by I notes, count limits for research word the usual exceed thought them sufficiently to warrant inclusion interesting agree. and I hope you here, business meeting at the Nancy and our confer- editor, I ence in July will include of a new the election editor. members of the Societyencourage all interested with editorial experience to think seriously about offering themselves and rewarding for this extremely interesting Editing the past four issues of the Newsletter position. has been a most enjoyable privilege, and the position is is and the position privilege, has been a most enjoyable I canone wholeheartedly members to other recommend of the Society!With and submissions thanks for your (20: 405–13), 405–13), In an article in Emblematica (20: that appeared - appear “P.L” that the initials Michael Bath contended University Library the Glasgow ing on copies of proof that illustrated the Tempesta Antonio engravings by Spanish exploits of traditional tale concerning the heroic Philipp those of the engraver of Larathe seven sons were Bath has Professor Lely. Lisaert and not those of Sir Peter us that he has recently learned- advised that this conten a note to and that he has submitted was incorrect, tion to clarify both to appear in the next volume, Emblematica, that now and the circumstances his original reasoning him to issue a correction. lead Mara R. Wade, former Chair of the Society, advises that that advises former Chair of the Society, Wade, Mara R. of copy personal she recently discovered Rem’s Georg emblematic engravings whose served , Emblematica Politica for the allegoricalas the source paintings formerly housed but Hall, Town Hall of the Nuremberg in the Great Rem’s War. World the Second in the course of destroyed the en- as it contains interest, is of great copy personal commentary of pages with additional gravings rebound by which will form A story this discovery, on Rem himself. can be forthcomingthe subject of a note in Emblematica, https://www.newberry.org/ found at the following URL: emblematic-lost-art-nurnberg. 1 †Daniel S. Russell †Daniel S. L’Art des emblemes L’Art On Menestrier’s . Alle vier Darstellungen übernehmen Alle vier Darstellungen übernehmen Cordis. Schola Research ArticlesResearch and Notes an der Empore einer Kirche übernommen. übernommen. Pia Desideria einer Kirche an der Empore Die Kapelle und ihre Ausstattung wurde 1633 von Rudolph Rudolph von 1633 wurde Die Kapelle Ausstattung und ihre überraschendzeitnah Die vier Embleme werden aus den 1. Editor’s note: It is a privilege to be able to publish Daniel Russell’s It is a privilege to be able to publish Daniel Russell’s note: Editor’s 1. record I hereby the Society, behalf of and on , in the Newsletter final essay and to his children Lila Penchansky widow our gratitude to Dan’s graciously who have granted for permission it to and Allison, Nicolas this piece at the time of on Dan was still actively working appear here. and though it was notes, than our usual research It is longer his death. only possible to make wherever endeavored I have clearly unfinished, correcting of readability, minor alterations to his text in the interests and editing some and other minor flaws, colloquialisms, a few typos, I have the end of the essay, In a few toward places for clarity. wording German text Studie ihre widmet Kapelle der Schlosses des Weiß Michelle Dürnkrut allemauf den vor und geht in Niederösterreich Dem die DeckeAltar und ein. mit einer Marienkrönung Rundgemälde an der Decke sind vier trapezförmig in die De- nach zwei ckenfelder zugeordnet, Emblempicturae eingepasste Pia DesideriaHerman Hugos Benedict van nach und zwei Haeftens unterscheiden Vorlagenund die Motti eng, figürlichenihre die Erweiterung ihnen aber durch sich von der landschaftli- - wer eingebettet in die Architekturelemente chen Umgebung, zu den Kupferstichvorlagen horizontal Vergleich Die im den. der Raumsitu- Vorgabe – eine Formate angelegten viel breiter ganzen Türmen, Schlössern, – lassen die Ergänzung von ation zu. Weltlandschaften Städten in der Art und Ausblicken von einem der TieffenbachAuftrag in (1582-1653) gegeben, von Schiller Friedrich dem in den Picco- Wallensteins, Feldherren seines Dramas den Untergang über Teil dem zweiten lomini, Die Emblem- setzt. ein Denkmal Wallenstein, des Feldherrn die aus, Technik zeichnen malereien sich eine besondere durch Die bei der mit Öl auf gemalt wird. Leinwand Marouflage, KlebstoffLeinwand auf die dabei mit einem besonderen wird wirkt. Wandmalerei sodass sie wie aufgebracht, Wand Emblembüchern in die Architektur beiden Amsterdamer Emblembuch Herman Hugos erschien in erster übernommen. Die Benedict van Haeftens Cordis 1629. Schola 1624, Auflage kurz entstehen Niederösterreich Embleme im nordöstlichen - wer zwischen 1635 und 1655, später, wenig Nur nach 1633. heute entferntenden im weit Katharinenheerd auf Eiderstedt, ebenfalls Embleme nach Hermann Hu- Schleswig-Holstein, gos Die Übernahmen gleichen sich erstaunlich in der malerischen Ausdehnung der Landschaft. und der Betonung Auffassung, Diese Übernahmen und Umarbeitungen niederländischer und Schleswig-Holstein sind in Niederösterreich Vorlagen der Embleme und Em- Verbreitung Beispiele für die rasante Jahrhunderts. der ersten Hälfteblembücher im Europa des 17. —Ingrid Höpel Review Die Gemälde der Schlosskapelle Dürn derDie Gemälde - Schlosskapelle - commis were program The Chapel and its decorative transferred surpriswere The four emblems in question - mbleme. Horn/ Embleme. Altar und Marienkrönung, krut. Wien 2016. small book Weiss’s Michelle of deals with the Chapel Dürnkrut Lower Castle in She particularly dwells Austria. the altar and the ceiling on of St a coronation showing - accompa is The tondo Mary. , four emblem picturae nied by fitted into trapeziform penden- are of the picturae Two tives. designed after Herman Hugo’s Pia Desideria after and two Schola Benedict van Haeften’s All four delineations Cordis. closely follow the figural pat- but they differ closely, terns their sources and the mottos of the landscaped of the extension surroundings by them from to Compared and the embedding of architectural elements. owing expanded, the formats are the copperplate patterns, of so that they allow the addition situation, to the room similar to world and prospects whole cities, towers, castles, ). landscapes (Weltlandschaften Tieffenbach (1582-1653), Rudolph von in 1633 by sioned to whom Wallenstein, von of the generals of Albrecht one SchillerFriedrich , raised in the Piccolomini a monument - partthe second of his drama about the declineWallen of characterized emblem paintings are The by a special stein. whichmeans that a painted technique called marouflage, mural.canvas to a wall and used as a is affixed emblem books Amsterdam the two ingly from promptly emblem book of Hugo’s The first edition into architecture. Schola Benedict van Haeften’s was published in 1624; The emblems in north- Cordis was first published 1629. Only designed shortlyeastern were Austria after 1633. fourteen were 1635 and 1655, between somewhat later, Pia Desideria adapted emblems afteradditional Hugo’s for use in the distant church of Katharinenheerd the on The Schleswig-Holstein. today peninsula of Eiderstedt, to the with regard surprisingly look adaptations similar, of the the enhancement and expansion pictorial concept, Nether- of re-workings and adaptations These landscape. lands patterns in Lower and Schleswig-Holstein Austria outstanding examples of the rapid of dissemination are the first of in the Europe emblems and emblem books half of the seventeenth century. Michelle Weiss. Michelle Weiss. SES NEWSLETTER 60 (01/17) NEWSLETTER SES Review 4 Research Notes Research Activities 5 Daniel S. Russell In the 7 In a more sober vein, sober vein, In a more 6 SES NEWSLETTER 60 (01/17) NEWSLETTER SES By the late 1670s, parts of Menestrier’s ambitious parts of Menestrier’s By the late 1670s, The question still remaining is why Menestrier remaining is why stillfelt The question even he also included of funeral and decorations consideration other ephemeral festival décor for the various ceremonies to play. a role of the court emblems might have where of des emblèmes to L’Art in relation Considering this project admittedly the basis of suggest—on I would meager 1684, as well to these questions, evidence—one possible answer as a partial and a clear explanation of the demonstration versions two Menestrier’s between differences substantive of the Art of. the Emblem des like the Traité either complete, original were project for work The or seemingly abandoned. (1669), tournois which the privilege was actually as if granted is presented series supposed to be part that of a multi-volume it were include and the 1683 would des images the 1682 Philosophie perhaps as well as La Science et l’art , . . Devises des princes . deal primarily works All three with des devises of 1686. Menestrier classified Still, devices opposed to emblems. as to the enigmatiques as belonging des images his Philosophie indeed to serve project––and same overarching - as its con cluding chapter—even to insist that though he continued quite different forms. two enigmas and emblems are 1684 version he offers several examples of witticisms, fables, fables, he offers several1684 version examples of witticisms, what he means and the like to show apologues, proverbs, someone of them, In one an emblem without a picture. by he beats the animal so often. asks a man with a donkey why This “Why He replies: did he make himself into an ass?” quality, has an enigmatic as Menestrier admits, little puzzle, - and the grow This, 185-86). (1684, à penser” “donne which ing number of his publications devoted almost exclusively des emblèmes explain in part L’Art may why to devices, published enigmatiques were des images and the Philosophie that seem to form books a separately the other three from Menestrier was Perhaps single set of closely works. related wearybecoming of all that were the rules and regulations of emblematic constructions; composition the imposed on clearlyperhaps he was beginning sense more another dif- in the two text and image between in the relation ference forms and wanted to make that difference and more clearer easily applicable in the past. than he had . The des emblemes L’Art of version the need to do a second an examina- can to that question only come answer from , ed. Möseneder: Appendix, pp. 29-35. This 29-35. pp. Appendix, Möseneder: ed. 6., des emblemes L’Art in “avertissement” rather was first published as an detailed program art ou l’usage du blason Le veritable See Alison des armoiries of 1673. of A Bibliography Stephen Rawles Saunders, and Alison Adams, 162 . 2011), Menestrier (Geneva: Droz, Claude-François find the that the claim We 1694). Guerrier, Jacques (Lyons: 7. On the the emblem as early from enigma is different as 1662 (20). , ed. Les enigmes de ce temps Charles Cotin, see most recently, enigma, 2003. Paris, STFM, FlorenceVuilleumier-Laurens, including “traités” on such subjects as tournaments, jousts, jousts, such subjects as tournaments, on “traités” including other spectacles where Menestrier as put it, and, carrousels, all horseback. the participants on are edition (Rome, (Rome, edition nd 4 In 1662, as Judi Loach as Judi has In 1662, 2 ❦ he was preparing a manual for he was preparing school- 3 5 , who will encounter and produce will who encounter and produce , homo emblematicus pattern of interests and activity was largely confined to France and activitypattern of interests was largely to confined
