Emblem Scholarship: Directions and Developments (IMAGO FIGURATA. STUDIES) [Illustrated] 2503517366, 9782503517360

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EMBLEM SCHOLARS HIP DIRECTION S AND DEVELOPM ENTS A Tribute to Gabriel Homstein

Imago Figurata: The Emblem and Related Forms Imago Figurata was the name given to the emblem by the influential Jesuit theoretician Jacob Masen (1606-1681). Besides the emblem this Series also focusses on a diversity of other word-image collocations. Scholars in different disciplines now recognize the importance of such bi-medial forms as the emblem in the cultural life of the Renaissance and the Baroque, where they reflect a range of interests, from war to love, from religion to philosophy and politics, from the sciences to the occult, from social mores to encyclopedic knowledge, and from serious speculation ta entertainment. The Series will concentrate on al! forms of verbal and visua] communication: emblem, impresa, llluslratcd pamphlets, theatre and festivities, and so on.

Editorial Board: Peter M. Daly (McGill University, Montreal, Canada) John Manning (University of Wales, Lampeter, Wales) Karel Porteman (Katholieke Universiteit Leuven, Belgium)

Advisory Board: Michael Bath (University of Strathclyde, Glasgow, Scotland) Pedro Campa (University of Tennessee at Chattanooga, U.S.A.) Karl Enenkel (Universiteil Leiden, The Netherlands) Wolfgang Harms (Ludwig-Maximilians-Universitat, Munich, Germany) Daniel Russell (University of Pittsburgh, U.S.A.) Marc van Vaeck (Katholieke Universiteit Leuven, Belgium) llja Veldman (Vrije Universiteit Amsterdam, The Netherlands) Imago Figurata will contain editions, studies, and reference works in major European languages. Editions The purpose is to provide facsimile editions of emblematic books with scholarly introductions, critical editions, and possibly electronic editions on CD-ROM.

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Anyone wishing to have a typescript considered for publication in Imago Figurata should send a letter of enquiry accompanied by a 500 word abstract to one of the General Editors.

EMBLEM SCHOLARSlllP DIRECTIONS AND DEVELOPMENTS A Tribute to Gabriel Hornstein Edited by Peter M. Daly

Imago Figurata Studies Vol. S

BREPOLS

© 2005, Brepols Publishers n.v., Turnhout, Belgium. AU rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, clcctronic, mechanîcal, photocopying, recording, or otherwisc, without the prior pennission of the publisher. D/2005/0095/75 ISBN 2-503-51736-6

Printed in the E.U. on acid-free paper

Contents Preface Peter M. Daly, Jack Hopper, Daniel S. Russell A Tribute to Gabriel Hornstein

m

Peter M. Daly Introduction

V

Michael Bath Christopher Harvey's School of the Heart

1

Antonio Bernat Vistarini and John T. Cult On the Trail of Hispanie Emblem Studies

25

Pedro F. Campa The Space between Heraldry and the Emblem: The Case for Spain

51

Peter M. Daly The Pelican-in-her-Piety

83

G. Richard Dimler, S. J. Mendo's Principe perfecto: A Historical and Textual Analysis of Documenta XX

109

David Graham Emblema multiplex: Towards a Typology of Emblematic Fonns, Structures and Functions

131

Sabine MOdersheim The Emblem in Architecture

159

Dietmar Pei! Tradition and Error. On Mistakes and Variants: Problems in the Reception of Emblems.

177

Mary V. Silcox 'A Manifest Shew of Ali Coloured Abuses'; Stephen Bateman's A Christall Glasse of Christian Reformation as an Emblem Book.

211

Alan Young Sir John Tenniel's Emblematic Shakespeare Cartoons for Punch

229

List of Illustrations

249

Nota Vitae

253

Index

257

Preface The editor and authors are grateful for permissio n to use in various places in this book material that appeared earlier in articles or essays.

Gabriel Hornstein

A Tribute to Gabriel Hornstein On June 24, 2005 Gabriel Hornstein reached the age of 70. Gabe, as he is affectionately known to many of us, was the first commercial publisher to support emblem studies. He took the risk of publishing a new journal Emblematica at a time when most publishers either did not recognize the importance of emble1n studies, or wanted money to help to support their publications, which Dan Russell and 1 did not have. The frrst issue of Emblematica appeared in 1986, and the journal has had a continuous existence ever since. Although these first years were financially lean for scholars and publishers alike, AMS Press not onty continued but in fact expanded its commitment to emblem studies. A mere two years after starting the journal Gabe Hornstein launched a new monographie series, "AMS Studies in the Emblem," to provide a parallel publication venue for studies that did not fit into the format of the new scbolarly journal. We are grateful to him for supporting our work by publishing the journal and the monographie series. Festschriften are usually reservcd for scholars at the end of their careers, and the monographie series "AMS Studies in the Emblem" bas honoured a number of our colleagues, including Karl Josef Hôltgen, and Virginia Woods Callahan, alas now deceased. It may be unusual to honour a publisher, but Gabe is not your typical publisher. In our view, be is AMS Press. He makes decisions that are not aJways dictated by the famous, infamous?, bottom line. In Emblematica 7:2 (1993) the editors looked back over the previous seven years and observed: "These have been productive years for emblem studies, and no small credit is due to Gabriel Hornstein who had the courage, and we would say the foresight, to embrace a new publishing venture in a borderland between the established study of art and literature. Thanks in part to AMS Press the emblem is no longer a no-man's- land." Gabe bas been in the publishing business a long time, and be bas seen 1nany changes. He weathered a storm, quite literally, that would have sent a lesser man into retirement. A water main burst and flooded his lower Manhatten building, destroying vast quantities of rare antiquarian material. Now be is in the Brooklyn Naval Yard, and we hope far from the water. Gutenberg bas gone digital, and Gabe bas kept up, although we think that be still prefers the telephone to e-mail, wbich he does use. The telephone is more personal; no e-mail can reproduce a laugh or chuckle like bis. He is a man wbo delights in the good things of life and indulges in them with enthusiasm. Those of us who have conferred with him at the offices of AMS Press know that the small conference room at his former

