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#0067
contribution to the art assured their celebrity already during their lifetimes.
Each of them, in different ways, owed their renown to typography, towards
the development of which they simultaneously contributed. The relationship
between typography and the concept of fanie suggested by the links and
references embellishing the actual emblematic elements is thus well-grounded
and not an isolated case of this type of semantic composition. Allegories
of famę appear in several printer’s devices, i. e. of Sigismund Feyerabend
(Frankfurt-am-Main, 1585) in which a winged figurę seated on a sphere was
depicted blowing a horn. The same notion also appears in those of Johannes
Statius (Fyons 1585),16 as well as in the “Insigniae Societatis Caldorianae
Coloniae Allobrogum” colophon of 1613 from Genevan in which glory was
personified standing on the eartlTs globe, itself placed on a cuboid with
the inscription “VIRTUTE”, while the entire composition was in an oval
consisting of laurel leaves tied with a band inscribed “VIRTUTE GFORIAQFIE
PERPETEłA COMPARATUR” (Great things are created with activity and
glory). The connection between famę and the two arts of typography and
9. The Gaveaux printing
press, 1829, Courtesy
of the Bibliotheque
Royale Albert ler,
Brussels
of homines typographici cf A. Hayum, “Durer’s Portrait of Erasmus and the Ars Typographorum’”,
Renaissance Quarterly, XXXVIII, 1985, pp. 650-687; cf. J. Białostocki, “Renesansowy portret
pisarza”, in Portret. Funkcja-Forma-Symbol, Warszawa 1990, pp. 94-101; L. Voet, The Plantin
Press (1555-1589). A Bibliography of the Works Printed and Published by Christopher Plantin at
Antwerp and Leiden, Amsterdam 1980.
16 Cf. F. Roth-Scholtz, Thesaurus Symbolarum et Emblematum..., Normbergae et Altodorfii,
ap. haer. Joh. Dan. Tauberi, 1730, no. 224.
17 Cf ibid., no. 374.
61
Each of them, in different ways, owed their renown to typography, towards
the development of which they simultaneously contributed. The relationship
between typography and the concept of fanie suggested by the links and
references embellishing the actual emblematic elements is thus well-grounded
and not an isolated case of this type of semantic composition. Allegories
of famę appear in several printer’s devices, i. e. of Sigismund Feyerabend
(Frankfurt-am-Main, 1585) in which a winged figurę seated on a sphere was
depicted blowing a horn. The same notion also appears in those of Johannes
Statius (Fyons 1585),16 as well as in the “Insigniae Societatis Caldorianae
Coloniae Allobrogum” colophon of 1613 from Genevan in which glory was
personified standing on the eartlTs globe, itself placed on a cuboid with
the inscription “VIRTUTE”, while the entire composition was in an oval
consisting of laurel leaves tied with a band inscribed “VIRTUTE GFORIAQFIE
PERPETEłA COMPARATUR” (Great things are created with activity and
glory). The connection between famę and the two arts of typography and
9. The Gaveaux printing
press, 1829, Courtesy
of the Bibliotheque
Royale Albert ler,
Brussels
of homines typographici cf A. Hayum, “Durer’s Portrait of Erasmus and the Ars Typographorum’”,
Renaissance Quarterly, XXXVIII, 1985, pp. 650-687; cf. J. Białostocki, “Renesansowy portret
pisarza”, in Portret. Funkcja-Forma-Symbol, Warszawa 1990, pp. 94-101; L. Voet, The Plantin
Press (1555-1589). A Bibliography of the Works Printed and Published by Christopher Plantin at
Antwerp and Leiden, Amsterdam 1980.
16 Cf. F. Roth-Scholtz, Thesaurus Symbolarum et Emblematum..., Normbergae et Altodorfii,
ap. haer. Joh. Dan. Tauberi, 1730, no. 224.
17 Cf ibid., no. 374.
61