Promptuarium Iconum Insigniorum

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Promptuarium Iconum Insigniorum
Promptuarii.jpg
Title page of the first Latin edition, bearing Rouillé's emblem [lower-alpha 1] and motto. [lower-alpha 2] "D. MEM. S." is an abbreviation for Dis Memoribus Sacrum [2] (lit. 'Sacred to the remembering gods').
Author Guillaume Rouillé
IllustratorGeorges Reverdy [3]
Language
  • Latin
  • French
  • Italian (1553)
Spanish (1561)
Subject
PublisherGuillaume Rouillé
Publication date
1553
Publication placeFrance
Media typePrint
Pages
  • 172 (part I)
  • 247 (part II)
OCLC 716696497
Text Promptuarium Iconum Insigniorum at Internet Archive

Prima pars Promptuarii iconum insigniorum à seculo hominum, subiectis eorum vitis, per compendium ex probatissimis autoribus desumptis. ( listen ⓘ ; transl. 'The first part of the storehouse of images of the more notable men from the beginning of time, with their biographies subjoined, taken in abbreviated form from the most approved authors.') or Promptuarium Iconum Insigniorum [lower-alpha 3] for short is an iconographic collection of wood engravings authored and published by French humanist, numismatist, [8] publisher and bookseller Guillaume Rouillé in Latin, French and Italian in 1553, in Lyon, France. The book's initial editions contain 828 portraits, designed as medallions, of renowned figures some of whom are mythical and some historical. The portraits are largely listed in supposed chronological order, beginning with those of Adam and Eve and ending with those of individuals from the mid-16th century, each accompanied by a summarized biographical text. In a 1577 edition, approximately 100 more portraits were added.

Contents

The contents are divided into two parts: Prima pars ('first part') covers those who supposedly or historically lived before the birth of Christ while pars secunda ('second part') deals with those who did during or after his lifetime. The two parts are usually bound into one book, albeit with separate pagination. The book does not mention the engraver's name; the portraits have been typically attributed, however, to Piedmontese engraver Georges Reverdy  [ fr; it ]. Many of the portraits were based on depictions from ancient coins, but Rouillé did not intend his work to be a numismatic or academic reference text. The book instead appealed as a collection of brief, well-written and illustrated history lessons to a broader audience and became a bestseller in its era.

Iconographic basis

Portrait books, which featured genuine or fictitious woodcut portraits of renowned individuals of different eras and places, were highly popular in 16th-century Europe. [9] Guillaume Rouillé, an established publisher and bookseller in Lyon by mid-century, saw an opportunity for a profitable business in the genre like many of his competitors did. [7] Rouillé got the idea for the medallion portrait format from the 1517 book Illustrium imagines ('Images of the famous') by Renaissance humanist Andrea Fulvio, which contained 204 busts of individuals engraved in the styles of antique coins. [10] Rouillé humorously states in his preface of Promptuarium Iconum Insigniorum that he included fictitious images of individuals who were supposed to have lived before the biblical account of the Flood or the invention of the art of painting and engraving, in order not to be accused for having spread counterfeit money to the public. [11] He admits that such portraits were drawn with the help of imagination, yet in accordance with the characteristics of the individual's deeds, customs, personality, and the region they were said to be from; likewise for the images of historical figures whose attested iconographic traces did not exist. [11]

Rouille and the engraver mistakenly based the portrait of Alexander the Great (pictured) on a depiction of Athena from a Macedonian gold stater. Alexander the Great from Promptuarium Iconum Insigniorum.jpg
Rouillé and the engraver mistakenly based the portrait of Alexander the Great (pictured) on a depiction of Athena from a Macedonian gold stater.

