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Une mécanique donnée à voir
Les thèses illustrées défendues à Louvain en juillet 1624 par Grégoire de Saint-Vincent S.J.
En 1624 quelques mois après l’accession d’Urbain VIII au trône de Saint Pierre plusieurs espéraient un infléchissement de la condamnation venue interdire en 1616 l’enseignement du mouvement de la Terre autour du Soleil alors défendue publiquement par Galilée. Etait de ceux-là l’inspirateur des thèses le jésuite Grégoire de Saint-Vincent né à Bruges une quarantaine d’années auparavant : il avait activement participé à la séance du Collège Romain lorsque Galilée en 1611 commentait ses observations au télescope de planètes comme Saturne ou Vénus ce qui faisait « murmurer les philosophes ». Ainsi le raconte Grégoire lui-même. Les thèses de 1624 montrent une extraordinaire représentation de Saturne. Voilà un exemple parmi bien d’autres des surprises de ces thèses.
Onze chapitres suivis d’une bibliographie organisent l’enquête sur les thèses cellesci étant traduites au chapitre IX. Le document est d’abord présenté avec les problèmes qu’il pose à l’historien. Puis le moment même des thèses l’imaginaire des hommes de cette période et les positions épistémologiques d’alors sont discutés tant avec le texte qu’avec les images. Cette conjonction d’analyses est essentielle à l’enquête qui se poursuit sur les acteurs des thèses avec trois récits possibles le récit historique de la journée des thèses le récit scientifique du contenu mais aussi le récit iconologique. A ce point on peut entrer d’une part dans la tradition des thèses universitaires d’autre part dans la tradition du livre illustré. Ce qui à partir des travaux des historiens de la mécanique permet d’aboutir à une discussion sur la place de ces thèses dans une histoire qui a tant servi à constituer les diverses philosophies des sciences dont le positivisme le constructivisme etc. Après la traduction proposée il convient de revenir à titre de justification sur le détail de chaque théorème et de chaque vignette et de terminer par le vocabulaire latin des thèses. Cette démarche est tout le contraire de la démarche dogmatique si naturelle à l’histoire des sciences discipline dont il faut se rappeler qu’elle doit beaucoup au positivisme.
Si l’enquête sur les textes et les images s’avère beaucoup plus longue que les courtes thèses le plaisir n’est-il pas au final de retrouver la cohérence d’un des mondes du baroque à l’aube de la science moderne ? L’intérêt est en particulier de surprendre la façon dont un intellectuel issu d’un ordre religieux connu pour son obéissance disciplinaire parvient malgré la rigoureuse orthodoxie récemment mise en place à raisonnablement donner sa place à une nouvelle imagination sans entrer en dissidence mais sans céder cherchant sans aucun doute à libérer la pensée religieuse de la pensée scientifique et s’aidant alors de la pensée toute profane d’un peintre d’emblèmes.
Emblemata sacra
Rhétorique et herméneutique du discours sacré dans la littérature en images. The Rhetoric and Hermeneutics of Illustrated Sacred Discourse
The present volume of essays Emblemata Sacra. The Rhetoric and Hermeneutics of Illustrated Sacred Discourse follows a conference that took place in January 2005 in Leuven and Louvain-la-Neuve thanks to the close collaboration between the Katholieke Universiteit Leuven (Literature Department) and the Université Catholique de Louvain (the research group ‘Figures et formes de la spiritualité dans la littérature et les expressions artistiques’).The 38 essays have been organised in seven sections. The first section (‘Historical and methodological issues’) presents methodological bases for the study of emblematics and spiritual images as well as the elements necessary for the Christian contextualisation of the corpus. The second section (‘Exegesis of the Scriptures and the Creation’) complementary to the first section is devoted to exegetical processes developed in different contexts and seeks to emphasise the correspondence between the exegesis of Sacred Scripture and the exegesis of the Creation which are the two central symbolisms in Christianity. The third section (‘The image in absentia’) focuses on the most critical aspect of the encounter between the Word and the Image in the form of a paradoxical iconoclastic image already mentioned in the first section. The fourth section (‘Rhetoric and poetics of the image’) exposes the mutual exchanges between the word of the images and the images of the word. The last three sections all deal with the uses of figures in determined contexts. Thus the fifth section (‘The image performance’) explores staged incarnated and exhibited figures while the sixth section (‘Circulation of images among different faiths’) gathers studies about different confessional contexts in which spiritual images are used to support and feed the polemics and the seventh section (‘The efficient image’) opens up the chronology toward the 19th century and then to our own time.
