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#0064
E A V XX NTJBTL A GiLS
7. Unknown ergraver,
Printer's Device
ofJean le Preux,
prior to 1525,
woodcut,
Courtesy of the
Librarian, Glasgow
University Library
maxim “IN SUDORE VULTUS TUI VESCERIS PANE” inscribed along the
print’s edge emphasises the hard and laborious work demanded in typography.
A generał truth was delivered in Jean le Preux’s mark (ill. 7), whose woodcut,
again based on the print “Prelum Ascesianum” (comp. ill. 3), was supplemented
with the maxim “QUIDQUID AGIS SAPIENTER AGAS / ET RESPICE
FINEM”, taken from Gestae Romanorum. This inscription’s message suits the
typographer’s work well: every wisely-executed phase of the work involved
should be carried out in the knowledge that he is aiming to produce a beautiful,
flawless book.
Not only in printers’ devices did the typographer’s profession acąuire an
emblematic form.
In a work published by Christopher Plantin (c. 1520-1589),10 in 1566
entitled Emblemata... the author, JoannesSambucus,11 drew upon the typographic
10 Christopher Plantin published most of the emblematic books appearing during the 16th century
in the Southern Netherlands.
11 Joannes Sambucus, Emblemata et aliąuot nummi antiąui operis..., Antverpiae, Ex Officina
Christophori Plantini, MDLXIX with illustrations by E Huys and L. d’Heere. The second edition,
enlarged with new emblems illustrated by E van der Borcht, was published by Plantin’s printing
house in 1566.
58
7. Unknown ergraver,
Printer's Device
ofJean le Preux,
prior to 1525,
woodcut,
Courtesy of the
Librarian, Glasgow
University Library
maxim “IN SUDORE VULTUS TUI VESCERIS PANE” inscribed along the
print’s edge emphasises the hard and laborious work demanded in typography.
A generał truth was delivered in Jean le Preux’s mark (ill. 7), whose woodcut,
again based on the print “Prelum Ascesianum” (comp. ill. 3), was supplemented
with the maxim “QUIDQUID AGIS SAPIENTER AGAS / ET RESPICE
FINEM”, taken from Gestae Romanorum. This inscription’s message suits the
typographer’s work well: every wisely-executed phase of the work involved
should be carried out in the knowledge that he is aiming to produce a beautiful,
flawless book.
Not only in printers’ devices did the typographer’s profession acąuire an
emblematic form.
In a work published by Christopher Plantin (c. 1520-1589),10 in 1566
entitled Emblemata... the author, JoannesSambucus,11 drew upon the typographic
10 Christopher Plantin published most of the emblematic books appearing during the 16th century
in the Southern Netherlands.
11 Joannes Sambucus, Emblemata et aliąuot nummi antiąui operis..., Antverpiae, Ex Officina
Christophori Plantini, MDLXIX with illustrations by E Huys and L. d’Heere. The second edition,
enlarged with new emblems illustrated by E van der Borcht, was published by Plantin’s printing
house in 1566.
58