Huck
Excellent, John. I would like to add some of this to some pages in preparation.
Meanwhile the net around Lazzarelli draws closer.
Meanwhile the net around Lazzarelli draws closer.
Lazzarelli: a Pythagorean diversion
John Meador
a little mars & pluto hi-de-ho...
On Fulgentius:
"Il y a dix modulations de la voix, semblables a la cithare decacorde, et elles sont symbolisees par Apollon et les neuf Muses. Car on produit la voix avec quatre incisives contre lesquelles frappe la langue, qui est semblable a l'archet; les levres sont comme deux cymbales qui formulent les mots; la voute du palais emet le son, le tuyau de la gorge laisse passer l'air que souffle le poumon. Mais pour nous, ajoute Fulgence, les neuf Muses signifient encore les degres de l'enseignement et de la science. Il enumere les noms des neuf soeurs, de Clio a Calliope, avec leurs etymologies, accompagnees d'epithetes que l'on retrouve chez tous les mythographes <<Scriptores rerum mythicarum latini tres Romae nuper reperti ... ed. G. H. Bode (1834). Mythographus Primus, c. 114, ed. cit., 36; Mythographus secundus, c. 24, ed. cit., 82,-83; Mythographus tertius, c. 8, ed. cit., 210-211. Sur le Mythographus III, cf. E. Rathbone, " Magister Alberic of London, Mythographus tertius Vaticanus," Mediaeval and Renaissance studies 1 (1941) 35-38. Une edition critique est de P. Elder et K. Elliott.>> et dans des gloses ou commentaires medievaux: Clio, cogitatio quaerendae scientiae; Euterpe, bene delectans; Melpomene, meditationem faciens permanere; Talia, capacitas, ponens germina; Polymnia, multam memoriam faciens; Erato, inueniens simile; Terpsichore, delectans instructionem; Urania, caelestis; Calliope, optimae vocis. Et ceci permet d'exposer le programme du parfait etudiant: <<...Sur l'influence de Fulgence a l'epoque carolingienne, cf. M. L. W. Laistner, "Fulgentius in the Carolingian age," The Intellectual Heritage of the Early M. A. (1957) 204-211>> il faut d'abord vouloir s'instruire, secondement, s'y complaire, troisiemement, s'appliquer a ce que l'on goute; quatriemement, bien le, posseder; cinquiemement, s'en souvenir; sixiemement, elaborer de soi meme avec ce que l'on conserve dans le tresor de sa memoire; septiemement, apprecier justement ce que l'on compose; huitiemement bien choisir ce que l'on apprecie; neuviemement, bien l'exprimer."
-d'Alverny, M-Th. "Les Muses et les sphères celestes," Classical, Mediaeval and Renaissance Studies in Honor of B.L. Ullman (Rome, 1964).
<trans.>:
"There are ten modulations of the voice, similar to the ten-stringed zither, and they are symbolised by Apollo and the nine Muses. Because one produces the voice with four incisors striking the language, which is similar to the bow; the lips are as two cymbals which formulate the words; the vault of the palate emits the sound, the pipe of the throat lets the air pass which breathes from the lungs. But for us, Fulgentius adds, the nine Muses still mean the degrees of teaching and science. He enumerates the names of the nine sisters, from Clio to Calliope, with their etymologies, accompanied by epithets which one finds in all the mythographys and in gloses or medieval commentaries: Clio, cogitatio quaerendae scientiae; Euterpe, bene delectans; Melpomene, meditationem facians permanere; Talia, capacitas, ponens germina; Polymnia, multam memoriam facians; Erato, inueniens simile; Terpsichore, delectans instructionem; Urania, caelestis; Calliope, optimae vocis. << Mitologiarum liber I. 15: 27>> And this makes it possible to make a statement on the program of perfect study: it is initially necessary to want to inform oneself, in the second place, to take pleasure in it, third, to apply what one has; fourth, possess it well; fifth, to remember it; sixth, elaborate to oneself what one preserves in the treasury of his memory; seventh, appreciate precisely what one composes; eighth to choose well what one appreciates; ninth, to express it well."
