Instytut Historii Sztuki <Posen> [Hrsg.]
Artium Quaestiones — 10.2000

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KEVIN E. KANDT

the three nude Grâces found in the emblem’s background. The emblem
book itself was first published in Antwerp in 1607, and in later éditions
throughout Europe,122 (nearly always including the same original en-
graved emblems by Hieronymus Verdussen), and also Poland in the 17th
century.123 Even the sculptor’s colleague, architect Tilman van Gameren
possessed a 1612 édition of the book.124 Horace’s literature and van Veen’s
engravings were presumably well-known and played an influential rôle in
iconographie programs of Warsaw’s cultural milieu, since the “Aeternum
Sub Sole Nihil” emblem itself even appears as a full-scale wall mural in a
cycle ffom the so-called Hall of Horace (dating from the 1680’s) at the
Bielinski family palace in Stary Otwock near Warsaw.125 (Fig. 29)

grausamkeit weichen. Es hilfet alhier kein bitten. Die macht vermag hier nichts; ja sie
wird auch so verwegen/gleichsam/als were sie mit unsrem untergange noch nicht genug
gesaettiget/dass sie unserer/ueber aile ausgeuebte grausamkeiten/dass sie uns peiniget/-
noch darzu in die zaehne spottet. Sie entbietet das alter zu ihrem entsatz/dessen sie doch
nicht benoehtiget/und lesset uns dasselbe/als eine solche buerde/deren wier uns anders
nicht/als mit dem verlust unsers lebens/entbrechen und verlustig machen koennen/mit
einem hoehnischen lachen sehen; ja sie schwoeret noch ueberdas spots-wetse/dass wier
uns in einer so weisen und ergetzlichen geselschaft sehr wohl befinden werden.” Von
Zesen, Moralia Horatiana, pp. 56-57.

122 Attesting to the book’s widespread popularity are the numerous bi- and multi-lin-
gual éditions in which it appeared, e.g. Latin, German, Spanish, French, Italian, and
Dutch. M. Praz, Studies in Seventeenth-Century Imagery, (2nd ed.), Rome 1964, pp. 523-4.
For a standard survey of these numerous éditions see: M. Sabbe, “Les ’Emblemata Hora-
tiana’ d’Otto Venius,” De gulden Passer ! Le Compas d’or, 3(1935), nr 1-14. A very enlight-
ening study regarding the book’s didactic nature and intended audience is explained in:
I. Gerards-Nelissen, “Otto van Veen’s Emblemata Horatiana,” Simiolus, 5(1971), pp. 20-
49. I am grateful to Dr. Joanna Tomicka of the Department of European Prints at the
National Muséum in Warsaw for bringing this article to my attention.

123 The book was so popular that it even appeared in local Polish éditions of Emble-
mata Horatiana edited by Stanislaw Lochowski as emblemata nuda, i.e. without the ac-
companying illustrations! J. Pelc, “Old Polish Emblems,” Zagadnienia rodzajôw literac-
kich, 12(1970), nr. 2/23, pp. 38, 40 and Obraz - Stowo - Znak: Studium o emblematach w
literaturze staropolskiej, J. Pelc, (ed.), Wroclaw 1973, pp. 157-162. The influence of
Netherlandish engraved emblem books and the Polish Horatii éditions emphasized a dis-
tinctive futility in man’s ability to confront the whims of Fate. P. Buchwald-Pelcowa,
“Zwi^zki polskich ksiahek emblematycznych z emblematyka, niderlandzka,,” Rocznik His-
torii Sztuki, 15(1985), pp. 221-229.

124 This copy of van Veen’s book from the architect’s library is now in the collection of
the Warsaw University Library. Mossakowski, ”Ksiçgozbiôr,” p. 28.

125 The entire room is decorated with ten large fresco paintings en grisaille, attributed
by Karpowicz to the so-called Master of the Hall of Horace, copied almost exactly from the
Vaenius emblem book. The connection between the emblem book and the Bielinski fres-
coes was first noted by Z. Rewski, “Wspomnienie o bibliotece Tylmana z Gameren,”
Biuletyn Historii Sztuki i Kultury, 10(1948), nr. 3/4, p. 356. For illustrations and an analy-
sis of these décorations, see: M. Karpowicz, “’Sala Horacego’ w Starym Otwocku. Z roz-
wazan nad antykizacjA tresci,” in Muzeum i twôrca. Studia z historii sztuki i kultury,
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