quarters in Lower Manhatten was usually hazed over with tobacco smoke, and the air often redolent of coffce and brandy. At least on one occasion we recall him sending out for a bottle of Ansbach Uralt. His virtues are 1nany. He loves books, scholarship, and professors, which is something that cannot be said of many who work in the publishing business. He reads voraciously and has a forn1idable memory. At a time when many have retired he is pulsing with new ideas and new ventures. He is generous with his time, bis encouragement, and his hospitality. And above all he is loyal. We recognize Gabe's contribution to the international conversation that characterizes the best in emblem studies today. We offer you, Gabe, this volume of cssays, written by friends, old and newer, and published without your knowledge as a token of our csteem and affection.

Jack Hopper Peter M. Daly AMS Press Inc. Professor emeritus, McGill University President, The Society for Emblem Studies

Daniel S. Russell University of Pittsburgh

Introduction E1nblcm studies are still a relatively new field of enquiry, which embraces manifestations in all languages in the print and material cultures. A number of presses have published studies in the emblem, but none with such dedication as AMS Press (New York), with its journal Emblematica, now in its twentieth year, and the monographie series "AMS Studies in the Emblem" that currently lists seventeen titles, and there are at least four more titles that are either accepted for publication, in press, or in preparation. As in any humanistic discipline, there are many approaches to the subject. This volume sets out to document some of the more fruitful approaches to emblem studies employed today. Printed emblems may well exist in over 6,5001 books of emblems and imprese, not all with illustrations. As is well known, such books can be divided into six main groups:

1. illustrated emblem books in the strict sense, i. e., the tight three-part form associated with the name Andrea Alciato; 2. unillustrated collections of emblems or in1prese, where the graphie element is replaced with a verbal description, e. g., Andrew Willet; 3. expanded forms, e. g., Jan Van der Noot, who adds a book-Iength prose conunenlary to bis collection of emblems, or Henry Hawkins, who employs a complex nine-part structure; 4. emblematically illustrated works such as meditations, where the plate becon1cs an integral if minor part, as in the works of Jeremias Drexel; 5. theoretical discussions of emblem and impresa-t hese may also be contained in poetological works-pro viding many examples of actual imprese, e. g., Paolo Giovio, Dominique Bouhours and Henri Estienne. 6. printed evidence of use of impresa and emblem in the material culture, in the ephemeral architecture of entries, processions and catafalques often recorded in fête books. Ali such works may be included under the generic heading of emblematic books, without differentiating books with emblcms from emblem books. No 1 The figure cornes from the database known as the lJnion Catalogne of Emblem Books. The database and its attendant publications werc described briefly in Peter M. Dai y, "The Union Catalogue of Emblem Books Project and the Corpus Libromm Emblerruuum." Emhlematica 3 (1988): 121-133.

vi

Peter M. Daly

one knows how many examples of emblems and imprese still exist in the material culture, understood as the significant decoration of buildings, as well as the many decorative arts. Since this is a fairly new field, it is inevitable that much of the positivistic spade work done for the writings of Shakespeare and Goethe, still remains to be done for the emblem. At a basic level, work continues on bibliography and the production of editions, reprints and indexes. Related to emblem book bibliography is the compilation of bibliographies on the criticism and history of the emblem. l'o date the volumes relating to the English, French and Spanish traditions 2 and Jesuit emblcms have either appeared, or are in press. The emblem is becorning increasingly ünportant in the study of the culture of the Renaissance and Baroque, but research is stili made difficult by the relative inaccessibility of the emblem books themselves. The books may be rare, but there are several large microform collections which contain 3 emblem books. The largest is the IDC microfiche emblem project. Theo 4 the collections associated with the names Faber du Faur, Harold Janz·~ and

