Rubem Amaral Jr.:
Applied emblems in the early paper-money and other old value papers in Portugal

Abstract:
As far as I could investigate, the United States of America and Portugal were the only countries to employ emblems/devices from emblem books in their earliest paper-money: the USA during the War of Independence (1775-1783); Portugal in the turn of the 18th to the 19th century (1797-1834). Both took devices from the same source, but there was a big difference: the ones in the American case reproduced the inscriptiones and the picturae, an aspect that made the identification easy through the search tools on the Internet; the result of my research on them was published in SES Newsletter. As for the Portuguese ones, only the picturae were reproduced. Thus, it was thanks to the knowledge I had recently acquired from the source that allowed me to discover their origin. Otherwise it would have been almost unidentifiable as parts of devices. Numismatists who dealt with the American items knew about the emblematic nature of the images, without giving great importance to the matter, and, in my opinion, they mistook the precise source. Those who dealt with the Portuguese ones never perceived the emblematic character of the images, and generally described them as bucolic scenes, which is correct only for part of the whole series. Besides that, at that time other Portuguese value papers were illustrated with devices’ picturae from the same origin. All in all, picturae of thirty-eight different emblems were applied on these documents. 

Francesco Del Sole:

Architectural archetypes in emblematic culture between the 16th and 18th centuries

Abstract:

The emblematic has created a culture that no longer reflects a civilization of images or words but a civilization of signs, in which both things coexist simultaneously. In this context, where the image is the protagonist, many emblematic artists assign a very important role to representations of the famous archetypes of antiquity (Pyramid, Colossus, Amphitheatre, Hanging Garden, Temple). These artists, starting from the results of archaeological investigations on ancient monuments that since the fifteenth century have interested antiquarians such as Pirro Ligorio, use these architectural models as a symbolic heritage to be used in the representation of Vices and Virtues and to crystallize, with noble and ancient images, the classical precepts. In the case of the Pyramids, they are commonly a symbol of eternity and power. But the exploitation of the "pyramid" model is not limited to these aspects. The archetype even goes so far as to represent the general idea of Virtue, of justice, of society. The image is iridescent, the pyramid rotates on itself, collapses, flies in the sky, breaks and then is reconstructed. There is a process of metamorphosis of the original image that forms itself around the words that are next to it. This type of investigation has made it possible to look at ancient archetypes from a point of view that is not archeological-reconstructive but an exercise in extrapolating the image. The image is at the service of fantasy and does not obey objective-archaeological rules but only plays on the link that is created between archetype and motto. It is possible to reconstruct an iconographic excursus that can highlight the symbolic meanings that each ancient archetype assumes, using the results of a research that has involved about 800 volumes of emblems.

          

Watch the Video of the first session at: 

https://www.facebook.com/322457321879114/videos/853880358534979

Takao Kawanishi (University of Tokyo): The Study of the symbol of Holy Grail from Coimbra in Portugal to Japan

Abstract: 

In the 16-17th Century, at the age of Discovery in Portugal, Japan as World End (Far East) contacted to Europe and Christianity especially Catholic by Kingdom of Portugal or IHS society such as another the End (Far West). The Coimbra (University) man as Missionary came to Japan. So, my thesis is relationship about two Holy Grail symbol (Flag or Emblem) about city and municipality Coimbra and, the tragic-mysterious War of Shimabara (Shimabara Rebellion,1637-38) in Japan.

Moreover, The Shimabara Flag（Academic name:綸子地著色聖体秘蹟図指物Holy Eucharist Sacrament Banner of figured satin, or Alias:天草四郎陣中旗Field Flag of Amakusa Shiro: c.1621-38 made by European style Japanese painter and the war vice commander, the only one survivor山田右衛門作Yamada Emosaku: c.1598-1657）using the War, which drew Holy Grail or Sacrament is also said the one of the three World Crusader Flags (Jerusalem Crusader in 11-14th Century, and Jeanne d'Arc for France in 15th Century).

