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Descrizione : Title: 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. The Figures Are Engraved bY the Most Capital Artists, From Original Designs, With Explanations from Classical Authorities Author: George Richardson Publisher: Printed for the Author, by G. Scott City: London Year: 1779 Binding Style: Hardcover Number of Volumes: 2 Complete: Yes Width: 12.75 Height: 17 Book Details: A loose translation and adaptation of Italian iconographer Cesare Ripa's Iconologia overo Descrittione Dell'imagini Universali cavate dall'Antichità et da altri luoghi, a highly influential emblem book based on Egyptian, Greek and Roman emblematical representations. Hans-Joachim Zimmerman, a scholar writing on the history of translations of Cesare Ripa's Iconologia, notes the importance of the English version published in 1779 by the London architect and decorator George Richardson in four sumptuous folios dedicated to George III. Richardson was a member of the Royal Academy and apparently his colleagues had encouraged this new version to which they all dutifully subscribed. The list is headed by their president, the all-powerful Sir Joshua Reynolds. Richardson gives a rather full translation of Ripa's text for which he mainly used an Italian edition plus Boudard's French abridgment of 1759. Richardson was no scholar and his preface is a remarkable document of unashamed pilferage. He sets out to criticise Boudard, one of his unacknowledged sources, and then sings the praise of Ripa's allegorical figures quoting as his chief witness, believe it or not, the German Ripa adversary Winckelmann. How was this possible? Richardson quite simply took an English translation of Winckelmann's Gedancken über die Nachahmung, cut out all the critical aspersions and fabricated a eulogy on Renaissance iconology by the leading classicist and art critic of his day. The illustrations in the English Iconology were not designed by Richardson, who was quite an able draughtsman, but by his friend William Hamilton who supplied very pretty and somewhat anaemic figurines in the taste of the Adam period, etched mainly by Edward Malpas with assistance from Francesco Bartolozzi and others. An important innovation in Richardson's Iconology consists in the grouping of four allegorical figures depicting related ideas on one plate so that the figures form a sort of ensemble facilitating the use of the book by interior decorators who not only found gracefully arranged figures but also connected allegories. Their poses linked them together and made it convenient to apply them as decorative groups in stately homes or official buildings. (pages 21 and 22 of English Translations and Adaptations of Cesare Ripa's Iconologia: From the 17th to the 19th Century. at E.C. Nicholson in his essay Emblem v. Caricature notes Richardson's 1770 Ripa (which amplifies where the 1709 English Ripa abbreviated) emphasised its status as a pattern book for the applied arts, addressed to all those who delight in allery, a survey of the designs of that period's porcelain, for example, would suggest those who did at the level of both elite and aspirational consumption were numerous. (Emblems and Art History: Nine Essays p. 155) As illustration of the instructional character of the this work, one has the description of the last plate, The End, formulated as follows allegorically represented by the figure of an old and infirm looking man, dressed in fading coloured robes, crowned with ivy, and pointing towards the setting sun. He is holding a book, and looks at the last page, upon which is marked the Greek letter Omega. He is represented sitting, old, and infirm, as Age and Infirmity are the forerunners of Mortality. The robes allude to the fading flowers of the vegetable world on the approach of Winter, which chills their vigour, and for a season puts an end to their flourishing blossoms. He is crowned with ivy, as it is a destructive plant, and is generally to be seen about old consumed trees and decayed buildings. The setting sun is expressive of the conclusion of the day, and allegorical of the approaching End of all created Beings. The Greek letter on the book alludes to the Omnipotent Jehovah being the Alpha and Omega, the Beginning and End of all Things. Condition / Notes: This set, whose content was originally distributed in four books published in two volumes, contains the second of two volumes (with detailed descriptions of plates LIII to CIX) and an additional volume now containing a total of 84 engraved plates. A second portfolio, lacking text block, is also present.. Antique leather-bound set shows significant wear and loss, with text volume with detached boards lacking spine cover. Armorial bookplate appears on front pastedown. Bookplate reads Jacobus Cowan De Roshall Armigeri Vires et fides. (same bookplate appears on front pastedown of second portfolio). Text block of text volume is separated at several points. Pages exhibit occasional light foxing. Plate volume now has primitive cloth spine, with hand-written title. Boards display substantial wear. Two labels appear in upper left corner of verso of front board. The first of these bears the letters Fb, the second gives location in library of Kimbolton Castle (the final home of Catherine of Aragon, and the ancestral seat of the Dukes of Manchester). . Plate numeration ranges from I to CIX. Loose leaves may show scattered light foxing and/or marginal staining. Hand-colored etchings contained in this set are numbered 3 (two copies), 4, 9, 16, 17, 18 (2), 21, 2, 23, 45 and 74, together with etchings numbered 1, 52, 53, and 109 which are not colored. Duplicated plates vary in size, with a smaller format of approximately 11.5 x 15 versus 12.25 x 16, approximately. It should be noted that the first and last engravings are present, denoting beginning and end, as well as engraving entitled Middle. For lots which include only books, our shipping charge applies to any address within the fifty United States. For lots which are not books, the stated shipping cost in this listing will apply only to addresses within the continental 48 states. Within those parameters, the shipping cost for this lot will be: $15.50
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