aenigmata

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Celerrime, Celeberrime

Beitragvon Willimox » Mo 18. Nov 2019, 20:43

O di immortales!

Conso doctissimo nostro praeter omnia etiam pinacotheca in capite socii nostri interdum volatilis nota.
Visitans malleum antipaganum vidit et celerrime respondet.

Bild
Sancta Apollonia, quae malleo instructa scalas escendit, ut idolum paganum destruat.
In dextra parte inscriptio EVSEBIV(S) videri potest.

Agedum ordo te vocat, celeberrime.

Vale
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Beitragvon consus » Di 19. Nov 2019, 18:43

Thrasybulo viro litteratissimo s.d. Consus.
Equidem prorsus nescio quanam fabula commotus Ioannes Apolloniam scalas escendentem pinxerit; nam apud Eusebium nihil aliud lego nisi hoc (hist. eccl. 6, 41, 7):
Ἀλλὰ καὶ τὴν θαυμασιωτάτην τότε παρθένον πρεσβῦτιν Ἀπολλωνίαν διαλαβόντες, τοὺς μὲν ὀδόντας ἅπαντας κόπτοντες τὰς σιαγόνας ἐξήλασαν, πυρὰν δὲ νήσαντες πρὸ τῆς πόλεως ζῶσαν ἠπείλουν κατακαύσειν, εἰ μὴ συνεκφωνήσειεν αὐτοῖς τὰ τῆς ἀσεβείας κηρύγματα. ἡ δὲ ὑποπαραιτησαμένη βραχὺ καὶ ἀνεθεῖσα, συντόνως ἐπήδησεν εἰς τὸ πῦρ, καὶ καταπέφλεκται.
Nonne pictor rem excogitavit ut eximiam demonstraret Apolloniae pietatem et sanctitatem? Tu quid sentis?
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Re: aenigmata

Beitragvon Willimox » Di 19. Nov 2019, 20:50

Salve, sodalis doctissime,

Res confusa mihi videtur. Duo pictores - ut scis - collaboraverunt, Italicus (Antonio Vivarini) et ille Germanus.

Bild

FABIO BISOGNI

The Martyrdoms of St. Apollonia in Four Quattrocento Panels
Author(s): FABIO BISOGNI
Source: Studies in the History of Art, Vol. 7 (1975), pp. 41-47
Published by: National Gallery of Art
Stable URL: https://www.jstor.org/stable/42617892

scripta dua - non "nostri" Eusebii - repperit, quae Fabioni explicationi usui esse videntur:

Bibliotheca Hagiographica Latina (Brussels, 1898-1899), no. 641. An Officium Proprium evidently derived from this legend has been published by Guido Maria Dreves, Analecta Hymnica Medii Aevi V (Leipzig, 1889), no. 43, pp. 1 29-1 31. Cf. also Maurice Coens, "Une Passio S. Appoloniae inédite . . . Analecta Bollandiana, 70 (1952), 147-148.
The manuscript at the Royal Library in Brussels bears the number Ms 7917, and the legend of St. Apollonia is on fols. 55V-8or. The manuscript comes from St. Jerome d'Utrecht.

Ad aspectum celerem sententiae huius disputationis:

The Martyrdoms of St. Apollonia in Four Quattrocento Panels FABIO BISOGNI It is well known that the four wooden panels (figs. 1-4) dispersed among the National Gallery in Washington, the Carrara Academy in Bergamo, and the Civic Museum in Bassano1 have undergone changes in attribution many times in the past, until the attribution to Antonio Vivarini was finally settled upon.2

However, the icono- graphie content of the four paintings, each of which depicts a scene from the life of a female saint, has never been critically discussed nor challenged, and it is this problem that I wish to confront here. To question the iconography of the two panels in Bergamo might appear to be a useless exercise, since it seems clear that one of the two scenes (fig. 1) represents the typical martyrdom of St. Apollonia: she is being tortured by having her teeth pulled out.

The other panel (fig. 2) depicts St. Lucy, whose eyes are being poked out. But the latter scene arouses suspicion, because this particular martyrdom of St. Lucy, painted around 1450, would not usually have been depicted in Italian painting until at least the end of the quattrocento; in fact, its subject is not even mentioned in literary sources. It is true that many images of the saint holding her eyes in her hands can be found, but these images come from a popular reading of the legend, according to which St. Lucy's disfigurement is self-inflicted; to escape her insistent fiancé who was attracted by her beauty, St. Lucy poked out her eyes and sent them to him on a silver plate.3

