Index Emblematicus Unauthenticated Download Date | 10/30/16 3:56 PM This page intentionally left blank Unauthenticated Download Date | 10/30/16 3:56 PM A N D R E AS A L C I A T US i The Latin Emblems Indexes and Lists EDITED BY PETER M. DALY WITH VIRGINIA W. CALLAHAN ASSISTED BY SIMON GUTTLER UNIVERSITY OF TORONTO PRESS Toronto Buffalo London Unauthenticated Download Date | 10/30/16 3:56 PM www.utppublishing.com © University of Toronto Press 1985 Toronto Buffalo London Printed in Canada ISBN 0-8020-2425-4 Canadian Cataloguing in Publication Data Main entry under title: Andreas Alciatus (Index emblematicus) Bibliography: p. Includes index. Contents: v. 1. The Latin emblems indexes and lists - v. 2. Emblems in translation. ISBN 0-8020-2425-4 (set) 1. Alciati, Andrea, 1492-1550. Emblemata. 2. Alciati, Andrea, 1492-1550. Emblemata-Indexes. 3. Emblems - Criticism and interpretation. I. Alciati, Andrea, 1492-1550. Emblemata. II. Daly, Peter M., 1936- III. Callahan, Virginia W. IV. Cuttler, S. H. (Simon Hirsch), 1950- V. Series. PN6349.A461985 878'.04 C85-098039-9 The research costs of the Index Emblematicus have been supported by generous grants from the Social Sciences and Humanities Research Council of Canada. Publication of this book is made possible by a grant from the Publications Fund of University of Toronto Press. Unauthenticated Download Date | 10/30/16 3:56 PM CONTENTS VOLUME 1 Preface vii Introduction ix The Life of Andreas Alciatus and its Relation to his Emblems xix Bibliography of Studies of Andreas Alciatus and his Emblems xxiii LISTS AND INDEXES Picture Index 3 Motto Indexes Latin 14 / French 17 / German 20 / Italian 23 / Spanish 26 English Translations 29 Epigram Indexes Latin 40 / French 58 / German 74 / Italian 92 / Spanish 108 English Translations 123 Subject Index 199 Alphabetical Lists of Mottoes Latin 202 / Greek 204 / French 205 / German 207 / Italian 209 / Spanish 211 Sequential Lists of Mottoes Alciatus (Latin) 213 / Alciatus (Greek) 215 / Lefevre 216 / Aneau 217 / Marnef(1561) 218 / Marnef(1574) 219 / Hunger 220 / Held 221 / Marquale 222 / Cadamosto 224 / Daza 225 List of Alciatus Emblems in Geffrey Whitney's A Choice of Emblems 227 Comparative Index to Editions 228 THE LATIN EMBLEMS: Facsimiles and Translations 233 VOLUME 2 THE FRENCH, GERMAN, ITALIAN, AND SPANISH EMBLEMS Facsimiles and Translations 350 Unauthenticated Download Date | 10/30/16 3:56 PM This page intentionally left blank Unauthenticated Download Date | 10/30/16 3:56 PM PREFACE This publication had an exciting conception, an elephantine gestation period, and in many respects a self-help delivery. The conception of an Index Emblematicus took shape during the year 1976-77 which I spent engaged in research into several aspects of the emblematic tradition at the Herzog August Bibliothek in Wolfenbuttel in the Federal Republic of Germany. The idea to establish an emblem index — these Alciatus volumes represent a modest first step towards the realisation of that goal — gradually crystallized through informal discussions with colleagues. More structured proposals were presented to a conference on emblem research held at the Library in July 1977, and they were taken up at a second conference in Wolfenbuttel in March of the following year. I was asked to continue work on an index model and carry out a pilot study. This led to a symposium on indexing emblems held at McGill University in December 1978 that was attended by colleagues who had participated in the pilot project. The papers were published in a volume entitled The European Emblem: Towards an Index Emblematicus (Waterloo: Wilfried Laurier University Press, 1980). The indexing procedures and organization of the Index Emblematicus owe much to earlier indexes of iconographic material. Among the most important are the following: The Index of Christian Art (Princeton), The Index of Jewish Art, ed. Bezalel Narkis and G. Sed-Rajna (Paris and Jerusalem, 1976) the Iconographic Index of the Warburg Institute of the University of London, and Arthur Henkel and Albrecht Schone, Emblemata. Handbuch zur Sinnbildkunst des XVI. und XVH. Jahrhunderts (Stuttgart: Metzler, 1967, 2nd ed. 1976). Since the Henkel and Schone Handbuch is the most valuable reference work of its kind, and was in some ways a model for my procedures, I will briefly characterize it. The Handbuch is a kind of classified 'anthology' of emblems selected from 47 different emblem books, and organized like a baroque encyclopedia with the following eight major sections: the macrocosm, the four elements, plants, animals, world of man, personifications, mythology and Biblical subjects. The individual emblems are grouped according to the place occupied in this broad scheme by the motifs in the pictures. The emblem facsimiles and their German translations are accompanied by a 'Motif Index,' containing