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Einzigartiger Zugang zur europäischen Sinnbildkunst: Emblemata erschließt 4000 Sinnbilder aus 47 der bedeutendsten Emblembücher des 16. und 17. Jahrhunderts. Eingeteilt in Embleme zu den vier Elementen, zur Tier- und Pflanzenwelt, zur Welt des Menschen, zu Personifikationen, Mythologie und Biblischem sowie ergänzt um praktische Register, hilft es, die Bildmotive von Künstlern und Kunsthandwerkern aus dieser Zeit zu erschließen sowie Bedeutungen und Betrachtungsweisen zu verstehen, zu denen uns heute der Zugang fehlt. In ihrer Blütezeit waren Sinnbilder beliebt und allgegenwärtig in Malerei, Grafik und Plastik, als Möbelschmuck, auf Medaillen, Münzen oder Spielkarten. Eine einmalige Sammlung für Wissenschaftler, Quellenkundler und Liebhaber der Emblemkunst.

Einzigartiger Zugang zur europäischen Sinnbildkunst: Emblemata erschließt 4000 Sinnbilder aus 47 der bedeutendsten Emblembücher des 16. und 17. Jahrhunderts. Eingeteilt in Embleme zu den vier Elementen, zur Tier- und Pflanzenwelt, zur Welt des Menschen, zu Personifikationen, Mythologie und Biblischem sowie ergänzt um praktische Register, hilft es, die Bildmotive von Künstlern und Kunsthandwerkern aus dieser Zeit zu erschließen sowie Bedeutungen und Betrachtungsweisen zu verstehen, zu denen uns heute der Zugang fehlt. In ihrer Blütezeit waren Sinnbilder beliebt und allgegenwärtig in Malerei, Grafik und Plastik, als Möbelschmuck, auf Medaillen, Münzen oder Spielkarten. Eine einmalige Sammlung für Wissenschaftler, Quellenkundler und Liebhaber der Emblemkunst.

The Emblemata of Andreas Alciatus was published in 1551 in Lyon and was soon translated into at least four languages. These volumes allow a researcher to consult all versions at once and compare them with considerable ease.In Part 1 each of the emblems is reproduced in facsimilie, the motto and epigram transcribed and translated, the pictorial emblem analysed into its key motifs, and the relevant sources listed. Part 2 is organized in parallel fashion and deals with the translations of Marnef, Hunger, Held, Marquale, and Cadomosto.Part 1 also contains thorough introductory sections, including a biography of Alciatus as it relates to his Emblemata, a useful bibliography, extensive cumulative indexes to the key motifs and mottoes, and lists all mottoes by language of origin and of the translationsBy making the emblem books accessible to modern scholars in this fashion, the Index will enhance the study not only of literature, but also of the history of art, culture, religion, and symbol.

Emblemata: Symbolic Literature of the Renaissance shows the different genres of symbolic literature from the late European Renaissance as they were categorized by contemporary writers and theorists. There is a focus on emblem books, the most extensive type of this literature, and examples are illustrated from the 16th century up to modern times. Until the 17th century, European culture was dominated by an obsession with symbol and allegory which was seen as a universal medium for the approach to God, for the investigation of the natural world, for the interpretation of the Scriptures and for a guide to moral conduct. With the invention of the printing press, this obsession was translated into a vast literature of symbolism of which the book presents just a small sample.

Excerpt from Quinti Horatii Flacci Emblemata, Imaginibus in Æs Incisis, Notisque, IllustrataPlacca,ljìicîî'rtfxb xs - incifis illuxlracas Mutgas na Bi&ura fidclîlîìmè. Pìxîìînt.About the PublisherForgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.comThis book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

Excerpt from Io. Mercerii I. C. EmblemataQumm ccffat de tempore belli, Indulges varìis media inter caf'tra camzenis. A iij4442240 zzééùmt'zà'kùio q404g0242242 60110 204422: de 24 ri'/é 02202004: 04222 2224! 40 'v0/4pt4te. Prob/e2224t4fi24t G 002220227 04, t4nt4fici/i.About the PublisherForgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.comThis book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

With its 160 emblems this book is a veritable catalogue of mid-seventeenth life and morality. Its title advertises the book's "social-political" concern with civic morality, and embraces the whole of society from kings to beggars. The scope of this emblem book, written by a Dutch Jesuit working in Germany, is impressive. The major themes are religious faith, God, eternity,kingly conduct, war, victory, courtly life, advice to rulers, education, virtue, moderation, conscience, self-knowledge, modesty and chastity. He also treats bourgeois life and values, transience, folly, chance, vanity and satires on women. In fact, Kreihing has something to say about almost everything: gambling, gossip, gluttony, prostitution, suicide, pick-pockets, dress codes, cosmetics, nude bathing, bribery, female treachery, illicit love and taxation. The full introduction is followed by an alphabetical list of Kreihing's mottoes with their English translations.

212 S., Einband leicht berieben; Schnitt hat leichte Lagerungsspuren; sonst sehr gut erhalten. 9783487043333 Sprache: Deutsch Gewicht in Gramm: 488 Reprograf. Nachdr. d. Ausg. Antwerpen 1607, 2. Auflage,.

