про Фортуну и иже с нею опять
Собралась наконец продолжить чтение чудесной книжки "Приключения английского языка". Прочла, что у англов, саксов и ютов были руны, которыми можно было хоть "Войну и мир" записывать, но вот беда, они предназначались для отливания в граните вырезания в камне, а когда в VIII пришли монахи со своим латинским алфавитом для писания на пергаменте и веленевой бумаге (которую изобрели в 18 веке на минуточку), все сразу достали кошельки перешли на англо-латиницу. С горя натаскала себе честных фэнтези-книжек, которые как ни странно, можно читать, там хоть логика есть какая-никакая. Ну одну из трех натасканных, что уже хорошо).
Но движимая чувством долга, оторвалась от прочтения для обнародования очередных картинок)).
Про двуликих немножко и про временно-фортунскую символику в основном
The Wheel of Fortune; two-faced figure spinning the wheel of fortune. A group on right helping others to get onto the wheel, two groups on left attempting to catch figures thrown off the wheel with sheets. Illustration to Johann Pistorius, 'Dialogus de Fato et Fortuna...'.
Print made by Hans Burgkmair the Elder. Printed by Heinrich Steiner. Augsburg, 1515, 1544 (Printed)
Bm
Furniture ornament; silver with gilding; hollowed, one-piece casting; rectangular socket: square in section; framed with rectilinear moulding; traces of soldering plate; two aligned holes for missing pin; terminating in a female figure representing the Tyche of Antioch seated on a stylised rock outcropping; plastically rendered; detailed with decorative engraving, stippling and gilded drapery; figure wears tunic, mantle, boots and mural crown and holds fruit and sheaves of grain; below the figure: a nude youth, a personification of the river Orontes and a hinged, pierced, stippled and punched leaf with rounded knob finial.
Culture/period Late Roman. Rome (?), 330-370 (circa). Found/Acquired: San Francesco di Paola ai Monti, convent building (ruins of) (grounds) (Rome, Esquiline Hill, San Francesco di Paola ai Monti)
Bm
Нижняя фигура напоминает мне фигуры на носу кораблей, правда, значительно более поздние)
Portrait of Maximilian, Archduke of Austria, King of Bohemia [later Emperor Maximilian II); bust in profile to the right; placed within an oval in strap-work border; on top Justitia and Fortuna; slightly damaged at lower right corner.
Print made by Hanns Lautensack, 1555
Bm
Фортуна справа, с хвостом на макушке и почему-то сломанной колонной. Не повезло?
Утверждение, что атрибутом Фортуны были весы, подтверждается слабо, можно сказать, практически не.
Allegorical scene representing a naked man, forced to bend backwards as he is gagged by a two-faced, hermaphroditical figure with key in its hand and snake coiled around its legs; on the right, watching them, a female figure sitting on a sphere and holding a rope, her hair blowing in the wind; in circular frame.
Print made by René Boyvin (Workshop of). After Francesco Salviati. 1555-1565
Bm
Тут вообще ничего не поняла((
Vader Tijd te midden van scènes met werken van barmhartigheid en christelijke deugden, Gerard de Jode, 1547 - 1591
Rm
Облачный план весьма занятен
Zondige jongeren verspelen de kansen die het leven biedt door spel en plezier, Theodoor Galle, 1603
Rm
Из книжки, титульный лист которой был в прошлый раз. Тут не совсем двуликость, но маска на затылке.
Title-page to Ulysse Aldrovandi, 'Historiam Naturalem Ornithologiae Tomus Alter', Frankfurt: Richter for Basse, 1610
Bm
Даже орнитология не обходилась без Фортуны.
Fortuna pouring out the horn of plenty before Hercules; he stands at left leaning on his club and wearing a lion pelt.
