Andrea Alciato, commonly known as Alciati, was an Italian jurist and writer. He is regarded as the founder of the French school of legal humanists.
This article contains information about the literary events and publications of 1531.
An emblem is an abstract or representational pictorial image that represents a concept, like a moral truth, or an allegory, or a person, like a monarch or saint.
Usually known simply as the Emblemata, the first emblem book appeared in Augsburg (Germany) in 1531 under the title Viri Clarissimi D. Andreae Alciati Iurisconsultiss. Mediol. Ad D. Chonradum Peutingerum Augustanum, Iurisconsultum Emblematum Liber. Produced by the publisher Heinrich Steyner, the unauthorized first print edition was compiled from a manuscript of Latin poems which the Italian jurist Andrea Alciato had dedicated to his friend Conrad Peutinger and circulated to his acquaintances. The 1531 edition was soon followed by a 1534 edition authorized by Alciato: published in Paris by Christian Wechel, this appeared under the title Andreae Alciati Emblematum Libellus. The word "emblemata" is simply the plural of the Greek word "emblema", meaning a piece of inlay or mosaic, or an ornament: in his preface to Peutinger, Alciato describes his emblems as a learned recreation, a pastime for humanists steeped in classical culture.
Cesare Ripa was an Italian iconographer who worked for Cardinal Anton Maria Salviati as a cook and butler.
The Honeysuckle Bower is a self-portrait of the Flemish Baroque painter Peter Paul Rubens and his first wife Isabella Brant, executed c. 1609.The couple is seated in fine clothes within a garden composition and a vine of honeysuckle is placed overhead. The symbolism of the double-portrait alludes to meanings of love and marriage, such as the holding of right hands, and the concept of the garden of love. The pose of the two figures and their fine clothing signify self-fashioning by Rubens. They wed in 1609, the same year that work was created; it was ultimately given to Isabella’s father Jan Brant and would later end up in the collection of Johann Wilhem II of Düsseldorf. The couple would be married for seventeen years, and have three children before Isabella died in 1625. Her death would have a profound impact on Rubens and through his loss he created an posthumous portrait.
Otto van Veen, also known by his Latinized names Otto Venius or Octavius Vaenius, was a painter, draughtsman, and humanist active primarily in Antwerp and Brussels in the late 16th and early 17th centuries. He is known for his paintings of religious and mythological scenes, allegories and portraits, which he produced in his large workshop in Antwerp. He further designed several emblem books, and was from 1594 or 1595 to 1598 the teacher of Rubens. His role as a classically educated humanist artist, was influential on the young Rubens, who would take on that role himself. He was court painter of successive governors of the Habsburg Netherlands, including the Archdukes Albert and Isabella.
The Speculum Humanae Salvationis or Mirror of Human Salvation was a bestselling, anonymously illustrated work of popular theology in the late Middle Ages, part of the genre of encyclopedic speculum literature, in this case concentrating on the medieval theory of typology, whereby the events of the Old Testament prefigured or foretold the events of the New Testament. The original version is in rhyming Latin verse, and contains a series of New Testament events each with three Old Testament ones that prefigure it. It is one of the most common books found as an illuminated manuscript, and also in early printing in both blockbook and incunabulum forms.
Guillaume Rouillé, also called Roville or Rovillius, was one of the most prominent humanist bookseller-printers in 16th-century Lyon. He invented the pocket book format called the sextodecimo, printed with sixteen leaves to the folio sheet, half the size of the octavo format, and published many works of history and poetry as well as medicine, in addition to his useful compilations and handbooks.
The Walnut Tree is one of Aesop's fables and numbered 250 in the Perry Index. It later served as a base for a misogynistic proverb, which encourages the violence against walnut trees, asses and women.
The Two Pots is one of Aesop's Fables and numbered 378 in the Perry Index. The fable may stem from proverbial sources.
The Gourd and the Palm-tree is a rare fable of West Asian origin that was first recorded in Europe in the Middle Ages. In the Renaissance a variant appeared in which a pine took the palm-tree's place and the story was occasionally counted as one of Aesop's Fables.
The Crow or Raven and the Snake or Serpent is one of Aesop's Fables and numbered 128 in the Perry Index. Alternative Greek versions exist and two of these were adopted during the European Renaissance. The fable is not to be confused with the story of this title in the Panchatantra, which is completely different.
"The Blind Man and the Lame" is a fable that recounts how two individuals collaborate in an effort to overcome their respective disabilities. The theme is first attested in Greek about the first century BCE. Stories with this feature occur in Asia, Europe and North America.
The Elm and the Vine were associated particularly by Latin authors. Because pruned elm trees acted as vine supports, this was taken as a symbol of marriage and imagery connected with their pairing also became common in Renaissance literature. Various fables were created out of their association in both Classical and later times. Although Aesop was not credited with these formerly, later fables hint at his authorship.
The cautionary tale of The Mouse and the Oyster is rarely mentioned in Classical literature but is counted as one of Aesop's Fables and numbered 454 in the Perry Index. It has been variously interpreted, either as a warning against gluttony or as a caution against unwary behaviour.
Developed by authors during Renaissance times, the story of an ass eating thistles was a late addition to collections of Aesop's Fables. Beginning as a condemnation of miserly behaviour, it eventually was taken to demonstrate how preferences differ.
The Fowler and the Snake is a story of Greek origin that demonstrates the fate of predators. It was counted as one of Aesop's Fables and is numbered 115 in the Perry Index.
The Ass Carrying an Image is one of Aesop's Fables and is numbered 182 in the Perry Index. It is directed against human conceit but at one period was also used to illustrate the argument in Canon Law that the sacramental act is not diminished by the priest's unworthiness.
Charles Moseley, who also publishes as C. W. R. D. Moseley, is an English writer, scholar, and teacher, and a former fellow of Wolfson College and Life Fellow of Hughes Hall in Cambridge, as well as a fellow of the English Association, the Society of Antiquaries of London, and the Royal Society of Arts.
