Emblem Book Collection
Emblem books are the result of a marrying between humanist philosophy, art, and the introduction of the printing press in Italy in the 15th century. An emblem can consist of a vignette, a proverb or title, an epigram, and accompanying illustrations. The subject of emblem books coincides with the humanist philosophy, including writings on Classical gods and heroes, personifications, animals, trees, and artifacts. (i)
Humanism, the study devoted to the advancement of the liberal arts through Classical texts, thrived in the literary, philosophical, educational, and artistic spheres in the Renaissance. Although not necessarily always humanists themselves, many Renaissance artists, such as Sandro Botticelli and Raphael, worked with humanist philosophers to circulate the Classical ideals to a larger, and often illiterate, audience. One of the most famous examples of Renaissance humanist art is Raphael’s School of Athens (figure 1). The primary way Renaissance humanists spread their philosophy was through printed books, using the Italian printing press, the Aldine Press (f. 1493). Not only did the printing press increase literacy, and therefore the audience, but the amount of publishing humanist writers increased as well. (ii)
Andrea Alciati (1492 –1550) was one of these authors. Alciati was an Italian lawyer, writer and scholar who applied humanist methods to his legal studies. His most successful publication, which would eventually be the first emblem book, was the Emblem liber, written in 1520-21. It was a collection of Latin epigrams – a satirical poem or statement with a witty ending – a third of which were based on the major anthology of Greek epigrams, the Anthologia Graeca. However, the Emblem liber, was never meant for the public but rather for Alciati’s circle of friends and acquaintances. Without Alciati’s consent, the printer Heinrich Steiner (1522-1548) not only published the work in 1531 but added an illustration for each epigram for higher appeal. Thus, the first emblem book was made. (iii)
The University of Oregon Special Collections and Archives has two copies of Alciati’s Emblem liber, Omnia Andreae Alciati V.C. Emblemata: Cum commentariis, quibus Emblematum omnium aperta origine, mens authoris explicatur, & obscura omnia dubiaque illustrantur, (iv) printed in Paris, 1583, and Andrea Alciati Emblemata cum Comentariis (v), printed in Padua, 1621. Both books contain epigrams and small introductory essays from the publishers and editors, essays discussing the use of symbols and emblems, and an introduction to Alciati’s life and his emblems. The first emblem (figures 2 and 3) is an epigram on the symbolism of the Duke of Milan’s shield. Both copies contain 212 emblems total.
With its origins in humanist philosophy, an emblem book can also be unrestrained by a singular topic, such as Hieroglyphica, Sive Antiqua Schemata Gemmarum Anularium by Fortunius Licetus (1572-1657), published in Padua, 1653 (figure 4), also in the university’s collection. Licetus was an Italian doctor and scholar who taught at universities in Pisa and Padua. Although his writing was frequently questioned and disputed by his academic colleagues for his questionable research tactics, Licetus wrote on a large range of subjects including astronomy, light, monsters, gynecology, mysticism, numismatics, and gems. Hieroglyphia is presented in sixty subdivided “schema” which considers the many and diverse aspects of human intellect such as morality, education, and philosophy. Each subject is introduced by a copper engraved vignette, many of which are highly allegorical and are accompanied by aphorisms.
Although not considered part of the genre in the Renaissance and Baroque eras, another type of emblem book is a book of devices. A device – also known as an impresa – is similar to a medieval coat of arms – it consists of a personal symbol, usually with an accompanying motto, that adorned shields, badges, and buildings of the owner. However, a device differs from a coat of arms because a device is not inheritable and is used to represent an individual rather than a family A book of devices described various contemporaneous devices by explaining the symbolism behind the imagery and motto. (vi)
The University of Oregon Special Collections and Archives has one book of devices, De l’art des devices by Pierre le Moyne (1602-1671), published in Paris, 1666. (vii) Le Moyne was a French Jesuit preacher and author and staunchly differentiated emblems from devices: “there is nothing that is common between them, not in their content, their form, or their purpose.” (viii) The book opens with an epistle to the cardinal and archbishop of Reims, Antoine Barberin (1607-1671), a member of the prominent House of Barberini. Prior to the devices is an extensive explanation and discussion on devices, split into five books with multiple chapters. The “Cabinet de Devises” begins with a letter to Julie d’Angennes, Duchess of Montausier (1607-1671). Prior to each device is a sonnet about the device or a brief explanation by le Moyne. Under each device is an explanation behind the motto and symbolism.