Art was granted and his pub- des emblèmes to the author As early as 1658, if not earlier, Menestrier was already Menestrier was already if not earlier, As early as 1658, boys in Lyons, while the book he published in 1684 was about in 1684 was about he published book while the in Lyons, boys concerning the emblematic formsthe theoretical debate in The or more. and Italy years for the previous hundred France of the same title for the use quite two arisesconfusion from the between relations the and unraveling books, different cantwo us to a clearer lead view of the evolving of the idea in the late seventeenth in France emblem and the emblematic the Italian academic slowly As he moves from away century. of the Menestrier the exemplar becomes model in his writing, French and attribute less fewer formally generic or devices, emblems himself in to express but will continue importance to them, the rhetoric of the emblematic mode. shown in some detail, in some shown and Italy. Elsewhere in Europe there was apparently much less interest in less interest was apparently much there Elsewhere in Europe and Italy. such and distinctions. definitions with an reprint facsimile , des emblemes L’Art Menestrier, C.-F. 5. All 1981). Mäander, Karl by introduction Möseneder (Mittenwald: willfurther be to this edition. references used my own judgment to make a few more substantive changes: these changes: make a few judgment to used my own substantive more and edited this read characteristically Having identified in footnotes. are time to send him my own not had that I had I regret thoughtful work, almost simultaneously with which appeared Menestrier, on essay recent (Jesuit here he covers of the ground as it revisits some his untimely death, been grateful to be able have I would 125–44). 2016, Brill, TheoryImage ; all. we as would him, with to discuss his essay Studies in Seventeenth-Century Imagery, 2 Mario Praz, 2. thinking about emblem theory to the and its practical relation sketched he had By 1673, instruction of rhetoric in the schools. eventually that would of works constitute out a vast program works in several discrete of images” “philosophy a complete lisher, Robert J. B. de La Caille, in 1679 for the publication “. “. in 1679 for the publication de La Caille, B. Robert J. lisher, qui La Philosophie des images, Volumes, ou plusieurs en un . . & de l’usage de l’Histoire des Devises, traite des Spectacles, Since the title of .” . . etc. Blasons, Hieroglyphes, Emblèmes, it is in the privilege, the Art des emblèmes appears nowhere the chronological fair to ask what explains this missing title, privilege the date of the gap between and that of publication, - La Phi work, and a clear an entirely to different reference des of L’Art but with no mention of 1682, des images losophie of 1684. emblèmes The privilege printed on the last page of C.-F. Menestrier’s Menestrier’s The privilege of C.-F. printedon the last page 1684 It was long and widely assumed that C.-F. Menestrier pub- and widely long It was C.-F. that assumed Such is this title. under book of the same editions two lished a close see from as it is easy to comparison the case, not in fact diverse at a more aimed 422; (Praz, books of the two of copies was probably that quite and sophisticated general readership 98). Russellknowledgeable 1985, (Lexington, (Lexington, France and Device The Emblem in Daniel Russell, 422; 1964), 85). 1985, KY, The Case of 3. Collaboration: as Author-Publisher “Emblem Books Publication of the 1662 Art.” des Emblemes Menestrier and Coral’s “Why See also 287. see p. here, 229-319; Emblematica 15 (2007): What and in He Had Audience(s) About Emblems, Wrote Menestrier 223-283 12 Emblematica 12 (2002): Mind.” This 4. 10 Volume 2 of this project was published in 1683 by Robert in 1683 by was published 2 of this project Volume but that These rules severely constricted makers of devices, writings a new of Menestrier’s configuration In parallel, sça view“image - was also an The emblem in Menestrier’s on the status of this privilege on that did passe-partout the BFEB Cf. 10. serviceyears of the later than a dozen through works in more different life and publishing career. Menestrier’s a newly devised “philosophy of images” project that does not does not that project of images” a newly“philosophy devised include Art the a share even books two the though emblemes des privilege. cavaliers, de La Caille under the title Devises des princes, B. J. sçavans et autresillustres personages de l’Europe,dames, la Phi- ou Did Menestrier his pub- and/or second. . Tome des images losophie to be the third 1686 Science considered the lisher intend to have of his early as at least one must readers of the series, volume and the volume, The privilege in that different is thought? have Devises of the 1683 page that it is the indication the title on “Tome rather than to be the last, as if it were second,” “Tome to expect another reader the lead which would deuxieme” second” “Tome but the expression still to come, or more volume that the 1686 as does the fact argues against such a hypothesis, but rather initiates does not really follow the 1683 volume, work At a new to such and slightly anthologies. approach different least that is what Menestrier like his reader apparently would rather aspects of the emblematic the functional that is, to think: seen to be most essential in any now than the formal are ones ratherattempt to understand the device it is made and how 5 and of formalthan the degree perfection it attains (Science, So to modify his understanding of the dif- he is forced passim). in that shift And of perspective forms. the two between ference the devicerecognizing a shifton lies a slightly of way different in his evolving understanding of the emblematic mode in the most general sense. a flood of newdid not prevent and not so new devices with animals and objects. bodies (corpora) common from made 400 with the Menestrier counted a corpus devices, of 800 sun 34–35). (Science, etc. . . 300 with bees . and 500 eagles, moon, Such runs a situation directly counter to the stated intention of the device to help discriminatethe of the owner between demanded while fashion And device herd. the common and straitjacket the of rules numbers of newever-greater devices, There originalitymade and ingenuity a very pay high price. and lingeringapparently originality, ensued some debate over motifs and “stolen” the authorship of devices out of made of Adrien accusation Menestrier’s à propos the like—evoked 2–3)— preface: Gambart’s theft of his devices of some (1686, led inevitably to the trivialization and subsequent decline of the form in the eighteenth century. was taking shape in the corpus of images” “philosophy the on their collections of with volumes, these three by constituted with dozens along of examples of model devices, hundreds instructive to provide examples of compositions of flawed the various system elements of the complex of rules for their half second beginning in the emerged, that had composition and that was in the Italian academies, of the sixteenth century, culture French needs of to the somewhatadapted different of the seventeenth. during third the second In its place Menestrier In its place 9 and the second, “TOM iii” on the panel the panel on “TOM iii” and the second, 8 On the basis of this rather limited evidence, it is tempt- On the basis of this rather limited evidence, wanted surely De la Caille have would the same time, At presumably offered the publisher another text more nearly text more the publisher another presumably offered with the same 1679 and it appeared for publication, ready a text which , des images privilege in 1682 as La Philosophie was probably closer for publication than the to being ready That been rewriting. which have he may Art, des emblemes volume of the first as what was to become text appeared beneath it. Obviously, the early reader who had had the the early the had who had reader Obviously, beneath it. of the believed it was a continuation bound this way book project. of images” “philosophy Menes- for reason, some to speculate that, I believe, ing, his new on Arttrier work unable to complete was des quickly in time for of the 1684 work emblèmes an edition This de la Caille. B. Robert J. enough to satisfy his editor, for publica work - not be the onlywould time Menestrier’s delays. De la Caille and other editors encountered by tion of 1662 version Menestrier’s Benoit Coral accepted had but the book of 1660, in the summer “l’art des emblemes” for 250–51, did not appear until 1662 (see Loach 2007, Perhaps of this delay). a somewhat explanation different such obligations pressing more by was delayed the project pluribus“Nec impar” of the King’s “justification” as his device Estienne Michalet that published in 1679. other publishers from possible competition to avoid as his who could easily a pirated as soon edition produce (six years). privilege expired had 8. The “s” and the “e” are partially obscured by the front hinge of the hinge partiallyby the front are obscured “e” and the “s” The 8. binding. That apparently did indeed happen about years aftertwenty 9. emblems that Marnef and originalof Alciato’s edition Plantin’s original privilege was as Plantin’s out in 1583, brought Cavellat Marnef and Cavelat 157-58). Vuilleumier-Laurens, expiring (see F. woodblocksgood use a set of to find a for they eager had were retain To emblems in the 1570s. for of Alciato’s editions acquired or subtract the author needed to add privilege, Plantin’s or prolong famously as Montaigne did for the new of his edition new material, On such concerning the publishing trade questions essays in 1588. (Oxford: Career Montaigne’s Hoffmann, see George at the time, 5. chap. 1998), UP, tion of both the internal and external pressures at work in in at work both the internal of external and tion pressures of the emblematic understanding modifying Menestrier’s him by “arts” in the various its implementation mode and - here by some prompted were questions These and others. unexplained and largelytofore unnoticed bibliographic writings- compo the of certain on features of Menestrier’s of emblems and devicessition cases and two of interesting of On the title page and pertinent physical intervention. of the 1682 Philosophie described des images the copy an (BFEB), Books Emblem of French in the Bibliography A 1.” “Tome old manuscript claims notation that this is of the 1686 La Science et l’artcopy des devises I recently examined is neatly bound in contemporary calf and bears “PHILO[S] reads The first spine. the labels on leather two IMAG[E]” DES SES NEWSLETTER 60 (01/17) NEWSLETTER SES Research Notes 6 Daniel S. Russell Research Notes 7 Daniel S. Russell
16 is by no means is by For the new “philosophy” of images to be complete, complete, to be of images “philosophy” the new For versions two the between other differences are There By 1684, he no longer needed to provide numbers for numbers for needed to provide he no longer By 1684, SES NEWSLETTER 60 (01/17) NEWSLETTER SES the visual image with which it forms a single unit of meaning. 4. which itthe visual image with forms single unit of meaning. a . an inlaid or tessellated ornament. Obsolete measure explain in some on Alciato may reliance This heavy 16. the middle of the success through publishing his continued years seventeenth century. apparent, as the long-serving human types for as models apparent, gradually persona the human the rise before of the faded human individual. to be taken into extended and the emblem needed however, becausedetailed account virtually every theorist defined For in contrast to the emblem. at least in part, the device, only the emblem was second to the impresa in Menestrier, and 16-17), (1662, symboliques représentations of the order of the “art an published of course already he himself had Despite sharing material much a title and 1662. in emblem” the 1662 Art is really of 1684, des emblèmes with L’Art it is differ- indeed, not very similar to the later version; an entirely new and different ent enough to be considered with the aim of an attempt at revision comparable to book, The illustra- privilege. securing a renewal of the printer’s the emblem versions and in both all different, are tions not particularly are can if we call them that, illustrations, also verythey and are from different canonical in form, While material Menestrier much did retain each other. he also rewrote the 1662 version, examples from and some or modify to reflect expanding or contracting of it, much Menestrier also cannibalized material the original position. des images to the Philosophie to add 1662 version the from 31 rules for Tesauro’s as in the case of Emmanuele of 1682, 29-33; the emblem (1662, distinguishing the device from As of 1654. Aristotelico 62-65) in his Il Cannocchiale 1682, the 1684 Art these few examples suggest, simply a new of the 1662. edition of Menestrier’s theyand cumulatively nuance our reading In 1662 the framework is evolving idea of the emblem. clearly more intended to be practical easy to use, relatively In the case specific. more and the examples explained are Menestrier usually em- provides for example, of Alciato, examples he takes from blem numbers for the numerous the master (but without indicating they which edition - changed some he had appear, it would By 1684, to). refer emblematics in general and on on what his perspective He must the use of certain kinds of emblems in particular. audience been thinking of a different have in short, also, longer No been writing he had the one for from in 1662. the emblems aimed at schoolboys learning rhetoric, were but a his intended audience at the time of its publication, so many sophisticated audience that did not require more ap- it would His readers, explanatoryprecise references. some to have other things, among expected, now were pear, beginning with Alciato. familiarity with the corpus, Sometimes 13 becomes increasingly becomes 15 but it’s difficult to find a but it’s device 14 The emblem was a much freer muchform freer emblem was a The 11 12 The difference between the two “forms” resides resides principally in “forms” two the between The difference 11. No colors, for example, could be used because limit the that would for example, colors, No 11. to the motto had variety the device of décors where might be displayed; etc. the tapestry walks by at a glance as one be readable or wall painting, See Russell study of the perceived extensive 1985 for a more 12. France at the time. the emblem and device between difference in 192-97. 