The rest of the portraits were based on paintings [3] as well as numismatic, sigillographic, and intaglio collections Rouillé and the engraver had access to, [13] —for example, they based the portrait of Alexander the Great on a Macedonian gold stater that had Athena on the obverse, mistaking her depiction for that of Alexander [12] while getting depictions of Demetrius I of Macedon and Mithridates VI Eupator from the correct coins [14] —or copied from earlier portrait books. [15] The portraits of French monarchs were reproduced from the 1528 book Les Anciennes et modernes genealogies des Roys de France ('The ancient and modern genealogies of the Kings of France'), authored by French poet and historian Jean Bouchet  [ fr ], [10] and from the 1546 book Epitome gestorum LVIII regum Franciae ('Epitome of the deeds of the 58 kings of France'), published by Lyonese bookseller Balthazar Arnoullet  [ fr; it ]. [15] Most portraits of the early Caesars were taken from the 1534 book Imperatorum et Caesarum vitae ('Lives of Emperors and Caesars'), authored by German historian Johannes Huttich  [ de ]. [14]

Rouillé's book does not disclose the portrait engraver's identity; however, 19th-century Lyonese bibliographer and jurist Henri-Louis Baudrier attributed the portraits to Georges Reverdy from Piedmont, whose engraving skills he praised. [3] Reverdy was a resident of Lyon at the time of the book's authorship and had gained wide recognition by then, having been compared to Hans Holbein the Younger. [10] Either Reverdy modeled some of the engravings after drawings and paintings of Dutch painter Corneille de Lyon, or Reverdy and Corneille worked jointly, because the artistic style in some of the book's contemporary portraits—such as that of Marguerite de Navarre—very closely matches Corneille's. [15] [16]

Contents

The work, which contains 828 medallion portraits in the initial editions, [8] [17] is chronologically divided into two parts: Prima pars ('first part') and pars secunda ('second part'), separated by the birth of Christ, which Rouillé placed in the 3,962nd year after the biblical accounts of the world creation. [18] The individuals who supposedly or historically lived before Christ are grouped together in the first part, and each major event of their lives is given two dates: one in anno Mundi ('in the year of the world'), [19] which is based on the world creation narrative as described in the Book of Genesis, [20] and the other in ante Christum natum ('before Christ [was] born'), [19] a Latin equivalent to BC. [21] Those who lived during Christ's lifetime or after his death are listed in the second part, which is titled Promptuarii iconum pars secunda incipit à Christo nato, perpetuam ducens seriem ad usque Christianissimũ Francorum regem Henricum hoc nomine secundum, hodie feliciter regnantem (transl. 'The second part of the storehouse of images begins with the birth of Christ, leading a continuous series to the most Christian king of France, Henry II, who reigns happily to this day') in the initial Latin edition. [22] The two parts, nevertheless, are usually bound into one book, although they maintain separate pagination. [15]

Portrait of Isis (right) facing that of Osiris, who is her husband as well as her brother, with his biographical text below them. A couple, married or not, is often displayed next to each other. Osiris and Isis from Promptuarium Iconum Insigniorum.jpg
Portrait of Isis (right) facing that of Osiris, who is her husband as well as her brother, with his biographical text below them. A couple, married or not, is often displayed next to each other.

Each portrait is accompanied by a summarized biographical text below it and has the individual's name in a circular inscription inside the edge of the medallion. The medallions are arranged in pairs so that a couple, regardless of their marital status, is often displayed on the page next to each other. [15] Some of those who had more than one spouse due to remarriage have their portrait appear multiple times, alongside each of their spouses. [23] The biographical texts have been partially taken from compendia of history from the antiquity, such as Ausonius's epigrams. [24] The first part begins with the portraits of Adam and Eve, who are depicted as an elderly couple. [25] They are followed by the patriarchs, prophets and kings of the Old Testament, including Abraham, Noah, Jeremiah, Nimrod and Ahab. Pagan deities as well as mythical creatures and heroes, like Janus, Osiris, the Minotaur, Vesta, Romulus and Hercules, and historical figures who lived before Christ's era, such as Zoroaster, Thales of Miletus, Julius Caesar and Pericles are included in the part. [10] [14] [19]

