The Iconologia of Ripa was a highly influential emblem book based on Egyptian, Greek and Roman emblematical representations, many of them personifications.Maser, E.A. (1971) Cesare Ripa. Baroque and Rococo. Pictural Imagery.
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The churchyard was the burying place of the Macgregors. Also in the church's burial ground are late medieval grave slabs that are embellished with figures of armed warriors and emblematical devices that are said to have been brought from Inishail.
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He followed up with his Emblematical Print on the South Sea Scheme – a similar composition with crowds between buildings to either side – and another 1724 engraving entitled The Lottery, sold through the printsellers Mrs Chilcott in Westminster Hall and R Caldwell in Newgate Street.
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Giovenale Boetto was a Piedmontese fresco painter who flourished at Turin, Italy from 1642 to 1682. He was principally employed in embellishing the palaces and public edifices at Turin with allegorical subjects. Among his works are twelve frescoes in the Casa Garballi representing subjects emblematical of the Arts and Sciences. Luigi Lanzi affirms that he excelled as an engraver.
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Emperor Rudolf II, Plate 11 of 'The Emperors of the Habsburg Dynasty', 1649-1657, engraving by Frederico Agnelli. Federico Agnelli (1626–1702) was an Italian intaglio printer, engraver and typographer, active in Milan. He was chiefly employed in portraits, though he occasionally engraved emblematical and architectural subjects. He engraved with the architect Carlo Butio a set of plates representing the Cathedral at Milan.
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A frequent target of his satire was the corruption of early 18th century British politics. An early satirical work was an Emblematical Print on the South Sea Scheme (c.1721), about the disastrous stock market crash of 1720 known as the South Sea Bubble, in which many English people lost a great deal of money.See Ronald Paulson, Hogarth's Graphic Works (3rd edition, London 1989), no. 43.
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Emblematical Print on the South Sea Scheme (also known as The South Sea Scheme) is an early print by William Hogarth, created in 1721 and widely published from 1724. It caricatures the financial speculation, corruption and credulity that caused the South Sea Bubble in England in 1720–21. The print is often considered the first editorial cartoon or as a precursor of the form.
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Ingram was born in London in 1721, and first practised engraving there. In 1755 he went to Paris, and settled there for the rest of his life. He both etched and engraved. He engraved a number of plates after François Boucher (such as The Game of Chinese Chess), some after Charles-Nicolas Cochin, and a set of emblematical figures of the sciences in conjunction with Cochin and Jacques-Nicolas Tardieu.
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Baudoin translated Cesare Ripa's Iconologia of 1593 into French and published it in Paris in 1636 under the title Iconologie.Olga Vassilieva-Codognet, À la recherche des généalogies effigionaires de princes: Series of Retrospective Dynastic Portraits and the Social Implications of True Likeness (Antwerp, ca. 1600), p. 102-105 The Iconologia of Ripa was a highly influential emblem book based on Egyptian, Greek and Roman emblematical representations, many of them personifications.
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Long Island City continued to exist as an incorporated city until 1898, when Queens was annexed to New York City. The last mayor of Long Island City was an Irish-American named Patrick Jerome "Battle-Axe" Gleason. The Common Council of Long Island City in 1873 adopted the coat of arms as "emblematical of the varied interest represented by Long Island City." It was designed by George H. Williams, of Ravenswood.
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B. Nichols, 1833 p. 192 "PLATE VIII. ... Britannia 1763"J. B. Nichols, 1833 p. 193 "Retouched by the Author, 1763" The pictorial satire has been credited as the precursor to the political cartoons in England: John J. Richetti, in The Cambridge history of English literature, 1660–1780, states that "English graphic satire really begins with Hogarth's Emblematical Print on the South Sea Scheme"., p. 85. William Hogarth's pictures combined social criticism with sequential artistic scenes.
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An English translation appeared in 1709 by Pierce Tempest. The baroque painter Antonio Cavallucci drew inspiration for his painting Origin of Music from the book. In 1779, the Scottish architect George Richardson's Iconology; or a Collection of Emblematical Figures; containing four hundred and twenty-four remarkable subjects, moral and instructive; in which are displayed the beauty of Virtue and deformity of Vice was published in London. The drawings were by William Hamilton.