29, 1684, 70; 50, 36, 1662, See for example, 13. de Montplaisir and his Daniel Russell,“M. See for example, 14. which the author, suggests 503-516, 67 (1983), , Neophilologus Emblems,” a copy owned even have and may was familiar with, René de Bruc, to the with its substantial introduction of devices, book Boissiere’s of, with these matters on involved people were In short, emblematic forms. and Menestrier does finally settle what appears to be an everyday basis, explaining that of his Science of 1686 by at the beginning the question alone 3) words alone, 2) image four types are 1) blason, there of devices: 0-00). and text (1686, 4) image an 1. emblem. v. s. Dictionary New Collegiate (1954): Webster’s 15. class of persons, state, symbolizing a quality, object or its representation, or design, 2. ofpeace. a sign, is an emblem branch olive The symbol: etc.; 3. of the emblem a school. something: represents that identifies or figure often inscribed to with a motto supplemental an allegorical picture, the manner of “application” of this material to the expression of of this material to the expression “application” the manner of and the extent to which the composition a particular moral idea, to the formalist rules foradhered emerged the impresa that had But the dividing in the sixteenth-century Italian academies. hence, forms the two line between was extremely permeable; Devises heroiques like Pierre Le encounter works we Moyne’s it is difficult 55) where 1662, cited from here (1649; et morales dealing with emblems or devices, are to determine whether we and often“emblem” cavalier termsand Menestrier’s use of the - seeminglyprob no presented almost interchangeably, “device” witness to the impending and bears of the time, lem for readers collapse of this increasingly artificial distinction. - some but sçavante,” “peinture a or sometimes 16) (1662, vante” the device expressed the emblem in that from different what while the device expressed a universally valid moral message, Unlike particular ideas pertaining individuals. to exceptional very accommodate of the emblem could the body the device, complicated and constructions scenes becauseto it did not have the that constrained display for its requirements special fit any construction device. of the and could be accommodated to many more situations and uses situations more to many and could be accommodated viewer the appropriate the to It also allowed than the device. emblem did the In fact, for use in other contexts. image pictura’s As Menestrier particularnot necessarily any form at all. require that il- the emblem needed only a picture at the limit, tells us, the Still, text that attempts to explain it. lustrates a text or some the same reservoir formstwo to draw from continued of history, fable and mythology for the imagery of their constructions 5). (chap. . Indeed, that will satisfy every Indeed, expert authority the impresa. on authorities baroque of the greatest on one Tesauro, Emmanuale saw the emblem as merely an imperfect impresa! So rhetoric, to each other, formsthe two existed in an uneasy relationship and the evolutionary path to the primary or secondary mod- “emblem” word ern of the definitions could function as an emblem in a way that depends an impresa as an emblem in a way could function - com Sometimes, an Aristotelianon (icon). of the image idea familiarity reflected academicpositions of the with some rules for emerged impresethat had , to turn them to turn them 20 The of suchchoice a body of easilyrecognized illustra - 18 for use in preparing fresh new emblems expressing some new some for emblems expressing use in preparing fresh Engravings tipped into the text were not particularly Engravings tipped into the text were Since all of these illustrations are in the text, but without but without Since all in the text, of these illustrations are 19 into full-fledged “emblematic inventions.” They seem to fit, at They seem to fit, “emblematic inventions.” into full-fledged perhaps for the designation an appliqué, least metaphorically, attached to something, they are a silveron serving that is, dish; to figure sculptured as perhaps might attach a decorative one then be understood as an ornamental It would a serving dish. 12 (2002): 285–326. Emblematica 12 (2002): Leuven University College Notes.” subject-matter derives directly or indirectly Much of Menestrier’s 18. he takes note of where 21-25), 1684, (e.g. Ovid’s Metamorphoses from d’Ovide Metamorphoses Benserade’s en rondeaux (1676). see Daniel Russell 2009. On the frame in emblematics, 19. 1684, but see as well 13, preface, See most conspicuously in 1684, 20. of the As in his understanding Scholz. Bernhard See also, 205 et passim. 15) emblem (1662, woodcuts, they could more reasonably be labeled “illustrations” “illustrations” be labeled reasonably they more could woodcuts, that theyto the extent serve of as examples “emblems” than compositions The individual rules to be studied. and models be integrated intended to into no sign that they were give here contains version the1684 In contrast, bi-medial whole. a greater scattered liberally smallseveral woodcuts hundred throughout on position concerning their no obviousthe text with intention that images borrowed of the small, or the disposition the page viewed used or intended to be never as emblem before were . picturae of Alciato’s and no edition early in common books, emblem In this emblems was illustrated copperplate with engravings. includ- in all copies, not even present case are the pictures Loach to Judi according (2007, copy, own ing Menestrier’s not really they emblems at are As for these prints, 250–51). trophies of allegorical but rather kinds different displays, all, all taken of vaguelyand monuments inspiration, emblematic of 1660 (Loach 2007, Les Réjouïssances de la Paix Coral’s from literally are of there hundreds version In the 1684 250ff.). mostly of the all and they small are woodcuts, illustrations, most often Salomon Bernard old copies of prints by same size, fables (Sharratt, illustrating or Aesop’s Ovid’s Metamorphoses 185). equally general, but different, moral or doctrinal truth, or or moral or doctrinal truth, but different, equally general, personallysome important the intel- depending on message intended to illustrate lectual or cultural that they context are to “applied” waiting to be These emptyvessels are or interpret. are in the text, They a specific occasionaddressee. or individual What they are a fullybut not yet integrated part of that text. “application” lacking might call is what one an tions reflects the conservative cultural climate of the time, and and the conservative reflects tions cultural climate of the time, as such they might serve as a particularly useful pedagogical a potentiallytool or constitute rich of easily store recognizable emblematist. the apprentice forimages use by explicit or generic of particularany attachment to a reading for the consecrated space it upon or an obligatory, the text, but simply not actually they are emblems themselves, page, of the kind of material discussion illustrations of Menestrier’s They are to do it. and how that can be turned into emblems, empty viewer who will awaiting some find an ap- vessels their that will detach them from “frame” propriate contextual chap. familiar original and isolate them (Russell context 1985, 4) As with the 17 Le Jay’s report and description of the ceremonies attend- Le report description and of the ceremonies Jay’s them- books the two a title, though they share Even Early in the quite different. find something we Here 17. Judi Loach has shown that the plates were made for Coral’s for Judi Loach made Coral’s that the plates were has shown 17. “Emblem as Books In Rejouïissements de la paix of (1660.). The Case of Menestrier and Collaboration: Author-Publisher Emblematica 15 Publication of the 1662 Art.” des Emblemes Coral’s see Karel to Dutch an introduction Emblems, For 229-319. (2007): Emblematica “The An Introduction” Dutch Emblem: Porteman, see Marc for emblems in pedagogical culture, 201-208; 8 (1994): “Printed Emblem Picturæ in 17th- and 18th-Century Vaeck, van each of Alciato’s emblems: his readers were now taken to to taken now were his readers emblems: each of Alciato’s be sufficiently stan- command of the some with equipped emblems of Alciato’s a copy perhaps owning corpus, dard earlier Menestrier’s from of the books or more and one which was not 117–18), (1662, list of emblem books of theory of the works or one published 1684, in retained after with an anthology 1662 and combined of devices of some or the emblematic record Bouhours), (Le Moyne, (Lefestival or ceremony Jay). Quartier’s the 1687 school opening sermon of P. ing the R. at the Collège Louis-le-Grandyear valuable insights gives in Jesuit pedagogy of the uses of emblematics into one the devices on is built around His account of the time. as a the theme of the Revocation of the Edict of Nantes victory and the King that decorated for Religion the hall The Quartier held forth. R.P. the Jesuit preacher where could serve guide as a program Le as reported by Jay, text, the audience was production multi-media to the complex propaganda, the relentless perhaps by Bored witnessing. the devicesthe students could follow the sermon through This and marvel at the allegorical splendor of the set pieces. entertained kept the boys have atten- reasonably may and been a very have what must sermon! throughout long tive of scholastic it is against the background events like And the Art of 1662. read des emblemes must that we this one pub- were They selves could scarcely different. be more lished in different formats—duodecimo for the 1662 in-quarto for the illustrations the 1684—and are version, in several ways. picturae emblem completely from different In neither case the illustrations with of do any combine the text in such as to take the form a way of a canonical or Alciato by the lines of those followed emblem along with their compact for example, GabrielRollenhagen, throughout three-part form repeated and page-design least in the at emblem book, standard Any the collection. displays a regularly format repeated that consigns ideal, the to each emblem a particular on and position space the opening containing the double-page or within page and all or most of the emblem text. emblem picture a few 1662 Art at different are woodcuts , there des emblemes kinds of text as examples of the different in the positions Then, emblematic constructions Menestrier is discussing. nine copperplate remainder tipped into the engravings are but not integrated into the text. of the book, SES NEWSLETTER 60 (01/17) NEWSLETTER SES Research Notes 8 Daniel S. Russell Research Notes 9 Daniel S. Russell SES NEWSLETTER 60 (01/17) NEWSLETTER SES Chapter five of the 1662 version begins the work of of work the begins version of the 1662 Chapter five Menestrier guid- where provides In the same chapter, contents, and when he does, it is most often it is for a religious and when he does, contents, such as those of Hugo, he particularly that book admires, What do is sometimes he does Haeften. Van or Heinsius as example is presented one indicate context; a suitable suitable for a girl herself in the mirror at is looking who to related are such compositions Generally, 119). (1662, pearl-fisher. or a such as a baby human types, as Menestrierdefining the emblem understands it for the first He notes purposes training of students in rhetoric. three- practice to compose standard that it has become and possibly a sen- a picture, with verses, part emblems, well-known constructed emblems from However, tence. an Indeed, only have parts. two may or allegories, fables, and the the image parts: at least two have emblem must Sometimes a two-part emblem of this kind can be idea. simpler examples One of Menestrier’s very complicated. triumph the vicissitudes over translates the philosopher’s as identi- see the philosopher, would we where of Fortune, Fortune to her wheel attaching robe, by his long fied is that the here to be deciphered The message 50). (1662, and perhaps dominates punishes Fortune, philosopher has perhaps with the wheel to which the philosopher attached her carrying literal both meanings and figurative He proceeds of torture). (wheel of Fortune/instrument every how other examples showing to give can image be explains to the He meaning. than one to more adapted that fire can indicate ingratitude be- for example, reader, but can suggest just as well what feedscause it, destroys it on and he goes avarice because greed it is insatiable; or other human fire can how in the same way evoke to show at the end the chapter Then, and traitsemotions (53). Tablet the the emblem developed from he explains how of Philostratus before peinture” “plate of Cebes in the to the need for returning rules complicated in the more faire en doivent . . “. three-part device the verse and how l’application.” he emblems, ance for useful and effective composing kinds or seeing in different discusses ways of reading poetic creations, and the elements, nature of contexts: of mythology, the gods sayings, sententious or proverbial for making of this set of procedures Part and the like. described long as a process emblems entails what I have Once the emblematist of fragmentation (Russell 1985). has carved out a scene or character wishes to turn that he of the “application” to the he proceeds into an emblem, general truth or idea or image he wishes to communicate. as it is irrevocablyNothing transformed in the process, turning into a metaphor. the image were be if one would on the This attachment is not intended to be permanent: it is a rhetorical device the reader that will leave contrary, of of the message or viewer with an enhanced impression and perhaps that the the realization the new combination, to make it express construction could be modified in order