The second part opens with a title page depicting the Nativity and deals with the portraits and biographies of individuals from Christ's time, the Roman Empire after Christ's death, Middle Ages, and Rouillé's contemporary era—the mid-16th century: Christ himself, Judas Iscariot, Pontius Pilate, most of the Roman emperors, Attila the Hun, Islamic prophet Muhammad, a complete set of the early Ottoman sultans, post-classical writers like Dante Alighieri, the Holy Roman Emperors from Charlemagne up to Charles V, and a large number of contemporary royals such as Edward VI of England, Marguerite de Navarre and Catherine de' Medici. [19] [26] Anne of Brittany appears in two different portraits of hers: one alongside her first husband, Charles VIII, in which she wears a wreath, and the other next to her second, Louis XII, wearing her more commonly depicted headdress. [23] In a 1577 edition, approximately 100 more portraits—mostly those of individuals from Rouillé's era—were added to the second part [14] and those of Hippocrates and Galen were added to the appendix. [27]

Publication history

Henry II of France, to whom Rouille dedicated the first Latin edition in 1553. The first Italian edition was dedicated to his wife, Catherine de' Medici. Henry II of France-Francois Clouet (altered).jpg
Henry II of France, to whom Rouillé dedicated the first Latin edition in 1553. The first Italian edition was dedicated to his wife, Catherine de' Medici.

The book was published in Lyon, in 1553, in three editions simultaneously: Latin, French, and Italian. [8] Rouillé often published different language editions of what he thought would sell internationally and distributed them throughout Europe, aided by his in-law connections. [28] The title page of the first Latin edition bears Rouillé's emblem—an eagle atop a globe flanked by two serpents, which symbolizes worldly triumph—as well as his Latin motto, In virtute, et fortuna (lit. 'In valor, and good fortune'). [1] The abbreviated inscription "D. MEM. S.", framed by a cartouche above the book's title on the page, represents the Latin phrase Dis Memoribus Sacrum (lit. 'Sacred to the remembering gods'). [2] Rouillé dedicated the Latin edition to Henry II of France, the Italian edition to Catherine de' Medici, and the French edition to Marguerite de Navarre; the dedications to the royals were an indirect advertising technique. [29] Several subsequent editions in these languages were published in the following years. [8] In the 1577 French edition, Rouillé gave a more prominence to humanists who had contributed to the European development of law and medicine in the first half of the 16th century—such as the jurist François Douaren and the anatomist and physician Andreas Vesalius—thus paying tribute to the humanist movement of his time. [27]

The Spanish translation, Promptuario de las medallas de todos las más insignes varones que ha habido desde el principio del mundo, was a work of Valencian theologian and translator Joan Martí Cordero  [ ca ]. [30] His dedication of the work, dated September 8, 1558, and written from the Université catholique de Louvain where he was a student at the time, was addressed "[...] al muy alto y muy poderoso señor don Carlos, por la gracia de Dios, Príncipe de las Españas ('[...] to the very high and very powerful lord Don Carlos, by the grace of God, Prince of the Spains')", referring to Prince Carlos of Asturias, who was the eldest son and heir apparent of King Philip II of Spain. [30] The Spanish edition was published in 1561 by Rouillé. [8] [31]

Reception

Promptuarium Iconum Insigniorum was a bestseller in its era. [32] Although many of the book's portraits were based on depictions from ancient coins and emulated their artistic styles, Rouillé did not intend his work to be a reference text for academics or numismatists: for example, he entirely disregarded the reverse sides of the coins he used as the sources of the depictions. [33] The book instead appealed as a collection of brief, well-written and illustrated history lessons to a broader audience. [14] Many of the similar iconographic collections published in Europe from the mid-16th to 17th centuries referenced and copied from the work, partly because Rouillé had used a variety of diverse sources and chosen individuals based on more daring criteria than what was generally accepted at the time. [34] Jean de Tournes, who was Rouillé's main competitor in the Lyonese publishing industry, published Insignium aliquot virorum icones ('Images of some notable men'), an imitation of Promptuarium Iconum Insigniorum with fewer portraits and a lower price, in 1559. It did not sell as well as Rouillé's work and no further editions were released. [35]