2 For the English tradition, sec Peter M. Daly and Mary V. Silcox, The English Emblem: Bibliography of Secondary Literature, "Corpus Librorum Emblernatum". Munich, London, New York, Paris: Saur, 1990; and The Modem Critical Reception of the English Emblem, ~corpus Librorum Emblematum". Munich, London, New York, Paris; Saur, 1991. For the French tradition, see Laurence Grove and Daniel Russell, The French Emblem. Bibliography of Secondary Sources. Geneva: Droz, 2000. For the Spanish tradition. see Pedro Campa, Emb/ematica Hispanîca. An Aniwtated Bihliugraphy of Spanish blnblem Literature to the Year 1700. Durham, N .C.: Duke University Press, 1990. For Jesuit emblems, see G. Richard Dimler, S.J., Studies in the Jesuit Emblem. New York, AMS Press, forthcoming, and The Jesuit Emblem. A Bibliography of Secorul.ary Literature •vith Select Commentary and Descriptions. New York, AMS Press, forthcoming. 3 IDC (Inter Documentation Company [Leiden, The Netherlands]) bas an on-going project to provide all e1nblem OOoks on microfiche. 4 Curt von Faber du Faur's microfihn series is known as Gennan Baroque Lîterature: Yale Collection. New Haven: Research Puhlications, Inc .. The catalogue is entitled German Baroque Literature: A Catalogue of the Collection in the Yale University Lîbrary, 2 vols. New Haven: Yale University Press, 1958 & 1969. Microfilm reel numbers are given in Bibliography-Index to the Microfilm Edition of the Yale University Library Collection of· Germnn Baroque Literature. New Haven: Research Publications, 1971. 5 The microfilm collection is known as German Baroque Literature: Harold lanz Collection. New Haven: Research Publications. The printed catalogue wîth reel numbers is entitled: German Baroque Literature: A Descriptive Catalogue of the Collection of

Introduction

Vil

Barly English Books 6 microfilm collections contain many emblem books. There are also some websites and CD-ROM disks devoted to certain emblematists. 7 After this we are left with the occasional reprints done by AMS Press, Brepols, Brill, O\ms, and Scolar Press. A contribution to impresa studies is Alan Young's edition of 521 English tournament imprese, 8 and Alan Young's large documentation of emblematic flags and cornets created during the Civil Wars in England9 shows again that far from being merely a symbolic device for jou~ting gentlemen, acadenücians and lovers, imprese were being designed as part of the propaganda war in England hetween the parliamentarians and royalists.

Harold Janz and a Guide to the Collection on Microfilm, 2 vols. New Haven: Research Publicalions, 1974. 6 F,arly English Books 1475-1640. A series of microfilms published by University Microfilms, Ann Arbor, Michigan (U.S.A.). Early English Books 1641-1700. A series of microfilms published by University Microfilms, Ann Arbor, Michigan (U.S.A.). There are also the following microfilm collections: Gennan Books Bejore 1601 French Books Before 1601 ltalian Books Before 1601 Books Printed in the Low Counrries Be/ore 1601 French Books 1601-1700 Italian Books 1601-1700 Hispanie Culture (15th-17th Centuries) published by General Microfilm Company, Cambridge, Mass. Finally there is the Vatican Library Collection: Microfilmç of Rare and Out-oj-Print Books in the Vatican Library. List Numher 38 (Renaissance Literature: Emblem Books, Fonnularies, Dictionaries, Mythologies). These are available through intcrlibrary Joan in North America from Saint Louis University (The Pius XII Mcmorial Library: Vatican Film Library). 1 For a review of the issues involved in creatîng websites and CDs of emblems, as well as a first list of such projects, see Peter M. Dai y, Digitizing the European Emblem: Issues and Prospects. New York: AMS Press, 2002, vol. 15 of AMS Studies in the Emblem. a See Alan R. Young, The English Tournament Imprese (New York: AMS Press, 1988), and his essay "The English Toumament lmprese" in The /:,'nglish Emblem and the Continental Tradition, cd. Peter M. Daly. New York: AMS Press, 1988, 61-81. See also Young, Tudor and Jacobean Tournaments. London: George Philip, 1987. 9 The collection appeared as Volume Three of The English Ernhlem Tradition (Index Emblematicus), from The University of Toronto Press.

Peter M. Daly

viii

Mention should also be made of two i1nportant sets of Ripa con10 cordances: Yassu Okayama's The Ripa Index and Mason Tung's Two Concordances to Ripa 's Jconologia. li These two concordances to the most influential iconography ever published are an indispensable tool in tracing Ripa's influence in the visual arts, literature and the emblem. While bibliography makes information available about emblematic books, and the tew printed editions actually make the books the1nselves available, there are various approaches to the content of those books. The prescnt volu1ne of essays, written by some of the most productive scholars in emblem studies today, offers individual studies that reflect some of the more important directions and developments in emblcm studies. Probably the mo~t important contribution today resides in the attempt to contextualise historically emblems and emblem books. Michael Bath does this in his essay on Christopher 1-Iarvey's The School of the Heart, locating the work in the context of English meditational and poetic wriling, as well as within the European tradition of heart emblems. It is a curions fact that The S'chool of the lleart has been regularly misattributed to Francis Quarles. Bath is able to show that the universal nineteenth-century misattribution of Harvey's emblem book to Quarles goes back to the uniform editions of the Jale eighteenth century. Harvey's work is based on Van Haeften's Scola cordis, but Harvey does not follow his ::;ource slavishly; he invented new emblems for bis book. There is a good deal of research underway on Spanish emblems. It is therefore fitting that Antonio Bernat Vistarini and John T. Cull should review what has been accomplished and what remains to be done in their essay "On the Trail of Hispanie Emblem Studies." Bernat and Cull note that scholars of the Hispanie tradition, who may be literary scholars or art See Yassu Okayama, The Ripa Index. Beukenlaan, Nethcrlands: Davaco Press, 1992. This work indexes the personifications and their attributes in five editions: 1603 (Italian), 1624 (Italian), 1644 (Dutch), 1677 (Dutch) and 1644 (French). ICONCLASS notations are used. 11 Mason Tung's Two Concordances to Ripa's lconologia. New York: AMS Press, 1993, in AMS Studies in the Emblem, vol. 11. Tung's Concordance Ais devoted to Ripa's 1,309 personifications and their key words, as they appear in nine major Italian cditions. The editions are: 1593, 1603, 1611, 1613, 1618, 1625, 1630, 1645. and the 1764-1767 Perugia edition by Orlandi. Concordance Bis a concordance of illustrations in sixteen editions. Containcd are ail the major Italian editions, the French editions of 1644 and 1766, the Dutch edîtions of 1644 and 1699, the German editions of 1704 and 1760, and the English editions of 1709 and 1779. 10