21 , to use one of Menestrier’s variant terms of Menestrier’s use one to , sçavante image The printer/publisher no doubt saw Menestrier’s old wood- old printer/publisherThe saw Menestrier’s no doubt Among the other suggestive differences between the two the between two differences the other suggestive Among In addition One characteristic does not change greatly. 21. “Why and what audience(s) he Menestrier wrote about Emblems, 21. 235-240. here 223-283), Emblematica 12 (2002): in mind,” had accessory way. in any its host not change that does to the problem economical solution and cuts as a convenient of art Since was no pretext at there of illustrating suchwork. a rather simply they were supply intended to a visual here, work or pictorial scene illustration pictured the that stands between and the ordinarily to be carried moral understood lesson by this actually It is a perfect example for kind of emblem picture. this in materials reused these are where of emblematic recycling, This different and purpose! context for a different a different as the implications, type economic other also had of picture been destined for a have format must used in 1682 and 1684 and cultivated clientelemodest duo- than the prosperous more with its air of a scholastic notebook of 1662, decimo volume together of rules a compendium containing and definitions, exemplarywith a collection of devices emblems and at the - could pro that pictures all interspersed with interesting end, charged with the construction of some vide models to anyone it is like a textbook, If it looks kind of festival or celebration. as Judi Loach has because it came into being in the classroom, manuscripts in two in Lyons to light recently come discovered the transcription One contains an early of dictated and Paris. manuscript Another a text provides of the printed text. version and the printed the dictation that falls between somewhere 235–40). (Loach to come edition 2002, published versions, we find that the early we is organized version published versions, - contains an alpha The 1662 text the other. differently from but it comes of names and important terms, “Table” betical no clear like an index and gives more sense of an overall across beyond idea of what Menestrier understood the emblem to be, The with a shorta bimedial composition set of simple rules. In clearer. it much in the 1684 makes des chapitres” “Table with 1662 Menestrier the elements of a bibliography provides twenty-six out an implicit sketch titles that do lay of that include or has since he does not he has not read books ideal, he has been explaining requirements as not fitting the rejected does he include that call Nor works them- 117–19). (1662, emblems at all. in his opinion, not, selves emblems but that are related global organization into has a more version The 1684 considerable conceptualization and this suggests chapters: part that the 20 years over Menestrier’s on broadening some separate works. the two lists of rules numerous are there to this bibliographical list, 31 rules for emblems distinguishing between Tesauro’s (e.g., Menestrier chooses to Occasionally, see above). and devices; in such Pia desideria; such book as Hugo’s an entire present clearly his lists are kind of some intended to provide cases, that single emblems or model for collection in a way a larger Other lists include the emblem- devices do. could no longer and Pierre Dan, described by atic tapestries at Fontainebleau, Although he quotes extensively moral emblems. Gomberville’s table of a complete for it is rare him to give these works, from 24 With the assistance of Pallas, the five vowels bring vowels the five With the assistance of Pallas, Qui a vu quelquefois un grand chêne asséché, Qui a vu quelquefois un grand chêne asséché, Qui porte, ornement pour son quelque trophée Lever au ciel sa vieille tête morte, encore fiche, en terre le pied fermementDont n’est demi penché Mais qui dessus le champ plus qu’à ses bras tout nus et sa racine torte, Montre Alciato’s single emblem thus combines in its text the four single emblem thus combines Alciato’s Menestrier entirely takes his examples from Sometimes, 24. I have rewritten portions of this paragraph, which left was rewritten I have portions of this paragraph, 24. references page some corrected and in doing so have Dan, by incomplete to which Dan had emblems,” “four and the descriptions of Menestrier’s also slightly the sentence I have altered clearly time to return. had not yet in the following paragraphorder (Ed.). city of Thebes. Having retold the story of Cadmus, Menestrier the storyretold Having Cadmus, of Thebes. city of that of which the first the dragon is his foursets out emblems, which Time, it represents the Castalian fountain: poisoned overtake which would all and forgetfulness, everything, destroys for it not the preservation were human accomplishments that slayingby the of is that embodied The second letters provide. who of letters, men represents in which Cadmus the dragon, and fourth The third emblems fight against time and forgetting. through which permit, letters, the dragon-tooth those of are the first conservation the of what has been rescued: writing, when used by meaningless which are consonants, the sixteen are themselves. to convey the alphabet to the other letters and enable harmony Alciato’s quoting Menestrier by concludes reading his meaning. which he says embodies all four emblems, ten-line verse, own stripand with a plea for an allegorical- of the poets by reading the beneath, reach the meaning to of fiction the bark ping away 120). Apollo skinned Marsyas (Alciato, way no which appear to have “emblems” potential disaggregated them in “explains” and he account other text in Menestrier’s emblem ten lines of Latin that form verse the text of Alciato’s In this 120). (1684, “Littera occidit spiritus vivificat” 186: Menestrier so essential to practices the fragmentation example, they how can and he suggests be of making emblems, the work the potential texts become profitably: most newreadings read of fragmentation continues even work The of other emblems. of Al- than that ground more covers account Menestrier’s then: narrative. a surrounding which to be cut from also needed ciato, to the emblem picture a description replaces a text where the bimedial unit otherwisecomplete in the source contained an integralto play part continuing but while in that text alone, Phar- One example MenestrierLucan’s offers from comes text. - 114) who contin (1662, Pompey salia and concerns the agèd even participate though he can ues to be respected no longer Lucan the Roman his epic poem on begins actively in battle. civil wars with contrasting portraits adversaries, of the two is compared Pompey Pompey. and the agèd Caesar the young with his dead sheltering trophies many to an ancient tree, un arbre chargé de superbes trophées “Tel it begins branches: and in the following twelve lines Lucan sketches a picture .” . . . .”. . fiché en terre “Dont le pied fermement n’est that begins: Brébeuf translation interrupts the emerging narra- French ’s to develop this comparison that Joachim Dutive Bellay was to effectively turning it into itself, to Rome Pompey transfer from of his Antiquitez in one de Rome of 1558: an emblem, 23
22 , where he defines his field in the preface, not as “the “the not as preface, in the he defines his field where , Menestrier reveals much about his perception and and about his perception Menestrier much reveals Elsewhere, he stays within the boundaries of emblematic Elsewhere, This is already clear from the very the This is already clear from 1684 beginning of the understanding of the emblematic mode outside emblem emblematic mode outside emblem understanding of the in the examples he choosesbooks to illustrate his argu- in the paintings of Arcimboldo, finding emblems ment, and in the wall paintings and tapestries that for example, In the case of residences. decorated noble and royal many in he mentions the 58 paintings for example, Fontainebleau, as em- he characterizes which the series of of the labors Ulysses, with ac- pictures” “small a further with 85 interspersed blems he then lists in their entiretyThese (1684, mottos. companying the visual about sentence descriptive with a together 340–59), the in addition of to and a translation image the Latin motto in some cases providing also a brieforiginal, explanation. 22. E.g. Arsenal B.N. ms fr. 3328. fols. 1-46; see as well, Laurence Laurence as well, see 1-46; fols. 3328. ms fr. Arsenal B.N. E.g. 22. “Discours of a Previously edition sur l’art An des devises: Grove, Perrault” by CharlesText Unidentified and Unpublished the for example, See as well, 99-144. Emblematica 7 (1993): De l’Artcollection of devices Le published in Pierre Moyne, des 1666). devises (Paris, The original and it seems text ends abruptly after “interspersed”, 23. to the text to clarifythat Dan intended to return memory his of this guess my best to done I have the paragraph, in completing passage; my part on (Ed.). the text is conjecture but at his intention, construction. He recalls the story in both edi- of Cadmus construction. he merely men- In 1662, 116–20). 1684, 41; (1662, tions constructed had with the what Alciato and Aneau tions he In 1684, earlier. elements of this myth years a hundred the fable can how showing be broken farther, much goes and its partsdown distributed in such as to furnish a way 1684, 41–42; the material for four emblems (1662, different Menestrier describing Before the four emblems, 116–20). of his father, at the command Cadmus, how recounts and bring her home. Europa, sets out to find his sister, Thebes and kills he builds the city of oracles, Guided by The the Castalian fountain. was poisoning that the dragon Time and the forgetting and destruc- represents dragon its teeth, kills and sows the dragon Cadmus it brings; tion The little the alphabet. to create ordered, had as Pallas kill that emerges each other band of armed consonants Pallas, with the help of who, vowels leaving the five off, the damaged repair and help Cadmus achieve harmony a completely different idea. This procedure seems to be seems to procedure This a completely idea. different of his examples. many implicit in Art after And some inventions.” “emblematic but as emblem,” he devotes most of history of the form, and definitions what kinds of things can text to showing of his be the rest made. are such and how inventions into emblems, made can one how take small the reader to show He is going but analogically similar, scenes and apply them to different, those examples in In 1662 he provides ideas or situations. very can like the lists one find much lists of devices, long of the device.” “arts in manuscripts or other printed SES NEWSLETTER 60 (01/17) NEWSLETTER SES Research Notes 10 Daniel S. Russell Research Notes 11 Daniel S. Russell Simply? centons 26 SES NEWSLETTER 60 (01/17) NEWSLETTER SES Sur ces principes, il m’est aisé de demontrer toutes les toutes les aisé de demontrer il m’est Sur ces principes, ? It seems likely that Menestriercentons construed himself regles des Devises les plus parfaites, sur les regles du syl sur les regles - des Devisesregles les plus parfaites, - proposi de trois composé logisme de la forme de celuy-cy, d’une qui applique un corps metaphore La premiere, tions. ou fabuleux à quelque per- historique, artificiel, naturel, une si elle particulere comme disoit je suis le Soleil, sonne La est l’exposition seconde &c. . . un Flambeau . Riviere, It is at this point that the term “application” will throw some some will throw “application” It is at this point that the term in his come “application” Some of the best examples of , preface, 28. preface, Science, 26. in any event. Increasingly, he sees the possibility of making Increasingly, event. in any medieval allegories from to material, any almost emblems from discus- In actors. battles with heroic well-known scenes from easily he the habit of slips into materials, such of source sion Menestrier was “emblem.” calling the emblem figure just the slightly in two different that he was using the word surely aware he at the end of He justifies this practice 2 where chapter ways. - of the emblem in the intro definition quotes Jean Baudoin’s to his emblem anthologyduction (recueil ) of 1638–39 (1662, says nothing about and points out that this definition 18–19), ni des rien dit la sentence, de “ne text: any an emblem needing passage in summing up a long A little earlier, 19). (1662, vers” callshe emblems symbolism, on treatise Mignault’s from quoted cf. 15; (1662, accompagnées” sont les peintures dont “[les] vers use to a special been promoted These paintings have 322). 