DOI Page / Citation link:
https://doi.org/10.11588/diglit.56004#0014
IO
76. —Scene in the Temple of Venus. A procession of seven virgins, with solemn and
measured steps approaching the altar of Love. They carry a lighted taper, a ritual
book, sacred vessels, and a mitre, after the Christian manner. At the altar stand the
high priestess, and Poliphilus and Polia, the latter with a lighted torch in her right hand.
77. —The torch of Polia extinguished in the altar, which resembles a fountain with its cover
kept open.
78 and 79.■—Continuation of the ceremony in the Temple of Venus. In No. 7g are
seen two virgins, one of them offering two swans—birds sacred to Venus—the other carry-
ing in a basket a pair of doves for sacrifice.
80.—The altar in the Temple of Venus.
81—85.—Continuation of the ceremony in the Temple of Venus. No. 84 represents the miracle of
the roses. The rose-tree, laden with flowers and fruit, is rising out of the altar, and from its branches
doves are fluttering upwards. The virgins have prostrated themselves. In No. 85 Poliphilus and
Polia are receiving the fruits-of the miraculous tree from the hands of the high priestess.
86.—Poliphilus and Polia entering the ruins of the Temple Polyandrion, in which the
unfortunate lovers are buried. This is an ideal view of antique ruins, with lofty arches
and columns. On the right hand side an obelisk is rising among luxuriant trees and
bushes. A low wall in the foreground seems to belong to some ancient baths.
87—92.—An obelisk, and five reliefs, with emblematical (so-called hieroglyphic) devices ; four
of them are within medallion frames.
93. —Fragment of an architrave ; in the tympanum, the sculptured broken figure of a bird, and
an ancient lamp. The frieze bears an inscription.
94. —Cupola above the entrance to the crypt.
95. —Sarcophagus, with the inscription, Interno Plotoni, &c., but without any decoration.
96. —A mosaic picture on the ceiling of the crypt, a description of which, filling some
pages, is given by the author, showing that the Divina Commedia of Dante was familiar
to him. This cut, however, only represents the gulf of Hell, surrounded by wild rocks,
without the figures of the condemned and the hellish furies.
97 and 98.—Sepulchral monuments, one of them (No. 98) ornamented with masks, and sur-
mounted by an urn in the Renaissance style.
99.—Relief representing a sacrifice. The altar is erected in the middle : an old man, clad in
a toga, and a naked youth are offering the head of a wild goat; the youth carries a vase
(lecythus) upon his shoulder, and gracefully bends forward, in order to pour out the wine. A
youthful faun-like figure is leaning against a tree, and playing the double flute. Near him
we see a dancing naked boy. There are also a nude female figure holding a reversed torch,
a boy satyr, with a snake writhing in his hand, and a matron carrying a basket of fruit.
100 and 101.—Two epitaphs. In the tympanum of No. 100, an eagle; and in the corners
above it, two dolphins. No. 101 is only a fragment, with simple ornament in the tympanum.
102. —Sepulchral urn, with Greek inscription.
103. —Tombstone, surmounted by an urn, without ornament.
104. —Fragment of an epitaph, decorated with two skulls of animals, and twisted laurel-branches.
105. —-An epitaph. QD.M. Lyndia, &c.)
106. —A plain sarcophagus, with broken cover, and the inscription—P. Cornelia Annia, &c.
107. —Sarcophagus, with emblematic devices (so-called hieroglyphics.)
108. —Large epitaph. (O lector infoelix, &c.)
109. —Sepulchral monument. The tympanum is decorated with a vase from which issue
laurel-branches ; and in the corners above it are two eagles. A thick laurel-wreath
encircles the inscription [Quisquis lecturus, &c.)
no.—The sepulchral monument of Artemisia, Queen of Caria, renowned for her ex-
cessive grief at the death of her husband Mausolus: one of the most remarkable designs
of this book. In the central compartment the Queen, in her royal state, is seated upon
a high throne, drinking from the cup in which she has mixed the ashes of Mausolus. Below
her figure is the inscription, in Greek—Ashes of Queen Artemisia.
111. —An epitaph {Aspice viator, &c.), surmounted by the busts of a young man and woman,
within an architectural frame. Two naked figures of youths, on the right and left, are drawing
back the curtains.
112. —Sepulchral monument. Within a high architectural frame, formed, like a portal, of an
arch, two pilasters and a tympanum, an inscription is traced (Trebiae Q., &c.) In the tympanum
are two doves drinking out of a vase. Beneath the epitaph stands a shrine, or sarcophagus,
decorated with reliefs. They represent some nude figures, entering through one narrow
gate, and emerging from another—an allegory—as is stated in the text—of our earthly
existence, which has two gates : by the one we are entering, in order to die, and by the
other we are going out again into life, not without weeping in either case.
113. —The square standard of Cupid’s bark. It is of blue silk, and richly embroidered,
with a so-called hieroglyph, or rather a rebus—a flaming fire in a brazier, which is
joined by branches to the globe, signifying—Amor vincit omnia.