motifs from the pictures, and a 'Meaning Index,' based on the editors' summary of the meaning of the emblem as a whole. The Index Emblematicus and the Handbuch differ organizationally in a number of important \vays. The facsimile reproductions of emblems in the Index Emblematicus are accompanied by English translations. The Index is alphabetical rather than classified. As far as the the texts are concerned, the Index is based on the actual words of the mottoes and epigrams, i.e. the emblem text speaks in its own voice. Having finally decided upon procedures and the format for the Index Emblematicus — as much by trial and error as by analysis and comparison ~ the work of describing pictures and analysing texts began. Several colleagues assisted with the Latin, French, Italian and Spanish texts. We translated the mottoes and made long summaries of the epigrams, which included the key words that were later to be concorded. With the Latin, French, German and Spanish texts complete, I presented samples to the University of Toronto Press for approval. My editor suggested making full translations rather than the summaries of all the epigrams, and I was persuaded that this would be an improvement. Back to the drawing board, or rather back at the typewriter, we had to re-work the 850 odd epigram texts. The master sheets with their camera-ready copy for the publisher were typed up at McGill University. At about the time that the master sheets for the Latin emblems were completed a coincidence occurred, which introduced a further delay but made for Brought to you by | Cambridge University Library Authenticated Download Date | 10/30/16 3:45 PM a substantial refinement in the project. In tne Fall of 1981 William S. Heckscher came to McGill University to receive an Honorary Doctorate. I was aware that he had been working with Virginia W. Callahan on a translation of Alciatus's Latin emblems that would be accompanied by extensive commentaries. Heckscher likewise knew that I was working on the Alciatus emblems, but neither of us knew precisely how far the other had progressed with the work. At McGill we had not only completed our translation, but it had been typed onto the master sheets, and was only waiting for the photographic reproductions of the emblems. Recognizing the advanced stage of our own preparations, Heckscher suggested that rather than allow two translations to appear almost simultaneously, it would be preferable for us to combine our efforts. In the event this meant a line by line comparison of our translation with the Callahan/Heckscher version, all 212 mottoes and epigrams, in order to establish a new single text. This took a great deal of time, but was done in a friendly spirit. I should like to take this opportunity of thanking William S. Heckscher and Virginia W. Callahan for their cooperation and generosity. I believe the resulting single translation is an improvement over the two previous renderings. As a consequence the Latin master sheets had to be completely re-typed. It is a pleasure to acknowledge one's gratitude to the many colleagues, friends and assistants who have helped this project to its completion. Dr. Simon Cuttler, my research assistant, — in fact more associate than assistant — was a tower of strength; careful and conscientious, he was always as interested in the larger questions as he was in the details. In many ways he was the anchor man for much of the translation work. My McGill colleague, Professor Paola Tomaszuk, gave much advice on the Latin, while Virginia W. Callahan worked closely with us to merge the two translations. Simon Cuttler provided the French translations. He also v/orked closely with Jenny Khoury of the McGill's Department of Italian on the Italian texts, an earlier version having been provided by Lorelei Robins of the University of Manitoba. Lorelei Robins also made the initial summary of the Spanish texts. Simon Cuttler collaborated with Professor Marcelino Amasuno of McGill's Department of Hispanic Studies on the final version of the Spanish translation into English. I did the translation from German, and was fortunate to be able to consult with my colleagues Horst Richter and Josef Schmidt, as well as Martin Bircher at the Herzog August Bibliothek in Wolfenbuttel. The description of emblematic pictures is frequently an exericse in iconographic interpretation. Here I was fortunate to have the assistance of Rudi Meyer, an art historian; I was able to count on the advice of my colleague Thomas Glen of the Department of Art History. I should also like to express my thanks to Professor Paul Raabe, Director of the Herzog August Bibliothek in Wolfenbuttel for his encouragement in this large undertaking. The final shape of this facsimile edition and its indexes owes much to stimulating discussions we had at the Library. A