French physician and numismatist Antoine Le Pois  [ la ] mentioned Promptuarium Iconum Insigniorum in his posthumous 1579 work Discours sur les médailles et gravures antiques ('Discourse on antique medals and engravings') as one of the texts he felt more useful for their abridgements of history than the fictitious portraits they contained. [36] Julian Sharman, the 19th-century author of The Library of Mary Queen of Scots, declared Rouillé's work to be "not one of much numismatic interest"; however he added that the portrait book had been "pronounced to be one of the marvels of early wood-engraving". [37] In her 2006 essay, art historian Ilaria Andreoli commented on Promptuarium Iconum Insigniorum: "Rouillé's ambition is [...] to speak to the eyes [...] thanks to which the reader will be able to peer into the features and hear them speak, as if they were actors' masks". [38]

See also

Notes

  1. ↑ An eagle atop a globe flanked by serpents, symbolizing worldly triumph [1]
  2. ↑ In virtute, et fortuna (Latin for 'In valor, and good fortune') [1]
  3. ↑ 19th-century Lyonese bibliographer Henri-Louis Baudrier abbreviated the Latin edition title as Promptuarium iconum, [4] while Italian painter and antiquarian Riccardo Nobili shortened it as Promptuarium iconum insigniorum a seculo hominum in his 1922 text. [5] The noun promptuarium (Latin for 'storehouse' / 'repository') was a term medieval authors often used to name their lexicographical works. [6] Art historian John Cunnally  [ wikidata ] speculated that Rouillé picked such a term because thesaurus , which would have been a more common term for a portrait book, had been used by Jean de Tournes—who was Rouillé's rival in the Lyonese publishing business—for another portrait book's title. [7]