In addition to the problem with the St. Lucy panel, the Wash ington panel (fig. 3) presents some difficulty in its identification. Traditionally described as "St. Catherine casting down a pagan idol," this painting shows a crowned saint, and we know that in the legend Catherine was the daughter of a king. Such an interpretation may have been suggested and further supported St. Apollonia and St. Lucy panels could only represent St. Catherine of Alexandria, who was so often joined to the other two saints in such a grouping.
However, it does seem strange that the Washing-ton scene does not depict a martyrdom as the other three panels do. Furthermore, the name Eusebius written on the front of the terrace at the upper right also presents a problem. The argument that the name probably refers to the Palestinian bishop Eusebius is not very convincing, because it is not clear what his relationship to the saint from Alexandria might have been and since his name never appears in any of the legends about St. Catherine; and there is no apparent reason why a bishop's name would appear in that position. Finally, although in the legends about St. Catherine's life there are various references to her invectives against idols, she is never cited as being materially responsible for the distruction of any idol. It is also doubtful that the scene has an allegorical meaning, given the fact that such a pictorial representation of an allegory was rather rare until the end of the quattrocento. Thus it would seem that the iden- tification of St. Catherine, even as an allegorical representation, is so uncertain that it can only mean we have not found, or searched for, the correct literary source.

Finally, the fourth panel, the one in Bassano (fig. 4) depicting a female saint being dragged by a horse with a sack tied to her neck, has always been an iconographie mystery. But by studying this panel and the two Bergamo paintings in relation to an investigation of the panel of St. Catherine at the National Gallery in Washing- ton, I have been able to resolve the iconographie problem of both the Bassano painting and the entire series.4 The name spelled on the terrace in the Washington painting prompted a search for an Eusebius connected with the life of a female saint. The search brought me to the incipit of a legend about St. Apollonia: S. Apol- lonia unica exstitit filia Eusebii imperatoris Graecorum , the text of which is still unpublished.5 It seemed immediately clear that the name Eusebius written on the balcony above the arch in the Na- tional Gallery painting lends itself more to the celebration of an emperor than of a bishop, and the fourteenth-century manuscript text of the entire unpublished legend, preserved in the Royal Library in Brussels, confirmed this supposition. But it also turned out that all four panels represent scenes from this same legend of St. Apollonia - that is, the legend preserved in that manuscript, which seems not to have been widely diffused.6 Here, then, is the explanation of the four scenes following the development in the text of the manuscript7.

1 . St. Apollonia, daughter of Emperor Eusebius destroys an idol ( fig. 3 ) : Sancta Apollonia cepit de Christo suo predicare patenter, sacrificia y dolorum abhorrens incensa eis immolanda proie cit et conculcavi, deosque áureos et argenteos in turri et camera existentes constanti mente contrivit et solum Christum Ihesum creator em celi et terre adorandum libera voce insinuavit .
2. Her father the emperor, unable to convince his daughter to make a sacrifice to the pagan gods, has her undergo various torments, one of which is the removal of her tongue. When the emperor sees that this fails, he has Apollonia^ teeth pulled out (fig. 1
4 I was able to solve this iconographical problem thanks to the magnificent library that exists at Dumbarton Oaks in Washington, D.C.; I should like to thank that institution and its director of studies, Professor William C. Loerke.
5 Cf. Bibliotheca Hagiographica Latina (Brussels, 1898-1899), no. 641. An Officium Proprium evidently derived from this legend has been published by Guido Maria Dreves, Analecta Hymnica Medii Aevi V (Leipzig, 1889), no. 43, pp. 1 29-1 31. Cf. also Maurice Coens, "Une Passio S. Appoloniae inédite . . . Analecta Bollandiana, 70 (1952), 147-148.
6 The manuscript at the Royal Library in Brussels bears the number Ms 7917, and the legend of St. Apollonia is on fols. 55V-8or. The manuscript comes from St. Jerome d'Utrecht.
7 For the texts reproduced here, see Ms 7917 in the Royal Library in Brussels, fols. 68v (scene 1 ), 72Г (scene 2), 72V (scene 3>,73v (scene 4). A difference will be noticed between the text and the fourth panel inasmuch as the painting shows the saint being dragged through the streets of the city tied to a horse and not, or not yet, in the arena about to be crushed by horses' hooves. Perhaps the painter or, more likely, whoever commissioned the work misunderstood the Latin text or used a text that was slightly different from this on.

The Martyrdoms of St. Apollonia in Four Quattrocento Panels Author(s): FABIO BISOGNI Source: Studies in the History of Art, Vol. 7 (1975), pp. 41-47 Published by: National Gallery of Art Stable URL: https://www.jstor.org/stable/42617892

vale
Thrasybulus :book:
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Beitragvon consus » Di 19. Nov 2019, 23:53

Maximas tibi ago gratias, mi Thrasybule, quod tantam collocasti curam in respondendo ad mea interrogata. Facilius nunc intellego quae vis sit illius imaginis.
:hail:
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Ecce novum...