Introduction

ix

historians, have paid much attention to ephemeral manifestations such as emblematically conceived fêtes, funerals, and entries in addition to considering some of the major printed collections. Hispanists are also at the forefront of work on digitizing the emblem. Pedro F. Campa treats the large topic of the relation of heraldry to emblematics in bis essay "The Space between Heraldry and the En1blem: the Case for Spain." Heraldry was one of the intellectual and symbolic roots of the European emblem, but little bas been done on this subject in recent years. Henri Stegemeier suggested in an early seminal essay that the relationship of heraldry to the emblem deserves closer attention. This will doubtless prove a fruitful field when one considers the attention paid by the influential German writer Georg Philipp Harsdôrffer to heraldry in bis Frauenzimmer Gesprechspiele, 12 and what is more, the close proximity of Harsdôrffer's discussions of heraldry to conversations on emblems (FG VII, 78-95). Henry Peacham utilized a number of heraldic signs and indeed whole coats-of-arms in bis Minerva Britanna (London, 1612). lt is, of course, difficult to make satisfactory generalisations about this topic, since the rules governing heraldry differ from country to country. Although Campa deals with Spain as a case study, be suggests that across Europe there was an habitual borrowing, but at the same time that there was a recognition of the working difference between heraldic arms, imprese and emblems. Throughout the seventeenth century the emblem competes with the heraldic shield, and the relationship between heraldry and imprese continues to be a preocupation of many emblem writers. Motifgeschichte may no longer fashionable. For good and bad reasons it has been largely abandoned. And yet reviewing the various uses of one and the same motif over time can provide insights. Tbat at least is the hope of the author of essay on the Pelican-in-her-Piety. Extending earlier discussions that tended to remain within the verbal realm of the written word, Peter M. Daly shows how this motif bas done service in emblems within Christian and secular contexts, and is present in Amcrican culture of the late twentieth century. Jesuit emblems are currently attracting considerable attention, which is overdue, considering the fact that the Society of Jesus produced about a quarter of ail known emblematic books. In bis essay "Mendo's Principe peifecto: A Historical and Textual Analysis of Documenta XX.'' G. Richard 11

HarsdOrffer, Frauenzimmer Gespriichspiele. Ed. Irmgard Bôttcher. Tübingen,

Niemeyer, 1968-9, subsequently referred to as FG.

Peter M. Daly

X

Dimler, S.J. looks c\osely at the use that Andrés Mendo made of the e1nblems of bis fellow Spaniard Juan de Sol6rzano Pcrreira. lt may strike one as odd that Mendo, who first read Solôrzano's book when be was the censor for the Inquisition, should have omitted twenty of the emhlems in bis own version. Much has been accomplished in theoretical studies. But that does not mean that there is nothing \eft to do. Tbe notion that all emblems are, or should be, tripartite bas become something of a commonplace in emblem studies. But anyone who has looked closely at many different emblematic books knows that there were variants. With ovcr 6,500 printed books in all languages it is unlikely that one canonic form will be found to account for all those books that call themselves emblem books. David Graham looks at the issue again in his essay "Emblema multiplex: Towards a Typology of Emblematic Forms, Structures, and Funct:ions." He suggests that the three part structure is only one, if perhaps the most widespread form, of the emblematic comhination of symbolic image and texts. Independently, Alan Young in his essay on Punch in this volwne cornes to a similar conclusion, as did John Manning in his study Jhe Emblem (London: Reaktion Books, 2002). When one considers the many examples that still remain of "emblems" in the marerial culture, which almost invariable comprise two parts, not three, then Graham's point is well taken. This brings us to a consideration of the emblem in the material culture. The emble1n, or stated more cautiously, emblematic structures will be encountered outside the print culture. Increasingly, historians of art and literature, especially in Spain, Germany and England are srudying emble1natic programmes in buildings and more humble household abjects such as 13 drinking goblets, trenchers and cupboards. Michael Bath, Wolfgang 16 15 Harms, 14 Dietmar Pei!, and Sabine Môdersheim are all studying both See Michael Bath. "Applied Emblematics in Scotland: Paintcd Ceîlings, 15501650." Emblematica 7 (1993): 259-305; Speaking Pictures. English Emblem Books and Renaissance Culture. London and New York: Longman, 1994; "Emblems from Alciato in Jacobean Trcncher Decorations." Emblematica 8 (1994): 359-70; Reflllissance Decorative Painting in Scot/and. Edinburgh: National Museums of Scotland. 2003. 14 See "The Investigation of Emblem Programmes in Buildings: Assumptions and Tasks." In The Emble1n and Architecture: Studîes in Applied Emblematics from the Sixteenth to the Eighteenth Centuries. Imago Figurata Studies, vol. 2. Ed. Peter M. Daly and Hans J. Biiker. Turnhout: Brepols, 1999, 3-16. See :tlso Aujierliterarîsche Wirkungen barocker Emblemhücher. Ernhlematîk in Ludwigsburg, Gaarz und Pommersfelden. Ed. Wolfgang Hanns, and Hartmut Freytag. Munich: Fink, 1975; Gespriichskultur des 13