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References

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  2. 1 2 Dubu, Jean (1988). "Le Promptuaire des medalles de Gvillavme Roville". In Possenti, Antonio; Mastrangelo, Giulia (eds.). Il Rinascimento a Lione: atti del congresso internazionale (Macerato, 6–11 Maggio 1985)[The Renaissance in Lyon: Proceedings of the International Congress (Macerata, May 6–11, 1985)] (in French and Italian). Edizioni dell'Ateneo. p. 189. OCLC   24229343.
  3. 1 2 3 PD-icon.svg This article incorporates text from this source, which is in the public domain :Baudrier, Henri-Louis; Baudrier, Julien; Tricou, Georges (1912) [1895]. Bibliographie lyonnaise: recherches sur les imprimeurs, libraires, relieurs et fondeurs de lettres de Lyon au XVIe siècle par le Président Baudrier, publiées et continuées par J. Baudrier [Bibliography of Lyon: Research on the printers, booksellers, bookbinders, and founders of letters in Lyon in the 16th century by President Baudrier, published and continued by J. Baudrier] (in French). Vol. 9. Lyon: Librairie ancienne d'Auguste Brun. p. 207. OCLC   6966263 . Retrieved December 29, 2022– via Internet Archive.
  4. ↑ Baudrier, Henri-Louis; Baudrier, Julien; Tricou, Georges (1912) [1895]. Bibliographie lyonnaise: recherches sur les imprimeurs, libraires, relieurs et fondeurs de lettres de Lyon au XVIe siècle par le Président Baudrier, publiées et continuées par J. Baudrier [Bibliography of Lyon: Research on the printers, booksellers, bookbinders, and founders of letters in Lyon in the 16th century by President Baudrier, published and continued by J. Baudrier] (in French). Vol. 9. Lyon: Librairie ancienne d'Auguste Brun. p. 204. OCLC   6966263 . Retrieved December 29, 2022– via Internet Archive.
  5. ↑ Nobili, Riccardo (1922). "VIII. Imitation, Plagiarism, and Faking". The Gentle Art of Faking: A history of the methods of producing imitations & spurious works of art from the earliest times up to the present day. London: Seeley Service & Co. Ltd. p. 93. Retrieved September 14, 2024– via Project Gutenberg.
  6. ↑ Stein, Gabriele (2014) [1985]. "12. The Promptuarium parvulorum". The English Dictionary Before Cawdrey. Lexicographica. Series Maior. Tübingen: Max Niemeyer Verlag. p. 91. doi:10.1515/9783111664873. ISBN   9783484309098.
  7. 1 2 Cunnally, John (1999). "9. Comme au Clair Miroir de l'Âme: Rouille, Physiognomy, and the Renaissance Bildnisvitenbücher". Images of the Illustrious: the Numismatic Presence in the Renaissance . Princeton University Press. p. 98. ISBN   9780691016689 . Retrieved August 27, 2023– via Internet Archive.
  8. 1 2 3 4 5 Kluczek, Agata A. [in Polish] (2018). "Klodia Metelli w rzymskiej tradycji literackiej i nowożytnej tradycji numizmatycznej, czyli uwagi na kanwie książki Agnieszki Dziuby Klodia Metelli. Literacki portret patrycjuszki, Wydawnictwo KUL, Lublin 2016, ss. 320" [Clodia Metelli in the Roman Literary Tradition and Modern Numismatic Tradition, i.e. Remarks Based on Agnieszka Dziuba's Book "Klodia Metelli. Literacki portret patrycjuszki", KUL Publishing House, Lublin 2016, pp. 320]. Res Historica (in Polish). 45. Lublin: Maria Curie-Skłodowska University: 365–366. doi: 10.17951/rh.2018.45.359-371 . ISSN   2082-6060. S2CID   240165655. Archived from the original on June 20, 2023. Retrieved August 20, 2023.
  9. ↑ Cunnally, John (1999). "9. Comme au Clair Miroir de l'Âme: Rouille, Physiognomy, and the Renaissance Bildnisvitenbücher". Images of the Illustrious: the Numismatic Presence in the Renaissance . Princeton University Press. p. 95. ISBN   9780691016689 . Retrieved September 2, 2023– via Internet Archive.
  10. 1 2 3 4 Perkinson, Stephen (2002). "From an 'Art De Memoire' to the Art of Portraiture: Printed Effigy Books of the Sixteenth Century". Sixteenth Century Journal . 33 (3): 700–705. doi:10.2307/4144020. JSTOR   4144020.
