DOI Page / Citation link:
https://doi.org/10.11588/diglit.56004#0012
8
crown the whole. They hold in their hands large cornucopias from which, as well as from
their breasts, water is spouting.
24. -—Ornament of a frieze, composed of two somewhat full-bodied but gracefully moving genii,
dolphins terminating in foliage, vases with masks placed upon them, and two winged angels’ heads
in the corners ; in the centre, the skull of a sacrificed bull, its horns entwined with laurel-branches.
25. —View of a panelled wall in the Queen’s palace, with a throne-chair and benches. The
panels between the pilasters are tastefully decorated with foliage, encircling medallions within
which the names of the planets are inscribed.
26. —Poliphilus rendering homage to the gentle Queen Eleuterylida, who is seated on her high
and magnificent throne ; the ladies of her court are ranged on both sides. Upon the back
of the throne are the figures of two naked youths, with their arms resting on their hips,
standing in a proud posture, just — remarks Ilg, in his treatise on the Hypnerotomachia,
p. 101—as the artist may have seen courtiers in attendance on a prince.
27. —Medallion in the canopy above the Queen’s throne. Within a closely twisted wreath the bust
of a youth draped in a chlamys, with a nimbus round his head ; below, an eagle with laurel-branches.
28. —A richly ornamented tripod : it deserves particularly to be noticed for its exquisite beauty
and purity of style.
29. -—Basin of gold, upon wheels.
30. —Tripod, with three naked boys standing upon a pedestal, supported by lions’ feet.
31. —Another splendid vessel, surmounted by a coral-tree. Coral was frequently used in
decorative works of this period.
32. —A large and magnificent vessel of the noblest shape and decoration, with a shrub
of gold, and water spouts. It rests upon a single' wheel, and is twice as high as the tall
nymph who carries it into the festive hall. Albert Ilg considers this splendid piece to be
the flower of all the ornamental designs in Poliphilus.
33. —The triangular obelisk of the mystic Trinity. At the base are three sphinxes, female
figures, with horns of plenty, and so-called hieroglyphics.
34. —Cameo, set in an oval frame of pearls, representing Jupiter, with a cornucopia in his right
hand, and the flame of lightning in his left. At his feet are the vanquished giants. The god occupies a
throne, very much like those upon which the enthroned Virgin is pictured by old Italian masters.
35. —Architectural frame, surrounding an emblematical (so-called hieroglyphic) piece of
sculpture. A woman seated upon a stool, stretching out her left leg, and holding in her left
hand a tortoise, whilst her right foot is resting on the ground : she holds in her right
hand a pair of wings (Velocitatem sedendo, tarditatem tempera surgendo,)
36. —Another architectural frame, with an emblematic circular bas-relief, representing two half-
length figures of winged genii holding an apple between them. (Medium tenuere beati.)
yp—Poliphilus in a rocky place conducted by two nymphs to the three gates, which are cut in
the living rock, with the inscriptions—gloria dei; mater amor is ; gloria mundi (the inscriptions
are also in Greek, Hebrew, and Arabic.)
38. —Poliphilus meeting at the gate the venerable matron, followed by her six young female
attendants.
39. —Poliphilus receives the crown and palm-branch, fixed upon a sword, from the hand of
another matron, of large frame and severe mien.
40. —Poliphilus among the nymphs ; the flight of Logistica.
41. —Poliphilus embraced by the nymph.
42. —Poliphilus looking through the bower while his mistress Polia is approaching at a distance.
43. —Poliphilus and Polia retreating from the bower.
44. —Triumphal car, ornamented with reliefs. The relief on the right shows Europa and
her maidens crowning the herd with flowers.
45. —Relief on the triumphal car. The Rape of Europa.
46. —Reliefs on the front and back of the triumphal car. On the front is represented Cupid
shooting at the stars in heaven, to his right and left groups of astonished bystanders. The relief
on the back shows a king, with sceptre and crown, upon his throne. This figure is intended for
Jupiter. Mars stands before him, and accuses Cupid of having rent his impenetrable cuirass.
Jupiter holds in his right hand a tablet, inscribed Nemo, above Cupid’s head, thus
intimating that there is nobody who can resist the god of love.
47 and 48.—The triumph of Europa—the first of those beautifully designed processions, in
honour of the great Jupiter, which form one of the most interesting and splendid features of the
Hypnerotomachia. The triumphal car is drawn by six centaurs, their heads crowned with oak-
leaves. The first two pairs of these are blowing large bronze horns (cornua) and straight trumpets
(tubae) ; the two nearest the car are bearing antique vases. Three nymphs are carried upon the
backs of the centaurs, the first of them playing the Greek double flute (diaulos), the second the
viola, and the third beating the tambourine. On the top of the car we see the figure of
Europa seated upon her bull. There is a joyous crowd of maidens, walking by the side of the
car, and carrying laurel-branches, standards, and trophies.
crown the whole. They hold in their hands large cornucopias from which, as well as from
their breasts, water is spouting.