Giovanni "Mercurio" da Correggio presented himself to Lazzarelli as Pimander; Fulgentius after discussing the muses, <liber I. 15> says:
"...Hermes in Opimandrae libro ait: [ek korou trophes e ek kouphou somatos], id est: absque instructione escae et uacuo corpore, ergo post inuentionem oportet te etiam discernere ac diiudicare, quod inuenies, Urania octaua, id est caelestis -- post enim diiudicationem eligis quid dicas, quid despuas; eligere enim utile caducumque despuere caeleste ingenium est --, nona Calliope, id est optimae uocis, unde et Homerus ait: [theas opa phonesases], id est deae uocem clamantis. Ergo hic erit ordo: primum est uelle doctrinam, secundum est delectari quod uelis, tertium est instare ad id quod delectatus es, quartum est capere ad quod instas, quintum est memorari quod capis, sextum est inuenire de tuo simile ad quod memineris, septimum iudicare quod inuenias, octauum est eligere de quo iudicas, nonum bene proferre quod elegeris."
- Fulgentius Mythographus: M i t o l o g i a r u m l i b r i I I I, L i b e r I; XV. Fabula de nouem Musis.
"The Mitologiae in particular served as a basic compendium of mythology, influential both in its own right and through its absorption into the work of the so-called Third Vatican Mythographer, now generally identified as a certain Master Alberic of London."
http://www.people.virginia.edu/~bgh2n/fulgentius.html
Albricus: De Deorum Imaginibus Libellus im cod. Reginensis 1290 fol.1r-8r as represented in the book:
Fulgentius Metaforalis, ein Beitrag zur Geschichte der antiken Mythologie im Mittelalter Ridevallus, Joannes, fl. 1330. Leipzig [etc.] B. G. Teubner, 1926.
Description: 4 p.l., 140 p., 32 pl. 25 cm.
consists of 23 gods and no individual sections for the musae; 57 drawings in all (including various scenes of the labors of Hercules) and concluding with Ceres.
I have been unable to check the more elaborated:
Albrici Philosophi Liber Ymaginum Deorum Cod.Reginensis 1290 fol. 8v-29r.
Seznec mentions Pierre Bersuire's <<Pierre Bersuire [Berchorius] a Benedictine, prior of the abbey of St Eloi in Paris, where he died in 1362>>: Ovid Moralise, 1340 and his poem:
Carmine composita per me Bertilinum de Vavassoribus super figuras deorum 17
and his friend Petrarch's Africa as being influenced by Fulgentius...
Euterpe:
http://www.metmuseum.org/toah/hd/poet/hob_59.570.32_av1.htm
Poetry:
http://www.metmuseum.org/toah/hd/poet/ho_59.570.32.htm
Ludovico Lazzarelli (San Severino Marche 1450 - 1500) de gentilium deorum imaginibus 1471 (W. J. O’Neal, 1997 ) in Latin:
http://157.138.65.54:8080/poetiditalia/frames1.jsp
"Stanko Kokole ...for the following academic year 2000/2001, awarded the Alexander von Humboldt-Stiftung research fellowship at the Humboldt-Universität zu Berlin (project title: "Lodovico Lazzarellis De deorum gentilium imaginibus und die europäische Rezeptionsgeschichte der sogenannten 'Tarocchi del Mantegna'"
http://www.zrs-kp.si/zaposleni/Kokole_S2_e.htm
Following the suggestions given by Teeuwen:
"...Clio comes first, as the will to be taught. Euterpe is the second Muse, as the delight in that which is wanted. Third comes Melpomene, the pursuit of that in which delight is found. Talia is next, as the ability to grasp what was pursued. Polynmia is put in fifth place, and she symbolizes the ability to remember what was grasped. Erato is the act of finding similarities to that which is remembered. Terpsichore is the ability to judge that which was found, Urania to select that which was judged and, finally, Calliope is the eloquent presentation of that which was selected."
<Mariken Teeuwen: Harmony and Music of the Spheres: The Ars Musica in Ninth-Century Commentaries On Martianus Capella, 2002>
I got out my Mantegna Tarot cards and made these experimental parallel alignments with Lazzarelli's poem in mind (starting at the bottom):
Primo Mobile 49 : Calliope 11 <the eloquent presentation of that selection.>
Octava Spera 48 : Urania 12 <to select that which was judged>
Saturno 47 : Terpsichore 13 <to judge that which was found>
Jupiter 46 : Erato 14 <finding similarities to that which is remembered>
Marte 45 : Polimnia 15 <the ability to remember what was grasped>
Sol 44 : Talia 16 <the ability to grasp what was pursued>
Venus 43 : Melpomene 17 <the pursuit of that in which delight is found>
Mercurio 42 : Euterpe 18 <the delight in that which is wanted>
Luna 41 : Clio 19 <the will to be taught>
There would then remain the triad of Music, Poetry and Apollo and
the elemental(?) tetrad of Pallas, Juno, Neptune, Pluto-
with Victory on one end of the spectrum and Prima Causa on the other.