project like this is highly labour intensive, it requires extensive use of computing facilities, and finallly expensive photographic work. None of this could have been carried through to completion without the generous support of the Social Sciences and Humanities Research Council of Canada, which provided research grants that enabled me to develop, test and modify techniques and then apply them to the Alciatus emblems. I am also grateful to the John and Simon Guggenheim Foundation, which awarded me a fellowship during the year 1982, thus providing me with time, that most precious of all commodities. Montreal, November 1983 PMD Brought to you by | Cambridge University Library Authenticated Download Date | 10/30/16 3:45 PM INTRODUCTION THE PURPOSE The purpose of this volume is to make accessible to the modern reader the emblems of the great Italian jurist Andreas Alciatus not only in the original Latin but also in representative translations into French, German, Italian and Spanish published during the sixteenth and early seventeenth centuries. These emblems have been rendered accessible in three ways. Firstly, facsimiles of the emblems have been reproduced; secondly, the texts have been translated into English and the pictures have been briefly described; thirdly, indexes have been prepared to the key words and visual motifs, which are specially flagged in the translations and descriptions. THE TRANSLATIONS At least since the Victorian revival of interest in the emblematic tradition, there has been a keenly felt need for a translation of Alciatus's emblems. The Holbein Society not only published Henry Green's bibliographical study and facsimile editions of the Latin emblems, but also announced plans to bring out an English translation by the Reverend George Spencer Cautley (1807-80) who both wrote and collected emblems (1). However, nothing came of it. It is an odd fact that no English translation of Alciatus's emblems has ever been published, not even during the reigns of Elizabeth and James. The manuscript translation dating from Stuart times, known to Henry Green (2), and 'missingly noted' by Rosemary Freeman (3), has been located by Karl Josef HSltgen. Unfortunately, it seems unlikely that it will be published in the near future. Whitney's selection of Alciatus's emblems represent the only printed versions available in English, but these texts are free re-creations, rather than translations. Our translations of the mottoes and epigrams are intended to provide access to the texts. Since for this reason they remain close to the wording of the original, the reader should not expect a literary or poetic re-creation. Yet although it was our aim to adhere to the wording and syntax of the originals, we allowed ourselves on occasion the liberty of using a different part of speech when that improved the style of the English, or provided a better key word for the index. Thus the German verb 'gebaren' (to bear a child, to give birth) was indexed as the noun 'birth.' However, when the change in part of speech involves a key word that would appear in the index, the key word itself was quoted in its original form in brackets in the translation, and it appears in this form in the index, e.g. in the infinitive 'gebaren.' By comparison with Alciatus's often sophisticated and compressed, even elliptic Latin style, the vernacular translations are usually more verbose, and occasionally clumsy, for the sixteenth-century translators frequently resorted to padding to fill out their lines, especially where they use longer verse forms than Alciatus. In rendering these translations into English we have at times spared the reader the clumsiness, which would only have been compounded in our translation. It is also a feature of the literary German language of the period to use word pairs often characterized by alliteration or assonance, one of which words is frequently redundant semantically. In emblem 14 on laziness Hunger writes that those who are idle will eventually find themselves in 'not vnd plag,' which we render simply as 'hardship.' We have only translated one of the words or phrases, unless the words became key words for the indexes. In this case we provided both words in brackets. In emblem 73 on the power of love Hunger describes how Cupid can turn any man into a fool, using two words 'betoren1 and 'narren' for the notion of 'fool1: Bethort vnd nart er in gar bald. Both 'betoren' and 'narren' appear as key words in the index. The nature of translation is always determined by the purpose it serves. In this case the purpose was ultimately to produce a large-scale index to the semantically important key words, both representational and interpretational, that is pictorial and Brought to you by | Cambridge University Library Authenticated Download Date | 10/30/16 3:45 PM conceptual, as well