24. -—Ornament of a frieze, composed of two somewhat full-bodied but gracefully moving genii,
dolphins terminating in foliage, vases with masks placed upon them, and two winged angels’ heads
in the corners ; in the centre, the skull of a sacrificed bull, its horns entwined with laurel-branches.
25. —View of a panelled wall in the Queen’s palace, with a throne-chair and benches. The
panels between the pilasters are tastefully decorated with foliage, encircling medallions within
which the names of the planets are inscribed.
26. —Poliphilus rendering homage to the gentle Queen Eleuterylida, who is seated on her high
and magnificent throne ; the ladies of her court are ranged on both sides. Upon the back
of the throne are the figures of two naked youths, with their arms resting on their hips,
standing in a proud posture, just — remarks Ilg, in his treatise on the Hypnerotomachia,
p. 101—as the artist may have seen courtiers in attendance on a prince.
27. —Medallion in the canopy above the Queen’s throne. Within a closely twisted wreath the bust
of a youth draped in a chlamys, with a nimbus round his head ; below, an eagle with laurel-branches.
28. —A richly ornamented tripod : it deserves particularly to be noticed for its exquisite beauty
and purity of style.
29. -—Basin of gold, upon wheels.
30. —Tripod, with three naked boys standing upon a pedestal, supported by lions’ feet.
31. —Another splendid vessel, surmounted by a coral-tree. Coral was frequently used in
decorative works of this period.
32. —A large and magnificent vessel of the noblest shape and decoration, with a shrub
of gold, and water spouts. It rests upon a single' wheel, and is twice as high as the tall
nymph who carries it into the festive hall. Albert Ilg considers this splendid piece to be
the flower of all the ornamental designs in Poliphilus.
33. —The triangular obelisk of the mystic Trinity. At the base are three sphinxes, female
figures, with horns of plenty, and so-called hieroglyphics.
34. —Cameo, set in an oval frame of pearls, representing Jupiter, with a cornucopia in his right
hand, and the flame of lightning in his left. At his feet are the vanquished giants. The god occupies a
throne, very much like those upon which the enthroned Virgin is pictured by old Italian masters.
35. —Architectural frame, surrounding an emblematical (so-called hieroglyphic) piece of
sculpture. A woman seated upon a stool, stretching out her left leg, and holding in her left
hand a tortoise, whilst her right foot is resting on the ground : she holds in her right
hand a pair of wings (Velocitatem sedendo, tarditatem tempera surgendo,)
36. —Another architectural frame, with an emblematic circular bas-relief, representing two half-
length figures of winged genii holding an apple between them. (Medium tenuere beati.)
yp—Poliphilus in a rocky place conducted by two nymphs to the three gates, which are cut in
the living rock, with the inscriptions—gloria dei; mater amor is ; gloria mundi (the inscriptions
are also in Greek, Hebrew, and Arabic.)
38. —Poliphilus meeting at the gate the venerable matron, followed by her six young female
attendants.
39. —Poliphilus receives the crown and palm-branch, fixed upon a sword, from the hand of
another matron, of large frame and severe mien.
40. —Poliphilus among the nymphs ; the flight of Logistica.
41. —Poliphilus embraced by the nymph.
42. —Poliphilus looking through the bower while his mistress Polia is approaching at a distance.
43. —Poliphilus and Polia retreating from the bower.
44. —Triumphal car, ornamented with reliefs. The relief on the right shows Europa and
her maidens crowning the herd with flowers.
45. —Relief on the triumphal car. The Rape of Europa.
46. —Reliefs on the front and back of the triumphal car. On the front is represented Cupid
shooting at the stars in heaven, to his right and left groups of astonished bystanders. The relief
on the back shows a king, with sceptre and crown, upon his throne. This figure is intended for
Jupiter. Mars stands before him, and accuses Cupid of having rent his impenetrable cuirass.
Jupiter holds in his right hand a tablet, inscribed Nemo, above Cupid’s head, thus
intimating that there is nobody who can resist the god of love.
47 and 48.—The triumph of Europa—the first of those beautifully designed processions, in
honour of the great Jupiter, which form one of the most interesting and splendid features of the
Hypnerotomachia. The triumphal car is drawn by six centaurs, their heads crowned with oak-
leaves. The first two pairs of these are blowing large bronze horns (cornua) and straight trumpets
(tubae) ; the two nearest the car are bearing antique vases. Three nymphs are carried upon the
backs of the centaurs, the first of them playing the Greek double flute (diaulos), the second the
viola, and the third beating the tambourine. On the top of the car we see the figure of
Europa seated upon her bull. There is a joyous crowd of maidens, walking by the side of the
car, and carrying laurel-branches, standards, and trophies.