1684, that will clear become text. in the verse of emblems as compared of the nature the question light on examples). (of which he gives “inventions emblematiques” to the difference By 1684 Menestrier settled on seems to have he seems to distinguish and in his preface, the two, between The clearly them more between before. ever done than he had clearlyapplications in such inventions than him more interest first to study emblems He proposes the emblems themselves. que la plupart & plus connu reglé “plus because the emblem is elles que peut etre quoy Emblematiques, de ces Inventions 15) (1684, soient de plus d’usage que la plupart des Emblemes” himself to authors and confining and then emblems proper, he never gets In the end, emblems that he particularly admires. - devices com and are to analyzingaround single emblems, The pletely marginalized to the lists at the end of the volume. published in 1682–83 and 1686 described volumes at three for any than compensate the beginning of this paper will more Summing gleaned up this definition of marginalization. danger Menestrier says simply that an emblem is Mignault, from 15). with ingenuity expressed (1662, ingenious something Theyneed to be made do not emblems. of sacred presentation but they do need ei- with or for Biblical characters or events, from a verse ther such a Biblical by or to be explained context what extent To Scripturesacred or the fathers of the Church. should these Biblical quotations texts be understood to be or recall- that he was able to con his boast if we them as such, Ars Horace’s thefirst 80 lines of struct devices 100 proper from . poetica
(sonnet 28) (sonnet Translated material was added to it in his editions materialhis editions to it in added was Translated 25 Et sans feuille ombrageux, de son poids se supporte poids de son feuilleEt sans ombrageux, nouailleuxSur ébranché: lieux en cent tronc un sa ruine, il doive vent premier Et bien qu’au ait ferme la racine, jeune à l’entour Et maint Du seul révéré: être dévot populaire qu’il imagine encore Qui tel chêne a pu voir, qui plus florissent ore, cités, les entre Comme est le plus honoré. poudreux Ce vieil honneur
The picture is formed by the quatrains and the first the quatrainsby is first and the formed The picture and writing research on the beginning of Menestrier’s At Over the course of his career, there is a shift there - in empha Over the course of his career, in the beginning, These examples also seem to mark 25. See Denis Drysdall’s edition and translation of Mignault’s “A “A See Denis Drysdall’s and translation of Mignault’s edition 25. http://www.emblems.art.gla.ac.uk/Mignault_ Symbols,” on Treatise syntagma.html. tercet. The application takes place in the final tercet, and and in the final tercet, The application takes place tercet. of into the production is brought the reader this is where to the collabora lending his cultural context - meaning by model that this is one And of the application. work tive the into will to structure such in French continue sonnets eighteenth century. - convention his idea of the emblem was quite emblematics, and history distinctions, can as we see in the definitions, al, Throughout, of the forms he lays out in 1662 (13–30). a lesser to heavily Alciato forhe relies on examples and, of Claude Mignault for explanations the scholia on extent, His original under- comparisons. commonplace and related to Mignault more standing of the emblem probably owes In chapter 3 he quotes extensively in else. than anyone first published symbols, on treatise Mignault’s Latin from em- Christopher Plantinby of Alciato’s in his 1573 edition blems. of 1577 and 1581, by which time Mignault’s commentaries commentaries which time Mignault’s by of 1577 and 1581, substantially not change in any and would were complete Menestrier clearly his death in 1606. before essential way depended heavily- this material his ac on in compiling as he called count of the history, sçavantes of the images and most if not all of symbols forms, and other related the Latin in this part prose of the 1662 Art des emblèmes an idea of how gives That fact this work. is quoted from close Menestrier ideas the beginning to Mignault’s was in commentaries on and probably to Mignault’s symbols, on He was equally familiar with Mignault’s Alciato as well. 18). use of emblems in teaching during(1662, the 1570s between the difference what constitutes on however, sis, he simply copies out In 1662, the emblem and the device. 31 rules for forms, the two distinguishing between Tesauro’s if it at that, to leave be happy that he would and he suggests 30; (1662, complete more something not promised he had he can with what we is a small imagine And sigh, 5). Science, to Chapter 5 and his examples of emblematics on continues between The difference outside the world emblems. of pure forms to the kind of things suchthe two as which is reduced “application.” form which can receive that tie an of a loosening of the bonds mind, Menestrier’s emblem to a rigidly fixed form—a form it hardly took ever Fig. 2. Fig. Fig. 1. Fig. [“Emperor Aelius Hadrianus Antoninus”] and, and, Hadrianus Antoninus”] [“Emperor Aelius Since then, I have discovered another rare coin struck another rare discovered I have long Since then, for of the the emission reason the in the case of Elagabalus, If, Silvanus Gallus Lucius Coredius Pullaienus Paccius Marcus 28. I thank Dr Beatriz Antón Martínez (University of Valladolid, Spain) I thank Dr Beatriz Martínez Antón Valladolid, (University of 28. for her help with the translation of this legend. Reference dans un et procurateurs “Gouverneurs Benoît, Rossignol, impériale- de la provin L’administration temps de menaces: (1612-180).” Aurèle règne de Marc Thrace durant le ce de Article en la à paraître en Mars 2007 pour un volume proposé
27 Rubem Amaral Jr. mblem ‘Concordia’ Emblem for Alciato’s Delà nait la premiere regle des Devises . . . (1686; (1686; . . des Devises regle . Delà nait la premiere A Possible Alternative Numismatic Model Alternative Numismatic A Possible d’une proprieté de ce corps ou de cette figure, par des par des d’une de ce corps proprieté figure, ou de cette une application tous les de Et la troisieme, paroles. cette de celuy qui prend et à la pensée deux au dessein Devise. 25) The key word here is “application” or “appliqué” because “appliqué” or “application” is here word The key specificity grasp the real - of this kind of composi To (pp. 10–12), and in line 10–12), (pp. 57 of this Newsletter In Number coins as of ancient Roman suggestion with Mino Gabriele’s - “Con Emblem of Alciato’s possible models for the pictura at least as it appears as a better option, I proposed cordia,” Chris- (Antwerp: Emblemata C. in Omnia AndreaeV. Alciati Jean (Paris: / Les emblemes Emblemata 1577), Plantin, tophe 1621), Tozzi, Paulo Petro (Padua: Emblemata 1584), Richer, coin of Elagabalus of a provincial the obverse on the image 1). struck in Philippopolis (Thrace) (fig. 27. It seems clear that Dan intended to pursue this intriguing line 27. he was not granted can which sufficient we only regret of argument, time to complete. of the way the two parts of the device come together, and and parts the two of the way device of the together, come that holds of the bond the nature they explain or suggest - “as and “compare” Randle gives Cotgrave them together. of This way “apply.” meanings of the verb as two sociate” very sense is not in one of an emblem explaining the bond especially at the emblem as is looking if one satisfactory, a generically and text to picture solid unit that combines verb something This suggests form united entity. a single less permanent we much than what tentative, more much usually talk about an emblematic form. we think of when part one of the device is attached Just like an appliqué, “Qui it, to the part to receive to continue that is going l’application d’uneingenieuse a est proprement figure 15). (1662, . .” . quelque enseignement moral . at it in a particular also look historical must one tion, namely the evolving of symbolic nature thought context, divide that carried the great and process the sign across In that separated the Modern the Middle era. from Ages the Middle the symbol Ages signifier with what fused the The implications for idolatry and iconoclasm it signified. clear were in the internecine and certainly role a played strife within the Christian- church during the later Euro Other implications then yielded differ- pean Renaissance. as the medieval ent results system of symbolism to began It up and spawn rhetoricalbreak games like the emblem. can that we begin to distinguish between is in this context completelythe application assimilated parts more and the of a perfect metaphor. SES NEWSLETTER 60 (01/17) NEWSLETTER SES Research Notes 12 Rubem Amaral Jr. Research: Mason Tung 13 Filipa Medeiros Fig. 1. Fig. which probably constitute the most which the most probably constitute Q. Horatii Flacci Horatii Q. Emblemata, Emblemata, SES NEWSLETTER 60 (01/17) NEWSLETTER SES This work is already in progress and it promises to bring and it promises in progress is already work This includes Lusitanian emblematic production very few moral field This is indeed a promising goal is to stimulate research on the area of text/image stud- of text/image the area on research to stimulate is goal of emblematic the reception By focusing on ies in Portugal. it investigates literary Baroque works, Portuguese models in to order in artistic with other connections manifestations, analyze in a European production logo-iconic the national - of the Univer Supervised Manuel Ferro Professor by context. the scientific and technical with support of sity of Coimbra, do the Stirling Federal and the Universidade Centre Maxwell im- aims to provide this project Rio Grande do Norte (Brazil), portant in this field in the academic work tools to encourage Por- The first step will be the Lusophone world and beyond. commentaries to Alciato’s of Stockhamer’s tuguese translation published by of the text, version the largest using , Emblemata book. of the edition with his first Plantin in 1565, details about the first systematic commentariesmore to Alciato’s emblematics in on interest evidence of Portuguese expressive written because they were the middle of the sixteenth century, universityThis student Sebastian by Stockhamer. in Coimbra, work but the of a local the request nobleman, accomplished the way for the (1556) and paved was firstlyLyons printed in commentaries gradually which extensive would in be added of no traces of the circulation are There editions. successive although the contempora- in Portugal, work this commented with contact neous theoretical writings a widespread suggest But that is a story to tell later . . . . the emblematic genre. Jesuit logo-iconic besides some and political emblem books, that the best however, It cannot be neglected, manuscripts. the are skills in this dominium of the national representatives extraordinary examples of applied includesThis area the emblematics. festivities, descriptions of Baroque painting and funeral ephemeral art, ceramics Painted other. among tiles, probably the most significant are contribution to world Portuguese art and emblematic models have enriched that cultural heritage, inspiringproviding motifs. as the characteristic to explore, - adapta example of the ingenious Veen’s tion of Van (Sebas (1607) shows - emblemata of the one Considered tián, 1983). emblem books, most widespread was largely copied and this work and Italy, Spain, pirated in France, ver- The first 1997). England (Bath, contained book of this emblem sion only classical Latin texts from authors (mainly- Horace) with a fac