Introduction

xi

emblems in the print and the material culture. Sabine Môdersheim devotes her essay to "The Emblem in Architecture." Independent of David Graham sbe bas also corne to doubt the tbeory tbat insists on a three part structure for the emblem. This may well describe most emblems that are found in the print culture, but the majority of emblems in buildings have only two parts, the motta and the picture. Particularly illuminating is ber notion that the contextualising of the motta and picture can take the form of the purpose of a building, or an epigram in print. Her forthcoming book entitled Dekor und Decorum will concentrate upon the relationship between rhetoric and architecture with case studies of famous townhalls, built north of the Alps in the early modern period. Mary V. Silcox considers Stephen Bateman's A Christall Glasse of Christian Reformation as an emblem book in ber es sa y "'A Manifest Sbew of Ali Coloured Abuses': Stephen Bateman's A Christall Glasse of Christian Reformation as an Emblem Book. n Thus far Bateman's A Christa{[ Glasse bas not been considered emblematic. If one accepts her re-assessment, whicb is cogently argued, then the number of English emblematic books is further increased over the listing to be found in Rosemary Freeman's early work on the subject. 17 Just as important is Silcox's contextualising the work historically. We are reminded of the religious situation of English Protestants in the period, whicb helps to explain the anti-Catholic images in Bateman's A Christa!! Glasse. Barock. Die Embleme der bunten Kammer im Herrenhaus Lwhvigsburg bei Eckernf6rde. Ed. llartmut Freytag, Wolfgang Harrns and Michael Schilling, with Wolfgang Carl and Deert Lafrenz. Kiel: Ludwig, 2001. 15 See Die Embleme im Rittersaal auf Gut Hohen Luckow. Hohen Luckow, 2004. Sec also HartJnut Freytag, and Dietmar Pei! with contributions from Hartmut Freytag, Wolfgang Hanns, Ludger Lieb, Dietmar Pei!, Michael Schilling, and Peter Strohschneider. Das Kügelgenhaus in Dresden und seine emblemntîsche Deckendekoration. Neustadt an der Aisch: Sctunidt, 2001? 16 See "Duke Ferdinand Albrecht's Self-Portrayal in the Emblematic Programme of Castle Bevcm. ~ In The Emblem and Architecture: Studies in Applied Emblemntics jro1n the Sixteenth to the Eighteenth Centuries. Imago Figurata Studies. vol. 2. Ed. Hans J. B51cer and Peter M. Daly. Turnhout: Brepols, 1999, 125-147. See also "Mattbaus Rader und das allegorische Prograrnm im Augsburger Rathaussaal." In Emblematik und Kunst der Jesuiten in Bayern: Einjluj3 und Wirkung. Ed. Peter M. Daly, G. Richanl Dimler S.J., and Rita Haub. In1ago Figurata Studies, vol. 3. Turnhout: Brepols, 2000, 227-247. 17 See Rose1nary Free man, English Emblem Books. London: Chatto & Windus, 1948; rpt. 1967.

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Peter M. Daly

Emblems were, as we all know, highly derivative in ail cultures. Questions of error and variants in reception become vital. This matter is considered by Dietmar Peil in his essay "Tradition and Error. On Mistakes and Variants in the Reception ofEmblems." Peil's examples are drawn from printed emblems, and from emblem programmes in the material culture. Pei! takes his examples from the intluential emblem collections of Nicolas Verien and Daniel de la Feuille. Nicolas Verien 's Livre curieux et utile pour les sçavans et artistes (Paris 1685), the tirst part of which had the title Emblémes et Devises La.fines, Espagnoles, et Italiennes. Avec leurs Explications Françaises, had a total of 945 embleinatic picturae. Daniel de la Feuîlle's Devises et Emblemes Anciennes & Modernes (Amsterdam 1691) were a considerable success in Germany. As early as 1693 a German version appeared in Augsburg under the title Emblematische Gemüths = Vergnügung bey betrachtung 715 der curieusten und erg6zlichsten Sinnbildern mit ihren zustdndigen Deutsch= Lateinisch= FranzOs= u[nd] Jtalianische[n] beyschrifften, which went through at leasL six further editions. The second edition of 1695 has a letterpress title-page, which recalls the immediate source but without naming La f'euille: DEVISES ET EMBLEMES Anciennes & Modernes tirées des plus celebres Auteurs. Oder: Ernblernntische Gemüths= Vergnügung /Bey Betrachtung Siben hundert und .fUrrffzehen der curieusesten und ergOtzlichsten Sinn=Bildern /Mit ihren zustii.ndigen Teutsch= La.teinisch= Franz6sisch= und Jtalianischen Beyschrifften. The plates are newly cngraved so that differences can result. The use of the Augsburg Emblemnrische Gemiiths= Vergnügung as a source for emblem cycles has been established at least for lhe room of tiles (" Fliesensaal ") in the manor house at Wrisbergholzen near Hildesheim, for the Rosenburg in Stans, the Kügelgenhaus in Dresden, and the knights' hall in the manor house at Hohen Luckow. Peil reviews telling examples of error and alteration that some of these emblems reveal as the emblems move from book Lo book, and to emblem cycles decorating buildings. The emblem did not die out at the end of the seventeeth century. For1ns of emblematic discourse will be discovered in some modern advertisen1ents, logos, and cartoons. 18 Alan Young considers some examples of

