An indispensable source of information for bibliographers and historians of mentality and visual culture. Contains inter alia a massive index of iconography, systematically arranged according to ICONCLASS classification schedules, offering some 20,000 references. In 3 volumes. The print edition is available as a set of three volumes (9789060044407).
This collection of specially commissioned articles aims to shed light on the Early Modern printer's mark, a very productive Early Modern word-image so far only occasionally noted outside the domain of book history. This collection of 17 specially commissioned articles aims to shed light on the European printer’s mark, a very productive Early Modern word-image genre so far only occasionally noted outside the domain of book history. It does so from the perspectives of book history, literary history, especially emblem scholarship, and art history. The various contributions to the volume address issues such as those of the adoption of printer's devices in the place of the older heraldic printer's marks as a symptom of the changing self-image of the representatives of the Early Modern printing profession, of the mutual influence of emblems and printer's marks, of the place of Classical learning in the design of Humanist printer's marks, of the economic factors involved in the evolution of Early Modern printer's marks, the pictorial topics of the Early Modern printer's mark, and the printer's mark as a result of the 'Verbürgerlichung' of the device of Early Modern nobility. Special care was taken to account for the similarities and differences of the printer's marks produced and used in different regional and cultural contexts. The printer’s mark thus becomes visible as a European phenomenon that invites studying some of the most significant shared aspects of Early Modern culture. Preface/ Beginnings and Provenances: A. Wolkenhauer: Sisters, or Mother and Daughter? The Relationship between Printer’s Marks and Emblems during the First Hundred Years/ A. Bässler: Ekphrasis and Printer’s Signets/ L. Houwen: Beastly Devices: Early Printers’ Marks and Their Medieval Origins/ H. Meeus: From Nameplate to Emblem. The Evolution of the Printer’s Device in the Southern Low Countries up to 1600/ Regions and Places: K. Sp. Staikos: Heraldic and Symbolic Printer’s Devices of Greek Printers in Italy (15th-16th century)/ A. Jakimyszyn-Gadocha: Jewish Printers’ Marks from Poland (16th-17th centuries)/ J. A. Tomicka: Fama typographica. In Search of the Emblem Form of Printer’s Devices. The Iconography and Emblem Form of Printer’s Devices in 16th- and 17th-Century Poland/ P. Hoftijzer: Pallas Nostra Salus. Early-Modern Printer’s Marks in Leiden as Expressions of Professional and Personal Identity/ D. Peil: Early Modern Munich Printer’s Marks (and Related Issues)/ K. Lundblad: The Printer’s Mark in Early Modern Sweden/ S. Hufnagel: Iceland’s Lack of Printer’s Devices: Filling a Functional and Spatial Void in Printed Books during the Sixteenth Century/ Concepts, Historical and Systematic: B.F. Scholz: The Truth of Printer’s Marks: Andrea Alciato On ‘Aldo’s Anchor’, ‘Froben’s Dove’ and ‘Calvo’s Elephant’. A Closer Look at Alciato’s Concept of the Printer’s Mark./ V. Hayaert: The Legal Significance and Humanist Ethos of Printers’ Insignia/ J. Kiliańczyk-Zięba: The Transition of the Printer’s Device from a Sign of Identification to a Symbol of Aspirations and Beliefs/ Judit Vizkelety-Ecsedy: Mottos in Printers’ Devices – Thoughts about the Hungarian Usage/ M. Simon: European Printers’ and Publishers’ Marks in the 18th Century. The Three C’s: Conformity, Continuity and Change/ B.F. Scholz: In Place of an Afterword: Notes on Ordering the Corpus of the Early Modern Printer’s Mark/ Research Bibliography: The Early Modern Printer’s Mark in its Cultural Contexts/ Index (Names, Places, Motti).
The author presents a set of extended essays on a wide variety of aspects of the life and work of this giant of early modern thought. An introduction to Hobbes's life and thought acts as a foundation for discussion of such topics as his political philosophy and theory of international relations.
Continuing work on Pepys's library, and recent discoveries, necessitate expansion of the content and entries in the original volumes. This is the first in the Supplementary Series. Pepys's library has been, as he directed, preserved intact at his old Cambridge college since 1724. Between 1978 and 1994 a complete catalogue was published for the first time. The present title, essential to all users of the first volume in that series, N.A. Smith's Printed Books, vastly enhances the range of information available. The short-title arrangement of Printed Books is replaced by a numerical listing which follows the library's shelf-order; many entries have been extended, and where possible updated with reference to new scholarship; the location of MSS and other material treated elsewhere in the catalogue is also indicated, providing for the first time a published conspectus of the whole library. Extensive indexes have been provided for authors and ancillary contributors, subjects, printers and places of publication, and references which reflect Pepys himself and his bibliophilism.Concordances identify the Pepys books covered by STC, Wing, ESTC and other bibliographies. Dr CHARLES KNIGHTON gained his Ph D from Magdalene College, Cambridge.