  11. 1 2 PD-icon.svg This article incorporates text from this source, which is in the public domain : Rouillé, Guillaume (1553). "Gulielmus Rovillius lectori" [Guillaume Rouillé to the reader]. Prima pars Promptuarii iconum insigniorum à seculo hominum, subiectis eorum vitis, per compendium ex probatissimis autoribus desumptis[The first part of the storehouse of images of the more notable men from the beginning of time, with their biographies subjoined, taken in abbreviated form from the most approved authors.] (in Latin and Ancient Greek). Lyon: Guillaume Rouillé. OCLC   716696497 . Retrieved August 25, 2023– via Internet Archive. Cæterùm ne quis lege Cornelia nos falsi arguat, quod commentitias, seu factitias quasdam figuras velut adulterina numismata in publicum sparserimus: concedatur confessioni venia: εις το γαρ αδυνατον ουτις αναρτωται. Priscorum enim hominum qui ante diluvium, & ante inventas pingendi, & scalpendi artes vixisse memorantur. Ut Adæ, Abrahæ, & Patriarcharum εικωνας non negamus à nobis fuisse per imaginationem effictas: & cum nullum haberemus Prototypum ex descripta eorum Natura, moribus, ætate, regione & rebus gestis φανταστικως fuisse conformatas.[However, lest anyone accuse us of falsification according to the Lex Cornelia—that we have scattered false or invented images like counterfeit coins among the public: let pardon be granted to our confession (for no one is bound to do the impossible). For in the case of the men of ancient times who are said to have lived before the Flood and before the invention of the arts of painting and carving, for example Adam, Abraham, and the Patriarchs, their images we do not deny have been created by us imaginatively: and since we had no model, the images have been shaped from the description of their nature, from their manners, age, region, and deeds, by imagination.]
  12. 1 2 Chatzidakis, Michail (2010). "Ciriacos Numismata und Gemmae. Die Bedeutung der Münz- und Gemmenkunde für die Altertumsforschungen des Ciriaco d'Ancona" [Ciriaco's Numismata and Gemmae. The Importance of Numismatics and Gemology for the Archeology of Ciriaco d'Ancona]. Mitteilungen des Kunsthistorischen Institutes in Florenz (in German). 54 (1). Kunsthistorisches Institut in Florenz: 40. ISSN   0342-1201. JSTOR   41414764. [...] eben ein solches Bild der behelmten Athena von einer mazedonischen Goldmünze als Vorlage für sein Alexanderporträt [...]
  13. ↑ Andreoli, Ilaria (2006). "La storia 'in soldoni': il Promptuaire des medalles di Guillaume Rouillé" [History 'in a nutshell': Guillaume Rouillé's Promptuaire des medalles]. In Rozzo, Ugo; Gabriele, Mino (eds.). Storia per parole e per immagini[History in words and pictures] (in Italian). Udine: Forum. p. 259. Archived from the original on January 1, 2023. Retrieved December 29, 2022– via Academia.edu.
  14. 1 2 3 4 5 Cunnally, John (1999). "9. Comme au Clair Miroir de l'Âme: Rouille, Physiognomy, and the Renaissance Bildnisvitenbücher". Images of the Illustrious: the Numismatic Presence in the Renaissance . Princeton University Press. p. 101. ISBN   9780691016689 . Retrieved August 28, 2023– via Internet Archive.
  15. 1 2 3 4 5 6 Cunnally, John (1999). "9. Comme au Clair Miroir de l'Âme: Rouille, Physiognomy, and the Renaissance Bildnisvitenbücher". Images of the Illustrious: the Numismatic Presence in the Renaissance . Princeton University Press. p. 99. ISBN   9780691016689 . Retrieved August 27, 2023– via Internet Archive.
  16. ↑ Dubois de Groër, Anne (1996). Corneille de La Haye, dit Corneille de Lyon (1500/1510–1575) [Corneille de La Haye, known as Corneille de Lyon (1500/1510–1575)] (in French). Paris: Arthena. p. 47. ISBN   2-903239-21-5. Archived from the original on July 8, 2023. Retrieved December 31, 2022– via Google Books. [...] Georges Reverdy [...] n'en était pas l'unique auteur mais que Corneille en avait exécuté un certain nombre.
  17. ↑ Andreoli, Ilaria (2006). "La storia 'in soldoni': il Promptuaire des medalles di Guillaume Rouillé" [History 'in a nutshell': Guillaume Rouillé's Promptuaire des medalles]. In Rozzo, Ugo; Gabriele, Mino (eds.). Storia per parole e per immagini[History in words and pictures] (in Italian). Udine: Forum. p. 237. Archived from the original on January 1, 2023. Retrieved December 29, 2022– via Academia.edu.
