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-> hyi r^; ,-? -? rj^"^ Digitized by the Internet Archive in 2009 with funding from University of Illinois Urbana-Champaign http://www.archive.org/details/iconologiaormoraOOripa Caefar Ripa of Perugia Explaifwd in 2z6. Figures. T^e 'iempeJt Uiuc : ICONOLOGIA: O R, i*lo?al €mWems, B Y C iE S A R R I P A Wherein are Exprefi'd, Various Images of Virtues^ Vices^ TaffionSy Arts^ HumourSy Elements and Qelejlial bodies ^ As D E S I G N 'D by The Ancient Egyptians] Greeks, ^mans'^ and Modern Itdiansi USEFUL For Orators, Focts, Painters^ Sculptors, and all Lovetsol Ingenuity llluftrated with Three Hundred Twcnty.fix HUMANE FIGURES, With their c^planationu 5 Newly defign'd, and engraven onCopper, by I. Fullir, Painter, And other Matters, By the Care and ac the- Charge of p. TEMPEST. LONDON: Printed by BenJ, MoTTe. MDCCIX. To the READER THIS Work is'Orvinf to the Noble Ideas and Fancy ofSig. Cxfar Ripa, an Italian, whd applied himfclf irif/j indefatigable Study to make a Colletion of the Figures of the Ancient Egyptians, Greeks and Romans, and to produce others ofhis otvn and other cdehrated Authors h this Science : Thefe Images are the Reprefcntatives of cur t^otions ; they properly belong to Painters, who by Colours and Shadowing^ have in-vented the admirable Secret to to give Body our Thoughts^ thereby to render them vifible. The Ancients were taken Images-, much with thofe witnefs fuch variety of paint inr their Gods, ly irhich t^y have fo ingenionflj concealed the Myjleries- of Nature and Fhilofophy, jea and of Divinity and Religion. This is that Source from whence Potts have drawn their Fables with their Explications ; for Example, by the Image of Saturn they repnfented Time, which devours its own Children ; that is to fay, Dayr, Months and Tears. By Thundring Jove, they ftgnified that Tart of the Heavens where thegreatejl part of the Meteors are form'd. By Venus they exprefsd the Union of the Materia Prima, with the Form ; from whence fprings the Beauty and FerfeBion of all created Beings, &c. The Invention ofthis Science is afcrib'd to the Egyptians, />^w jr^^^tv Pythagoras it part, brought from the farthefl ?hlo took the great efl part of his DoBrine from thofe Hieroglyphic Figures. The Prophets themfelves veil'd their facred Oracles with Enigma's : and our Saviour himfelfcomprisd mofi of his divine Myperies under Similitudes and-' Parables. Thefe Emblems are very properly under Figures, ftnce drawn human Man, being the meafure of all things, fo like- wife his exteriour Form ought to be lookt upon as the meafure ofthe ^alities of his Soul. Hcreycu will find abundance of Figures and' Emblems of every thing imaginable ; accompanied with curious and (olid Morals^ owing to very learned Authors. The under/landing Perufer of this Book will meet therein Ihings not the tut only to divert Mind, to in(lru5i it, and to infpire him with the Love of Virtue, and Hatred ofVice', and to regulate his Manners, Behaviour and Con- duct. This Work has been printed in fix feveral Languages, and is e(lee?nd the on the Subject which it treats, hefl of yet extant, for the Inflru^ion of Ar lifts in their Study of Mtdds, Coins, Statues, Bafforelicvo^s, Paintings and Prints, and to helpth:ir Invention, Upon thefe Accounts it has been much defired to the in T^hich have fame CngUd)) now we have d)ne for the Public Benefit ,^ not deuhting hut that it will be acceptable to the Lovers of Art, as well as tnfiruclive to all forts of People whatfocvcr. 