76. —Scene in the Temple of Venus. A procession of seven virgins, with solemn and
measured steps approaching the altar of Love. They carry a lighted taper, a ritual
book, sacred vessels, and a mitre, after the Christian manner. At the altar stand the
high priestess, and Poliphilus and Polia, the latter with a lighted torch in her right hand.
77. —The torch of Polia extinguished in the altar, which resembles a fountain with its cover
kept open.
78 and 79.■—Continuation of the ceremony in the Temple of Venus. In No. 7g are
seen two virgins, one of them offering two swans—birds sacred to Venus—the other carry-
ing in a basket a pair of doves for sacrifice.
80.—The altar in the Temple of Venus.
81—85.—Continuation of the ceremony in the Temple of Venus. No. 84 represents the miracle of
the roses. The rose-tree, laden with flowers and fruit, is rising out of the altar, and from its branches
doves are fluttering upwards. The virgins have prostrated themselves. In No. 85 Poliphilus and
Polia are receiving the fruits-of the miraculous tree from the hands of the high priestess.
86.—Poliphilus and Polia entering the ruins of the Temple Polyandrion, in which the
unfortunate lovers are buried. This is an ideal view of antique ruins, with lofty arches
and columns. On the right hand side an obelisk is rising among luxuriant trees and
bushes. A low wall in the foreground seems to belong to some ancient baths.
87—92.—An obelisk, and five reliefs, with emblematical (so-called hieroglyphic) devices ; four
of them are within medallion frames.
93. —Fragment of an architrave ; in the tympanum, the sculptured broken figure of a bird, and
an ancient lamp. The frieze bears an inscription.
94. —Cupola above the entrance to the crypt.
95. —Sarcophagus, with the inscription, Interno Plotoni, &c., but without any decoration.
96. —A mosaic picture on the ceiling of the crypt, a description of which, filling some
pages, is given by the author, showing that the Divina Commedia of Dante was familiar
to him. This cut, however, only represents the gulf of Hell, surrounded by wild rocks,
without the figures of the condemned and the hellish furies.
97 and 98.—Sepulchral monuments, one of them (No. 98) ornamented with masks, and sur-
mounted by an urn in the Renaissance style.
99.—Relief representing a sacrifice. The altar is erected in the middle : an old man, clad in
a toga, and a naked youth are offering the head of a wild goat; the youth carries a vase
(lecythus) upon his shoulder, and gracefully bends forward, in order to pour out the wine. A
youthful faun-like figure is leaning against a tree, and playing the double flute. Near him
we see a dancing naked boy. There are also a nude female figure holding a reversed torch,
a boy satyr, with a snake writhing in his hand, and a matron carrying a basket of fruit.
100 and 101.—Two epitaphs. In the tympanum of No. 100, an eagle; and in the corners
above it, two dolphins. No. 101 is only a fragment, with simple ornament in the tympanum.
102. —Sepulchral urn, with Greek inscription.
103. —Tombstone, surmounted by an urn, without ornament.
104. —Fragment of an epitaph, decorated with two skulls of animals, and twisted laurel-branches.
105. —-An epitaph. QD.M. Lyndia, &c.)
106. —A plain sarcophagus, with broken cover, and the inscription—P. Cornelia Annia, &c.
107. —Sarcophagus, with emblematic devices (so-called hieroglyphics.)
108. —Large epitaph. (O lector infoelix, &c.)
109. —Sepulchral monument. The tympanum is decorated with a vase from which issue
laurel-branches ; and in the corners above it are two eagles. A thick laurel-wreath
encircles the inscription [Quisquis lecturus, &c.)
no.—The sepulchral monument of Artemisia, Queen of Caria, renowned for her ex-
cessive grief at the death of her husband Mausolus: one of the most remarkable designs
of this book. In the central compartment the Queen, in her royal state, is seated upon
a high throne, drinking from the cup in which she has mixed the ashes of Mausolus. Below
her figure is the inscription, in Greek—Ashes of Queen Artemisia.
111. —An epitaph {Aspice viator, &c.), surmounted by the busts of a young man and woman,
within an architectural frame. Two naked figures of youths, on the right and left, are drawing
back the curtains.
112. —Sepulchral monument. Within a high architectural frame, formed, like a portal, of an
arch, two pilasters and a tympanum, an inscription is traced (Trebiae Q., &c.) In the tympanum
are two doves drinking out of a vase. Beneath the epitaph stands a shrine, or sarcophagus,
decorated with reliefs. They represent some nude figures, entering through one narrow
gate, and emerging from another—an allegory—as is stated in the text—of our earthly
existence, which has two gates : by the one we are entering, in order to die, and by the
other we are going out again into life, not without weeping in either case.
113. —The square standard of Cupid’s bark. It is of blue silk, and richly embroidered,
with a so-called hieroglyph, or rather a rebus—a flaming fire in a brazier, which is
joined by branches to the globe, signifying—Amor vincit omnia.