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160px There is a bust of Monge placed on a terminal pedestal underneath a canopy in the upper compartment, which canopy is open in front and in the back. In the cavetto cornice is an Egyptian winged globe, entwined with serpents, emblematical of time and eternity; and on the faci below is engraved the following line:-- :A GASPARD MONGE. On each side of the upper compartment is inscribed the following memento mori: :LES ELEVES. :DE L'ECOLE POLYTECHNIQUE.
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Paulson suggests that the real "villain" of The Distrest Poet may be Pope, unseen but representing the successful "Great Poet" whom the deluded aspiring artist hopes to emulate, rather than the distressed poet himself.Paulson (Vol. 2) pp.120–22 Hogarth had featured Pope picking John Gay's pocket in the foreground of Emblematical Print on the South Sea Scheme, an early print he had produced on the theme of the South Sea Bubble (both Pope and Gay had invested money in the scheme).
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A burying ground has several ancient, carved tombstones, with sculptures and devices appropriate to ecclesiastics, warriors, knights, and a peer. Some grave slabs, those having figures of armed warriors and emblematical devices, may have been taken to the burial ground of Glenorchy Parish Church in Dalmally. While the principal burial place of the Dukes and Duchesses of Argyll is St Munn's Parish Church, Kilmun, the 11th and the 12th Dukes chose to be buried on the island of Inishail in Loch Awe.
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He was chiefly occupied in decorating the mansions of the Neapolitan nobility with emblematical and allegorical subjects. Rome possesses only two of his pictures, one in the church of Sant'Angelo in Pescheria, and the other in Santa Marta al Collegio Romano. He also worked in Naples, where he painted frescoes for the Palatine chapel in the Royal Palace. He was a contributor to the scenography of the operas Giasone, il Minotauro, and Arianna at the Teatro San Bartolomeo in Naples.
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The Assembly at Wanstead House. Earl Tylney and family in foreground Early satirical works included an Emblematical Print on the South Sea Scheme (c.1721, published 1724), about the disastrous stock market crash of 1720 known as the South Sea Bubble, in which many English people lost a great deal of money. In the bottom left corner, he shows Protestant, Roman Catholic, and Jewish figures gambling, while in the middle there is a huge machine, like a merry-go-round, which people are boarding.
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Emblematical Representation of Commerce and Plenty Presenting the City of London with the Riches of the Four Quarters of the World, from Volume I of Hughson's description of London. David Hughson (c. 1760s – 1820s), which may have been a pen name of Edward Pugh, was a writer on the topography and history of London. He produced a description of the city based on "an actual perambulation" (walk) that was published in six volumes between 1805 and 1809 and contains 150 copper plate engravings principally based on illustrations by Robert Blemmell Schnebbelie and Edward Gyfford.
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The Iconologia was a highly influential emblem book based on Egyptian, Greek and Roman emblematical representations, many personifications. The book was used by orators, artists, poets and "modern Italians" to give substance to qualities such as virtues, vices, passions, arts and sciences. The concepts were arranged in alphabetical order, after the fashion of the Renaissance. For each there was a verbal description of the allegorical figure proposed by Ripa to embody the concept, giving the type and color of its clothing and its varied symbolic attributes, along with the reasons why these were chosen, reasons often supported by references to literature (largely classical).
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The plan of the principal pedestal is octagonal, with four small, and four large faces; from the small faces project four buttresses. On the main pedestal stands the heroic figure of "Faith" with her right hand pointing toward heaven and her left hand clutching the Bible. Upon the four buttresses also are seated figures emblematical of the principles upon which the Pilgrims founded their Commonwealth; counter-clockwise from the east are Morality, Law, Education, and Liberty. Each was carved from a solid block of granite, posed in the sitting position upon chairs with a high relief on either side of minor characteristics.
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Ishmael is the narrator, shaping his story with use of many different genres including sermons, stage plays, soliloquies, and emblematical readings.Bezanson (1953), 644 Repeatedly, Ishmael refers to his writing of the book: "But how can I hope to explain myself here; and yet, in some dim, random way, explain myself I must, else all these chapters might be naught."Quoted in Bezanson (1953), 645 Scholar John Bryant calls him the novel's "central consciousness and narrative voice."Bryant (1998), 67–8 Walter Bezanson first distinguishes Ishmael as narrator from Ishmael as character, whom he calls "forecastle Ishmael", the younger Ishmael of some years ago.