During the Renaissance, European royalties and noblemen and their wives bore imprese to express their aspirations as marks of distinction. Cosimo de' Medici, for example, had nine, whereas Rudolf II had sixteen imprese. An impresa (French devise, English device) consisted of a motto, a picture, and an explication in either verse or prose in which the bearer was named and his intention explained by both the word and the image. Collections of imprese were printed to preserve the marks of nobility (similar to heraldry) and became patterns for painters and artisans who put pictures on paintings, frescoes, and tapestries, even on ceiling and floor tiles. Using this Index, a tourist may find a phoenix on a tapestry to be the impresa of Alienor of Austria, Queen of France, on page 89 of a collection by Claude Paradin. Paradin's Devises heroiques, like a few other collections (by Giovio, Simeoni, Pittoni, Ruscelli, Contile, Camilli, Cappacio, Bargagli, and Typotius), has no index of any kind, making serious study of its imprese difficult. Some do have indices, but these do not meet the standards of modern research. translations, pictures, significance, bearers, and subjects, along with cross-references to standard handbooks of Valeriano's Hieroglyphica (1602), Picinelli's Mondus symbolicus (1694), and Henkel and Schone's Handbuch zur Sinnbildkunst des XVI. und XVII. Jahrhunderts (Stuttgart: J.B. Metzler, 1967, 1976, 1996). The Handbuch has become an indispensable tool in emblematic studies; it covers 40 emblem books with references to imprese from all ten collections indexed here. But without an impresa index of its own, it cannot identify an emblem by an impresa it has referenced. Appendix C of this Index, with references both from imprese to emblem books and from emblems to impresa books, will boost the usefulness of both research tools. This Index will be useful to impresa and emblem scholars, art and cultural historians, and even inquisitive tourists.
In this bibliography of the exact sciences in the Low Countries, Klaas Hoogendoorn gives a detailed analytical description by autopsy of all printed books published by scientists associated with the Low Countries from ca. 1470 to the Golden Age (1700). The books' locations are given, along with secondary bibliographical sources and concise biographies of the authors. Includes indexes of the editions by subject, printer/publisher and person. Along with books on subjects including mathematics, physics, military science and navigation, the second part describes all known almanacs and prognostications for the period, providing the most complete survey yet available. It is a thoroughly revised and expanded update of D. Bierens de Haan’s Bibliographie néerlandaise historique-scientifique ... (Rome, 1883) up to about 1700.
When you hear the term "image management," do you think of making a good impression? Or taking good care of Impressionists? If the latter, this book is for you Vast collections of images exist in a wide range of organizations and institutions, and on the Internet. Some of these images are difficult to track down; others are just too large, too small, too valuable, or too fragile to access directly. In this introductory text to the field, Jorgensen describes the theoretical, empirical, and pragmatic underpinnings of storage and retrieval as they apply to a variety of visual formats.
Scholars in multiple disciplines now recognize the emblem as a significant expression of the cultural life of the Renaissance and the Baroque, reflecting a panoply of interests ranging from war to love, from religion to philosophy to politics, from the sciences to the occult, from social mores to encyclopedic knowledge, and from serious speculation to entertainment. Following Andrea Alciato's publication of the first emblem book in 1531, the form enjoyed its heyday in the seventeenth-century, appearing in speeches, sermons, and printed texts, but also in wall and ceiling decorations, jewelry, carvings, paintings, and other material expressions. Beyond this early boom, the emblem was again present in eighteenth-century title pages and frontispieces, and experienced twentieth-century manifestations during the ideological battles of both world wars and Quebec's attempt at secession from Canada. The Companion to Emblem Studies introduces the multiple forms that the emblem has taken through nearly five centuries of production, and offers an interdisciplinary and international assessment of the long history of this pervasive symbolic device. use those vernacular languages; on Alciato, the father and prince of emblems; on bibliography and theory; on the Jesuit and Neo Latin emblems, which cut across national groupings; on flags and tournaments; and on emblems in recent material culture, logos, and advertisements. The Companion features 130 illustrations and concludes with a Selective Bibliography for Further Reading, which includes works written in western European languages and expands the volume's usefulness for researchers and students in the field.
