Emblemata
From The Art and Popular Culture Encyclopedia
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Emblem books are a particular style of illustrated book developed in Europe during the 16th and 17th centuries, normally containing about one hundred combinations of pictures and text.
Scholars differ on the key question of whether the actual emblems in question are the visual images, the accompanying texts, or the combination of the two. This is understandable, given that the first emblem book, the Emblemata of Andrea Alciato, was first issued in an unauthorized edition in which the woodcuts were chosen by the printer without any input from the author, who had circulated the texts in unillustrated manuscript form. Some early emblem books were unillustrated, particularly those issued by the French printer Denis de Harsy. With time, however, the reading public came to expect emblem books to contain picture-text combinations. Each combination consisted of a woodcut or engraving accompanied by one or more short texts, intended to inspire their readers to reflect on a general moral lesson derived from the reading of both picture and text together. The picture was subject to numerous interpretations: only by reading the text could a reader be certain which meaning was intended by the author. Thus the books are closely related to the personal symbolic picture-text combinations called personal devices, known in Italy as imprese and in France as devises.
Emblem books, both secular and religious, attained enormous popularity throughout continental Europe, though in Britain they never captured the imagination of readers to the same extent. The books were especially numerous in the Netherlands, Belgium, Germany, and France. Andrea Alciato wrote the epigrams contained in the first and most widely disseminated emblem book, the Emblemata, published by Heinrich Steyner in 1531 in Augsburg. Another influential illustrated book was Cesare Ripa's Iconologia, first published in 1593, though it is not properly speaking an emblem book but a collection of erudite allegories.
Early European studies of Egyptian hieroglyphics, like that of Athanasius Kircher, assumed that the hieroglyphics were emblems, and imaginatively interpreted them accordingly.
