Antiquitized emblems of Andrea Alciato

E.S. Danilov

P.G. Demidov Yaroslavl State University, Yaroslavl, 150003 Russia

E-mail: e.danilov@uniyar.ac.ru

Received June 6, 2019

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DOI: 10.26907/2541-7738.2020.1.177-190

For citation: Danilov E.S. Antiquitized emblems of Andrea Alciato. Uchenye Zapiski Kazanskogo Universiteta. Seriya Gumanitarnye Nauki, 2020, vol. 162, no. 1, pp. 177–190. doi: 10.26907/2541-7738.2020.1.177-190. (In Russian)

Abstract

Emblems are visible metaphors, a synthesis of words and images. They traditionally embodied simple earthly truths, moral standards, and political principles. Emblem studies is a special historical discipline studying symbolic representations of certain notions or ideas. Scholars distinguish several sources of this discipline: Egyptian hieroglyphics; epigrammatic, fabular, and numismatic heritage of the Classical Antiquity; medieval fabliau and proverbs; bestiary images of both epochs.

In this paper, the “Emblemata” created by Andrea Alciato (1492–1550), a Late Renaissance writer and erudite, was analyzed. Particular attention was drawn to certain groups of mythological characters and historical personalities of the classical antiquity. The prevailing appeal to mythological creatures was noticed. The main works of Greek and Roman authors, which became sources for A. Alciato, were revealed. In particular, the “Palatine Anthology”, the fables of Aesop and Avian were an important source of inspiration for A. Alciato. The analysis is based on 155 symbolic compositions (73% of the total number) and indicates a close connection of A. Alciato’s emblematic intention with the literary heritage of the classical antiquity. The book of the Italian humanist was originally intended for the erudite public. The theoretical ideas of subsequent emblematists were also based on Greco-Roman sources. A. Alciato was the first in this genre.

Keywords: emblem, Alciato, ancient culture

Figure Captions

Fig. 1. Andrea Alciato. Engraved image from the book of 1589. Source – Cornell University Library’s website. Available at: https://digital.library.cornell.edu/catalog/ss:574286.

Fig. 2. The lame Litae, the goddesses of prayers, slowly follow the fast-winged Atë, the goddess of delusion and folly, correcting her mistakes. Emblema CXXXI. Remedia in arduo, mala in prono esse (Remedies are in the steep upward path, and woes in the downward direction). Hereinafter pictures taken from A. Alciato’s works published in 1621. – University of Glasgow Library. Available at: https://www.emblems.arts.gla.ac.uk/alciato/contents.php?id=A21a.

Fig. 3. Thrasybulus rewarded by a wreath of olive. Emblema CXXXV. Optimus civis (The best citizen).

Fig. 4. Mark Antony. Emblema XXIX. Etiam ferocissimos domari (Even the fiercest are overcome).

Fig. 5. Marcus Junius Brutus’ coin. Emblema CLI. Respublica liberata (The republic restored to freedom).

Fig. 6. A Hun near the Black Sea. Emblema XXXVII. Omnia mea mecum porto (All that is mine I carry with me).

Fig. 7. Sophocles and Archippa. Emblema CXVII. Senex puellam amans (An old man in love with a girl).

Fig. 8. Oak tree is a symbol of power. Emblema XLII. Firmissima convelli non posse (What stands firmest cannot be overthrown).

Fig. 9. A fox and a mask. Emblema CLXXXIX. Mentem, non formam, plus pollere (Mind, not outward form, prevails).

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