Beitragvon consus » Mi 20. Nov 2019, 21:02

Amicis suis pariter omnibus s. p. d. Consus.
Abhinc permultos annos iter feci in vicum prope os Veteris qui vocatur Rheni situm ut angustam viserem casam et officinam viri quem reponi in hominum acutissimorum numero constat. De cuius vita nihil nisi hoc: Vir stirpe ortus Iudaea, cum deum instar personae esse negaret, ex synagoga exclusus et atheorum suae aetatis princeps appellatus est; ingenti enim opere proposuit doctrinam suam mirabili via atque ratione.
Quis vir?
Quis vicus?
Cur non modo casam, sed etiam officinam commemoro?
Quod opus ingens?
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Re: aenigmata

Beitragvon Willimox » Do 21. Nov 2019, 08:55

Conso viro litteratissimo s.d. Thrasybulus.

Ille vir, quem damnaverunt et excluserunt (Cherim) synagogae viri, Baruch (Benedictus) Spinoza est.
Casa officinaque in Rijnsburg sitae, ubi libris studuit et res ad vitam degendam necessarias lenticulans sibi fecit.
Opus magnum (posthumum) eo loco in nuce primis velut lineis designatum et (inter alia) de cosmologico problemate regressus infiniti disserens: Ethica, ordine geometrico demonstrata.

Sit venia, quaeso, his scriptis ex cursu ethico excerptis et eorum Linguae Theodiscae hoc in loco alienae:

Bild

Cherim/damnatio:
‚Nach dem Beschlusse der Engel‚ nach dem Urteil der Heiligen bannen wir, verstoßen wir und verwünschen und verfluchen wir Baruch de Espinoza mit der Zustimmung des Hl Gottes und mit der Zustimmung dieser ganzen Kehila Kadoscha (Hl. Gemeinde) vor den hl. Büchern des Gesetzes mit den 613
Vorschriften, die in ihnen geschrieben sind, mit dem Banne, mit dem Josuah Jericho gebannt hat, mit
dem Fluche, mit dem Elisa die Knaben verflucht hat – und mit allen Verwünschungen, die im Gesetze
geschrieben sind. Verflucht sei er am Tage, und verflucht sei er in der Nacht. Verflucht sei er, wenn er
sich niederlegt, und verflucht sei er, wenn er aufsteht. Verflucht sei er, wenn er ausgeht, und verflucht
sei er, wenn er zurückkehrt. Der Herr wolle ihm nicht verzeihen. Der Zorn und der Grimm des Herrn
wird gegen diesen Menschen entbrennen und auf ihn werfen alle Flüche, die im Buche des Gesetzes
geschrieben sind. Der Herr wird seinen Namen unter dem Himmel auslöschen, und der Herr wird ihn
zum Bösen ausscheiden von allen Stämmen Israels mit allen Flüchen des Himmels, die im Buche des
Gesetzes geschrieben sind. Ihr aber, die ihr dem Herrn Eurem Gott anhänget, ihr lebet heute allzumal!‘
Wir verordnen, dass niemand mit ihm mündlich oder schriftlich verkehre, niemand ihm irgend eine
Gunst erweise, niemand unter einem Dache oder innerhalb vier Ellen bei ihm verweile, niemand eine
von ihm verfasste oder geschriebene Schrift lese.“

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Beitragvon consus » Do 21. Nov 2019, 10:41

Repperi, mi Thrasybule, in Latinum conversa dura illa verba quibus anno MDCLVI Amstelodami Spinoza anathematizatus est:
Iudicio Angelorum Sanctorumque iudicio anathematizamus, seiungimus, maledicimus, execramus Benedictum d'Espinoza, assentiente Deo Benedicto et consentiente Sancta hac Ecclesia, coram Sanctis Libris cum sescentis et tredecim praeceptis, quae in iis scripta sunt, cum anathemate quo Iosua Ierichontem anathematizavit, cum maledictione qua Elisa pueris maledixit, cum omnibus maledictionibus, quae in Libro Legis scriptae sunt: maledictus sit per diem et maledictus sit per noctem, maledictus sit in dormiendo et maledictus sit in exsurgendo, maledictus sit in exeundo et maledictus sit in intrando; Dominus numquam illi ignoscere velit, furorem Domini et zelum in hominem istum posthac ardere faciat, illique imponat omnes maledictiones, quae scriptae sunt in Libro Legis, destruet nomen eius infra coelum; Dominus seiunget eum in malum ab omnibus Israelis tribubus cum omnibus maledictionibus firmamenti, quae scriptae sunt in Libro Legis. Et vos Domino Deo vestro adhaerentes, vos omnes hodie salvete!
Advertentes, quod nemo eum alloqui possit oraliter, nemo per scriptum; nemo ei facere possit ullum favorem; nemo sub tecto cum illo stare, nemo quattuor distantibus ulnis; nemo documentum ullum legere ab eo factum vel scriptum.
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Re: aenigmata