Print made by Jacques de Gheyn III. School/style Dutch. 1617
Bm
При чем тут кадуцей, не очень понятно
Title-page with title in a banderol at top; allegorical scene with Time (Tempus) holding a mirror decorated with the zodiac signs in front of Truth (Veritas) standing at right, Fame (Fama) blowing a trompet and holding the mirror from above, three allegorical figures of Ratio, Prudence (Prudentia) and Memory (Memoria) seated at the bottom; after Adriaen van de Venne; title to an unspecified edition of Jacob Cats' "Spiegel vanden Ouden ende Nieuwe Tijd" (first edition published in The Hague: 1632). 1630
Bm
Het rad van fortuin, ca. 1689, Romeyn de Hooghe (circle of), 1689 - 1690
Rm
Тут с хвостом вперёд мужчина, что редкость. Может быть, даже сам Отец-Время. Разнообразие и несоглаованность символики наводит на размышления.
Philippus V Hispaniarum Rex
Portrait of Philip V, King of Spain, whole-length, on horseback, turned to the right, looking at the viewer, wearing curled wig, mantle, chain of the Order of the Golden Fleece and armour, holding baton in his right hand; horse rearing with head turned to the left; personification of Fortune and Justice above on clouds with an angel playing the trumpet and holding laurel crown; two soldiers on the left holding flags; a crowned lion on the right with chain of the Order of the Golden Fleece, looking left; a battle on the background; after Ardemano.
After Teodoro Ardemans. Print made by Gérard Edelinck. 1700-1707
Bm
Здесь самое привлекательное - два шара у льва. Первый раз вижу.
A perspective view of the Foundling Hospital with emblematic figures
A queue of women stand in front of the gate outside the Foundling Hospital, all holding babies, at the gate, a man gestures towards the hospital. A statue of Fortune stands outside, and a statue of Charity inside the gate; to the left, a small boy with a stick leans over the wall. Below the image are two columns of verse, beginning "Thro' various Wilds and Scenes by Fortune tost...Which Fortune dooms, but Charity compleats."
Print made by Charles Grignion, Edward Rooker After Samuel Wale. London, 1749
Bm
Утверждается, что статуя Фортуны невозбранно стояла перед госпиталем в середине 18 века и никого не смущала своим анахронизмом.
Carolo Magno Carolo
Portrait of Emperor Charlemagne and of Charles VII, Holy Roman Emperor, both half-length, Charlemagne on the left, wearing embroidered robe and crown with cross, in oval frame of leaves; and Charles VII on the right, turned to the left and looking at the viewer, wearing armous and wig, in oval frame; both frames on a tree with the personification of fortune on the left, holding a cornucopia with crowns; coat of arms below with a chain of golden medals/coins; four whole-length women below putting together a laurel crown, and a lion with a large globus cruciger by their feet.
After Cosmas Damian Asam. Print made by Hieronymus Sperling. Augsburg, 1720-1777
Bm
Тут меня два Каролуса занимают больше античных дев.
Gem (?) with an oared ship with Serapis, Fortuna and Isis on board. 1768 - 1805
Inscriptions "Serapis, Pluton, Soleil / Apres la XLII. Pl. du / Tome. II."
Bm
Не верь глазам своим. Написано Серапис, Плутон и Солнце, а на самом деле кто нарисован?
Glass paste intaglio engraved with an oared ship
Bm
Общий вид листа, с миленькими корабликами.
Давно подозреваю подобные картинки в роли набросков к древним изделиям, изготовленным после конца 18 века. С символикой тут тоже все хорошо, в смысле хаотично. Дальше еще несколько примеров.
Gem engraved with a draped Pantheistic Fortuna wearing an aegis and a lotus-flower on her head. She holds a steering-oar (?), caduceus, ears of corn and a cornucopia with a bird on top. In the field are a star, crescent, wreaths, palm-branch (?), bow, sceptre (?), and club of Herakles (BM Cat. Gem 1754)
Pen and ink with grey wash and traces of graphite underdrawing on a sheet of paper, which is stuck down onto a second sheet watermarked '1794 J WHATMAN'; the assemblage framed in a graphite border. 1768 - 1805
Bm
Glass paste intaglio engraved with a winged draped Victory wearing a helmet, holding the attributes of Fortuna: a steering-oar, ears of corn and a cornucopia. She also holds a caduceus. 1768 - 1805
Bm
Glass paste intaglio engraved with a winged draped Victory wearing a helmet-2
Bm
И герб "погоня" на плече))
Effecten / Goederen, anonymous, 1845
Rm
Вот когда, возможно, Фортуна обрела весы-то.