However, was it correct for the meaning as War (Battle) Flag in Shimabara? or（conceivably） actually Peace or Relief (Salvation) Flag and Symbol wasn’t it? Accordingly, I will confirm about the meaning from the view of the history of Coimbra Grail Flag leading Shimabara’s through the Japanese Missionary to Europe of Tenbun(天文) by Bernardo of Satsuma(薩摩のベルナルドJapan, Kagoshima?-1557 studied Coimbra University and the last and grave place in Coimbra), Tensho（天正）, and Keicho（慶長遣欧使節）at the Era of Catholic Christianity in Japan.

Through mainly two (Coimbra and Shimabara) Flags, I will point out what both very rare image and concept of Holy Grail Flags mean in the time and even now using Iconology and Global history, Human Geography.

Tamar Abramson (Tel Aviv University): The Donatello Code: Attis-Amorino as a Proto-Emblematic Riddle 

Abstract: 

The iconographic riddle manifested in Donatello’s (1386-1466) Attis-Amorino (c. 1435-40) has been puzzling its viewers for over four hundred years. This winged putto with exposed genitals, tail, ornamented belt, winged ankles, and a friendly snake to its feet contains many attributes, but without a coherent connection between them. The statue received identifications over the years, such as Mercury, Cupid, Amor-Hercules, and many more. The scholarly inability to associate all the attributes to one character leaves the statue an enigma to this day. My proposition is to turn our attention to the social and cultural environment in which Attis-Amorino was created, the circle of humanists, learned patrons and artists centered around Cosimo de’ Medici (1389-1464), Donatello’s most prominent patron. The inclusion of artists in this circle allowed them to exchange ideas with the leading humanists, and to create intriguing and puzzling works of art, such as Attis-Amorino. As I will argue, Donatello’s statue can be seen as a proto-emblematic enigma, created in order to provoke its viewer to think, and to become the subject of learned discussion among 15th century humanists, patrons, and artists. I will suggest that the emblematic rhetoric, which invites the reader\viewer to contemplate, discuss and interpret an emblem, was well in place in 15th century Florentine art. Artworks such as Attis-Amorino expressed a contemporary need for intellectual challenges that would combine text, image, and the active role of the viewer, a need that was manifested in enigmatic works of art, and was eventually fulfilled by Andrea Alciato’s Emblematum liber in 1531.

Watch the Video of the second session at: 

https://www.facebook.com/322457321879114/videos/535593024275414

Liana Cheney (University of Massachusetts Lowell): “The Shepheard Buss”: Embroidery of Love and Sorrow

An unusual Elizabethan cover made of linen embroidered in silk and bobbin lace border is exhibited at the Victoria and Albert Museum in London (No. T.219-1953). The origin of the commission and the artist is unknown but the visual imagery and Latin and Italian inscriptions unveil a beautiful lament about love and despair. This paper will present an interpretation of the emblematic imagery found in the border of the cover or hanging cloth of 1500-1600.  The combination of words and reuses tells the viewer the love story of a shepherd. 

Isabel Lloret (University Jaume I, Castellón): Ferdinand of Austria's military education. Paideia siue militari artis peritia (Brussels, 1636)

In the Historical context of the Thirty Years’ War, Fort Schenkenschans was taken by Flemish troops led by Don Fernando of Austria, in the Historical context of the Thirty Year’s War. This fort that supposed to be the entry into Holland territories was reconquered by the Dutch army on April 30, 1636. Ernst van Veen, Otto Vaenius’ son dedicated the book Paideia sive militaris artis to him, on the occasion of this great loss, in order to encourage him.

Throughout this text, we will try to explain the meaning of this emblem book, as well as the variety of several influences by other books of emblems, numismatic images, Biblical and Patristic texts, which mix their own meaning with stoic emblematical roots.