1 ~ See Peter M. Daly. "The Nachleben of the Emblem. Emble1natic Structures in Modern Advertising and Propaganùa." In Polyvalenz und Multifunktionalitüt der Emblematik. Multivalence and Multifunctionality of the Emble1n. Akten des 5. Internationalen Kongresses der Society for Emblem Sn1dies. Proceedings of the 5th International Conference of the Society for Emblem Studies. Ed. Wolfgang llarms, and

Introduction

xiii

Shakespeare cartoons from the influential magazine Punch in bis essay "Sir John Tenniel's Emblematic Shakespeare Cartoons for Punch." Yow1g does not simply equate "emblem" and "cartoon" in bis chosen examples of Punch cartoons. He notes differences "''hile insisting on the analogy.

Dietmar Pei! with Michael Waltenberger. Mikrokosmos vol. 65, 2 vols, Frankfurt am Main [etc.]: Lang, 2002, 47-60.

CHRISTOPHER HARVEY'S THE SCHOOL OF THE HEART MICHAEL BATH Strathclyde University Christopher Harvey's The School of the Heart first appeared in 1647 from the press of H. Blunden under the title Schola Cordis, or The Heart of it selfe gone away from Cod, brought back againe to him, & instructed by him. ln 47 Emblemes. Only two known copies of this tirst edition survive: in the British Library, shelfmark Huth 111, and in New York Public Library, shelfmark 3027908. The book went to two further editions before the end of the seventeenth century, in 1664 and 1675, from a different London publisher, Lodowick Lloyd, bath of which anglicise the Latin title as The School of the Heart, this being the name by which the work bas been known to readers throughout the following 200 years of its long history. 1 The 1647 edition does not identify the author, but the "Third Edition" states that the work was "By the Author of the Synagogue Annexed to Herben's Poems." Since the identity of that author was not properly established until the later nineteenth century, the history of Christopher Harvey 's work is a strange saga of nùsattribution. Largely, one suspects, as a result of similarities of style and subject matter, The School of the Heart was attributed from the late-eighteenth century onwards to Francis Quarles and was frequently reprinted alongside his Emblemes and Hieroglyphikes of the Life of Man in editions which were sometimes sold separately, but more frequently bound up together. It can easily be shown that all the later editions derive, not from Blunden's editio princeps, but from the so-called "Third Edition" published by Lodowick Lloyd. Harvey's School of the Heart was itself based on an earlier emblem book written by the Dutch Benedictinc, Benedictus van Haeften of Utrecht, whose Schola Cordis sive Averso a Deo Cordis ad eundem reductio, et 1 1647 and 1664 are, despite the change of publisher, two issues of the same edition in which only the title-page, dedication and conclusion have been reset; the 1647 table of contents is omitted in 1664. The date of the "Third Edition" varies in different copies; the British Library copy at shelfmark 11623.a.46 has 1675 on the title-page, whereas Glasgow University Library (sheifmark SM 565) and Princeton (PR3506.H6xS3) are dated 1676. The copies are otherwise ideruical. Mario Praz (1964, 362) records 1674 as the date of this edition, listing copies in bis own collection and at Nether Pollok (i.e. Glasgow). Both of the copies currently in Glasgow are dated 1776. however.

2

Michael Bath

instructio first appeared in Antwerp, 1629, from the press of Jerome Verdussen, and was reprinted in 1635, 1663, 1669, with translations into German 1664, and Spanish 1748, 1791. Van Haeften's work supplied the full titlc ofHarvey's, together with its designs for the engraved plates, each

consisting of an emblematic picture, a Latin motto/title, Biblical text, and Latin distich. Thereafter the resemblance between Harvey's work and its Latin original ends, however. Van Haeften 's cmblems proceed to long Latin prose commentaries on each emblem, with copious citations of further bible