  18. ↑ Rouillé, Guillaume (1581) [1553]. SECONDA PARTE DEL PRONTVARIO DELLE MEDAGLIE, LA QVALE comincia dà la natiuità del nostro Saluatore GIESV CHRISTO, & continoua insino al Christianissimo Rè di Francia & di Pologna, HENRICO III. di nome, il quale al presente regna felicemente [The second part of the Handbook of Medals begins with the birth of Christ, leading a continuous series to the most Christian king of France and Poland, Henry III, who reigns happily to this day.] (in Italian). Lyon: Guillaume Rouillé. p. 3. OCLC   1050826580. Archived from the original on August 19, 2023. Retrieved December 31, 2022– via Digital Libraries Connected.
  19. 1 2 3 4 Andreoli, Ilaria (2006). "La storia 'in soldoni': il Promptuaire des medalles di Guillaume Rouillé" [History 'in a nutshell': Guillaume Rouillé's Promptuaire des medalles]. In Rozzo, Ugo; Gabriele, Mino (eds.). Storia per parole e per immagini[History in words and pictures] (in Italian). Udine: Forum. p. 238. Archived from the original on January 1, 2023. Retrieved December 29, 2022– via Academia.edu.
  20. ↑ "Anno mundi". Merriam-Webster.com Dictionary. Merriam-Webster. Archived from the original on December 6, 2023. Retrieved September 12, 2024.
  21. ↑ Eames, Christopher (April 13, 2023). "B.C./A.D. or B.C.E./C.E.?". Armstrong Institute of Biblical Archaeology. Archived from the original on March 1, 2024. Retrieved September 12, 2024.
  22. 1 2 Andreoli, Ilaria (2006). "La storia 'in soldoni': il Promptuaire des medalles di Guillaume Rouillé" [History 'in a nutshell': Guillaume Rouillé's Promptuaire des medalles]. In Rozzo, Ugo; Gabriele, Mino (eds.). Storia per parole e per immagini[History in words and pictures] (in Italian). Udine: Forum. p. 236. Archived from the original on January 1, 2023. Retrieved December 29, 2022– via Academia.edu.
  23. 1 2 Dubu, Jean (1988). "Le Promptuaire des medalles de Gvillavme Roville". In Possenti, Antonio; Mastrangelo, Giulia (eds.). Il Rinascimento a Lione: atti del congresso internazionale (Macerato, 6–11 Maggio 1985)[The Renaissance in Lyon: Proceedings of the International Congress (Macerata, May 6–11, 1985)] (in French and Italian). Edizioni dell'Ateneo. p. 191. OCLC   24229343.
  24. ↑ Cunnally, John (1999). "9. Comme au Clair Miroir de l'Âme: Rouille, Physiognomy, and the Renaissance Bildnisvitenbücher". Images of the Illustrious: the Numismatic Presence in the Renaissance . Princeton University Press. p. 102. ISBN   9780691016689 . Retrieved August 29, 2023– via Internet Archive.
  25. ↑ Dubu, Jean (1988). "Le Promptuaire des medalles de Gvillavme Roville". In Possenti, Antonio; Mastrangelo, Giulia (eds.). Il Rinascimento a Lione: atti del congresso internazionale (Macerato, 6–11 Maggio 1985)[The Renaissance in Lyon: Proceedings of the International Congress (Macerata, May 6–11, 1985)] (in French and Italian). Edizioni dell'Ateneo. p. 190. OCLC   24229343.
  26. ↑ Milwright, Marcus (2017). "The martyred sultan: Tuman Bay II in André Thevet's Les vrais pourtraits et vies des hommes illustrés". Word & Image. 33 (1): 14. doi:10.1080/02666286.2016.1228279. S2CID   164672006.
  27. 1 2 Rajchenbach-Teller, Élise (2012). "De «ceux qui de leur pouvoir aydent et favorisent au publiq» Guillaume Rouillé, libraire à Lyon" [Of 'those who use their power to help and encourage the public': Guillaume Rouillé, bookseller in Lyon]. In Bénévent, Christine; Charon, Anne; Diu, Isabelle; Vène, Magali (eds.). Passeurs de textes: Imprimeurs et libraires à l'âge de l'humanisme[Couriers of Texts: Printers and Booksellers in the Age of Humanism] (in French). Paris: École Nationale des Chartes. pp. 99–116. doi: 10.4000/books.enc.533 . ISBN   9782357231108. Archived from the original on February 27, 2023. Retrieved August 16, 2023– via OpenEdition Books  [ fr ].
  28. ↑ Cunnally, John (1999). "9. Comme au Clair Miroir de l'Âme: Rouille, Physiognomy, and the Renaissance Bildnisvitenbücher". Images of the Illustrious: the Numismatic Presence in the Renaissance . Princeton University Press. pp. 96–98. ISBN   9780691016689 . Retrieved August 27, 2023– via Internet Archive.