Emblematic Paintings from Sweden’s Age of Greatness
Nils Bielke and the Neo-Stoic Gallery at Skokloster
Emblematic Paintings of the Swedish Baroque is the first full-length study of the cycle of emblematic canvases hanging in the corridors at Skokloster Castle outside Stockholm. These imposing paintings were commissioned by a wealthy nobleman and cultural patron from Sweden's Age of Greatness and were inspired by images from one of the most important emblem books of the seventeenth century Otto Vænius's Emblemata Horatiana. The principal importance of the Skokloster paintings lies in the fact that they appear to be a unique instance of paintings wholly adapted from images in a printed emblem book a phenomenon never previously recorded in emblem studies. As such they prompt questions about the place of the emblem within the fine and applied arts generic issues explored in some detail in the introductory essay. The study presents a detailed reconstruction of the paintings' place within a lost decorative milieu at the Uppland castle of Salsta and offers interpretations of the role emblems played within its wider conceptive framework. The appeal of Vænius to the commissioning patron is also examined and through this a broader consideration of the reception of literary emblematics in seventeenth-century Sweden. This marks a significant attempt at opening up the rich subject of the emblem in Sweden a national tradition hitherto largely neglected and little understood within emblem studies.
Emblematic Paintings of the Swedish Baroque is the result of extensive field and archival research in major public and private collections in Sweden and documents a historically significant group of artworks little known outside Scandinavia. The introductory essay presents the necessary groundwork of the pictures' date provenance and probable circumstances of commission as well as an extended reconstruction of the original context in which they were first displayed. Establishing that they were originally owned by Count Nils Bielke the study examines the intellectual preoccupations of a Swedish nobleman and the reasons he found the Neo-Stoic ideas promoted in Vænius's emblems conducive to his interests and tastes. The study situates the Skokloster paintings within the intellectual framework of Great Power Sweden conceiving of the pictures as attempts at private self-representation but concomitantly aesthetic expressions of the nationalist-mytholopoeic movement promoted by the scholars Olof Rudbeck Johan Peringskiöld and Urban Hjärne.
This volume presents the paintings as an emblem text reassembling the paintings in the order in which they occur in Vænius and providing each with a commentary on iconography sources and analogues. Each plate is accompanied by a moralizing gloss by the seventeenth-century French author and editor of Vænius Marin Le Roy Sieur de Gomberville in the translation of Thomas Mannington Gibbs.
Mundus Emblematicus
Studies in Neo-Latin Emblem Books
The thirteen articles in this volume deal with the Neo-Latin emblem book after the birth of the genre with Andrea Alciato’s Emblematum libellus (1531). While the interest in emblematics has grown considerably during the last decades the seminal Neo-Latin production has received relatively little attention. In Mundus Emblematicus an international team of experts in the field makes this part of the emblem tradition accessible to a broad scholarly audience. The articles cover a variety of emblem books published at the time ranging from influential humanist collections (for instance those by Achille Bocchi Hadrianus Junius or Joachim Camerarius) to alchemist (Michael Maier) or religious emblems (such as the books of the Calvinist Théodere de Bèze or the Jesuit Herman Hugo). In each paper subjects dealt with include the historical context of the work and its makers the relation between word and image the structure of the collection as a whole and the emblematic game (intertextuality in word and image). Moreover several articles explore the interaction between the emblem and connected literary phenomena like the commonplace-book the fable or the use of commentaries. All papers are in English and all examples from Latin texts are translated.
Together these articles show the variety within the Neo-Latin emblem production thus challenging traditional approaches of the emblem. As such Mundus Emblematicus contributes towards a more comprehensive view of the forms and functions of the genre as a whole
Emblems from Alciato to the Tattoo
Selected Papers of the Leuven International Emblem Conference, 18-23 August, 1996
This collection of essays reflects the various manifestations of the emblem in cultural forms ranging from the first appearance of printed books in the sixteenth century to very recent visual equivalents in modern advertising and tattoos. The essays are revised versions of papers presented at the Fourth International Conference held at Leuven in 1996. The table of contents provides an overview of the variety of topics and approaches represented in the volume.
Emblematik und Kunst der Jesuiten in Bayern: Einfluss und Wirkung
Vom 5. - 5. Juli 1998 fand an der Hochschule für Philosophie in München ein internationales Symposion zum Thema "Jesuitische Emblematik in Bayern: Einfluss und Wirkung" statt das sich mit der wissenschaftlichen Erforschung der Entstehungs- Entwicklungs- und Verbreitungsgeschichte des Symbols auseinandersetzte.