-John
On Fulgentius:
"Il y a dix modulations de la voix, semblables a la cithare decacorde, et elles sont symbolisees par Apollon et les neuf Muses. Car on produit la voix avec quatre incisives contre lesquelles frappe la langue, qui est semblable a l'archet; les levres sont comme deux cymbales qui formulent les mots; la voute du palais emet le son, le tuyau de la gorge laisse passer l'air que souffle le poumon. Mais pour nous, ajoute Fulgence, les neuf Muses signifient encore les degres de l'enseignement et de la science. Il enumere les noms des neuf soeurs, de Clio a Calliope, avec leurs etymologies, accompagnees d'epithetes que l'on retrouve chez tous les mythographes <<Scriptores rerum mythicarum latini tres Romae nuper reperti ... ed. G. H. Bode (1834). Mythographus Primus, c. 114, ed. cit., 36; Mythographus secundus, c. 24, ed. cit., 82,-83; Mythographus tertius, c. 8, ed. cit., 210-211. Sur le Mythographus III, cf. E. Rathbone, " Magister Alberic of London, Mythographus tertius Vaticanus," Mediaeval and Renaissance studies 1 (1941) 35-38. Une edition critique est de P. Elder et K. Elliott.>> et dans des gloses ou commentaires medievaux: Clio, cogitatio quaerendae scientiae; Euterpe, bene delectans; Melpomene, meditationem faciens permanere; Talia, capacitas, ponens germina; Polymnia, multam memoriam faciens; Erato, inueniens simile; Terpsichore, delectans instructionem; Urania, caelestis; Calliope, optimae vocis. Et ceci permet d'exposer le programme du parfait etudiant: <<...Sur l'influence de Fulgence a l'epoque carolingienne, cf. M. L. W. Laistner, "Fulgentius in the Carolingian age," The Intellectual Heritage of the Early M. A. (1957) 204-211>> il faut d'abord vouloir s'instruire, secondement, s'y complaire, troisiemement, s'appliquer a ce que l'on goute; quatriemement, bien le, posseder; cinquiemement, s'en souvenir; sixiemement, elaborer de soi meme avec ce que l'on conserve dans le tresor de sa memoire; septiemement, apprecier justement ce que l'on compose; huitiemement bien choisir ce que l'on apprecie; neuviemement, bien l'exprimer."
-d'Alverny, M-Th. "Les Muses et les sphères celestes," Classical, Mediaeval and Renaissance Studies in Honor of B.L. Ullman (Rome, 1964).
<trans.>:
"There are ten modulations of the voice, similar to the ten-stringed zither, and they are symbolised by Apollo and the nine Muses. Because one produces the voice with four incisors striking the language, which is similar to the bow; the lips are as two cymbals which formulate the words; the vault of the palate emits the sound, the pipe of the throat lets the air pass which breathes from the lungs. But for us, Fulgentius adds, the nine Muses still mean the degrees of teaching and science. He enumerates the names of the nine sisters, from Clio to Calliope, with their etymologies, accompanied by epithets which one finds in all the mythographys and in gloses or medieval commentaries: Clio, cogitatio quaerendae scientiae; Euterpe, bene delectans; Melpomene, meditationem facians permanere; Talia, capacitas, ponens germina; Polymnia, multam memoriam facians; Erato, inueniens simile; Terpsichore, delectans instructionem; Urania, caelestis; Calliope, optimae vocis. << Mitologiarum liber I. 15: 27>> And this makes it possible to make a statement on the program of perfect study: it is initially necessary to want to inform oneself, in the second place, to take pleasure in it, third, to apply what one has; fourth, possess it well; fifth, to remember it; sixth, elaborate to oneself what one preserves in the treasury of his memory; seventh, appreciate precisely what one composes; eighth to choose well what one appreciates; ninth, to express it well."