  29. ↑ Andreoli, Ilaria (2006). "La storia 'in soldoni': il Promptuaire des medalles di Guillaume Rouillé" [History 'in a nutshell': Guillaume Rouillé's Promptuaire des medalles]. In Rozzo, Ugo; Gabriele, Mino (eds.). Storia per parole e per immagini[History in words and pictures] (in Italian). Udine: Forum. pp. 235–236. Archived from the original on January 1, 2023. Retrieved December 29, 2022– via Academia.edu. Il tutto accompagnato da scaltre 'tecniche pubblicitarie' basate sulle richieste di privilegi e dediche a personaggi famosi.
  30. 1 2 Lluís Martos, Josep (January–June 2015). "Juan Martín Cordero en Flandes: Humanismo, mecenazgo e imprenta" [Juan Martín Cordero in Flanders: Humanism, patronage and printing]. Revista de Filología Española (in Spanish). 95 (1). Madrid: Spanish National Research Council: 85–87. doi: 10.3989/rfe.2015.04 . hdl: 10045/48808 . ISSN   0210-9174.
  31. ↑ Cunnally, John (1999). "Appendix: A Biographical and Bibliographical Guide to Renaissance Numismatists and Their Books". Images of the Illustrious: the Numismatic Presence in the Renaissance . Princeton University Press. p. 206. ISBN   9780691016689 . Retrieved September 1, 2023– via Internet Archive.
  32. ↑ Andreoli, Ilaria (2006). "La storia 'in soldoni': il Promptuaire des medalles di Guillaume Rouillé" [History 'in a nutshell': Guillaume Rouillé's Promptuaire des medalles]. In Rozzo, Ugo; Gabriele, Mino (eds.). Storia per parole e per immagini[History in words and pictures] (in Italian). Udine: Forum. p. 235. Archived from the original on January 1, 2023. Retrieved December 29, 2022– via Academia.edu. Rouillé, uomo di mondo e dagli svariati contatti internazionali, [...] si lanciò in prima persona nel circo letterario, confezionando quello che divenne un vero e proprio best seller dell'epoca: il Promptuaire des medailles.
  33. ↑ Perkinson, Stephen (2002). "From an 'Art De Memoire' to the Art of Portraiture: Printed Effigy Books of the Sixteenth Century". Sixteenth Century Journal . 33 (3): 722. doi:10.2307/4144020. JSTOR   4144020.
  34. ↑ Andreoli, Ilaria (2006). "La storia 'in soldoni': il Promptuaire des medalles di Guillaume Rouillé" [History 'in a nutshell': Guillaume Rouillé's Promptuaire des medalles]. In Rozzo, Ugo; Gabriele, Mino (eds.). Storia per parole e per immagini[History in words and pictures] (in Italian). Udine: Forum. pp. 263–264. Archived from the original on January 1, 2023. Retrieved January 1, 2023– via Academia.edu.
  35. ↑ Cunnally, John (1999). "Notes". Images of the Illustrious: the Numismatic Presence in the Renaissance . Princeton University Press. p. 174. ISBN   9780691016689 . Retrieved September 2, 2023– via Internet Archive.
  36. ↑ Cunnally, John (1999). "8. Ceux Qui Ont Escrit des Medalles: The Earliest Numismatic Bibliography". Images of the Illustrious: the Numismatic Presence in the Renaissance . Princeton University Press. p. 93. ISBN   9780691016689 . Retrieved August 30, 2023– via Internet Archive.
  37. ↑ PD-icon.svg This article incorporates text from this source, which is in the public domain :Sharman, Julian (1889). The Library of Mary Queen of Scots, with an historical introduction and a rare portrait of the queen. London: Elliot Stock. pp. 152–153. OCLC   4700578. Archived from the original on August 19, 2023. Retrieved December 29, 2022– via HathiTrust Digital Library.
  38. ↑ Andreoli, Ilaria (2006). "La storia 'in soldoni': il Promptuaire des medalles di Guillaume Rouillé" [History 'in a nutshell': Guillaume Rouillé's Promptuaire des medalles]. In Rozzo, Ugo; Gabriele, Mino (eds.). Storia per parole e per immagini[History in words and pictures] (in Italian). Udine: Forum. p. 264. Archived from the original on January 1, 2023. Retrieved January 1, 2023– via Academia.edu. l'ambizione di Rouillé è [...] di parlare agl'occhi [...] grazie ai quali il lettore potrà scrutare i tratti e sentir parlare, come se fossero maschere d'attori,
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