Beitragvon Willimox » Do 21. Nov 2019, 11:04

Gratias tibi ago, sodalis illustratissime:
Furor Domini terribilis.

vale

p.s.
Liber tibi versimile notus:
https://www.zeit.de/angebote/buchtipp/y ... ettansicht
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Re: aenigmata

Beitragvon Willimox » Do 21. Nov 2019, 17:05

Cum Consus noster illustratissimus verba conversa miserit, verisimile - ut puto - est ordinem nunc Thrasybulum vocare.
:chefren:
Sodalibus aenigmatum cupidis et serenis imaginem Puscha scurra ridente alienatam offerimus, alienatam, ne aenigma brevissime gugulando solvatur.

Bild
Prorsus: Videmus imaginem in imaginem insertam et se quasi reflectentem (…ἄβυσσος…metalepsis…).

Hominibus doctis in ea causa artifex Graecus arte pingendi clarus et cum collega Graeco in arte certans certe in mentes venit,

Tres quastiones:

a) Qui pictor Graecus?
b) Qui pictor ridens in imagine supra anno p.Ch. n. MDCLXXXV facta?
c) Qui pictor magister fuit eiusdem pictoris (b) et se ipsum in hac causa pinxit?

valete
Thr.
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Beitragvon consus » Do 21. Nov 2019, 17:56

Thrasybulo amico suo spectatissimo s. p. d. Consus.
Cogitare te puto de Zeuxide.
Ille pictor ridens nemo alius videtur esse nisi Arent de Gelder, qui se ipse simili modo pinxit atque Rembrandt quem eius magistrum fuisse novimus.
Cf. http://syndrome-de-stendhal.blogspot.com/2013/04/rembrandt-lacht-sich-kaputt.html et https://www.wallraf.museum/sammlungen/barock/meisterwerke/rembrandt-harmenz-van-rijn-selbstbildnis-um-1668/das-meisterwerk/
:D
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Re: aenigmata

Beitragvon Willimox » Do 21. Nov 2019, 18:06

... ipse subtilis veterum iudex et callidus Consus ....

:klatsch:

nunc te ordo ...
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Beitragvon consus » Fr 22. Nov 2019, 10:46

Cum Lutetiam Parisiorum proficiscar, optimi amici, tempus mihi deesse doleo ad aenigma proponendum. Licet ergo cuivis uni ex vobis meas suscipere partes. Agedum!
:stretch:
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Indagate tabulam pictam!

Beitragvon consus » Do 28. Nov 2019, 21:37

Amicis suis fortiter furore quodam theologico plane et constanter contempto novum aenigma proponit Consus:
Adii Lutetiae Parisiorum aedificium, in quo expositae sunt, ut cetera artis opera praetermittam, tabulae quasi sine ulla exceptione ex anno MDCCCXLVIII usque ad annum MCMXIV pictae. Inter quas permagna eminet tabula pictoris qui abhinc annos centum nonaginta quattuor natus est. Conspicimus Ingentem venustissimarum numerum puellarum quas tres Fauni libidine affecti admirantur. Ad tabulae marginem inferiorem tessera applicata est in qua sex scripti sunt hexametri.
Quod aedificium?
Quis pictor?
Quae tabula picta?
Quae puellae?
Qui hexametri?
:D
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Re: Indagate tabulam pictam!

Beitragvon Longipes » Do 28. Nov 2019, 22:20

Quod aedificium? → Museum Orceaci
Quis pictor? → Guglielmus Bouguereau
Quae tabula picta? → "Oreiades" vel Francogallice "Les Oréades"
Quae puellae? → Oreiades vel nymphae montanae
Qui hexametri? →
Fernand Humbert hat geschrieben:Ut radians oritur tenebris aurora fugatis
Et roseo summos illustrat lumine montes,
Nympharum lasciva cohors, quae nocte sub umbra
Silvarum, ad placidi ludebat fluminis oras,
Ad natale fugax longo volat agmine coelum,
Divinasque petit faunis mirantibus arces.
In omnibus requiem quaesiui et nusquam inueni nisi in angulo cum libro.
Ἐν πᾶσιν ἡσυχίαν ἐζήτουν ὀυδὲ ηὗρον αὐτὴν εἰ μή ἐν γωνίᾳ βιβλόν τινα ἀναγιγνώσκων.
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Beitragvon consus » Fr 29. Nov 2019, 12:42

Félicitations pour ta rapidité exceptionnelle! Gratulor tibi de aenigmate omni ex parte soluto. Non suspicabar rem tam celeriter confici posse.
:D
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