DOI Artikel:
Tomicka, Joanna A.: The Black Art: Typography and its allegories in emblems during the 16th-18th centuries
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.18947#0062
5. Unknown engraver,
Printer's Device
of Marnef Family,
Poitiers, prior
to 1 567, woodcut,
Courtesy of the
Librarion, Glasgow
University Library
In the first half of the 16th century inscriptions began to appear with the
visual theme of typographers at work. These included widely-known sentences
from the Bibie or ąuotes from ancient writers. As compound forms containing
a picture and inscription, these representations belong to the device type.
However, this category sometimes conveyed morał or generał ethical truths in
accordance with the main objective of emblematics.8
The traits of a device include a tondo (ill. 5) presenting typographers at
work with inscriptions appearing at the head: “Vitam mortuo reddo” and the
foot: “Je ravie le mort”. This particular woodcut follows the example of the
print “Prelum Ascesianum” (comparewith ill. 3), originating from before 1564
and associated with the Marnef printing house.9
The arrangement of words and picture, complementing and explaining
each other, introduces a new set of contents. The assumed value of the
8 In respect to the lack of clearly-defined distinctions between devices, emblems and similar forms
cf. J. Pelc, “Obraz-Słowo-Znak. Studium o emblematach w literaturze staropolskiej”. Studia
Staropolskie, XXXVII, Wrocław 1973, p. 33; D. S. Russel, The Emblem and Deuice in France,
Kentucky 1985, pp. 142-160; A. Sanders, The Sixteenth-century French Emblem Book. A Deco-
rative and Useful Genre, Geneva 1988, pp. 4-16.
9 Gravures sur bois..., op. cit., p. 44.
56
Printer's Device
of Marnef Family,
Poitiers, prior
to 1 567, woodcut,
Courtesy of the
Librarion, Glasgow
University Library
In the first half of the 16th century inscriptions began to appear with the
visual theme of typographers at work. These included widely-known sentences
from the Bibie or ąuotes from ancient writers. As compound forms containing
a picture and inscription, these representations belong to the device type.
However, this category sometimes conveyed morał or generał ethical truths in
accordance with the main objective of emblematics.8
The traits of a device include a tondo (ill. 5) presenting typographers at
work with inscriptions appearing at the head: “Vitam mortuo reddo” and the
foot: “Je ravie le mort”. This particular woodcut follows the example of the
print “Prelum Ascesianum” (comparewith ill. 3), originating from before 1564
and associated with the Marnef printing house.9
The arrangement of words and picture, complementing and explaining
each other, introduces a new set of contents. The assumed value of the
8 In respect to the lack of clearly-defined distinctions between devices, emblems and similar forms
cf. J. Pelc, “Obraz-Słowo-Znak. Studium o emblematach w literaturze staropolskiej”. Studia
Staropolskie, XXXVII, Wrocław 1973, p. 33; D. S. Russel, The Emblem and Deuice in France,
Kentucky 1985, pp. 142-160; A. Sanders, The Sixteenth-century French Emblem Book. A Deco-
rative and Useful Genre, Geneva 1988, pp. 4-16.
9 Gravures sur bois..., op. cit., p. 44.
56