texts and passages from church fathers, whereas the letterpress part of Harvey's emblems consists of a translation of the Latin motto/title; a translation of the biblical text using the King Jam es Version; a quatrain "Epigram" closely based on van l:Iaeften's Latin distich; and finally an "Ode" of half-a-dozen or more st.anzas in a variefy of metres, which is entirely original. These English supplements to what are wholly Latin engraved texts create an evidently divided structure to each of the emblems which bas little overall conformify with its continental source. lt should be clear from this description that neither van Haeften's work nor Harvey's conforms at al! closely to the tripartite structure of motto-picture-epigram (or inscriptio, pictura, subscriptio), which modern lheories of the emblem have defined as normative for the Renaissance emblem as it descended from Andrea Alciato's Emblematwn liber (Augsburg, 1531). le should also be clear that Harvey's School qfthe Heart has a good claim to be considered an essentially original work, and not simply (as modern bibliographies of the emble1n, which tend to list it under van Haeften, might suggest) an English version of a Latin continental emblem book. As with any emblem book, if we are to understand what Harvey's School of the Heart is doing and how it works we need to recognise its precise relarionship with its sources, and the way it handles its received macerials. The major task of this essay will be to clarify those relationships. Such investigation has to begin with the engraved plates, since these consritute the element in Harvey's work that follows its source most closely. Van Haeften's Schola Cordis was illustrated with fifty-five copperplates by the celebrated Dutch engraver, Boetius à Bolswert (though unsigned, the plates are ascribed co him on the ritle-page of the 1629 first edition). Ali but the tirst three of Harvey's plates, which are by William Marshall, are signed: "Michel van lochem." Van Lochem (or Lochom) is lmown as a Dutch engraver, barn Antwerp 1601 where he was a pupil of Abraham van Merlen and went on to become Master of die Guild of St Luke (the

Harvey's School of the Heart

3

engravers' guild) in 1621, around which time he moved to Paris. In 1625 he married Marguerite Lenoir, member of a group of Franco-Dutch publishing families working in the rue Saint Jacques, and earned the title "graveur du roi." He is known to have abjured bis Protestant upbringing, though in later years he reverted, dying in Paris in 1647, the very year that Harvey's work was first published in London, which may not be entirely a coincidence. 2 Since, as is widely acknowledged, there were so few competent engravers working in England at this time, it is of some interest to try to establish just how Harvey, or bis publisher Blunden, might have acquired the copperplates which were used to illustrate this English emblem book. The important thing to recognise is that neitber the designs nor these particular engravings were created specifically for Harvey. Van Lochom's plates are inferior copies, mostly reversed, of the finely-executed engravings which Bolswert had supplied for van Haeften's original. Each ofthese plates inight stand as a se\f-sufficient emblem in its own right, with engraved picture, motto, biblical text, and Latin epigram conforming rather more closely to the tripartite Alciatian model than either of the fuller versions with added letterpress by van Haeften or Harvey. The only other place van Lochom's copies of Bolswert's engravings for Schola cordis are known to have been used is, in fact, in precisely such an edition without letterpress published in Paris (n.d.) by Guillaume Lenoir. The copy of this edition in the Bodleian Library consists oft1fty-four numhered engravings, prînted two per oblong page, side-by-side on the recto only. 3 The importance of this discovery bas little to do with the merits or shortcomings of this Paris

2

Information on Michel van Lochom can be found in: U. Thieme and F. Becker, Allgemeines Lexikon der Bildenden Künstler. Leipzig: W. Engelmann; E. Bénézît, Dictionnaire des Peintres, Sculpteurs, DessilJLlteurs et Graveurs. Paris: Gründ, 1960, and in Bryan's Dictionary of' Painters, Engravers and Etchers, revised G. Williamson, London: G. Bell & Sons, 1930. Van Lochom engraved a version of the metaphorical woman, "La belle Charité," that bad originally been created for Charles Sorel's Le berger extravaganJ by Crispin de Pa.~se in 1621, sce Thomas P. Roche, Jr., Petrarch and the English Sonnet Sequences. New York: AMS Press, 1989, 523-33. 3 Shelfmark Douce HH.204, noted by Mario Praz (1964, 362). The order of van Haeften's Semi!1Lltio in cor and Cordis irrigatio, nos. 25-26, is reversed; Harvey restores them to their original order. Van l-Iaeften's final emblem, Thalamis Cordis in Christi Sepu.lchro, no. 55, is not used, perhaps because it would have lacked a pair. Otherwise the undated Paris, Lenoir edition fol!O'-''S van Haeften's sequence with no changes and no omissions.

4

Michael Bath

edition as a work in its own right, but rather with the fact that it enables us to reconstruct the likely process through which The School of the Heart acquired its continental engravings, and hence to make better sense when reading of the actual relationship between Harvey's emblems and their copperplate illustrations. The undated Paris edition from Guillaume Lenoir is one of a number of unauthorised editions of earlier Dutch emblem books, which Lenoir and bis associates in the rue Saint Jacques produced in the 1620s and 1630s. Most notable of these was Lenoir's 1628 edition of a book of emblems that has strong similaritics in subject-matter and genre with Schola Cordis, namely the Amoris divini et humani effectus, which Michael Snyders had first published in Antwerp in 1626. Versions of this influential work, which ran to many subsequent editions in the seventeenth century under the amended title Amoris divini et humani antipathia, continued to appear in unauthorised Parisian editions well into the 1630s from the presses of Jean Messager (1631), Pierre Mariette, who succeeded him (1637), and Pierre Giffart (n.d.). 4 The plates in Lenoir's edition of Amoris divini et humani antipathia copy those from Snyders' Antwerp original closely, the only substantial difference being that, like the plates in Harvey's School of the Heart, they bear the signature of Michel van Lochom, who, as we have seen, had married into Lenoir's family in 1625; Marguerite Lenoir was also, as it happens, sister-in-law to Pierre Mariette. The Paris, Lenoir edition of Schola Cordis, which we must now regard as Harvey's immediate source, was clearly a product of this closely related and intermarricd circle of printers and publishers, issued around the same time as the Paris editions of Amoris divini et humani antipathia and using the same engraver to make unauthorised copies of existing Dutch material, preswnably for the French market. The significance of this discovery is that it assures us that neither Harvey nor bis publisher commissioned the engravings that illustrate these emblems, but merely took over a set of continental copperplates originally executed for another purpose and already published as an emblem book in their own right, quite separatc from either Harvey's or van Haeften's letterpress. Blunden was not, of course, the only English publisher to have 4

