Applied art, Art (general), Graphic design, History, Philosophy, Religion - Quantity: 1
|Edition:||1st Edition Thus|
|Publication year oldest item:||1687|
|Author/ Illustrator:||Lorenzo Ortiz|
|Book Title:||Ver, Oir, Oler, Gustar, Tocar, Empresas que Enseñan, y Persuaden su buen Uso, en lo Politico, y en lo Moral|
|Number of Books:||1|
|Publisher:||Lyon: Anisson, Posuel y Rigaud. A Costa de Francis|
|Subject:||Applied art, Art (general), Graphic design, History, Philosophy, Religion|
EMBLEMS ON THE FIVE SENSES
Ver, Oir, Oler, Gustar, Tocar, Empresas que Enseñan, y Persuaden su buen Uso, en lo Politico, y en lo Moral; que ofrece el Hermano Lorenço Ortiz, de la Compañia de Jesus.
Lyon: Anisson, Posuel y Rigaud. A Costa de Francisco Brugieres, y Compañia, 1687.
4to. [20 x 15 cm]. (12) 299 pp, (12), plus full-page engraved armorial and 7 half-page engraved emblems in text. Bound in 18th century velum with manuscript title on spine.18th century ownership inscription on flyleaf, “De la Bibliotheca de Senor Antonio de Figueras. Costo 1 [..?..]. One or two early MS notes to margins (trimmed), and 1.5 pp MS index of poetic sources on final leaf (ending at 'G'). Ex-libris on pastedown of I. G. Schorsch. Textblock uniformly toned throughout; wormtrack in blank upper corner of pp. 55-139 and pp. 170-242, very occasionally nicking text and engravings; a few blank corners lost entirely. A very genuine copy withall.
First edition, second issue of this curious Jesuit emblem book concerning the Five Senses. For Ortiz, the bodily senses are the only instruments by which the Creator can reach the human soul; thus the reader's senses must be captured, not just his intellect. The book was mysteriously published in Lyon although its author was an Andalusian native resident in Seville.
Lorenzo Ortiz de Buxedo (1632-1698) deliberately sets out to challenge the usual conventions of religious emblematic literature in the present work. Firstly, he draws heavily on Spanish poetry and modern history for his sources rather than invoking Scripture or the Church Fathers. This feature was evidently of interest to an early reader of the present copy, who compiled his own “Tabla de los Autores, que escrivieron en Poesia Española cuyos exemplos trae el Hermano Lorenzo Ortiz...” in manuscript at the rear of the book. These authors include Beatriz de Aguilar, Juan Caramuel, Sor Luisa de Carvajal (a Spanish nun martyred in Jacobean England!), Juan de la Cruz (spiritual confessor to Teresa of Avila), and Marina Escobar. On the other hand, Ortiz was employed in the office of the Procurador de Indias from 1669 onwards, and this is perhaps reflected in his frequent references to Bartoli's history of the Jesuit missionaries in Asia as well as the Filippo de Marini's accounts of Japan. Secondly, the structure of Ortiz’s presentation of emblems is unconventional. It is not until the very end of each chapter that the reader is able to understand the relevance of the emblem at its head, thanks to an original poem by Ortiz which acts as a summary as well as tying loose ends together: in a somewhat forced contrivance, the last line of each poem echoes the motto found in the corresponding emblem.
* Landwehr, p. 557; De Backer-Sommervogel V, 1964; Adams et al, A Bibliography of French Emblem Books Vol 2, F. 457; Campa, Emblemata Hispanica SR3; Maxwell, Proverbs, Emblems, p. 144; Praz, Studies in Seventeenth-Century Imagery, p. 441.
|Member since:||August 30, 2016|
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