of the of the Mason Tung Filipa Medeiros Emblemata Amatoria s Emblemata of Heinsius’ Portuguese emblematic production Portuguese Whose Fault? A Note on the Reprint Whose A Note Fault? : the fado : bearing wings a rock, Holding Earlier, Smith had also identified the edition as based Smith as based edition also identified the had Earlier, Em- “Continental 10 in the reprint is no. The edition In 1917, Leite de Vasconcelos published one of the of the published one LeiteVasconcelos de In 1917, of the early accounts best-known of Alciato’s reception is there however, a century later, in Portugal; Emblemata The importance of this to do in this area. still work much researchers, by many been identified subject has already the Following Jr. including notably most Rubem Amaral, I am currently developing a post-doctoral same purpose, the reception images: signs and speaking entitled Mute project whose culture Baroque , of in Portuguese language logo-iconic It is obvious that a Latin version of Heinsius’s emblem emblem It is obvious of Heinsius’s a Latin that version Smith for him to write- the intro N. to C. given was book After origin of the account giving a thorough ductory note. Smith to describe comes and history emblems, of erotic Quaeris derived from “Also in question: version Heinsius’ quid sit amor was the all-Latin which is reproduced version Emblemata Its title too is . . . 665) . No. (Landwehr, here again no publication and , iam demum emendata amatoria Landwehr thinks that Dirck Pietersz provided. details are mottoes, emblems, The published it in about 1607. Pers “Theocritus identical with those foundand plates are the in the Latin But tetrastichs . amatoria Emblemata à Ganda” of the moralizedin which work the emblems are the are whose name appears after Timmermans, A. I. little-known G4r) and whose initials are to emblem 24 (sig. the verses ‘Elegia ad at the end of the introductoryalso given poem, - Juven ‘Ad Latin Another poem, Belgicam Juventutem.’ (4–5). concludes the volume” tutem,’ . . University Library in the Glasgow “the copy . on of to A short title catalogue According SM 570.” pressmark: SM 570 is clearly as printed marked Library, the Glasgow uncertain but those with all-Dutch 1607 dates are in 1608, of which one this reprint edi- on (SM 567–69), versions all the Latin details that As a result, is actuallytion based. Smith in his note cannot has mentioned be found in this all-Dutch version. Horden, John selected and edited by series, blem Books” both series, “English Emblem Books” who also did the be- England, of Menston, the Scolarpublished by Press under- a massive These serieswere 1968 and 1976. tween What an army involved of laborers. have taking and must an enormous debt to these emblem scholars owe did not - admitted that it was an must be over The fault—it series? feet be laid at the of the magnitude—must sight of some of proof- the unthankful tasks who had or persons person everythingreading do so in this instance. but neglected to Near the Franciscan building, the the building, the Franciscan Near study of the The comparative duced in Lisbon and placed there there and placed duced in Lisbon The series 1748. 1746 and between has been attributed of 37 panels painter Bartolomeu to the famous who left the his sign on Antunes, tiles of the main chapter in the (1737). convent church of the same Luxuriant frames sur- Baroque often extending the pictures, round their primitive vertical arrange- in order book, ment in the emblem In what space. to suit the available of Si- concerns the representation lence—a very appropriated theme cloister—the to a convent scene follows the Veen Van imagined by It is important to stress about it. that unlike the previous example, the inscription this series on kept “Nihil the original Latin motto: silentio utilius.” House also displays Goês Calmon tiles with the same iconic some a brief Even comparative source. such as this cannotapproach omit collection of tiles, its exquisite 1740–1750 and removed dated ca. of Corucheus (Lis- Palace the from because the City Hall bought bon), the building and transferred the in panels to the City Museum, This series includes eight 1970. sets, different two panels from the same author. apparently from only reproduces The first of them while the other the Spanish texts, transcribe additionally the Spanish - accord of the Latin motto, version ing to the Theatro (1669). Moral these four create taken to options would be an adaptations different directions dictated by Ripa, including the peach dedicated Ripa, dictated by directions the printed starting from theme to develop, interesting ing continued until 1782. The cloister was erected in 1738, The 1738, in erected was cloister 1782. until ing continued This description tells guardians. of the the book to according - V”, pro gift King John sent by royal “a tiles were us that the because its form the human heart resembles to Harpocrates, the Dutch On the other hand, like tongues. look and its leaves artist in mind the history probably had Papirius, of the young Senate in the Roman who attend a session and said nothing imply it would a deeply the study on Furthermore, source. draw to the cultural in order in Portugal, of the work reception the inter- and explore contextualization of the phenomenon The General textual net lying process. underneath the creative Library of the University of Coimbra houses a manuscript, Fig. 3. Fig. Fig. 2. Fig. Besides the literary reception Francisco, The famous of San of the Convent cloister ing page showing an allegorical an showing ing page Jerome Lateron, engraving. out a sec- brought Verdussen of the Emblemata edition ond in which the Latin Horatiana, by accompanied texts were quatrains. Dutch and French It then started like an to look and in the third emblem book Spanish and of 1612, edition in added, were Italian verses them easier to to make order at and to read. look these emblems of the book, used as a pictorial source were This strategy became especially for arts. the decorative which often painted tiles, Portuguese where impressive at least four are There concerned. are used printed sources, Veen’s Van main examples of ceramic series by inspired situated Decorating a balcony 2008). Jr., emblems (Amaral, Convent de Deus’s João in St. panels, three are there (Lisbon), probably 1740, painted ca. The de Almeida. Valentim by was built in 1629, convent, the Hos- founded to receive of Saintpitaller Brothers João it withstood the 1755 de Deus; The tiles illustrate earthquake. Virtue panels and two on 1). Silence (fig. the third on composition This logo-iconic picture, Veen’s Van reproduces described the Latin on - com mentaries published in the of the Horatii edition third Illustrating Emblemata (1612). in the sense of Horatian words 37–38), 18, a letter to Lolio (I, the God is Harpocrates, there to with his finger of Silence, the sitting between his lips, symbols of wine and anger, holding the flag of the Roman On the upper part, Republic. of the verses some are there Spanish poetic text published The- printed and later on the on the same edition on in and, silent men to remain advising Moral (1669), atro problems. to avoid this way, offers interpretation of the a different in San Salvador, was founded in 1587 and convent The 2). same motif (fig. - of rebuild during the Dutch the work destroyed invasion; SES NEWSLETTER 60 (01/17) NEWSLETTER SES Research Notes 14 Filipa Medeiros Research Notes 15 Malcolm Jones 29 SES NEWSLETTER 60 (01/17) NEWSLETTER SES either on the Pinterest board itself, or via e-mail to or via e-mail to itself, the Pinterest board either on With the notable exception of Queen Elizabeth, of of With of Queen the notable exception Elizabeth, preliminary interesting some find- I think, are, There of mot- by alphabetical order The entries organised are can of allImages the emblems and imprese listed here 29. The list has been reformatted of the the confines The list has been to suit 29. (Ed.). Newsletter Key to the fields for each citation: a. motto (translation); motto (translation); a. Key to the fields for each citation: date; g. medium; f. artist; e. sitter; d. ; pictura c. source; b. bibliography. j. notes; i. location; h. for (he has painted (it/this) eter- pinxit” “Aeternitati a. 1. artist sitting at easel painting (the present?) c. ?; b. nity); not known; e. Christopher (1540–1591); Hatton d. portrait; Northampton h. 1581; ca. g. oil painting [double-sided]; f. (owing Tempus is the reverse on Museum & Art Gallery; i. as Elizabeth as well ex cat. “Occasio”), to Alciato’s much AntiqJ 86 (2006) 373–79. j. 136–9; (2003), pointing to an astrologer c. [?]; b. finit”; “Aeternitati a. 2. armillary held aloft the heavens by representing sphere g. [as previous]; f. [as previous]; e. [as previous]; d. Atlas; Lachesis [“La spinning - i. [as previous]; h. [as previous]; and a burning a couple dancing to a lute, chesis trahit”], to the occurrence of emblematic motifs of emblematic to the occurrence in early modern deliberately I have excluded portraits of English portraits. another common of arms coats as such, the monarch—and Also excluded of course. of the portraitsfeature of this era, and Re- brasses Haydocke, the emblematic of Richard are of emblematic typenaissance hat-badges to which I devote (see below). separate Pinterest boards likely far more to be accompanied male sitters are course, enough is a large Though there devices than female. by em- by sitters accompanied corpus portraits, of engraved comparativelyblems in engravings rare. are of the 1557 edition emblem from ings—the use of an Devises heroiques in the portrait Lord of Edward Paradin’s The Goodricke portrait for example. dated 1573, Russell, Cornelis Ketel has hithertoby thought to depict the been though it is now and dated accordingly, of 1577, comet impresa of the blazing fire rather, clear that it makes use, etc). 1572, 1566, Le imprese illustri (Venice: Ruscelli, from Though strictly speaking outside my paramchronological - the device the portrait by engraved on of Montrose eters, 1650) antedates its earliest known Matham (ca. Adriaen published appearance below). (see those few items without a motto bringing up the rear. to, Some the items appearing of under the category“motto” included but are there properly more are inscriptions, here for the sake of convenience. “Emblems in Eliza- be found my Pinterest board, on and – their Depiction Portraits bethan and Jacobean I at http://uk.pinterest.com/malcm2557. Significance” of the Newslet- should be very readers to hear from happy ter [email protected].
Glasgow Glasgow lizabethan Malcolm Jones Emblems and imprese in E Brussels: François Foppens, 1672. 1672. Foppens, François Brussels: and Jacobean portraits (ca. 1560–ca. 1620) and Jacobean portraits 1560–ca. (ca. The translation follows the French version published by by published version French The translation follows the example of the an eloquent note thus presents research This 13 (2008): 1–20. 1–20. StudiesEmblem 13 (2008): English and Scottish- Recep abroad: “Vaenius Michael. Bath, In Anglo-Dutch Relations Horatiana.” of the Emblemata tion 87–106. 1997, in the Field of 85, the Emblem. explicados de Alciato Emblemas em J., LeiteVasconcelos, de 1917. Renascença Portuguesa, Porto: . Português Theatre de la vie moral Le Marin Le de. Roy Gomberville, humaine, “Theatro la vida humana de Otto moral de Sebastián, Santiago. del Boletín Lectura y significado de los emblemas.” Vaenius: 7–92. Camón AznarMuseo e Instituto 14 (1983): 3109. Ms. BGUC, . Humana Theatro da Vida Moral O C. Sotto, probably from the eighteenth century, which can new shed century, eighteenth the probably from a contains it can as we As far know, matter. this on light Carlos by signed of the book, translation unique Portuguese is no information the author of this about There del Sotto. and decorated with golden watercolor in done luxurious work, Arn- Dutch the in 1962 by It was donated W. bibliophile tint. unknown. remain of its production but the circumstances tz, a luxurious it was gift . . . . ad delphini usum Perhaps the original who reworked Marin Le de Gomberville, Roy ex- and to suit the neo-classicism monarchy of the absolutist preparing it for a speculum principis notes, Veen’s Van panded It was originally La entitled doctrine dedicated to Louis XIV. and afterwardsdes moeurs (1646) Le by mor- theatre replaced Gomberville highlights 1672). (Brussels, al de la vie humaine but intentionally the classical origin pictures, of the didactic the majority inspired which had verses, Horace’s disregards Portuguese manuscript does not The drawings. Veen’s Van of transcribe the Latin copied after that Le theatre verses moral of an inscription, composed of each emblem, the explanation did the author choose Why 3). and a poetic text (fig. a picture Who this option? What was he? was the purpose of the trans- remains mysterious.This lation? - pro emblematic particular of Portuguese features and complex in whicha dynamic implies interdisciplinary approach, duction, of emblematic mod- to shed new the reception order light on though emblematics, Portuguese els in the Lusophone world. obstacles, many a heavy rock and facing by down weighed It is time to its wings. opportunities had nonetheless to spread and definitelymake it better known its fadochange . cited Works Andreae Alciati Emblematum Clarissimi uiri D. Andrea. Alciato, 1565. Plantin, Antwerp: libri II. In an overview.” emblematics: “Portuguese Rubem. Amaral Jr., . Emblematics Studies in Portuguese Mosaics of Meaning. The following compilation makes no The - following compilation claim to be comprehen with the aim of drawing attention but is published here sive, LXIV (2002), 29-30 LXIV (2002), (1988), 58, no. 95 no. 58, Tournament Imprese (1988), The English (1557); c. man standing at the centre of labyrinth/ man standing at the centre c. (1557); J Walpole Soc J Walpole [18C copy by Francis Hayman in Royal Armouries Museum, Armouries Hayman Royal in Museum, Francis by copy [18C (43) and “Ubique see also hic domi” peregrinus i. Leeds]; (3) de las dolces” “Amare - pair of com c. ; - b. measuring); (by “Cum mensura” a. 10. 