Die vorliegende publikation beschränkt sich bewusst nur auf die "bayerischen" Beiträge des Symposions erweitert durch ergänzende Studien zum Thema Emblematik und Kunst der Jesuiten in Bayern wie der Vorstellung der Frontispize der Werke des grossen Naturwissenschaftlers Christoph Scheiner Aspekte zu Georg Stengels Ova paschalia Betrachtung der Jesuitenkirche Franz Xaver in Luzern oder der neuen Interpretationen eines Kupferstiches der Heiligen Familie vor der St. Michaelskirche München. Vorangestellt ist dem Band ein Abriss über Gründer Leitmotiv Signet und Satzungen der Gesellschaft Jesu und das neue Logo des Ordens in Zentral-europa. Einführung in die Thematik Rita Haub und Richard Müller SJ "Jesuiten" Alois Schmid; Templum aulicum. Das Jesuitenkolleg St.Michael zu München als Herrschaftskirche im frühneuzeitlichen Bayern Emblembücher Peter M. Daly; A Survey of Emblematic Publications of the Jesuits of the Upper German Province to the Year 1800 Rita Haub; Bey was erkennet man einen Catholischen Christen? Illustrationen im Bilderkatechismus des Petrus Canisius James Latham SJ; Text and Image in Jeremias Drexel's Orbis Phaëthon G. Richard Dimler SJ; Octiduum S. Francisco Borgiae (1671) : The Munich Jesuits Celebrate the Canonization of Francis Borgia Franz Daxecker; Frontspize in den Werken P. Christoph Scheiners SJ Helmut Zäh; Die Welt im Ei : Georg Stengels Ova paschalia Elisabeth Klecker; Regiae virtutis et felicitatis XII symbola (Dillingen 1636). Panegyrik und Paränese in einem Emblembuch für Ferdinand III Paul Richard Blum; Die Versuchung der Philosophie durch graphische Schemata : Berthold Hauser und die Arbor Porphyriana Angewandte Emblematik Bernhard Paal SJ; Die Heilige Familie vor der St. Michaelskirche in München. Ein theologisches und ikonographisches Programm-Bild Joseph Imorde; Gebaute Emblematik. Die Jesuitenkirche Franz Xaver in Luzern Sabine Mödersheim; Matthäus Rader und das allegorische Programm im Augsburger Rathaussaal. Einfluss und Wirkung jesuitischer Emblematik Alan Young; Protestant Meditation and Two 1647 English Translations of Jeremias Drexel's Zodiacus christianus Paul Begheyn SJ; The Emblem Books of Jeremias Drexel in the Low Countries
The Jesuits and the Emblem Tradition
Selected Papers of the Leuven International Emblem Conference, 18-23 August, 1996
The publication incorporated selected papers concerning the emblematic books published by the Jesuits during the sixteenth and seventeenth centuries in the Spanish Netherlands where they were more active than anywhere else.
Jesuits published more emblematic books than any other group during the sixteenth and seventeenth centuries. And they were probably more active in both the print and material culture in the Spanish Netherlands than anywhere else. The essays are revised versions of papers presented at the Fourth International Emblem Conference held at Leuven in 1996. The table of contents provides an overview of the variety of topics and approaches represented in the volume.
The Emblem and Architecture: Studies in Applied Emblematics from the Sixteenth to the Eighteenth Centuries
This publication is a collection of essays on the function and significance of emblematic decoration of buildings in Europe from the sixteenth to the eighteenth century dealing with general issues involved in architectural emblematics while a number of the essays are case studies of specific types of building.
The emblematic decoration of buildings both secular and ecclesiastical was widespread in Europe from the sixteenth to the nineteenth centuries. The function and significance of such decoration is however frequently overlooked. The two introductory essays seek to come to grips with the general issues involved in architectural emblematics. The remaining essays are case studies of specific types of building while the final two consider the relation of architecture to the book. The essays are revised versions of selected papers presented at an international conference on the subject held at the Canadian centre for Architecture in November 1994.
The Emblem Tradition and the Low Countries
Selected Papers of the Leuven International Emblem Conference, 18-23 August, 1996
Antwerp and Amsterdam were among the most active publishing centres for emblematic forms in Europe during the sixteenth and seventeenth centuries. Nowhere else was the emblematic mode more integrated into the literary and artistic culture than in the Low Countries. The essays are revised versions of papers presented at the Fourth International Emblem Conference held at Leuven in 1996. The table of contents provides an overview of the variety of topics and approaches represented in the volume.