See Praz (1964) 254-5; for Pierre Giffart, seeunrecorded copy, Glasgow University Library, SM Add 231, and Bath 1989, "Honey and Gall: or Cupid and the Bees-A Case of Iconographie Slippage" in Peter M. Daly (ed.), Andrea Alciato and the Emblern Tradition. New York: AMS Press, 76-7

Harvey's School of the Heart

5

obtained a set of copperplates from abroad to use as illustrations for an emblem book since, as is well known, George Wither in 1635 had used the set of engravings by Crispin van de Passe, which that celebrated family of Dutch engravers had executed as early as 1611-13 for Gabriel Rollenhagen's Latin emblems. Evidently Blunden must have bought the Schola Cordis plates from van Lochom or from Pierre Lenoir some time before 1647. Though Blunden did not have to commission the emblem plates he must have had some contact with the engraver since it was van Locbem, though he died the same year, who signed the newly engraved title-page for the English edition of 1647. That the actual plates remained in London is clear from the fact that they were available as late as 1675 for the use of Lodowick Lloyd who evidently owned the complete series since, as we shall see, be erroniously printed several plates at that date which had not been used in the two previous English issues of Harvey's emblems. The first three plates in The School of the Heart do not have van Lochom's signature, however, but carry the initials of William Marshall. The reason for this is quite simply that Harvey's first three emblems are not based on van Haeften but entirely original, and therefore there were no engravings available in his source for bis use. lt should not surprise us to tind Marshall's signature on these emblems, for Marshall was one of the few native engravers who could be called upon to execute such work in London at this date. We know disappointingly little about Marshall as a person, but bis most notable work in this field had been the engravings which he carried out, together with William Simpson, for Francis Quarles's Emblemes in 1635. If one needed a local engraver to complete illustrations for an emblem book in the 1640s, Marshall was the obvious persan to turn to. George Wither had, indeed, do ne exactly that when he commissioned Marshall to execute the elaborate frontispiece to his Collection of Emblemes, also in 1635. The fact that the first of the emblems in The School of the Ileart, like the first of the emblems in Quarles's 1635 collection, shows a Temptation scene with Eve and the serpent by the Tree of Knowledge, might suggest a conscious decision on Harvey's part to emulate Quarles, and the very choice of subject for this opening emblem is only the most obvious of a number of indications throughout The School of the Heart that Harvey's work, though it goes back to different continental sources, was consciously modelled in other respects on Quarles's. Though Harvey abandons the prose lectio ("reading," "lecture") to each of the emblems in which the teaching of the heart is spelled out in van Haeften, be retains the schoolroom conceit in the three-part appendix to his

Michael Bath

6

volume, entitled "The Learning of the Heart," which is wholly original. This is divided into the "Gram1nar," "Rhetoric," and "Logic" of the Heart to make up an allegorical trivium. The Third Edition's title-page refers to this appendix as "Added" whereas the 1647 and 1664 title-pages make no

mention of it. Both issues of this first edition have the catchword "The" on their final page, however, suggesting that this appendix should follow. Bath the British Library and the New York copies of 1647 include "The Learning of the Heart" on three extra leaves whose pagination is not continuous with the preceding folios and whose title is printed in a different font from this catchword. These pages are, however, identical in their setting with the folios which were "Added" to the "Third Edition" in 1675/6. lt is possible that one of the owners of cach surviving copy took the trouble to find spare sheets from the 1675 edition once it had appeared and had them bound in, but il seetns more likely that these concluding pages were supplied by the publisher and that even after Lodowick Lloyd had printed the 1nîssing appendix for the so-called third edition in the 1670s be was prepared to use up unsold stock of the earlier sheets by adding the required appendix, which he had never hitherto got round to printing. 5 I believe that "The Learning of the Heart" should be retained exactly as it appears in the British Library copy. Though these pages may not derive from the editio princeps, they were clearly intended to conclude it, and there is no evidence that the printer ever issued these leaves in a different setting for the tirst edition, despite the catchword on the last page. Christopher Harvey was barn at Bunbury, Cheshire, in 1597 where bis father, who was preacher, died in 1608, after which bis mother remarried Thomas Pierson, author of corrunentaries on the Psalms and editor of the works of William Perkins, the great Puritan divine. In 1613 Harvey went up to Brasenose College, Oxford, where be graduated M.A. in 1620, took holy orders and was in 1630 appointed rector of Whitney in HerefordA copy of 1676 in Glasgow, SM Add259, may he cvidence of sinülar tinkering. It has paste-ins throughout, correcting the erronious prints which IJoyd had supplied in the thir i~tl1fie. ne11~odiffirc~ ; t~~ rt q•.Û.ôrckr.ri:s)C"lt.:nl c,..

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