A number of typographical errors have been corrected. They are shown in the text with mouse-hover popups. Errors noted in the printed Errata list are similarly . Hypnerotomachia Poliphili called in English Poliphilo's Strife of Love in a Dream or The Dream .. from The Metropolitan Museum of Art (fully available online as PDF), which contains material on Hypnerotomachia Poliphili (see index). APRIL OETTINGER 2 – For recent editions and commentaries, see Francesco Colonna, Hypnerotomachia Poliphili, ubi humana omnia non nisi somnium esse .

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June 16, Francesco Colonna Hypnerotomachia Poliphili: The Strife of Love in a Dream Trans. Joscelyn Godwin. Thames and Hudson, pp.; mari/olasq; apud teliteras Se uirtutes seostinicousma.cfsaditum ad te tanq uadix tentaui. Venitnuperinmanusmeasnouumquoddam & admirandum. Poliphili opus (id enim . Hypnerotomachia Poliphili by Francesco Colonna; 26 editions; First published in ; Subjects: Incunabula, Facsimiles, Wood-engraving.

Many surviving copies have been mutilated by readers wishing to possess some of its opulently designed woodcuts. It is, therefore, all the more rewarding that the present publication attempts to convey the beauty of the original by adhering to its size, as well as to the layout of the text and the images. A labor of love for Joscelyn Godwin, this translation follows his earlier forays in the intellectual history of the early modern world, most notably his publications on the seventeenth-century philosophers Robert Fludd and Athanasius Kircher.

The story—ostensibly a retelling of a long and involved dream that takes Poliphilo through a landscape filled with ruins, tablets with inscriptions and hieroglyphs, and other magnificent or curious remnants of Antiquity—is both autobiographical and allegorical. And, like these illustrious examples, he is doomed to lose her at the moment of their closest embrace, as her body disappears into the air, ending both his dream and his book.

Like its language, the literary genre of Hypnerotomachia Poliphili is truly a hybrid one, combining the conventions of romance, travelogue, and antiquarian treatise in an ever-changing narrative. At the same time, this learned fabric is interwoven with passages detailing his desire for Polia, whose undisguised eroticism brings to mind the popular contemporary literature of a more lascivious bent.

In this manner, as stressed in the dedicatory preface to the edition, he fashioned a book for many audiences, a cornucopia of knowledge that could rival the work of the ancients, and be presented with a pleasing grace and novelty.

Notwithstanding its textual eccentricity, Hypnerotomachia Poliphili has had a rich pictorial and literary legacy. Mantegna, Titian, Lotto and Bernini, to name but a few of the artists it inspired, eagerly drew upon its opulent, often enigmatic imagery. Equally important was the impact of this volume on emblem books, the principal vehicle for the dissemination of visual and poetic tropes in the seventeenth century.

From Alciatus and Valeriano, to lesser known authors such as the Antwerp poet Jan van der Noot, Hypnerotomachia Poliphili was a favorite sourcebook of Renaissance commonplaces. Though its publishing history prior to includes a number of translations, most of them are abbreviated versions of the original.

Oxford University Press, , p. The building even seems to live and breath, for Poliphilo likens the tintina- bulum of the rotating statue atop the obelisk to the whistling wind, the breath 32 — HP: The Quattrocento vocabulary of medieval and early Renaissance writings that conditioned the vocabulary of creation, inspiration, and genius in the of Giorgio Vasari and his associates.

Unione Tipografico awe, contemplating cogitabondo it. Elsewhere in the dream, he speaks of his Editrice Torinese, , Vol. LV, pp. Cambridge University Press, cogitare was closely associated with the conception of a visionary Idea, as when , pp.


See HP: A Concept in Art made. Joseph J. University of South Carolina Press, concept personified by Polia, the aggregate of his fragments and his rime sparse. Great Pyramid, in Hypnerotomachia Poliphili Venice, , b1v.

Creighton Gilbert New York: Prentice romance embark on a journey whose itinerary is neither clear nor linear, Hall, , p. St Augustine used the word in this sense when he spoke Downloaded By: For Poliphilo, the act of taking in the vision evokes awe, amazement, fear, and in some cases, the powerful visions send the protagonist into a stupore, rendering him speechless.

Ultimately, the statue and the pyramid 44 — For examples in the text, see HP: The statue of the nymph atop the pyra- nothing short of marvelous. There are two types of woodcuts that illustrate the Hypnerotomachia Poliphili: Vittore Branca, estratto da Studi sul Boccaccio Firenze: XVI, pp.