1575–ca. (ca. Ludovico Petrucci d. points; winged passes with g. author portraitengraved (frontispiece); f. anon; e. 1619); (41); “Stabilitas cum pace” see also British Library; i. h. 1617; j. evil [Depart from 37” “Declina Ps bonum a malo et fac a. 11. “Lege Zacha- 37 (27)] and prophesiam -- Psalm and do good] of Zacharias the prophecy [Read -- Luke 1 (13–25) 1” rie Lu: on robin c. - ; b. the birth the Baptist]; of John – regarding ap Ieuan ap David of Arddynwent Thomas d. mistletoe sprig; - Na h. 1610; ca. g. oil painting; f. not known; e. (1560–16??); suggests NMW website (NMW); i. Wales Museum of tional breast its red got that the robin to the folk legend refers robin at the Crucifixion – Christ’s brow a thorn from while removing century; the nineteenth but this seems not to be attested before Cooper Citizen Portrait Tarnya j. (12); “Defractus sum” See also 33ff. (2012), off (so) (I was broken “Defractus sum ut ne miseraris” a. 12. Vulgate]; the [not from should not lament (?)); that you d. branch; wrapped olive banderole motto on around c. - ; b. e. (1560–16??); ap Ieuan ap David of Arddynwent Thomas see also i. NMW; h. 1610; ca. g. oil painting; f. not known; as previous j. previous; Ruscelli, b. (never downwards); “Deorsum nunqvam” a. 13. Richard d. a fire; c. 156; 1566), Le Imprese illustri (Venice, e. (1560–1601); Yorkshire Goodricke/Goodrich of Ribston, sit- 1578 (?) – if so, ca. g. oil painting; f. Cornelis Ketel (signed); h. Adelaide; The Art Gallery of Australia, ter is onlySouth 18; fly the sparks “as trans [5,vii]) for (AV nothing does Job say Not Wikipedia/-media us believe that this have would UPWARD”! Gallery’s of 1577 — hence their and the Australian is the comet with the Ruscellidating -- but coincidence of the motto em- (2004) when attribd sold Sotheby’s i. blem demands a rethink; entry noted that deorsum cat. Sotheby’s j. Gower; to George nunquam is the Goodrich family motto deform you form me, (while you “Dum formas minuis” a. 14. tourna Day - at the 1595 Accession Essex by also used b. me); just discernible impresa diamond central square-cut c. ment; the skirton of his armour—alluding to the necessity of cutting Robert d. advantage; it off to best to show in order a diamond miniature; f. Hilliard; e. Earl of Essex (1565–1601); Devereux, The Cult of (1977), Elizabeth Strong, j. - ; i. - ; h. 1593x5; ca. g. Young, 65; see will find the way); (the Fates viam invenient” “Fata a. 15. Devises Paradin, b. (19); “Fides serpentibusalso homini fraus” heroiques 1573; g. oil painting; f. anon; Lord e. Edward Russell; d. maze; 19C only from now known Abbey (formerly); i. Woburn h. Sir in NPG – see portrait copy of his brother, watercolour - j. Russell (no motto); Francis - ; b. in time/ just in time); (Ital = done a tempo” “Fatto a. 16. Thomas d. small stalk pecked bird; one at by 2 pinks in vase, c. 6.96; c. breast- breast- c. 6.96;
and back-plate of suit of armour – is this the device the 13th Baron Bertie, Peregrine d. sitter is pointing at?; of the ballad, Willoghby (1555-1601) [hero de Eresby oil painting; f. not known; “Brave LordWilloghby”]; e. Lincs., Grimsthorpe Castle, century; late sixteenth h. g. lamp; j. [as previous]. j. lamp; sweet the (Span from = Bitter de las dolces” “Amare a. 3. in Em- “De douceur amertume” Cf. b.?? things (??)); branch projects (1608) – wormwood amatoria blemata trunk near base of tree motto painted – c. beehive; from 13th Baron Bertie, Peregrine d. could it be wormwood?; of the ballad, Willoughby [hero (1555–1601) de Eresby oil painting; f. not known; “Brave LordWilloughby”]; e. Lincs Grimsthorpe Castle, late sixteenth century; h. g. Hayman in Royal [eighteenth-century Francis by copy “Contra audentior” also see i. Leeds]; ArmouriesMuseum, - j. (43); “Ubique(9) and peregrinus hic domi” and virtue/courage); love (by [sic] et virtute”; “Amor a. 4. Raleigh Walter d. sea/water; above moon crescent c. ?; b. h. 1588; g. oil painting; f. not known; e. (c.1552–1618); stands for the moon Eliza- Gallery; Portrait i. National the water who influences persona, “Cynthia” beth in her - j. first name]; Raleigh’s [punning on he who is trustworthy will (Ital; durera” “Chi verace a. 5. Celestial arm c. ; Hieroglyphica Valeriano, cf. b. endure); Cornish anti- Carew, Richard d. strikes anvil; on diamond 1586; g. oil painting; f. not known; quary e. (1555–1620); name, motto is anagram of sitter’s i. private collection; h. Citizen Portrait Cooper, Tarnya j. “Richarde Carevve”; i.e., 154 (2012), and by wisdom by (Ital; la mano” “Col senno e con a. 6. de Idea Saavedra [antedates] Diego Faxardo, b. hand); heavenly hand c. un Principe Christiano (1655); Politico Marquis James Graham, d. in armour grasps hedgehog; f. 1660); Matham (d. Adriaen e. 1650); (d. of Montrose antedates earliest published i. - ; h. 1644x50; g. engraving; in Glasgow essay see Marinini’s j. example; emblem-book StudiesEmblem 12 – evidently of this English unaware antedating rock c. - ; in the midst of Inconstancey”;“Constant b. a. 7. (née Clifford Margaret d. waves; in the sea dashed by Hill - e. of Cumberland Countess (1560–1616); Russell), - j. - ; Victoria i. & Albert; h. 1603x5; g. miniature; f. iard; - b. (constancy bears the crown); coronat” “Constantia a. 8. been tutor to Bathsua Makin who had d. a solid cube; c. ; daughter “Winter Elizabeth Princess (the future Queen”), 1640s; g. engraving; William f. Marshall; e. of Charles I; is inscribed the motto (alone) on i. British Museum; h. - How in a portraitopen book of an the pages of Frances Willem by engraved de Passe Duchess of Richmond, ard, (46) “Virtuti see also in 1627; nullum solstitium” against (misfortunes/ [(proceed) “Contra audentior” a. 9. Aeneid Virgil, ills) boldly]; b. all the more SES NEWSLETTER 60 (01/17) NEWSLETTER SES Research Notes 16 Malcolm Jones Research Notes 17 Malcolm Jones nos. 80, 298 80, nos. (1565), no. 59; TETI 59; no. (1565), shield; d. Michael Dormer; e. Marcus Marcus e. Michael Dormer; d. shield; (1969), 208, fig. 165 fig. 208, Icon (1969), The English 287 fig. 290, Icon (1969), The English Emblemata Emblemata SES NEWSLETTER 60 (01/17) NEWSLETTER SES around base; d. Henry Howard, 1st earl of Northampton; 1st earl of Northampton; Henry Howard, d. base; around oil f. [attributed]; Custodis of Hieronimo Follower e. the armillary a popular sym is - sphere h. 1594; g. painting; j. (45); etc. “Ut nive”, flos[c]ulus see also i. era; bol in this Strong, motto c. - ; (Time b. passes); “Il tempo passa” a. 25. Sir Harington John d. located beneath pocket-watch; title-page engraved f. Cockson; Thomas e. (1561–1612); see i. - ; h. 1591; g. “Orlando of Furioso”; trans. to H’s - j. (18); “Fin che vegna” Unmov’d/ “In of thoughts that ebbe & flow,/ sea a. 26. rock in the sea c. - ; b. let mee soe/ Bee lov’d”; is, My love oil paint- f. not known; e. Cutts; John d. waves; dashed by Hadrianus cf. i. House (NT); Upton h. 1595; ca. g. ing; Junius, length fire (At “Irumpet ignis” aliquando e nubibus a. 27. “These ? the English couplet: the clouds); through breaks storms that] bannysh lycht/ of grey ---- cloudy dayes dark through sun breaking c. - ; then nyght”;ar wors b. (1560–92) the explorer Cavendish, Thomas ? d. clouds; attributed Bettes to John e. [uncertain identification]; private collection; h. 1588x91; g. oil painting; f. theYounger; i. - ; j. - shield] heart [on c. - ; b. “Magica sympathica”; a. 28. golden and with smoke flames (or wings?), rising from Herbert Edward (1582?– d. the heart; risingsparks from Powys h. 1610x14; g. miniature; f. Oliver; Isaac e. 1648); fly is perhaps that just as the sparks The conceit i. Castle; - j. to higher things; aspires so too the bearer upward, a garland of spring c. - ; Till“No Spring now”; b. a. 29. wife of Sir Arthur (d.1632), Anne Danvers d. flowers; – formerly of Llanthony Porter identified as Mary Gheeraerts Marcus e. Lady Scudamore; Throckmorton, NPG h. 1615; g. oil painting; f. (not signed); Younger the commemorates the mar- i. Throckmorton); (as Mary to the 1st Elizabeth Porter, daughter, riage of the sitter’s - Viscount j. Scudamore; it is not ruined/ (yet absumpta tam[en]” “Non a. 30. solar eclipse – perhaps depicted on c. - ; b. destroyed); impresa a circular g. oil painting; f. (attributed); Younger Gheeraerts the seem to don’t there oddly, Dunlop; i. J. C. H. h. 1595; ca. j. Young; eclipsesbe any noted by the imprese amongst Strong, not important/ It’s It’s (ITAL; inporta” “Non a. 31. at a Cupid aims an arrow c. - ; b. of no consequence); HenryWind - d. other animals; by unicorn accompanied Windsor 5th Baron (1562-1605 -- not sor of Stanwell, not e. an enthusiastic tournament jouster; in ODNB), Earl of Plymouth; i. h. 1588; g. oil painting; f. known; etched his German that unicorns onto cuirass. are Note dart that is of no use against the unicorn, Is it Cupid’s symbol of chastity?Windsor Is the armoured proclaiming
in England c.1600, see my forthcoming- es in England c.1600, symbola Drake (1556–1606); e. (attributed) Hieronimo Custodis; f. f. Custodis; (attributed) Hieronimo e. Drake(1556–1606); Weiss art the on in 2015, market h. 1585; ca. g. oil painting; - j. - ; Gallery; i. b. impudent); not (confident “Fidens confidens” non a. 17. [TPMA 112. no. (1527), symbola animi sive Satellitium Vives, - rest column above shooting star/comet c. Recht 19.5 (134); s.v. d. bearing 3 steps to which is attached; motto banderole ing on ?? Ar(a)bella Stuarte. (1575–1615) [uncertain identification]; private collection, h. 1590 (?); ca. g. oil painting; f. not known; of for knowledge j. lot 24; 16/11/83, Sotheby’s sold i. London; other Vives “The depicted on the emblems lost bed of Hinckley” on say Orlando Ariosto, b. “Fin (until it/he/she comes); che vegna a. 18. d. put in the mouth of dog lying down; c. 30; st. canto 41, , Furioso engraved f. Cockson; Thomas e. Sir Harington (1561-1612); John see ; i. - ; h. 1591; g. “Orlando of Furioso”; trans. to H’s title-page , use of this impresa his personal on Note own appendix for H’s - j. (25); “Il tempo passa” see also 349; which p. appears on (loyalty of men (is like “Fides serpentibus homini fraus” a. 19. - ; b. (15); viam invenient” “Fata see also the) deceit of snakes); strip motto on of the five held in the mouths of two of paper Lord e. Edward Russell; d. right hand; snakes in the sitter’s Abbey (formerly); i. Woburn h. 1573; g. painting; oil f. anon; in NPG – see copy 19C watercolour only from now known - j. Russell (no motto); Sir Francis portrait of his brother, (I bear lightning and waters); fero” aquasque “Fulmen a. 20. [Strong storm-clouds; lightning bolt bursting through c. - ; b. “the lightning bolt is formalised into the shape of notes that an emblem that patterns the lining of the surcoat a caduceus, George d. of him”; full-length miniature in Hilliard’s he wears Hilliard; Earle. 3rd of Cumberland (1558–1605); Clifford, Museum of Art, Nelson-Atkins h. 1585x95; g. miniature; f. - j. - ; i. USA; KansasCity, c. - ; b. (the lance till such time as); “Hasta quando” a. 21. the sun earth the motto painted between and the moon, the earthshining above is that the meaning suggests (Strong Cumberland the Queen’s will to wield the lance on continue eclipsed); bodies are behalf until such celestial all time as three Earl 3rd of Cumberland (1558–1605); Clifford, George d. Maritime National h. 1590; ca. g. miniature; f. Hilliard; e. Court Tudor Artists of the Strong, j. - ; i. Greenwich; Museum, 216 no. 134–35, (1983), armillary ; c. - b. (This or nothing); “Hic aut nullus” a. 22. 