Winged Fortune on a wheel scattering crowns and arrows, after a composition then thought to be by Michelangelo; lettered state.
Intermediary draughtsman Filippo Calendi. After Michelangelo (wrongly attributed). Print made by Davide Testi. 1849
Bm
Микеланджело, говоришь? :))
Но движимая чувством долга, оторвалась от прочтения для обнародования очередных картинок)).
Про двуликих немножко и про временно-фортунскую символику в основном
The Wheel of Fortune; two-faced figure spinning the wheel of fortune. A group on right helping others to get onto the wheel, two groups on left attempting to catch figures thrown off the wheel with sheets. Illustration to Johann Pistorius, 'Dialogus de Fato et Fortuna...'.
Print made by Hans Burgkmair the Elder. Printed by Heinrich Steiner. Augsburg, 1515, 1544 (Printed)
Bm
Furniture ornament; silver with gilding; hollowed, one-piece casting; rectangular socket: square in section; framed with rectilinear moulding; traces of soldering plate; two aligned holes for missing pin; terminating in a female figure representing the Tyche of Antioch seated on a stylised rock outcropping; plastically rendered; detailed with decorative engraving, stippling and gilded drapery; figure wears tunic, mantle, boots and mural crown and holds fruit and sheaves of grain; below the figure: a nude youth, a personification of the river Orontes and a hinged, pierced, stippled and punched leaf with rounded knob finial.
Culture/period Late Roman. Rome (?), 330-370 (circa). Found/Acquired: San Francesco di Paola ai Monti, convent building (ruins of) (grounds) (Rome, Esquiline Hill, San Francesco di Paola ai Monti)
Bm
Нижняя фигура напоминает мне фигуры на носу кораблей, правда, значительно более поздние)
Portrait of Maximilian, Archduke of Austria, King of Bohemia [later Emperor Maximilian II); bust in profile to the right; placed within an oval in strap-work border; on top Justitia and Fortuna; slightly damaged at lower right corner.
Print made by Hanns Lautensack, 1555
Bm
Фортуна справа, с хвостом на макушке и почему-то сломанной колонной. Не повезло?
Утверждение, что атрибутом Фортуны были весы, подтверждается слабо, можно сказать, практически не.
Allegorical scene representing a naked man, forced to bend backwards as he is gagged by a two-faced, hermaphroditical figure with key in its hand and snake coiled around its legs; on the right, watching them, a female figure sitting on a sphere and holding a rope, her hair blowing in the wind; in circular frame.
Print made by René Boyvin (Workshop of). After Francesco Salviati. 1555-1565
Bm
Тут вообще ничего не поняла((
Vader Tijd te midden van scènes met werken van barmhartigheid en christelijke deugden, Gerard de Jode, 1547 - 1591
Rm
Облачный план весьма занятен
Zondige jongeren verspelen de kansen die het leven biedt door spel en plezier, Theodoor Galle, 1603
Rm
Из книжки, титульный лист которой был в прошлый раз. Тут не совсем двуликость, но маска на затылке.
Title-page to Ulysse Aldrovandi, 'Historiam Naturalem Ornithologiae Tomus Alter', Frankfurt: Richter for Basse, 1610
Bm
Даже орнитология не обходилась без Фортуны.
Fortuna pouring out the horn of plenty before Hercules; he stands at left leaning on his club and wearing a lion pelt.
Print made by Jacques de Gheyn III. School/style Dutch. 1617
Bm
При чем тут кадуцей, не очень понятно
Title-page with title in a banderol at top; allegorical scene with Time (Tempus) holding a mirror decorated with the zodiac signs in front of Truth (Veritas) standing at right, Fame (Fama) blowing a trompet and holding the mirror from above, three allegorical figures of Ratio, Prudence (Prudentia) and Memory (Memoria) seated at the bottom; after Adriaen van de Venne; title to an unspecified edition of Jacob Cats' "Spiegel vanden Ouden ende Nieuwe Tijd" (first edition published in The Hague: 1632). 1630
Bm
Het rad van fortuin, ca. 1689, Romeyn de Hooghe (circle of), 1689 - 1690
Rm
Тут с хвостом вперёд мужчина, что редкость. Может быть, даже сам Отец-Время. Разнообразие и несоглаованность символики наводит на размышления.