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Allusions to Fawkes' show feature prominently in his first issued print Masquerades and Operas (or the Bad Taste of the Town) of 1723 in which he mocks the public for their taste for an "English Stage, Debauch'd by fool'ries". Hogarth regarded Fawkes' popularity as indicative of the mentality of the public; as part of his act Fawkes produced money from thin air by an act of sleight-of-hand, which Hogarth may have seen as analogous to the exceptions of the investors in the South Sea Bubble (whom Hogarth had mocked earlier in his Emblematical Print on the South Sea Scheme).Paulson (1992) p.80 Fawkes' show appears again in Hogarth's Southwark Fair a print of which was issued together with A Rake's Progress in 1735.
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Thompson supported the Confederacy during the American Civil War. In 1863, as the editor of the Morning News, he discussed a variant of a design that would ultimately become the Confederacy's second national flag, which would become known as the "Stainless Banner" or the "Jackson Flag" (for its first use as the flag that draped the coffin of Confederate Lt. Gen. Thomas "Stonewall" Jackson.) In a series of editorials, Thompson wrote why he felt the design should be chosen to represent the Confederacy as "The White Man's Flag." > As a people, we are fighting to maintain the heaven ordained supremacy of > the white man over the inferior or colored race: a white flag would thus be > emblematical of our cause.
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An early example of poetry that was invented to fill a perceived gap in "national" myth is Ossian, the narrator and supposed author of a cycle of poems by James Macpherson, which Macpherson claimed to have translated from ancient sources in Scottish Gaelic. However, many national epics (including Macpherson's Ossian) antedate 19th-century romanticism. In the early 20th century, the phrase no longer necessarily applies to an epic poem, and occurs to describe a literary work that readers and critics agree is emblematical of the literature of a nation, without necessarily including details from that nation's historical background. In this context the phrase has definitely positive connotations, as for example in James Joyce's Ulysses where it is suggested Don Quixote is Spain's national epic while Ireland's remains as yet unwritten: > They remind one of Don Quixote and Sancho Panza.
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The popular reasons given are, firstly, the fact just mentioned, that the Lotus-seed contains within itself a perfect miniature of the future plant, which typifies the fact that the spiritual prototypes of all things materialised on Earth. Secondly, the fact that the Lotus plant grows up through the water, having its root in the Ilus, or mud, and spreading its flower in the air above. The Lotus thus typifies the life of man and also that of the Kosmos; for the Secret Doctrine teaches that the elements of both are the same, and that both are developing in the same direction. The root of the Lotus sunk in the mud represents material life, the stalk passing up through the water typifies existence in the astral world, and the flower floating on the water and opening to the sky is emblematical of spiritual being.
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In the War of 1812, he was promoted to the rank of post-captain and commanded the USS Ticonderoga in the Battle of Lake Champlain and was awarded a gold medal by the United States Congress in commemoration of the victory. Text of Congressional Gold Medal resolution: :Resolved, That the President of the United States be requested to cause gold medals to be struck, emblematical of the action between the two squadrons, and to present them to Captain Macdonough and Captain Robert Henley, and also to Lieutenant Stephen Cassin, in such manner as may be most honorable to them; and that the President be further requested to present a silver medal, with suitable emblems and devices, to each of the commissioned officers of the navy and army serving on board, and a sword to each of the midshipmen and sailing masters, who so nobly distinguished themselves in that memorable conflict. At the close of the war, Cassin commanded the Newport, Rhode Island Station, and after that the Washington Navy yard for five years.
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As a people, we are fighting > to maintain the Heaven-ordained supremacy of the white man over the inferior > or colored race; a white flag would thus be emblematical of our > cause....[sic]. On May 4, 1863, Thompson pens his approval of the changes to the flag design that the Confederate Congress utilized which were akin to those he and his supporters suggested: > We are pleased to learn by dispatch from Richmond that congress has had the > good taste to adopt for the flag of the confederacy, the battle flag on a > plain white field in lieu of the blue and white bars proposed by the senate. > The flag as adopted is precisely the same as that suggested by us a short > time since, and is, in our opinion, much more beautiful and appropriate than > either the red and white bars or the white field and blue bar as first > adopted by the senate. Thompson further explains the significance: > As a national emblem, it is significant of our higher cause, the cause of a > superior race, and a higher civilization contending against ignorance, > infidelity, and barbarism.
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