Our collection includes a text that contains devices, or impresas due to its Italian origin, used in a practical, rather than explanatory, context. The Prose de’ signori accademici Gelati di Bologna (ix) is a collection of writings on various subjects by the members of the Accademia dei Gelati, or the Academy of the Frozen Ones, from Bologna, Italy, published in 1671. The group takes its name from the frozen wood in its impresa (figure 6) and was founded in 1588. The Prose is an example of their later writing style which tended towards more religious themes and a Baroque style of writing. (x) Each of the fifteen members of the group tackle a different subject, ranging from a herald’s family arms to moral philosophy. Each subject is prefaced by the impresa of the authored member. The lack of explanation to the member’s impresas is where this text differs from le Moyne’s De l’art des devices; the impresas are used as a means of self-identification and do not appear to contribute to the corresponding text. For example, the first chapter on tournaments and riding is written by Berlinghiero Gessi (1563-1639), a Catholic cardinal and professor of law at the University of Bologna.
The University of Oregon’s collection demonstrates the extensive sub-genres of the emblem book. From a copy of the original emblem book by Andrea Alciati to emblems and impresas utilized in a practical context, these five books are an excellent window into the literature and book art of the late Renaissance and early Baroque periods in France and Italy.
Written by Zoey Kambour, a second-year master’s student in the History of Art & Architecture at the University of Oregon and a Special Projects Cataloger for the University’s Special Collections and University Archives.
Notes
[i] “Alciati, Andrea,” Grove Art Online, accessed August 12, 2020, http://www.oxfordartonline.com/groveart/view/10.1093/gao/9781884446054.001.0001/oao-9781884446054-e-7000001625.
[ii] “Humanism | Grove Art,” accessed August 12, 2020, https://www-oxfordartonline-com.libproxy.uoregon.edu/groveart/view/10.1093/gao/9781884446054.001.0001/oao-9781884446054-e-7000039396?rskey=ht0VBp&result=1#oao-9781884446054-e-7000039396-div1-7000039397.
[iii] “Alciati, Andrea.”
[iv] Andrea Alciati, Omnia Andreae Alciati V.C. emblemata cum commentariis: quibus emblematum omnium aperta origine, Postrema hac editione in melioré formam redacta, multis sublatis médis summa cum diligentia excusa. (Parisiis: Apud Hieronymum de Marnef, & Viduam Gulielmi Cavellat sub Pelicano monte DHilarij, 1583) https://alliance-primo.hosted.exlibrisgroup.com/permalink/f/hnf7s8/CP71320619420001451.
[v] Andrea Alciati, Andreae Alciati Emblemata: cum commentariis Claudii Minois … Francisci Sanctii Brocensis … & notis Laurentii Pignorii … opera et vigiliis Ioannis Thuilii. (Patavii: Apud PPTozzium, 1621) https://alliance-primo.hosted.exlibrisgroup.com/permalink/f/hnf7s8/CP71147172300001451.
[vi] Robin Raybould, “Emblem and Device,” in An Introduction to The Symbolic Literature of The Renaissance (Victoria, BC: Trafford Publishing, 2005), 249–96.
[vii] Pierre Le Moyne, De l’art des devises (A Paris: Chez Sebastien Cramoisy & Sebastien Mabre Cramoisy, imprimeurs ordinaires du Roy, ruë saint Iacques aux Cicognes, 1666) https://alliance-primo.hosted.exlibrisgroup.com/permalink/f/hnf7s8/CP71287146110001451.
[viii] Le Moyne, 220, translated from French.
[ix] IAccademia dei Gelati Bologna, Prose de’ signori accademici Gelati di Bologna … colle loro imprese anteposte a’ discorsi (Bologna: Per li Manolessi, 1671) https://alliance-primo.hosted.exlibrisgroup.com/permalink/f/to8ro2/CP71139276120001451.
[x] Maurice Slawinski, “Gelati, Accademia Dei,” in The Oxford Companion to Italian Literature (Oxford University Press, 2002), http://www.oxfordreference.com/view/10.1093/acref/9780198183327.001.0001/acref-9780198183327-e-1450.
