Love Games

The 17th century engravings below come from a book of love emblems that is variously categorised around the traps as erotic and pornographic - it will help if you are trilingual and have a (very) good imagination. (I've omitted the French poetry pages to tone down the salaciousness)




























































'Le Centre de l'Amour, Decouvert Soubs Divers Emblesmes Galans et Facetieux' (sic) was first published (by Chez Cupidon of course!) in about 1650 and was uploaded by U. Illinois Urbana-Champaign to the Internet Archive.

The 'gallant' and 'facetious' in the title lend an air of humour or mockery in relation to this Renaissance/Baroque publishing genre of embelemata, which is usually treated with a modicum of seriousness. The theme of games or sport has been deployed as a metaphor in the illustrations for the difficulties and sensitivities encountered in the negotiation of a relationship.

The book's readers are meant to contemplate the illustrations in conjunction with mottoes in Latin and German underneath, and the short, French epigrammatic verses appearing on the accompanying pages. In this way, they will be eventually able to decipher the true meanings of the visual scenes. Personally, I often find it difficult to divine the underlying message in illustrations from the era, because there was a very different mindset in relation to allegory and hidden meanings in objects and pictures back then (I touched on this phenomenon in a bit more detail once before: The Odd Baroque). However, I do find the visual mystification - only one facet of the trope - to be a charming dimension to that artistic era.

We see examples or precursor equivalents of such games as tennis (jeu de paume), croquet, bowls, shuffleboard, volleyball, jousting and backgammon. Music and the playing of instruments is presumably included within the same rubric for allegorical purposes in the emblems. Although there isn't anything overt in the erotic sense in the images above, there are a few scenes (especially those not shown) in which it is very easy to pick the double meanings and lurid allusions, even if the engravings themselves are ostensibly innocent.

Peter Rollos (active from about 1619 to 1644) was a German engraver who worked in Frankfurt, Prague and Berlin. Two of his notable publications (in which the illustrations seen above first appeared) were 'Vita Corneliana' and 'Euterpae Suboles' from the 1630s.

Embelmata posts on BibliOdyssey previously : these contain a wealth of related and background links that I won't bother to repeat here, save for Love Emblems.

Oh, a(n) (incomplete) copy of this book sold at auction in 2005 for over $10K.

Love Games

The 17th century engravings below come from a book of love emblems that is variously categorised around the traps as erotic and pornographic - it will help if you are trilingual and have a (very) good imagination. (I've omitted the French poetry pages to tone down the salaciousness)




























































'Le Centre de l'Amour, Decouvert Soubs Divers Emblesmes Galans et Facetieux' (sic) was first published (by Chez Cupidon of course!) in about 1650 and was uploaded by U. Illinois Urbana-Champaign to the Internet Archive.

The 'gallant' and 'facetious' in the title lend an air of humour or mockery in relation to this Renaissance/Baroque publishing genre of embelemata, which is usually treated with a modicum of seriousness. The theme of games or sport has been deployed as a metaphor in the illustrations for the difficulties and sensitivities encountered in the negotiation of a relationship.

The book's readers are meant to contemplate the illustrations in conjunction with mottoes in Latin and German underneath, and the short, French epigrammatic verses appearing on the accompanying pages. In this way, they will be eventually able to decipher the true meanings of the visual scenes. Personally, I often find it difficult to divine the underlying message in illustrations from the era, because there was a very different mindset in relation to allegory and hidden meanings in objects and pictures back then (I touched on this phenomenon in a bit more detail once before: The Odd Baroque). However, I do find the visual mystification - only one facet of the trope - to be a charming dimension to that artistic era.

We see examples or precursor equivalents of such games as tennis (jeu de paume), croquet, bowls, shuffleboard, volleyball, jousting and backgammon. Music and the playing of instruments is presumably included within the same rubric for allegorical purposes in the emblems. Although there isn't anything overt in the erotic sense in the images above, there are a few scenes (especially those not shown) in which it is very easy to pick the double meanings and lurid allusions, even if the engravings themselves are ostensibly innocent.

Peter Rollos (active from about 1619 to 1644) was a German engraver who worked in Frankfurt, Prague and Berlin. Two of his notable publications (in which the illustrations seen above first appeared) were 'Vita Corneliana' and 'Euterpae Suboles' from the 1630s.

Embelmata posts on BibliOdyssey previously : these contain a wealth of related and background links that I won't bother to repeat here, save for Love Emblems.

Oh, a(n) (incomplete) copy of this book sold at auction in 2005 for over $10K.

Geometric Perspective

The images below (background spot-cleaned) come from a rather obscure 16th century anonymous paper manuscript containing sketches of geometric solids. The illustrations have been cropped from the slightly larger full-page layouts.

























































The album of geometric and perspective drawings (Codex Guelf 74. 1. Aug. fol.) from the 1500s is available online from Herzog August Bibliothek in Wolfenbüttel (thumbnail pages).

It consists of more than thirty watercolour sketches of polyhedra^ or, as the Latin title on one of the images above has it, perspectives of the regular solids (a standard descriptive name, originating with Plato and Euclid).

There are virtually no references to this manuscript anywhere online and no further dating clues beyond "the 16th century". I would cautiously suggest**, therefore, that it likely dates to the latter half of the century. It is possibly copied from, or modelled after - but with the added whimsy of wildlife - some other works on geometrical shapes from after 1550 by Nuremberg/Augsburg artists such as Stoer, Lencker and Jamnitzer {links below}. [However, Nuremberg is a long way from Wolfenbüttel]

**idea may contain nuts

Previously, of particular note (each post contains many related links) :

• Jamnitzer Perspectiva
• Geometric Landscape
• And on Giornale Nuovo: Perspectiva Literaria
• Tangentially: Perspectiva

Thanks especially to Lisa from Magnolia Street Artist Books for pointing out this intriguing work [and thanks to Nina, as always!]

Thanks also to Marius for his timely reminder of George W Hart's Rapid Prototyping page.

Time, too, for a random shoutout to the Rouimi Art Institute (Calligraphy & Ebru marbling suppliers).

Geometric Perspective

The images below (background spot-cleaned) come from a rather obscure 16th century anonymous paper manuscript containing sketches of geometric solids. The illustrations have been cropped from the slightly larger full-page layouts.

























































The album of geometric and perspective drawings (Codex Guelf 74. 1. Aug. fol.) from the 1500s is available online from Herzog August Bibliothek in Wolfenbüttel (thumbnail pages).

It consists of more than thirty watercolour sketches of polyhedra^ or, as the Latin title on one of the images above has it, perspectives of the regular solids (a standard descriptive name, originating with Plato and Euclid).

There are virtually no references to this manuscript anywhere online and no further dating clues beyond "the 16th century". I would cautiously suggest**, therefore, that it likely dates to the latter half of the century. It is possibly copied from, or modelled after - but with the added whimsy of wildlife - some other works on geometrical shapes from after 1550 by Nuremberg/Augsburg artists such as Stoer, Lencker and Jamnitzer {links below}. [However, Nuremberg is a long way from Wolfenbüttel]

**idea may contain nuts

Previously, of particular note (each post contains many related links) :

• Jamnitzer Perspectiva
• Geometric Landscape
• And on Giornale Nuovo: Perspectiva Literaria
• Tangentially: Perspectiva

Thanks especially to Lisa from Magnolia Street Artist Books for pointing out this intriguing work [and thanks to Nina, as always!]

Thanks also to Marius for his timely reminder of George W Hart's Rapid Prototyping page.

Time, too, for a random shoutout to the Rouimi Art Institute (Calligraphy & Ebru marbling suppliers).