Giovanni "Mercurio" da Correggio presented himself to Lazzarelli as Pimander; Fulgentius after discussing the muses, <liber I. 15> says:
"...Hermes in Opimandrae libro ait: [ek korou trophes e ek kouphou somatos], id est: absque instructione escae et uacuo corpore, ergo post inuentionem oportet te etiam discernere ac diiudicare, quod inuenies, Urania octaua, id est caelestis -- post enim diiudicationem eligis quid dicas, quid despuas; eligere enim utile caducumque despuere caeleste ingenium est --, nona Calliope, id est optimae uocis, unde et Homerus ait: [theas opa phonesases], id est deae uocem clamantis. Ergo hic erit ordo: primum est uelle doctrinam, secundum est delectari quod uelis, tertium est instare ad id quod delectatus es, quartum est capere ad quod instas, quintum est memorari quod capis, sextum est inuenire de tuo simile ad quod memineris, septimum iudicare quod inuenias, octauum est eligere de quo iudicas, nonum bene proferre quod elegeris."
- Fulgentius Mythographus: M i t o l o g i a r u m l i b r i I I I, L i b e r I; XV. Fabula de nouem Musis.
"The Mitologiae in particular served as a basic compendium of mythology, influential both in its own right and through its absorption into the work of the so-called Third Vatican Mythographer, now generally identified as a certain Master Alberic of London."
http://www.people.virginia.edu/~bgh2n/fulgentius.html
Albricus: De Deorum Imaginibus Libellus im cod. Reginensis 1290 fol.1r-8r as represented in the book:
Fulgentius Metaforalis, ein Beitrag zur Geschichte der antiken Mythologie im Mittelalter Ridevallus, Joannes, fl. 1330. Leipzig [etc.] B. G. Teubner, 1926.
Description: 4 p.l., 140 p., 32 pl. 25 cm.
consists of 23 gods and no individual sections for the musae; 57 drawings in all (including various scenes of the labors of Hercules) and concluding with Ceres.
I have been unable to check the more elaborated:
Albrici Philosophi Liber Ymaginum Deorum Cod.Reginensis 1290 fol. 8v-29r.
Seznec mentions Pierre Bersuire's <<Pierre Bersuire [Berchorius] a Benedictine, prior of the abbey of St Eloi in Paris, where he died in 1362>>: Ovid Moralise, 1340 and his poem:
Carmine composita per me Bertilinum de Vavassoribus super figuras deorum 17
and his friend Petrarch's Africa as being influenced by Fulgentius...
Euterpe:
http://www.metmuseum.org/toah/hd/poet/hob_59.570.32_av1.htm
Poetry:
http://www.metmuseum.org/toah/hd/poet/ho_59.570.32.htm
Ludovico Lazzarelli (San Severino Marche 1450 - 1500) de gentilium deorum imaginibus 1471 (W. J. O’Neal, 1997 ) in Latin:
http://157.138.65.54:8080/poetiditalia/frames1.jsp
"Stanko Kokole ...for the following academic year 2000/2001, awarded the Alexander von Humboldt-Stiftung research fellowship at the Humboldt-Universität zu Berlin (project title: "Lodovico Lazzarellis De deorum gentilium imaginibus und die europäische Rezeptionsgeschichte der sogenannten 'Tarocchi del Mantegna'"
http://www.zrs-kp.si/zaposleni/Kokole_S2_e.htm
Following the suggestions given by Teeuwen:
"...Clio comes first, as the will to be taught. Euterpe is the second Muse, as the delight in that which is wanted. Third comes Melpomene, the pursuit of that in which delight is found. Talia is next, as the ability to grasp what was pursued. Polynmia is put in fifth place, and she symbolizes the ability to remember what was grasped. Erato is the act of finding similarities to that which is remembered. Terpsichore is the ability to judge that which was found, Urania to select that which was judged and, finally, Calliope is the eloquent presentation of that which was selected."
<Mariken Teeuwen: Harmony and Music of the Spheres: The Ars Musica in Ninth-Century Commentaries On Martianus Capella, 2002>
I got out my Mantegna Tarot cards and made these experimental parallel alignments with Lazzarelli's poem in mind (starting at the bottom):
Primo Mobile 49 : Calliope 11 <the eloquent presentation of that selection.>
Octava Spera 48 : Urania 12 <to select that which was judged>
Saturno 47 : Terpsichore 13 <to judge that which was found>
Jupiter 46 : Erato 14 <finding similarities to that which is remembered>
Marte 45 : Polimnia 15 <the ability to remember what was grasped>
Sol 44 : Talia 16 <the ability to grasp what was pursued>
Venus 43 : Melpomene 17 <the pursuit of that in which delight is found>
Mercurio 42 : Euterpe 18 <the delight in that which is wanted>
Luna 41 : Clio 19 <the will to be taught>
There would then remain the triad of Music, Poetry and Apollo and
the elemental(?) tetrad of Pallas, Juno, Neptune, Pluto-
with Victory on one end of the spectrum and Prima Causa on the other.