63 1 TABLET H i; Pag A Fig. Pag. Fig. Pag. Fig. 45 Bruzzo 178 10 ^:''j«/y 37 17 Contentment 68 Ac^idcmy..^ i 6i 7"^^ Beginning 250 (8 Converfition 70 9 A Affeclion 36^ 10 B^mficcncc 40 18 Converfion 71 53 Africa, 209 12 BUndnefs of Mind ^j 18 Corregion 69 28 Age in general iti 39 5^^y?/>^ 1)3 19 Cofmography 74 7. Agriculture 10 ^£'«;7^7 59 51 Cour telle 14.6 •5 Amhitien II 10 Cozening 41 53 America 212 24 Cr.^///f 77 12 Curio 80 3 ^zw//^ 46 Calabria, 184 10 fttf 170 46 Campania Felix 1 8 17 Cuf^om 66 43 ^^f^'*, ^ 5 Appreknfion 19 69 Or(? 177 D. 46 Apulia 183 13 Celerity 50 60 Danger 240 6 Architecture military 12 Charity 46 5*3 D^^;^ 2 II 21 12 Chapijement 48 21 ZP^^f 82 6 Ariftocracy 2-3 12 Chaflity 45 42 D^f^// 16^ 6 Arithmetic 24 15 Cy^'^/^r 58 11 Decency 81 7 Arrogance 26 18 Chorography 71 22 Defence 88 7 /^r^ 28 68 Civil Sedition 274 22 Defence againfl Enc' 7 Artifice 27 81 Civil Union 323 mies 85* 5:1 4/?4 210 1 Clearnefs 4^ 23 Delight 9X 8 Ajfiduitj 30 y6 Comelinefs 306 21 Democracy 84 2 Afftftance 7 14 Commerce 5*4 24 Dcfjgning 93 8 Ajlronomy 29 80 Common-rrealth 321 21 Defiring God 8} 8 Avarice 31 14 QompaJIion 53 2 Defpair 5 9 Authority 35 64 Complaint to God z ^6 24 DejpifingTleafure^^ 27 Autumn 108 14 Concord 5^ x^DeJpifingthe World ^6 16 Confidence 61 22 DetraBion 86 B. 1 Conjugal Love 62 2 2 Digejlion 87 6 3 Banijhing ill Thoughts 19 Conscience 73 23 Dignity 89 259 19 Confiancy 76 23 Diligence 91 ^3 Bafhfulnefs 254 17 Contagion 6^ 24 Difcretion 94 25 Difiin^ihn e 1 The TABLE. Pag. Fig. Pag. Fig. Png. KtG. ij DifiinVion /v-/r//y 98 30 118 3 8 Humility i j 2, 1 5 Divine a/jd Immanc Free -^11I 1 1 49 195 HurKourfomncfs 4 ,:| in conjun^ion Things 64 1 4 Frien^fhip 3 ^ Hydrogaphy 1 ^^ ^ j. Divine 36 JujJice 142 "f-L Fright 288 38 Hypocrif) 150 15 Divinity 97 19 Fruitfnlnefs 116 15 Dominion 99 30 ///r; 117 I. i6 Dominion over ones 48 /^d-^ 192 [elf lOi I Mfjs^.fj- 34 Gcnerofity 136 59 Idolatry 34 The Genius 135 34 Jealoufy 133 yy Eaft 308 5 AGentleDifpoJjtion 20 y6 Ignohlenefs 305- Education ' 16 103 3 5 Geography 138 40 Imitation 159 Ele^ion iy 106 ^37 G/tr/ 1 48 39 Inconflancy 3 1 T/b^ £;7^ 114 3 6 G/i?r)f <?/' 4 Pr/ViTf 1 4 41 Indocihlenefs 162 78 Equality 3'4 37 Gluttony 147 41 Ingenuity i6r 27 Err OUT 107 9 (7^^^ Augur 34 41 Injuftice 164 29 £//•/>/ 114 33 Good Fortune- 130 48 Infpiration 191 20 Evening 73 II Good Mature 42 43 Inftitution 172 £«r<>/'f 185 6 C?rrff^ God Infiru6fion 47 3 of 1 43 4 13 28 Exercise 109 ^2 Grateful Rememhrance 41 Intelligence 16? 18 £Ar/7^ iix 206 42 Invention 168 28 Experience no 15: (jr/V/ loo 34 Jovialncfs 134 37 Grcffnefs 146 43 Irrefolution 1 6*^ 43 ^'^^^y 171: 30 Fame 119 H. 44 Italy and Rome 174 23 Fafling 90 I o Happinefs 3 8 35 Judgment 139 29 Feaver 1 13 7 Harmony 25 ^ 7 .7«//^ Judgment 18^ 29 Felicity 115 3 .^ Haughty Beggar 9 47 y«y?/Vff 188 30 Fidelity 1 20 66 //^^///& 265 31 Fierce nefs iii 13 Heaven 52 K. I Flattery 4 37 Hcrefu 145 13 Knovkdgs 5i 15" Hf^w 60 79 Heroic Virtue 317 33 £//^^? 129 38 Hiflory 151 L. S^ Folly 23d 44 //ij/) /?i?»?^ 176 45 Latium 182 3 1 T^^^rr^ ofElocfuence 1 2 7 72 //l?/'^ 287 49 A League ^z Force of Jttjf ice 128 38 Horography 149 26 Learning I or 32 Force of Love 125 40 Hofpitality 160 49 Liberality J96^ 8 /^prff <>/ f^/>/*? 320 67 Humane Wifdom 267 44 Liguria r L^;?f 46 75 The TABLE. Pag. Fig. Pag. Fig. Pag. Fig. 8 1 Long Lift ;i4 O. i a 5:0 Locfvacity 200 57 Ohtdience 217, 17 barrelling 67 5" LcouAcitj 2 00 57 Oh ligation 2l6' 5 Love four Count rJ i'^ ^^ Oljlinacy R. 65 Z.c^'tf reconciled x6i 26 Geconomy 104 5- /4 Rational Soul 1 4 /.