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C'est tard avisé. Submerso frustra stipatus fossa juvenco, Sic sero sapiunt post sua damna Phryges. Jacques de Gheyn II, Théâtre d'amour (c.1600) Plate 22.
A peasant burying the corpse of a horse into a pit; his breast pierced by an arrow aimed at him by Cupid, seen at top left; the heifer's tail seen in the pit; beyond, rows of trees.
This is the eighteenth emblem from Daniel Heinsius' emblem book 'Quaeris quid sit Amor...'
Les deux sont un. Non aliter, quam cum ramum sibi ramus adoptat, Sic tibi non idem, nec tamen alter, ero. Jacques de Gheyn II, Théâtre d'amour (c.1600) Plate 23.
Cupid in the act of grafting a plant onto the trunk of a tree; in the immediate foreground, his bow and arrow, and branches on the ground; at left and right, trees.
This is the nineteenth emblem from Daniel Heinsius' emblem book 'Quaeris quid sit Amor...'. The iconography of the emblem can be seen in La Perrière (emblem 81: 'Le Iardinage de Cupido' from 'Theatre des bon engins', 1536 edition, and entitled 'Le Dieu d'Amour angoisse sus tous ente' in the 15873 edition). This conceit is also found in Petrach's sonnet, 'Se voi poteste'.
Perch'io stesso mi strinsi. Servitij causam præstat sibi avara Volucris. Nec culpa hic, culpæ nec sua pæna deest. Jacques de Gheyn II, Théâtre d'amour (c.1600) Plate 25.
A little bird that entering a bird-cage of its own accord, beyond, at left; at right, Cupid is seated on a mound, looking over his shoulder at the cage; at left, a large tree; on the ground before Cupid is his quiver.
This is the twenty-first emblem from Daniel Heinsius' emblem book 'Quaeris quid sit Amor...'. The motto is taken from Petrarch.
Mon mal me suit. Quo fugis ah demens? sequitur te pæna, sequuntur. Jumentum ut scabræ pondera dura molæ. Jacques de Gheyn II, Théâtre d'amour (c.1600) Plate 26.
A blindfolded horse turns the wheel of a mill ,with Cupid seated on its back, peering at his head; in the interior of a circular room with narrow windows; Cupid holds his bow in his left hand.
This is the twenty-second emblem from Daniel Heinsius' emblem book 'Quaeris quid sit Amor...'. Emblem 35 from Maurice Scève's 'Délie' is the source of Heinsius' emblem, who has replaced the donkey with a horse ridden by Cupid.
Sero detrectat onus qui subijt. Frustra tento oneri me jam subducere frustra. Jam juga detrectant, quæ subiere boves. HG. Jacques de Gheyn II, Théâtre d'amour (c.1600) Plate 27.
A yoked ox drags Cupid, seated on a plow; he aims his arrow at the ox with his right hand; beyond, hills and trees.
This is the twenty-third emblem from Daniel Heinsius' emblem book 'Quaeris quid sit Amor...'. Emblem 30 in Junius is the souce of this emblem; Heinsius has also added the figure of Love as an ox-herd
Noctua ut in tumulis, super utque cadavera bubo, Talis erit. Virgo nubere parce seni. Jacques de Gheyn II, Théâtre d'amour (c.1600) Plate 28.
A corpse laid down on the ground, with an owl sitting on the chest of the body; beyond, a prepared grave, with another owl perched on the edge; beyond, at right, an old man approaching a woman; above, in the sky, Cupid flies with his bow and arrow; in the distance, the outlines of hills can be seen.
This is the twenty-fourth emblem from Daniel Heinsius' emblem book 'Quaeris quid sit Amor...'; both the motto and the emblem are taken from Alciati's emblem 117 ('Senex puellam amans').
Omnia fert aetas. Ex libris Pauli Mariae Cogels. Cornucopia overflowing with books and a windmill.
Fuente: Gustaf Sandströms exlibrissamling (Stifts- och landsbiblioteket i Skara) https://www.flickr.com/photos/63794459@N07/
Plenty with her cornucopia. Upper cover of a Book of Common Prayer (1639) and Bible (1640) bound in one volume and embroidered with silk and coloured threads.
Fuente: Bodleian Libraries, University of Oxford. Shelfmark: Arch. A d.5
Woodblock prints of the Cornucopia appear throughout several volumes of books published by Cesare Ripa (1560-1622). Ripa was an Italian aesthetician who was knighted after his book Iconologia (translation: “Moral Emblems”) was published. In all, 151 emblematic woodcuts illustrate subjects such as virtue, vice, passion, science, and art. The books were influential to painters throughout the 17th and 18th Centuries.
Anton Pieck (1895-1987) Ex-libris for Dies Adam. Stack of old books and documents, with burning candle.
Inward Light. Jeremias Drexel, The Christians Zodiake (London, Wenceslaus Holla, 1643). Emblem I.
Candlestick with burning candle, casting a shadow on the table and wall.
Bookplate by Alexandre de Riquer (1856-1920)
Per molt que sapies es molt mes lo que ignores. Ex libris de Alexandre de Riquer para Rafel Patxot.
Page 50 of ‘Divine emblems; or Temporal things spiritualized.’ {1867}
La prima parte dell´ Imprese (Siena, Luca Bonetti, 1578)
Italian emblem book. 116p. 13 engraved emblems.
Fuente: The Internet Archive. Collection dulemblem; duke_libraries; americana. Digitizing sponsor Duke University Libraries. Contributor Duke University Libraries
Emblem 16 from Emblematum liber (Viri Clarissimi D. Andreae Alciati Iurisconsultiss. Mediol. Ad D. Chonradum Peutingerum Augustanum, Iurisconsultum Emblematum Liber) by Andrea Alciato, Augsburg, Germany, 1531
Raphael Sadeler. Allegorical figure of Patience, seated on a throne at centre, holding palm leaves, a lamb at right, the Holy Spirit at top centre, a seascape and burning church in background; letterpress above and below impression; illustration to Otium Spirituale (Anna Bergia, Munich, 1617)
Inscription Content:
Lettered in top margin: "Beati qui persecutionem patiuntur propter Iustitiam / quoniam ipsorum est regnum caelorum". Signed and dated in lower part of impression: "R. Sadeler excud. 1617″. Lettered in lower margin: "Cedunt spinæ columnis, et veritas maximum omnium / Fundamentum, infrangabile tandem triumphat". Lettered in border around image: "Ego svm patientia, nuda animi passionibus. cooperta vero mantu charitatis: quae et munita fide, ac spe: super spineis huius terrae trahor triumphum aeternitatis consecvtvra".
Fuente: The British Museum. Collection online
Radiant Moon. Printer mark: Francesco Sansovino (Venice, 1560-1577), Michel Bonelli (Venice, 1573) & Giacomo Sansovino (Venice, 1575).
Francesco Tatti da Sansovino (Roma, 1521–Venice, 1586) was a versatile Italian scholar, humanist (one of the most important of his century) and man of letters, also known as a publisher. Francesco was born in Rome, the son of the sculptor Jacopo Sansovino, but soon moved to Venice and later studied law at the universities of Padua and Bologna. Sansovino is perhaps most known for his 1581 work Venetia città nobilissima et singolare, Descritta in XIIII. Libri, known briefly as Venezia Descritta. He was also a literary critic, writing in particular on Dante and Giovanni Boccaccio.
Grabado obtenido de: Internet Archive.