-John
John Meador
Albricus: De deorum imaginibus libellus
<Cod.Reginensis 1290 fol.1r-8r>
Actually consists of 34 drawings, not 57 as I stated mistakenly yesterday; now available for viewing at:
http://groups.yahoo.com/group/tarotsalon/files/De deorum imaginibus libellus/
(membership required)
-John
<Cod.Reginensis 1290 fol.1r-8r>
Actually consists of 34 drawings, not 57 as I stated mistakenly yesterday; now available for viewing at:
http://groups.yahoo.com/group/tarotsalon/files/De deorum imaginibus libellus/
(membership required)
-John
Namadev
John Meador said:
Hi John
Impossible to join...
Word pass rejected...
John Meador
TarotSalon host- out to gather refreshments?
I've sent a message to Christine, but she may be temporarily unavailable.
-John
I've sent a message to Christine, but she may be temporarily unavailable.
-John
Huck
John Meador said:
Funny enough Lothar and me counted "22 gods or men" and "12 works of Heracles", although it probably not really relates to the normal 12 works. He mixed his own "12 works". Or? Just a suspicion.
Perhaps there are more pictures in the text?
Huck
<Cod.Reginensis 1290 fol.1r-8r>
I counted as following:
1r-t/ Saturn
1r-b/ Jupiter
1v-t/ Mars
1v-b/ Apollo
2r-t/ Venus
2r-b/ Mercury
2r-t/ Diana ...
so far it is the ordered Chaldean row ...
2r-b/ Minerva ...
so far it is Lazzarelli 4-10 + 23 ...
3r-t/ Pan
3r-b/ Pluto
3v-t/ Juno
3v-b/ Cybellis
4r-t/ Eolus
4r-b/ Janus
4v-t/ Vulcanus
4v-b/ Neptun
5r-t/ Vesta
so far it are "old gods" ...
5r-b/ Orpheus
5v-t/ Bacchus
5v-b/ Escupulatius
5ar-t/ Perseus
so far it are "human" heroes ...
then 5ar-b - 8r-t this are the "12 works"
22nd god (after the uncounted "12 works"') seems to be Ceres, a goddess, which looks a little bit like the Tarotcard "World" - or "Earth"
Strange. No other picture given?
I counted as following:
1r-t/ Saturn
1r-b/ Jupiter
1v-t/ Mars
1v-b/ Apollo
2r-t/ Venus
2r-b/ Mercury
2r-t/ Diana ...
so far it is the ordered Chaldean row ...
2r-b/ Minerva ...
so far it is Lazzarelli 4-10 + 23 ...
3r-t/ Pan
3r-b/ Pluto
3v-t/ Juno
3v-b/ Cybellis
4r-t/ Eolus
4r-b/ Janus
4v-t/ Vulcanus
4v-b/ Neptun
5r-t/ Vesta
so far it are "old gods" ...
5r-b/ Orpheus
5v-t/ Bacchus
5v-b/ Escupulatius
5ar-t/ Perseus
so far it are "human" heroes ...
then 5ar-b - 8r-t this are the "12 works"
22nd god (after the uncounted "12 works"') seems to be Ceres, a goddess, which looks a little bit like the Tarotcard "World" - or "Earth"
Strange. No other picture given?
Huck
From Hanegraaffs letter:
"As O’Neal explains in his critical edition of 1997, this" (= Lazzarelli-text) "poetic work about the planetary gods and the muses of Greek mythology is modeled upon an anonymous fourteenth-century De deorum imaginibus libellus, which is largely dependent on a similar work by the twelfth-century Vatican mythographer Alberic but adds pen drawings to the verbal descriptions of the pagan deities. In Lazzarelli’s work the poetic descriptions of the gods and muses are likewise coupled with illustrations (unfortunately not included in O’Neal’s edition). "
So O'Neal sees another text from an anonymous, second to this is the text Martiano da Tortona recently translated by Ross.
http://trionfi.com/0/b/11/
I wonder if there are not similar texts from Boccacchio.