<7^'<? tamed 1 SJ fence 225 64 /?^4/i?;? 2 5 $ 4 Z-<;x'^ of Virtue 1 58 Opinion 231 64 Reafon ofState 258^ 49 Loyalty 194 54 Original ofLove 213 64 Rebellion 257 71 £tfr)(: 286 65 Reformation 261 50 i»y? 198 65" Religion 260 50 Luxury 199 59 Tarftmon) 236 72 Renown 289 5*9 Patience 62 Rovard 247 M. 54 /'fj^^ 8q Rhetoric 319 6 Magnanimity 21 55 Penfwenefs 217 66 /?/T/4/y 264 55 Malice 220 II Penury 430 45 Romania i&o $y ManifefiWork 250 S7 Perfee} Work 229 39 Rome eternal 154 70 Manhood 281 60 Perfect on 2.39 66 Rumour z6y 45- /V4rr4 177 5 8 Perjecution 234 51 Mathematics 201 Co Perfuafion 241 S. 5 J Matrimony 219 31 rhilofofhj 12[ r 5* Sanguin 57 3 Mea[uring Height lo 51 Phjfick 204 48 Sardinia 19^0 51 Meditation 201 61 Piety 244 57 Scandal 268 5 2 Medium 205 SS rieafmg 218 67 Science 269 15 Melancholy 59 I r/^;?/; 31 Scourge ofGod 123 52 i'^fr/V 205 61 F^<r/jr 68 Scrupuloufnefs 272 2 /^/>/)^ 8 ^3 Poetical Fury 13^ 68 Secrecy 271 78 ModeftBaJhfulnefs^ii 61 Poverty 246 •JO Security 280 52 Modefly 207 61 Practice 4 Seraphic Love 1 5-4 Monarchy 214 50 Fr^;/? 197 68 Servitude 273 19 the Morning y$ 57 f'r^^fr 228 69 Severity 276 62 Precedence 248 79 Short Life 318 N 16 Prefrvation 63 ^S Sicily 189 35 y^ Natural Day 137 61 Prodigality 244 59 5/» .237 56 Nature 222 63 Prcfperity 251 69 Sincerity 255- 56 Necefftty 224 70 Printing 281 77 6'f>«/^ 307 56 Negligence 223 63 Prudence 251 17 6'^n>^ 1 05 56 Nob i Iit XI.
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  • '"There's More Than One of Everything": Navigating Fringe's Cofactual Multiverse'

    '"There's More Than One of Everything": Navigating Fringe's Cofactual Multiverse'

    . Volume 13, Issue 1 May 2016 ‘There’s More Than One of Everything’: Navigating Fringe’s cofactual multiverse Casey J. McCormick, McGill University, Montréal, Canada Abstract: This article analyzes how viewers of Fringe (FOX 2008-2013) make sense of the series’ complex science fictional storyworld. It argues that Fringe presents multiple iterations of worlds and characters in a way that encourages ‘cofactual’ interpretation: rather than figuring parallel universes and alternate timelines as ontologically hierarchical, the narrative accommodates all versions of reality and invites viewers to participate in shaping the multiverse. The article offers a close reading of Fringe’s complex narrative structure alongside an exploration of how audiences responded to and impacted the series through fannish practices such as vidding and narrative mapping. It concludes that cofactual narration opens up an array of participatory practices that blur the text/paratext distinction and facilitate interactive storyworld building. Keywords: Complex TV, Fandom, Narrative, Paratexts, Counterfactual, Cofactual, Possible Worlds Cofactual Interpretation By the time viewers reach the series finale of Fringe (FOX 2008-2013), they have travelled across two spatially-distinct universes, three versions of the future, and at least four different timelines, with each world-iteration populated by different versions of the show’s central characters. Through its reinvigoration of science fiction tropes, such as time travel, alternate realities, and temporal resets, Fringe asks viewers to re-evaluate typical models of narrative world-building. The series constructs a multiverse comprised of what I deem cofactual diegetic worlds. I use the term ‘cofactual’ in contradistinction to the more common narrative term ‘counterfactual’ as a means of emphasizing the plurality and simultaneity of diegetic worlds in Fringe.