Constructions both sacred and profane: Serpents, angels, and pointing fingers in renaissance books with moving parts

Yale University Library Gazette

Volumn 78, Issue 3-4, 2004, Pages

  Karr, Suzanne ^a  

^a NONE

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EID: 61049142104     PISSN: 00440175     EISSN: None     Source Type: Journal    
DOI: None     Document Type: Article

References (22)

1. Gay Walker, Eccentric Books: An Exhibit from the Yale University Library Collections, January-March 1988 (New Haven: Yale University Library, 1988);
2. and most recently, Jessica Helfand, Reinventing the Wheel (New York: Princeton Architectural Press, 2002).
3. Ramon Llull, Ars Brevis (Luduni: Per magistri Stephanu Baland, 1514), Beinecke K8 L97 d514;
4. Jacobus Publicius, Artes orandi, epistolandi, memorandi (Venice: Erhard Ratdolt, 1482 and 1485), Beinecke Vanderbilt 80 and Zi 4399;
5. Paul Pambst, Looßbuch zu Ehren der römischen vngerischen vnnd böhemischen Künigin (Straßburg: Balthasar Beck, 1546), Beinecke Zg16 P19 +546;
6. The anonymous Roman Ad Herennium treatise on rhetoric from 86 to 82 B.C. draws on lost Greek sources and discusses memory as one chapter. In the Renaissance, it was thought to have been written by Cicero. Most subsequent memory treatises use this format, and often the same words. Frances Yates, The Art of Memory (London: Routledge and Kegen Paul, 1966), pp. 8-9.
7. Mark D. Johnston, The Spiritual Logic of Ramon Llull (Oxford: Clarendon Press, 1987), p. 24,
8. Louise George Clubb, Giambattista delta Porta, Dramatist (Princeton, N.J.: Princeton University Press, 1965), pp. 15-16.
9. Johan Cusanus, Tractatulus artificiose memoriae (Wien, 1514);
10. and Johann Romberch, Congestorium Artificiose Memorie (Venice: Per Melchioram Sessam, 1533). Romberch included the last section of Publicius' explanation of how to use his moveable diagram, although it is unclear if any editions actually contained the moving snake volvelle.
11. Yates, Art, p. 7.
12. Mary Carruthers and Jan M. Ziolkowsk, eds., The Medieval Craft of Memory: An Anthology of Texts and Pictures (Philadelphia: University of Pennsylvania Press, 2002), p. 23.
13. The fascination with "new animals" continued, as della Porta gives extensive instructions in his first chapter of Natural Magic on crossbreeding animals and even how to produce deformed ones. Giambattista della Porta, Natural Magick: The Collector's Series in Science, ed. Derek J. Price (New York: Basic Books, Inc., 1957), pp. 47-51. (Reprint of 1658 anonymous translation of the 1589 Magiae Naturalis.)
14. Jacobus Publicius, Ars Memorativa (Cologne: Johann Guldenschafft, 1483 or later). The New York Public Library owns a copy;
15. Carruthers, Medieval Craft, p. 230.
16. th International Congress of the History of Art, ed. Wessel Reinink, Jeroen Stumpel (Dordrecht: Kluwer Academic Publishers, 1999), p. 285n8.
17. Jean Bodin, De magorvm daemonomania, trans. Johann Fischart (Straßburg: B. Jobin, 1586), p. 178.
18. Abraham Gotthelf Kästner, Geschichte der Kuensle und Wissenschaften seit der Wiederherstellung derselben bis an das Ende des achlzenten Jahrhunderts. Geschichte der Mathematik (Göttingen: Johann Georg Rofenbusch, 1796), i. 237.
19. Robert Naumann, "Die Looßbücher des Mittelalters," Serapeum (Leipzig, no. 4-6, 1850): 80.
20. Lindberg, "Mobiles," p. 53.
21. De fvrtivis literarvm, p. 24.
22. Natural Magick, p. 343.