12 colour plates by Hugh Buchanan; Number 224 of a limited edition of 500 copies; Text by Davidson, in English and Latin; Paperback: navy blue wrappers decorated in gilt and blind; Fine.

This volume deals with the interrelation between English and Dutch culture as it emerged in the field of the emblem and the emblem book in the 16th and 17th centuries. The traffic of emblems was mostly from the Low Countries to England. The very first printed English emblem book, by Geffrey Whitney, was printed in Leiden in 1586. One of the last English emblem books to be published in the 17th century, by Philip Ayres (1683) goes straight back to the Dutch love emblem tradition (Heinsius, Vaenius, et al.).The reasons for this mainly one-way traffic are manifold. For one thing the best engravers and printers were to be found in the Low Countries. For another the Church of England also accommodated adaptations of the highly popular continental Jesuit emblem books of the early 17th century.The book consists of fourteen original articles, by a wide range of specialists in the field, each of whom addresses a different aspect of the general subject.

ÉPUISÉ mais DISPONIBLE. « Théâtre d'amour, du nom de l'un des recueils figurant dans cet ouvrage unique, est le fac-similé d'un ouvrage unique, les « Emblemata amatoria » rassemblant des emblèmes d'amour de la fin du XVIe et du début du XVIIe siècles ; ces gravures et poèmes ont été collectionnés autour de 1620 par un amoureux anonyme, et vraisemblablement offert à sa belle comme un présent d'amour. Composées d'allégories mythologiques et religieuses, les emblèmes (que l'on doit à des imprimeurs comme Abraham Bloemaert, Pieter I Bruefhel, Agostino Carracci ou Jacob Goltzius) illustraient des scènes toujours symboliques, que le texte s'attache ici à décrypter : l'âne symbole de paresse, le bouquetin de luxure, le sanglier de gourmandise, etc., c'est tout un alphabet visuel qui est ici déchiffré pour l'oil moderne. Les textes en regard sont reproduits dans leur langue originelle mais également traduits en langage moderne (certains sont en hollandais, d'autres en vieux français), et analysés. Collectionner, publier ou relier des emblèmes d'amour était un passe temps populaire dans la Hollande du dix-septième siècle naissant, et l'album ici reproduit en est un exemple exceptionnel : méticuleusement coloriées et rehaussées d'or et d'argent, ces gravures ont probablement conquis le cour de leur destinataire. Bien que la provenance exacte de l'ouvrage soit inconnue (l'un des propriétaires suivants ayant effacé le nom de son propriétaire originel), la qualité du dessin, les couleurs, l'usage généreux de l'or et de l'argent suggèrent une personne riche, cultivée, et probablement éperdue d'amour. Les 143 folios sont ici reproduits dans leur taille originelle ( 25,3 x 18,5 cm) et complétés par une introduction et des descriptions détaillées de chaque illustration par l'auteur, Carsten-Peter Warncke.» In 8, cartonnage sous jaquette illustrée et pages de garde marbrées. Signet rouge.

In 1649 Hieronymus Ammon, a town lawyer in Nuremberg, published a sophisticated bilingual emblem book in Latin and German under the title Imitatio Crameriana. The book is a compilation of forty heart emblems, imitations of Daniel Cramer's Emblemata Sacra. At this time Nuremberg was a centre of economic and political power, and boasted a thriving culture. The town's poets had a serious interest in rhetoric and poetics, and they showed an appreciation for the vernacular culture that was being promoted by the Sprachgesellschafften. In this context the notion of imitatio is important as a theory of learning and translation. Imitating classical patterns was considered a means to develop style through independent variation. Cramer's heart emblems were considered by Ammon and his friends as an ideal model. Even more so because they adhered to orthodox protestant dogma. Thus these emblems fulfilled the expectations of erudition and wit, while satisfying protestant principles of scripture. Most of the biblical mottoes were texts used for daily sermons in the Lutheran church. The substantial introduction is followed by a list of Ammon's Latin mottoes which are juxtaposed with their source mottoes in Cramer's emblems and accompanied by English translations; there is also a second list of the key motifs in the emblem pictures.

The Emblemata of Andreas Alciatus was published in 1551 in Lyon and was soon translated into at least four languages. These volumes allow a researcher to consult all versions at once and compare them with considerable ease.In Part 1 each of the emblems is reproduced in facsimilie, the motto and epigram transcribed and translated, the pictorial emblem analysed into its key motifs, and the relevant sources listed. Part 2 is organized in parallel fashion and deals with the translations of Marnef, Hunger, Held, Marquale, and Cadomosto.Part 1 also contains thorough introductory sections, including a biography of Alciatus as it relates to his Emblemata, a useful bibliography, extensive cumulative indexes to the key motifs and mottoes, and lists all mottoes by language of origin and of the translationsBy making the emblem books accessible to modern scholars in this fashion, the Index will enhance the study not only of literature, but also of the history of art, culture, religion, and symbol.