Iconoraphically I cannot see great similarities of the Alberic-text to the Lazzarelli-pictures.
"As O’Neal explains in his critical edition of 1997, this" (= Lazzarelli-text) "poetic work about the planetary gods and the muses of Greek mythology is modeled upon an anonymous fourteenth-century De deorum imaginibus libellus, which is largely dependent on a similar work by the twelfth-century Vatican mythographer Alberic but adds pen drawings to the verbal descriptions of the pagan deities. In Lazzarelli’s work the poetic descriptions of the gods and muses are likewise coupled with illustrations (unfortunately not included in O’Neal’s edition). "
So O'Neal sees another text from an anonymous, second to this is the text Martiano da Tortona recently translated by Ross.
http://trionfi.com/0/b/11/
I wonder if there are not similar texts from Boccacchio.
Iconoraphically I cannot see great similarities of the Alberic-text to the Lazzarelli-pictures.
John Meador
knock knock- who's there? Lazzarelli! pictures please!
Hi Huck,
The text accompanys the pictures.
The book I took the pictures from has the Latin text also separately (it is impossible to discern the calligraphy accompanying the illustrations). Here the headings are numbered:
1. Saturn
2. Jupiter
3. Mars
4.Apollo
5. Venus
6.Mercury
7. Diana
8. Minerva
9. Pan
10. Pluto
11. Juno
12. Cybele
13. Aeolus
14. Janus
15. Vulcan
16. Neptune
17. Vesta
18. Orpheus
19. Bacchus
20. Aesculapius
21. Perseus
22. Victory of Heracles (Herculis Victoriae)
23. Ceres
That is the complete set of pictures for <Cod.Reginensis 1290 fol.1r-8r> as far as I know, constitituting the more abbreviated work of "Albricus" ; but the
Albrici Philosophi Liber Ymaginum Deorum Cod.Reginensis 1290 fol. 8v-29r. is said to be larger. I wonder if we can get an idea of what Lazzarelli's Pallas, Juno, Neptune and Pluto looks like from these... probably not a safe assumption. Perhaps Victory of Heracles has a relation to Lazzarelli's Victory...
Do you suppose the Vatican would allow us a peek
?
An interesting addition is that there exists a preface in some editions ( I have not seen it, pub. by C.H. Haskins in Casinensia [1929] pp. 120-122. Fr. Jacobs printed it as "nunquam editum" in Beitrage zur altern Litteratur...der Herzogl. offentl. Bibl. zu Gotha....., Leipzig 1835, vol. I, pp. 202-5.)
"first edited under the name of Fulgentius from a copy made by the the humanist scholar Jacobus Faber of Deventer, the friend of Lefevre d'Etaples
<Jacobus Revius, Daventriae Illustratae, sive Historiae Urbis Daventriensis, libri sex, Lugd. Batav. 1651, pp. 141-142> reprinted by Thomas Munckerus (who recognized that it was not Fulgentius) at the end of his preface to Mythographi Latini...,Amstelodami, 1681, tom. II, Prefaetio, fol. xx3r_xx4v, and again by A. van Staveren, Auctores Mythographi , Lugd. Batav.& Amstelod. 1742."
-Eleanor Rathbone: Master Alberic of London, "Mythographus Tertius Vaticanus'; in: Mediaeval and Renaissance Studies I, ed. Richard Hunt and Raymond Klibansky, 1943.
"During his travels through Italy in the winter of 1491-92 Lefèvre <b. 1455> met amongst others Pico della Mirandola and Marsilio Ficino, who drew his attention to the work of Dionysius Areopagita and the writings of Hermes Trismegistus.... Hermes Trismegistus. Pimander. Asclepius. Ludovico Lazarelli. Crater Hermetis. Paris, Henri I Estienne 1505. First edition of Ficino's translation of the Corpus Hermeticum in which the Asclepius is presented as a complement. The commentaries by Lefèvre d'Etaples have been added to the separate discourses in this edition."
http://www.ritmanlibrary.nl/c/p/pub/on_pub/pat/pat_pri_B1.html
Further Albricus references:
Alberic of London, _Poetarius siue Scintillarium poetarum_: pr. Paris 1520;
ed. A. Mai, _Mythographus tertius de diis gentium et illorum allegoriis_,
Classici auctores e Vaticanis codicibus 3 (Rome 1831), 161--277, repr. G. H.