1593; ca. g. - ; f. - ; e. Maximillian Norris/Norreys; d. sphere; symbol of constancy favourite devices, of Elizabeth’s one h. late eighteenth-century i. religion; and fidelity to (Protestant) - j. copy; (this is the end to which (I/ “Hic terminus quem” ad a. 23. :lo “Mira above coffin) and banderole all – label on go) we Skeleton in c. - ; b. [Spanish = I see the reward]; galardon” d. William Burton coffin is labelled; coffin; feetchair on rests Society h. 1604; g. oil painting; f. not known; e. (1575–1645); - ; j. - ; i. of Antiquaries; c. - ; b. this); from [sic] (?? Knowledge “Hinc Scentia” a. 24. inscribed words hand, small armillary held in sitter’s sphere (2012), 138 (2012), Citizen Portrait (1985), 139ff Peacock in Art History (1985), 31ff, (1983), free hand is shown having just snapped his fingers – as per per – as fingers his just snapped having is shown hand free scholar, humanist (1521–65), Chaloner Thomas e. the verse; (1549), Praise of Folly Erasmus, translation of first English inscription being the accompanying of Latincomposer verses, oil Flemish; f. presumed not known, e. of them; one doubtless History of the county Blomefield, i. NPG; h. 1559; g. painting; another portrait bearing records 1.188 the of Norfolk (1739), Tarnya formerly j. at Ridlesworth; 1601, and dated same verses Cooper book c. - ; b. and for (once ever); “Semel et semper” a. 38. Portfield and Baddyll John of d. by heavenly hand; proffered ca. g.? oil painting; f. (attributed); Robert Peake Whalley; e. - ; j. - ; i. Preston; Lancashire, Museum of h. 1590; - ; b. (my sun is hidden/eclipsed); occvltus“Soll: meus” a. 39. Custodis Hieronimo Sir Henry e. Bromley; d. eclipse; solar c. Anne Mrs The Hon. h. 1587; g. oil painting; f. (attributed); fig. 198, Icon (1969), The English Strong, j. - ; i. Bromley-Martin; 150 c. - ; b. (I hope for better things/times); “Spero meliora” a. 40. equerry Saltonstall, Sir Peter d. an eclipse; sun emerging from oil paint- f. not known; e. 1651; d. knighted 1605, to James I, History of Halifax parish records i. - ; h. 1610; ? ca. g. ing; was a garden the Saltonstall family house, Winteredge, that at other emblems Among “Meliora spero.” house with the motto a mouse was depicted in an outbuilding in stained glass, [i.e., “Ob gulam captivus” trapped with the motto, in an oyster Tournament Imprese, no. The English Young, cf. j. Alciato 86]; of the tourna one - in 1611 on recorded “Meliora spero”, 232, Whitehall in the ment shields displayed Gallery seemingly b. [stability with peace]; “Stabilitas cum pace” a. 41. of a similarlya Latin with version emblem (no.13) depicted alme apporto [I fermezza e frutto“Pace all’ motto in Italian: of Mirrour bring stability peace and fruit to the soul”] in HG’s originally for the cuts which were designed Maiestie (1618), on growing tree (?olive) c. Petrucci; for by an emblem-book f. anon; e. (c.1575-c.1619); Ludovico Petrucci d. a hillock; see i. - ; h. 1617; g. author portraitengraved (frontispiece); - j. (10); “Cum mensura” also [?globe sphere allegorical balance: c. - ; b. “Tanti”; a. 42. 9th Henry Percy, d. ?cannon-ball] and feather in equipoise; cabinet f. Hilliard; Earl e. of Northumberland (1564–1632); Strong in Bull. j. - ; i. Rijksmuseum; h. 1590x5; g. miniature; Rijksm (Everywhere a wanderer, “Ubique peregrinus hic domi” a. 43. 13th Baron Bertie, Peregrine d. - ; c. - ; b. I am at home); here “Brave of the ballad, Willoghby (1555–1601) [hero de Eresby late six- g. oil painting; f. not known; LordWilloghby”]; d. by [18C copy Lincs., Grimsthorpe Castle, teenth century; h. see i. Leeds]; Armouries Hayman in Royal Museum, Francis - j. (3); de las dolces” “Amare (9) and “Contra audentior” “Undis / coedens q fovetur arundo / fun- reparat vires a. 44. strength recovers (Thereed ditus at rupes e / scopulosa ruit” but the rugged strong, yielding grows and by amid the waves by waves, rock in sea dashed c. - ; b. cliff perishes utterly). not e. (1560–1622); Admiral Hawkins, Richard d. reeds; Maritime Mu- National h. 1590; ? ca. g. oil painting; f. known; 17 (2009) Manifesting Manhood (2004) Manifesting Manhood The English The English Young, j. darts?; against Cupid’s ‘proofhe is ’ that a German notes 97, Imprese (1988), Tournament the Shieldvisitor to GalleryWhitehall at this recorded of LordWindsormotto as that 1581 in look plan, (Set in order, respice” “Ordina prospice a. 32. surrounded Tresham c. - ; b. and other inscriptions; back), - Tre Thomas d. inscriptions; emblematic objects and by g. engraving; f. Remigius Hoenberg; e. sham (1543–1605); Emblematica j. - ; i. BM; h. 1585; (laid aside but not “Recondutur no[n] retudutur” a. 33. of a castle standing in front a woman c. - ; b. blunted); which motto is written; or banner on and holding a scroll and military weapons of her is a pile of discarded in front (1560– Hoby Edward d. them; over with a veil trophies i. NPG; h. 1583; g. oil painting; f. not known; e. 1617); the allegory- prob marriage, after a year Hoby’s “Painted - ; his military from ablyj. to a break refers career”; “appeare as bearer [Italian – translated by “Rilumbre” a. 34. somewhat sun shines above c. - ; b. somewhat cleare[r]”]; d. misty landscape discernible; in which buildings are set f. Delaram; Francis William e. Burton (1575–1645); “The author portraitinto engraved to used as frontispiece the i. - ; h. 1622; g. (1622); description of Leicestershire” device explained (though only is implicitly- – it is not actu - j. of the book; ally to as such) the final page on referred but “without the storm”, (literally, “Sans orage” a. 35. clearly“unmoved by/impervious meaning to the storm”); Storm clouds an erect thunder and lighten above c. - ; b. f. e. not known; gentleman; unidentified d. iris flower; Museum of North Carolina h. 1590; ca. g. oil painting; Leah j. “rainbow”; is also Latin for “iris” i. Raleigh; Art, Thomas, It shall be what God (Ital; “Sara quel che vorra” dio a. 36. heavenly and shoulders; head naked man’s c. - ; b. wills); giving his date of birth hand holds horoscope as 1570 unidentified d. below; banderole on – motto “atemerich” oil William of “circle Segar”; f. attributed to e. gentleman; 1991, 15 Nov sold Christies, h. 1590x1600; g. painting; - ; j. - ; i. lot 2; mortalia “Sardanapalus ait pereunt cuncta / ut a. 37. nigro pollice pereunt dissiliens / quae presso creitus nil quantumvis fugintq[ue] simillama [sic] fumo/ aurea erunt / post funera clariornisi fumus at mens culta viro (Sar- inest menti caeteraexta[t]/ pondus vana volant” like the sound of danapalus said all mortal things perish, those which perish and flee just like a black a finger-snap; will be nothing but they be, golden may however smoke, to the man all but the cultivated mind belongs the smoke, is a property Real substance vividly of more after death. allegorical c. - ; b. other empty things fly away); the mind, the vain balance in which outweighs an irradiated book jewellery viz. things of this world in the lighter scale-pan, Chaloner’s world-orband a winged to fly away); (ready SES NEWSLETTER 60 (01/17) NEWSLETTER SES Research Notes 18 Malcolm Jones Research: M. Jones 19 Society Information Society Information xecutive and Advisoryxecutive Board 30 S E SES NEWSLETTER 60 (01/17) NEWSLETTER SES xecutive Committee xecutive for mine owne, partly liking the modestie thereof, partly partly modestie thereof, liking the for mine owne, (for it) becauseashamed to confesse I am not I fancie and deuice, is in the whose picture the spaniell much, so will) not but some (as I doubt make merrie if any at it. for end of my trauell one in I shall not be sorrie for it: and besides I merrie, is to make my frends this worke, verie and some can examples of wise men, alledge many but built that haue not onely taken pictures, men, great as for And beasts. of ser|uiceable cities in remembrance Doctor Caynes [sic] a learned Phisition and a dogges, John in praise of them [i.e. treatise wrote a man, good translated six years De canibus Britannica (1570), Caius, and the Scripture selfe it dogges], later as Of Englishe dogge. Tobias hath voutchsafed to commend booke of the 41. end the annotations Here 30. Michael Bath advises me that the Professor Jones has recently Jones me that the Professor Michael Bath advises 30. to his collection; in English title pages a number of emblems added be foundthese may at https://uk.pinterest.com/malcm2557/ emblems-on-english-title-pages-as-english-printers (Ed.). SE E President Michael Bath
], that haue excelled for excellencie that haue excelled for excellencie ], of deuice: of which if I should speake at large, it would aske aske it would of which if I should speake at large, of deuice: chosen of Oliuero this have My selfe, it selfe. by a volume Now each prepard against the day of fight, of fight, against the day each prepard Now a crowne: with cost of many Braue furniture, in sight, bare Orlando his quarter, on with lightning strikenHigh Babels towre downe: bright, hound argent Lyme a His cosin had he couching downe, laid on his backe, His Lyme vntill he commeth, or Mot was this, word The and such as him becommeth. rest was The rich, as the happie our time, in many haue had In this kind we Day Accession the can of Nouember witnesse [i.e. day 17. TETI Young, tilts – see Orlando Furioso (1591), Canto/Booke 41, st. 30 st. Canto/Booke 41, (1591), Orlando Furioso seum, Greenwich; i. NMM notes that emblem overlays that emblem NMM notes earlier i. Greenwich; seum, - ; j. campaign depicting inset tents; (Like the little sic “Ut nive flos[c]ulus Iuventus” Senect[ae] 45. “c” [The youth to such is Old Age); the snowstorm, in flower this is apparently a transcription er- omitted; is “flosculus” of 1st Earl Henry Howard, d. in a snowstorm; flower c. - ; b. ror]; [attrib - Custodis” of Hieronimo “follower e. of Northampton; London; Company, Mercers’ h. 1594; g. oil painting; f. uted]; Icon The English Strong, j. [sic] (24); “Hinc scentia” also see i. 165 fig. 208, (1969), (Virtue “Virtuti (has) no solstice); nullum solstitium” a. 46. illustrated) discussed (but not in the notes to emblem 46 b. quill-pens crossed c. (1627); Sinne- en minnebeelden in Cats, of which is depicted an eye; page one on open book, an above Elizabeth been tutor to Princess Makin who had Bathsua d. Wil - e. daughter of Charles“Winter I; (the future Queen”), see also i. NPG; BM, h. 1640s; g. engraving; f. liam Marshall; - ; j. (8); coronat” “Constantia allegorical in which balance a pair c. - ; b. motto]; [no a. 47. (symbolisingof compasses artistic skill) the artist’s outweigh Gower, George d. coat-of-arms (symbolising noble birth); oil paint- f. Gower; George e. painter (d.1596) [self-portrait]; cat, NPG 2013 ex. j. - ; i. private collection; h. 1579; g. ing; Cooper; Tarnya by People I and Her Elizabeth c. “Latet anguis in herba”; Whitney, cf. b. motto]; [no a. 48. the pink on arm making towards lady’s snake coils around attributed e. 1603); Lady Elizabeth Knightley (d. d. her dress; New Haven, h. 1591; g. oil painting; f. Gheeraerts; Marcus - ; j. - ; i. YCBA; sprig on of eglantine/ dog rose; bird c. - ; b. motto]; [no a. 49. Custodis (signed); Hieronimo e. 14; aged Elizabeth Bridges, d. eglantine is usually Abbey; i. Woburn h. 1589; g. oil painting; f. 114 cat., Dynasties 1995 ex. said to be symbolic of chastity; j. seated 2) as sun sets; sea 1) ship on c. - ; b. motto]; [no a. 50. snakes, dragon, in pastoral landscape by woman surrounded oil f. not known; e. Russell; Sir Francis d. cockerel; crocodile, in the copy only known as watercolour now h. - ; g. painting; piece to that of his this appears to be a companion i. NPG; pos- (15)] and it’s viam invenient” “Fata [see Edward brother - ; j. sible the motto was too faint/illegible for to read; copyist
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VirtualEmblematics The newsletter is normally issued in January and Members are also welcome to submit their “research “research their to submit also welcome Members are for looking are if you to our community—so, questions” or for translation the of a particularthe source emblem, to let other is space now there of a difficult Latin passage, quest and discuss it. colleagues of your know a large to create discussing a way we are finally, And, are There bibliographic database foronline the website. about the technical on going aspects of this conversations their own members to upload such to allow as how tool, to export and how to make searches, how bibliographies, - other refer to Zotero (or any of these searches the result in do get can help, If you software). ence management touch with us! As our Chair has previously indicated, we now welcome welcome now we As our Chair has previously indicated, to be published in a our members, from notes” “research These notes can be writ- new under the same title. section (in English, languages of the Society’sten in any working with a short or Dutch, Spanish, German, or in French, summary in English). Recent copies of the Newsletter are posted at: http://www. posted at: Recent copies of the Newsletter are The newsletter is posted twice-yearlyon the Societywebsite and an announcement of its availability is sent to all mem- these and other Members who do not wish to receive bers. Treasurer, the Societyannouncements from the should advise the distri- from removed that their names are who will ensure list. bution materials to submit invited of potential All members are July. who David Graham