Philippus V Hispaniarum Rex
Portrait of Philip V, King of Spain, whole-length, on horseback, turned to the right, looking at the viewer, wearing curled wig, mantle, chain of the Order of the Golden Fleece and armour, holding baton in his right hand; horse rearing with head turned to the left; personification of Fortune and Justice above on clouds with an angel playing the trumpet and holding laurel crown; two soldiers on the left holding flags; a crowned lion on the right with chain of the Order of the Golden Fleece, looking left; a battle on the background; after Ardemano.
After Teodoro Ardemans. Print made by Gérard Edelinck. 1700-1707
Bm
Здесь самое привлекательное - два шара у льва. Первый раз вижу.
A perspective view of the Foundling Hospital with emblematic figures
A queue of women stand in front of the gate outside the Foundling Hospital, all holding babies, at the gate, a man gestures towards the hospital. A statue of Fortune stands outside, and a statue of Charity inside the gate; to the left, a small boy with a stick leans over the wall. Below the image are two columns of verse, beginning "Thro' various Wilds and Scenes by Fortune tost...Which Fortune dooms, but Charity compleats."
Print made by Charles Grignion, Edward Rooker After Samuel Wale. London, 1749
Bm
Утверждается, что статуя Фортуны невозбранно стояла перед госпиталем в середине 18 века и никого не смущала своим анахронизмом.
Carolo Magno Carolo
Portrait of Emperor Charlemagne and of Charles VII, Holy Roman Emperor, both half-length, Charlemagne on the left, wearing embroidered robe and crown with cross, in oval frame of leaves; and Charles VII on the right, turned to the left and looking at the viewer, wearing armous and wig, in oval frame; both frames on a tree with the personification of fortune on the left, holding a cornucopia with crowns; coat of arms below with a chain of golden medals/coins; four whole-length women below putting together a laurel crown, and a lion with a large globus cruciger by their feet.
After Cosmas Damian Asam. Print made by Hieronymus Sperling. Augsburg, 1720-1777
Bm
Тут меня два Каролуса занимают больше античных дев.
Gem (?) with an oared ship with Serapis, Fortuna and Isis on board. 1768 - 1805
Inscriptions "Serapis, Pluton, Soleil / Apres la XLII. Pl. du / Tome. II."
Bm
Не верь глазам своим. Написано Серапис, Плутон и Солнце, а на самом деле кто нарисован?
Glass paste intaglio engraved with an oared ship
Bm
Общий вид листа, с миленькими корабликами.
Давно подозреваю подобные картинки в роли набросков к древним изделиям, изготовленным после конца 18 века. С символикой тут тоже все хорошо, в смысле хаотично. Дальше еще несколько примеров.
Gem engraved with a draped Pantheistic Fortuna wearing an aegis and a lotus-flower on her head. She holds a steering-oar (?), caduceus, ears of corn and a cornucopia with a bird on top. In the field are a star, crescent, wreaths, palm-branch (?), bow, sceptre (?), and club of Herakles (BM Cat. Gem 1754)
Pen and ink with grey wash and traces of graphite underdrawing on a sheet of paper, which is stuck down onto a second sheet watermarked '1794 J WHATMAN'; the assemblage framed in a graphite border. 1768 - 1805
Bm
Glass paste intaglio engraved with a winged draped Victory wearing a helmet, holding the attributes of Fortuna: a steering-oar, ears of corn and a cornucopia. She also holds a caduceus. 1768 - 1805
Bm
Glass paste intaglio engraved with a winged draped Victory wearing a helmet-2
Bm
И герб "погоня" на плече))
Effecten / Goederen, anonymous, 1845
Rm
Вот когда, возможно, Фортуна обрела весы-то.
Winged Fortune on a wheel scattering crowns and arrows, after a composition then thought to be by Michelangelo; lettered state.
Intermediary draughtsman Filippo Calendi. After Michelangelo (wrongly attributed). Print made by Davide Testi. 1849
Bm
Микеланджело, говоришь? :))