Bode, _Scriptores rerum mythicarum latini tres Romae nuper reperti_ (Zelle 1834), 152--256; manuscripts listed by K. Elliott & J. P. Elder, _Transactions of the American Philological Association_ 70 (1947) 189--207.
http://www.britac.ac.uk/pubs/src/bmlc-list/sharp.html
-John
Hi Huck,
The text accompanys the pictures.
The book I took the pictures from has the Latin text also separately (it is impossible to discern the calligraphy accompanying the illustrations). Here the headings are numbered:
1. Saturn
2. Jupiter
3. Mars
4.Apollo
5. Venus
6.Mercury
7. Diana
8. Minerva
9. Pan
10. Pluto
11. Juno
12. Cybele
13. Aeolus
14. Janus
15. Vulcan
16. Neptune
17. Vesta
18. Orpheus
19. Bacchus
20. Aesculapius
21. Perseus
22. Victory of Heracles (Herculis Victoriae)
23. Ceres
That is the complete set of pictures for <Cod.Reginensis 1290 fol.1r-8r> as far as I know, constitituting the more abbreviated work of "Albricus" ; but the
Albrici Philosophi Liber Ymaginum Deorum Cod.Reginensis 1290 fol. 8v-29r. is said to be larger. I wonder if we can get an idea of what Lazzarelli's Pallas, Juno, Neptune and Pluto looks like from these... probably not a safe assumption. Perhaps Victory of Heracles has a relation to Lazzarelli's Victory...
Do you suppose the Vatican would allow us a peek
?An interesting addition is that there exists a preface in some editions ( I have not seen it, pub. by C.H. Haskins in Casinensia [1929] pp. 120-122. Fr. Jacobs printed it as "nunquam editum" in Beitrage zur altern Litteratur...der Herzogl. offentl. Bibl. zu Gotha....., Leipzig 1835, vol. I, pp. 202-5.)
"first edited under the name of Fulgentius from a copy made by the the humanist scholar Jacobus Faber of Deventer, the friend of Lefevre d'Etaples
<Jacobus Revius, Daventriae Illustratae, sive Historiae Urbis Daventriensis, libri sex, Lugd. Batav. 1651, pp. 141-142> reprinted by Thomas Munckerus (who recognized that it was not Fulgentius) at the end of his preface to Mythographi Latini...,Amstelodami, 1681, tom. II, Prefaetio, fol. xx3r_xx4v, and again by A. van Staveren, Auctores Mythographi , Lugd. Batav.& Amstelod. 1742."
-Eleanor Rathbone: Master Alberic of London, "Mythographus Tertius Vaticanus'; in: Mediaeval and Renaissance Studies I, ed. Richard Hunt and Raymond Klibansky, 1943.
"During his travels through Italy in the winter of 1491-92 Lefèvre <b. 1455> met amongst others Pico della Mirandola and Marsilio Ficino, who drew his attention to the work of Dionysius Areopagita and the writings of Hermes Trismegistus.... Hermes Trismegistus. Pimander. Asclepius. Ludovico Lazarelli. Crater Hermetis. Paris, Henri I Estienne 1505. First edition of Ficino's translation of the Corpus Hermeticum in which the Asclepius is presented as a complement. The commentaries by Lefèvre d'Etaples have been added to the separate discourses in this edition."
http://www.ritmanlibrary.nl/c/p/pub/on_pub/pat/pat_pri_B1.html
Further Albricus references:
Alberic of London, _Poetarius siue Scintillarium poetarum_: pr. Paris 1520;
ed. A. Mai, _Mythographus tertius de diis gentium et illorum allegoriis_,
Classici auctores e Vaticanis codicibus 3 (Rome 1831), 161--277, repr. G. H.
Bode, _Scriptores rerum mythicarum latini tres Romae nuper reperti_ (Zelle 1834), 152--256; manuscripts listed by K. Elliott & J. P. Elder, _Transactions of the American Philological Association_ 70 (1947) 189--207.
http://www.britac.ac.uk/pubs/src/bmlc-list/sharp.html
-John
Huck
John, do you've anything of Mantegna in the year 1449?
Life of the person "Mantegna", not the motifs. Only 1449, perhaps also early 1450.
Life of the person "Mantegna", not the motifs. Only 1449, perhaps also early 1450.
