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• 1 media/2012.15.1_BMC_f_2.jpg 2020-06-22T13:31:48+00:00 Checklist of the Exhibition 64 structured_gallery 2020-08-17T20:31:29+00:00 Please allow page to load.
  
  
  
  
  
   

  Checklist of Rare Books in the Exhibition

  • Robert Burton (English, 1577–1640) The Anatomy of Melancholy: What it is, with all the kinds, causes, symptomes, prognostickes & seuerall cures of it. In three partitions, with their severall sections, members & sub-sections. Philosophically, medicinally, historicallly, opened & cut vp. Printed in English Oxford: Printed for Henry Cripps, 1638, fifth edition
  • Johann Caspar Lavater (German, 1741–1801) Physiognomy, or, The corresponding analogy between the conformation of the features, and the ruling passions of the mind. Printed in English London: Printed for H.D. Symonds, not before 1790
  • Johann Caspar Lavater (German, 1741–1801) The Pocket Lavater, or, The Science of Physiognomy: To which is added, An inquiry into the analogy existing between brute and human physiognomy, from the Italian of Porta. Printed in English Hartford: Andrus & Judd, 1832
  • Charles Le Brun (French, 1619–1690) Expressions des Passions de L’Ame. Printed in French Paris, 1727
  • Cesare Ripa (Italian, 1560–1645) Iconologia di Cesare Ripa Perugino, caure. De’Sti. Mauritio e Lazzaro: Nella quale si descriuono diuerse imagini di virtù, vitij, affetti, passioni humane, arti, discipline, humori, elementi, corpi celesti, prouincie d’Italia, fiumi, tutte le parti del mundo, ed altere infinite materie: ... Printed in Italian Siena: Appresso gli geredi di Matteo Florimi, 1613 Purchased with Seymour Adelman fund
  • Cesare Ripa (Italian, 1560–1645) Iconologia di Cesare Ripa: Divisa in tre libri, ne I quali si quali si esprimono varie imagini di virtù, vitij, affetti, passioni humane, arti, discipline, humori, elementi, corpi celesti, prouincie d’Italia, fiumi, & altire materie infinite vtili ad ogni stato di persone. Printed in Italian Venice: C. Tomasini, 1645
  • Hartmann Schedel (German, 1440– 1514) Liber Chronicarum (Nuremberg Chronicle). Printed in Latin Nuremberg: Anton Koberger, 1493. Deposit of Phyllis Goodhart Gordon (BMC 1935)
  • Otto van Veen (Dutch, 1556–1629) Amorum emblemata, figuris aeneis in cisa. Antuerpiae: Venalia apud auctorem, 1607
• 1 media/DSC_0734 copy.jpg 2020-07-10T17:18:08+00:00 Imagine Temperaments 21 structured_gallery 2020-08-03T15:43:00+00:00
  In the early modern period, the beginnings of empirical science competed with Platonic distrust of the senses. Could the senses be trusted? Where do the things seen in the mind’s eye come from? Thomas Hobbes considered imagination (phantasia) to be a particularly dangerous faculty of the mind for its ability to cloud reason and deceive the sense of sight (Leviathan, 1651). He feared an imagination ungoverned by reason, which plunged the mind into darkness and left it vulnerable to witchcraft and the Devil. As both Robert Burton (The Anatomy of Melancholy, 1621) and Timothy Bright (Treatise of Melancholy, 1586) earlier cautioned, the melancholic temperament was especially vulnerable to the “monstrous fictions” of imagination.
  
  Even earlier, Leonardo da Vinci (1452–1519) and Cennino Cennini (c.1360–before 1427) recognized the generative potential of the imagination’s chimerical images. “Painting...,” Cennini wrote, "calls for imagination ... in order to discover things not seen, hiding themselves under the shadow of natural objects, and to fix them with the hand, presenting to plain sight what does not really exist.” The works in this section represent the outcomes of artistic imagination, yet they require the viewer to complete their interpretation. These prints beckon the mind to “discover things not seen”: to experience beauty, sadness, and rage; to interpret meaning; to finish an image for the artist, and even to envision our own.