Hypnerotomachia: The Strife of Loue in a Dreame by Francesco Colonna

The narrative woodcuts func- tion as a framework for the fragments: In concert with the text, the woodcut illustrations build on one another. For example, in an extensive passage that recounts the journey of Polia and Poliphilo through the gardens on the Island of Cythera, the lovers encounter a triumphal chariot driven by Cupid and accompanied by nymphs.

Gazette des Beaux-Arts, Norton, , p. Designs by a Renaissance Artisan London: Summerson once put it. The neck was fluted around with tamente finiendo, cum aequatissima distri- deepish grooves or channels, slightly increasing with perfect regularity as butione alquanto se dilatavano. Da poscia il they ended at the swelling of the vase. Then the attractive belt descended venusto concincto descendeva verso il rotundo fundo, la corpulentia paulatina- towards the rounded bottom, where the body thinned out.

It was covered with mente exiliscente, convestita cum enextima- a matchless decoration of parsley leaves, carved from the solid in high relief.

New York: Harry N.

Abrams, Before Titian and Dosso — The rosy-fingered dawn of twilight, the time of dreaming, suffuses the vision, tingeing it with romance. National Gallery of Art, Washington, D. National Gallery of Art, Washington. For bibliography, see David Bull and Joyce lain bowls, a glass pitcher, a pewter ewer, and a wooden cask bearing a Plesters, The Feast of the Gods: Conservation, cartellino inscribed with the name of the artist himself: National Gallery of Art, A Poliphilian sense of humor, much like the tongue-in-cheek tone of the pseudo-classical-chivalric epics penned by the macaronic poets, also informs details in the painting.

As for the subject of the painting, there has been much speculation. While the story seems derived from the humorous Ovidian tale of Priapus and Lotus, it is well known that Bellini left out certain attributes that would have identified the gods and goddesses who were present when Priapus attempted, and ultimately failed, to seduce Lotus.

Though the image is suggestive, its meaning remains elusive to us today: Titian, Bacchus and Ariadne —23 , oil on canvas, National Gallery, London.

Art Resource, New York. The Poetry of Venetian Painting nymph, to the humor of an impish satyr who proudly drags the decapitated Vienna: IRSA Verlag, , pp. To the motley cast of sylvan characters, Titian added one of the most famous antiquarian fragments of the sixteenth century: Studies in the History of Art, ed.

Joseph Manca Hanover, relied on the imaginative capacity of its audience, who brought a new vision to N. University Press of New England, life each time they entered this space of dreaming, the Renaissance studiolo.

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XXV, p. Yale intimate space of art and imagination. Like the meaning of the poetic University Press, The Duchy of Urbino in the Renaissance London: Variorum Reprints, ; Federico da Montefeltro: Giorgio A courtly game Chittolini et al. To proceed, it is convenient to convert the different Roman measures to unciae, or inches.

The base is thus a 90 inch cube, the cylinder is 90 inches in diameter and 24 inches high, and the triangular prism is 90 inches high. It is extremely unlikely that these numbers are arbitrary; they are almost certainly of occult, hidden significance.

The current arithmetic, at the time, was Nicomachean. Numbers were often conceived as shapes.

In modern terms, the numbers are factored, or partially so. A clear pattern emerges which would have been familiar to an individual well versed in the arithmetic of the day.

Yet more, the pyramid has inscribed upon its faces a circle apiece. Only one circle may be seen full on at a time, as Logistica is at pains to point out.

These letters carried numerical values in ancient Greek since no separate symbols for the numerals existed. Thus, hidden behind each circle is a number pair 8, 7 , 8, 5 and 7, 5 Fig. That this allusion occurs with the cylinder is surely appropriate.

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This is a solution to the Delic problem of doubling the volume of a cube Fig. The face of the prism is essentially divided into a flat face 50 inches wide and two 14 inch chamfers, together subtracting 28 inches from the full width, 78 inches.

The ratio is curious Fig. This computation is essentially Euclidean in the arithmeticized form which Piero della Francesca, for example, exercised at the time Field ; Davis Fig. This again is surely no accident.

A square subtracted from this rectangle leaves a rectangle of , the rectangular space occupied by the obelisk. Alberti was known to have read Euclid. In Book 2 of Hypnerotomachia Poliphili, the author describes the geometry of the circular Cytherean Island.Log In Sign Up.

The author's style is elaborately descriptive and unsparing in its use of superlatives. Like Dante and his Beatrice, or Petrarch and his Laura, Poliphilo pursues an ideal lover, a nymph by the name of Polia. Though its publishing history prior to includes a number of translations, most of them are abbreviated versions of the original.

Notwithstanding its textual eccentricity, Hypnerotomachia Poliphili has had a rich pictorial and literary legacy.

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