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#0068
painting also appears in the printer’s device of the brothers Jan Pietersz. and
Adrian van de Venne “Art gives rise to famę”, adorning the first edition of Jacob
Cats Houwelijck published in Middelburg 1625.12 Moses Pitt’s device (London
1675)14 includes a winged figurę blowing on a horn but holding a palm
branch.
Popularity of the symbolics of glory in the typographic tradition, is also
reflected in the representation of famę, adorning the Gaveaux’ printing press
dated 1829, preserved m the Bibliotheąue Royale Albert ILT in Brussels (ill. 9).
The examples exammed thus far are indicative of the development and
mutual influence of emblematics and one of its sources: humanism. The extent
of this literary and morał current’s universality, as well as of the pieta poesis,
was considered in a book, occupying an exceptional place in the humanist
tradition.18 19 20
Conseąuently, famę to eminent typographers and the famę of typography,
formulated in connection with the indivisibility of virtue and famę as antiąue
motifs, proved fundamental to the symbolic contents of these humanistic
emblems. The theme of “Ars Typographorum” was seen to be taken up by these
emblems as an art form preserving for the futurę the achievements of human
thought and the memory of great acts.
In the 17lh century emblematics’ representations of typographers at work
a separate rangę of references may be identified in linę with the religious piety
of that period and its influence on morality and all aspects of life and
human activity. In Imago Principi Saeculi published in Antwerp in 1640 by
Plantm-Moretus, the representation of the printer at work took on a religious
context (ill. 10). By means of traditional references to the mystical winę press,
the printing press symbolising in this case Christ and a piece of paper printed
on lt become a symbol of the Jesuit who must devote themselves to suffering
in order to become useful and to finally achieve glory. The printer’s device of
Thomas Mijls, who was active in Amsterdam in the years 1698-1701, contains
similar elements and context. The representation of the printer’s workshop
was depicted with a winę press and provided with the motto “Prodero si
premar” (If I am printed I shall serve - To print is to serve).
A similar religious-moral context is reflected in the emblem “De
Boeckdrucker” by Jan Luyken, published in his Het Menselyk Bedryf in
Amsterdam in 1694 (ill. 11). The picture depicts the interior of a comparatively
smali workshop in which people are at work. In contrast to earlier portrayals
of the typographer’s atelier, generally illustrating only the interiors of standard
publishing houses, Luyken created the atmosphere of a specific place. This
18 Kareł Porteman, “T’IS AL. GOET WAT CUNSTE DOET. Beschowingen bij een Drukkersmerk
van de Gebroeders van de Venne”, De Gulden Passer, Bulletin van de “Vereeniging der Antwerpsche
Bibliophielen”, 61-63, 1983-1985, pp. 331-345.
19 Roth-Scholtz, op. cit., no. 385.
20 Cf. F. Schauwers, “L’Expansion de 1’Humanisme par 1’Imprimerie”, in DEurope Humanistę,
Bruxelles 1955, p. 57-60; J. Guze, “Książka jako symbol treści intelektualnych w sztuce doby
humanizmu”, in O ikonografii świeckiej doby humanizmu, op. cit., pp. 160-243.
62
Adrian van de Venne “Art gives rise to famę”, adorning the first edition of Jacob
Cats Houwelijck published in Middelburg 1625.12 Moses Pitt’s device (London
1675)14 includes a winged figurę blowing on a horn but holding a palm
branch.
Popularity of the symbolics of glory in the typographic tradition, is also
reflected in the representation of famę, adorning the Gaveaux’ printing press
dated 1829, preserved m the Bibliotheąue Royale Albert ILT in Brussels (ill. 9).
The examples exammed thus far are indicative of the development and
mutual influence of emblematics and one of its sources: humanism. The extent
of this literary and morał current’s universality, as well as of the pieta poesis,
was considered in a book, occupying an exceptional place in the humanist
tradition.18 19 20
Conseąuently, famę to eminent typographers and the famę of typography,
formulated in connection with the indivisibility of virtue and famę as antiąue
motifs, proved fundamental to the symbolic contents of these humanistic
emblems. The theme of “Ars Typographorum” was seen to be taken up by these
emblems as an art form preserving for the futurę the achievements of human
thought and the memory of great acts.
In the 17lh century emblematics’ representations of typographers at work
a separate rangę of references may be identified in linę with the religious piety
of that period and its influence on morality and all aspects of life and
human activity. In Imago Principi Saeculi published in Antwerp in 1640 by
Plantm-Moretus, the representation of the printer at work took on a religious
context (ill. 10). By means of traditional references to the mystical winę press,
the printing press symbolising in this case Christ and a piece of paper printed
on lt become a symbol of the Jesuit who must devote themselves to suffering
in order to become useful and to finally achieve glory. The printer’s device of
Thomas Mijls, who was active in Amsterdam in the years 1698-1701, contains
similar elements and context. The representation of the printer’s workshop
was depicted with a winę press and provided with the motto “Prodero si
premar” (If I am printed I shall serve - To print is to serve).
A similar religious-moral context is reflected in the emblem “De
Boeckdrucker” by Jan Luyken, published in his Het Menselyk Bedryf in
Amsterdam in 1694 (ill. 11). The picture depicts the interior of a comparatively
smali workshop in which people are at work. In contrast to earlier portrayals
of the typographer’s atelier, generally illustrating only the interiors of standard
publishing houses, Luyken created the atmosphere of a specific place. This
18 Kareł Porteman, “T’IS AL. GOET WAT CUNSTE DOET. Beschowingen bij een Drukkersmerk
van de Gebroeders van de Venne”, De Gulden Passer, Bulletin van de “Vereeniging der Antwerpsche
Bibliophielen”, 61-63, 1983-1985, pp. 331-345.
19 Roth-Scholtz, op. cit., no. 385.
20 Cf. F. Schauwers, “L’Expansion de 1’Humanisme par 1’Imprimerie”, in DEurope Humanistę,
Bruxelles 1955, p. 57-60; J. Guze, “Książka jako symbol treści intelektualnych w sztuce doby
humanizmu”, in O ikonografii świeckiej doby humanizmu, op. cit., pp. 160-243.
62