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Watch the Video of the third session: 

https://www.facebook.com/322457321879114/videos/874655883121935

Session 5 | Thursday, 25 November, 2021 (18h Lisbon time)

CHAIR: Pedro Germano Leal

Ekaterina Skvortcova (Saint-Petersburg State University): Louis Caravaque’s “Portrait of the Daughters of Emperor Peter the Great Anna and Elizaveta” (1721-1723) from Marly Palace as an Allegory of the Treaty of Nystad

In order to Europeanize Russia Peter the Great initiated crucial reforms which embraced all fields, including fine arts. To facilitate wide use of European baroque symbolic language he commissioned the first emblem book with epigrams translated to Russian Symbola et Emblemata to be published (1705). Untranslated emblem books also got wider circulation. And the very broader acquaintance with European art contributed to the spread of emblematics.

This paper provides interpretation of the allegorical programme of “Portrait of the Daughters of Emperor Peter the Great Anna and Elizaveta” painted by a French master Louis Caravaque for Chenar study-room of Marly palace in Peterhof. The portrait perished in the fire of the palace in 1901 and have so far been known only after its mentionings in prerevolutionary literature. My recent discovery of an archival photograph of it has finally revealed how it looked like, while tracing its history in archival documents has made it possible to establish Louis Caravaque’s authorship and to firmly date the portrait. The very composition of two female figures and attributes attached to them originating from emblem books provide grounds to interpret the portrait as an allegory of the Treaty of Nystad (1721) which put victorious end to the Northern war. Such an interpretation is supported by the fact that nearly at the same time a loosely similar allegorical sculptural group (but with no portrait likeness to princesses) was commissioned from Pietro Baratta on wish of Peter the Great and its meaning as an allegory of Pax and Abundantia is explained in contemporary Russian sources. Meant for a small private studyroom of the Emperor, the portrait of his beloved daughters simultaneously reminded of his glorious deeds as a ruler. Representation of princesses in such an allegorical guise was inspired by the fact that celebrations of Nystad Treaty in Moscow in January 1722 coincided with birthday of Anna and declaring Elizaveta’s adulthood.

Eliana Ferrari (University Roma 3): The lost emblems: the emblematic programme of the Château des Grotteaux (Blois, 17th century)

The Château des Grotteaux is a maison seigneuriale in the French countryside, built at the beginning of the 17th century. Twelve emblems were painted on the main beams in the central room of the castle; however, in the 19th century, the picturæ were removed and covered with black painting, and only the motti survived.

Thus, the goal of my research was to rediscover the imagines and their source(s), as well as to understand the meaning of the whole programme.

At first, I looked for matching motti in emblematic publications – but with no success. These emblems seem to be an original creation: hence, I tried to find similar emblems, with a similar meaning of the anima or with a compatible corpo – always aware of the fluidity of the emblematic form.

The process led to explain the origin of the programme, specifically its epicurean influences – vehiculated in French culture by Erasmus, Montaigne, Gassendi. Therefore, the cultura, that is alluded to by botanical emblems, is both a quest for knowledge and a projection of the Garden, Epicurean and monastic – themes coherent with the contemporary fascination for an isolated country life. In addition, Montaigne’s librairie may have played an important role as a model, to declare one’s social and spiritual nobility.

This interpretation is supported by an analogous programme, described in Les devises de monsieur de la Boissière (1654), where a corresponding system of values is displayed.

Watch the Video of the fifth session: https://www.facebook.com/watch/live/?ref=watch_permalink&v=1113447332529664

Session 7 | Thursday, 24 February 2022 (21h Lisbon time)

CHAIR:  Michael Bath

Denis Drysdall (University of Waikato): Why did Barthélemy Aneau translate “line for line”?

Aneau gives five reasons: “Firstly, in order to emulate ancient poets who translated sometimes line for line ... Secondly in order to retain the conciseness of epigrams, which should not be amplified in long sentences. Thirdly, because emblems need to be brief, for lengthy verse would require too much space on the objects to be ornamented ... Fourthly, to demonstrate to the ‘defamers’ of the French language that it can be the equal of Latin in ‘laconic brevity’ ... Fifthly because he is confident that he can do it ... -- but was that all?