as to the symbolically relevant motifs in the picturae. Where translation is its own goal, whether that be faithful re-creation of the historically conditioned text or its contemporary adaptation, then the reliability or accuracy of the translation can be assessed in terms of its faithfulness to the letter and spirit of both the original text and the target language. Since we have translated with an eye to the exigencies of indexing, accuracy had to be tempered by considerations of consistency. At its simplest, consistency in translation means selecting the same English word where several words are available for one and the same notion, or object. Of course, some synonyms reveal stylistic or syntactical differences but we are more concerned with semantic distinctions than style, level and tone. The dual origins of English have given us both 'to weep1 and 'to cry,1 'naked' and 'nude.1 From the semantic view point these pairs of words convey the same meaning, and to save the reader from unnecessary searching, we have consistently used 'to weep,1 and 'naked.1 At times other considerations determined the choice: we chose 'to weep' in order to avoid a possible homograph in 'to cry,1 which can mean both 'to weep' and 'to shout.' This same consistency in the choice of words helps to produce a certain uniformity in translation, and also in the indexes, where the original language has synonyms that may be accurately rendered by one and the same English word. Held and Hunger use the words 'Begrabnis1 and 'Leiblegung' for 'burial,' together with the verbs 'begraben' and •bestatten1 for 'to bury.' All three terms can be translated by the English 'bury.' When we recall that German has at least five nouns for 'burial' — 'Begrabnis,' 'Beerdigung,' 'Bestattung,' 'Grablegung' and 'Leiblegung' ~ it is evident that the use of one and the same English equivalent will make the index less cumbersome, since it draws together related but alphabetically scattered terms, thereby saving the user from much additional searching. It is a short step from synonyms to euphemisms. Man has developed a highly differentiated vocabulary both to name, to describe, and euphemistically to avoid the naming of death. All languages have euphemisms like 'to pass on,' 'to fall asleep' and 'to depart,' which complicate the work of compilers of dictionaries and indexes alike. The German scholar and grammarian Justus Schottel in the seventeenth century collected over one hundred words for death. Man's creativity seems endless, if at times sinister. Whereas the Third Reich coined the phrase 'the final solution,' American military bureaucracy created a euphemistic vocabulary intended to distance soldiers, politicians and the public from the grim reality of destruction in Viet Nam. Thus 'pacification' and 'neutralisation' took on new significance that denied the root meaning of each word. On occasion an old idiom will receive a new, if ironic, lease of life, as in the case of 'going over Jordan' ('u'ber den Jordan gehen'), the phrase used by the young suicide Edgar Wiebeau in a recent East German novel (4). The words used by Alciatus and his German translators for 'death' and 'to die1 are numerous. They include not only the obvious 'Tod' (12 times), and 'sterben' (3 times), but also the compound verb 'absterben,' which the unwary user of the German index might well overlook, as well as the euphemisms 'hinscheiden1 and 'hinfahren.1 All these terms are gathered together under the English equivalent, 'death' and 'to die.' Although consistency is a major concern in our translations, it was, of course, not always possible to render each foreign word with one, unchanging English equivalent. Abstract terms present particular problems since words like the Latin 'virtus,' French Vertue,' Italian and Spanish 'virtu' and the German equivalent 'Tugend' all had a broader spectrum of usage in the sixteenth and the seventeenth centuries than their modern cognates today. In a Renaissance context 'virtus' can be rendered as 'virtue' or 'excellence,' whether in the intellectual, moral, spiritual or physical sense. None the less, we have frequently translated 'virtus' as 'virtue' in order to retain the root and maintain vocabulary consistency in the indexes, relying on the user's understanding of such Renaissance concepts. In modern usage the German word 'Zucht' is limited largely to the breeding of animals, whereas in the Middle Ages and in the early modern period it had broader applications, ranging from 'discipline' through 'good manners and breeding' and 'civilized conduct' to 'virtue1 and even 'virginity.' Thus, in Hunger's emblems 10 and 61 we have translated 'Zucht' in the context of marriage as Virtue.' In such situations interpretation Brought to you by | Cambridge University Library Authenticated Download Date | 10/30/16 3:45 PM