gallery catalog  (continued)

CAT. 21a.  Portrait of Sor Juana Inés de la Cruz (1651–1695), by an unknown artist. ?17th century.
     Facsimile of original oil painting.

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CAT. 21b.  Portrait of Sor Juana Inés de la Cruz (1651–1695). Attributed to Mexican artist Juan de Miranda, and also to Miguel Cabrera (1695–1768). Oil on canvas. c.17th–18th century.
     Facsimile of original oil painting.

CAT. 21c.  Portrait of Sor Juana Inés de la Cruz (1651–1695), by Mexican artist Miguel Cabrera (1695–1768). Oil on canvas. 1750.
     Facsimile of original oil painting.

CAT. 21d.  Portrait of Sor Juana Inés de la Cruz (1651–1695), by Andrés de Islas (fl. 1750–c.1775). Oil on canvas. 1772.
     Facsimile of original oil painting.

CAT. 22.  Albrecht Dürer (1471–1528). The Large Piece of Turf. Watercolor and body color, heightened with white. 1503.
     Facsimile of original watercolor.

CAT. 23.  Maria Sibylla Merian (1647–1717). Study of plant and insects. Colored brush drawing. c.1696.
     Facsimile of engraving for Metamorphosis insectorum surinamensium. In qua erucæ ac vermes surinamenses, cum omnibus suis transformationibus, ad vivum delineantur & describuntur, singulis eorum in plantas, flores & fructus collocatis, in quibus reperta sunt; tum etiam generatio ranarum, bufonum rariorum, lacertarum, serpentun, araneorum & formicarum exhibetur; omnia in America ad vivum naturali magnitudine picta atque descripta per Mariam Sibyllam Merian. Amstelodami: sumtibus Auctoris, venduntur & apud Gerardum Valk, 1705.

CAT. 24.  Robert Hooke (1635–1703). The Carter, Shepherd Spider, or long-legg’d Spider. Engraving, after illustration by Robert Hooke. First presented to the Royal Society of London on 29 April 1663.
     Facsimile of printed image in Micrographia: or some physiological descriptions of minute bodies made by magnifying glasses with observations and inquiries thereupon. London: Printed by Jo. Martyn and Ja. Allestry, Printers to the Royal Society, and are to be sold at their Shop at the Bell in S. Paul’s Church-yard, 1665.

CAT. 25.  Impresa (or personal device) of the Florentine humanist, Leon Battista Alberti (1404-1472). Inscribed “QUID TUM.” 15th century.
     Facsimile of original medallion.

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CAT. 26.  Emblematic frontispiece to Eikon Basilike, a work variously attributed to the King of England, Charles I (1600–1649), and the Bishop of Worcester, John Gauden (1605–1662). Designed and engraved by William Marshall (fl. 1617–1649): “Guil: Marshall delinea: et Sculpsit.” 1649.
     Facsimile of printed image on folded sheet in Eikon basilike. The pourtraicture of His sacred Majestie in his solitudes and sufferings: together with his private prayers used in the time of his restraint delivered to D. Juxon, Bishop of London, immediately before his death. [London:] MDCXLIX [1649].

CAT. 26b.  Another emblematic frontispiece to Eikon Basilike, a work variously attributed to the King of England, Charles I (1600–1649), and the Bishop of Worcester, John Gauden (1605–1662). Engraved by Robert White (1645–1703): “R White sculp.” 1697.
     Facsimile of printed image prefixed to The life and death of King Charles the First, written by Dr. R. Perinchief: together with [Eikon Basilike] ... And a vindication of the same King Charles the Martyr. Proving him to be the author of the said [Eikon Basilike], against a memorandum of the late Earl of Anglesey, and against the groundless exceptons of Dr. Walker and others. London: Printed for H. Hindmarsh, at the Golden-Ball over against the Royal Exchange, 1697.

CAT. 27.  Peirce Tempest (1653–1717). Emblem 282, “Printing.” Designed and engraved by Isaac Fuller the younger (fl. 1678–1709), et al. 1709.
     Facsimile of printed image in Iconologia: or, moral emblems, by Caesar Ripa. Wherein are express’d, various images of virtues, vices, passions, arts, humours, elements and celestial bodies; as design’d by the ancient Egyptians, Greeks, Romans, and modern Italians. Useful for orators, poets, painters, sculptors, and all lovers of ingenuity. Illustrated with three hundred twenty-six humane figures, with their explanations. Newly design’d, and engraven on copper, by I. Fuller, painter, and other masters. By the care and at the charge of P. Tempest. London: Printed by Benj. Motte, 1709.

CAT. 28.  Achille Bocchi (1488–1562). Symb. CVIII, Prudentia circunspecta. Plate retouched for the 2nd edn. of Bocchi’s Symbolicae Quaestiones by Agostino Carracci. 1574.
     Facsimile of printed image in Achillis Bocchii Bonon. Symbolicarum quæstionum, de universo genere, quas serio ludebat, libri quinque. Bononiæ: Apud Societatem Typographiæ Bononiensis, 1574.

CAT. 29.  Johann Amos Comenius (1592–1670). No. CX, Prudentia. 1659.
     Facsimile of printed image in Joh. Amos Commenii Orbis sensualium pictus. Hoc est, omnium fundamentalium in mundo rerum, & in vita actionum, pictura & nomenclatura. Joh. Amos Commenius’s Visible world, or, a picture and nomenclature of all the chief things that are in the world, and of mens employments therein. A work newly written by the author in Latine, and High-Dutch (being one of his last essays, and the most suitable to childrens capacities of any that he hath hitherto made) & translated into English, by Charles Hoole, teacher of a private grammar-school in Lothbury, London. For the use of young Latine-scholars. London: Printed for J. Kirton, at the Kings-Arms, in Saint Paules Church-yard, 1659.

CAT. 30.  Galileo Galilei (1564–1642). Title-page engraving for Galileo’s Dialogue Concerning the Two Chief World Systems: Ptolemaic and Copernican. 1632.
     Facsimile of printed image in Dialogo di Galileo Galilei Linceo matematico sopraordinario del lo studio di Pisa. E filosofo, e matematico primario del serenissimo Gr. Duca di Toscana. Doue ne i congressi di quattro giornate si discorre sopra i due massimi sistemi del mondo Tolemaico, e Copernicano; proponendo indeterminatamente le ragioni filosofiche, e naturali tanto per l’una, quanto per l’altra parte. Con privilege in fiorenza, per Gio: Batista Landini MDCXXXII [1632].

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CAT. 31.  Jean François Nicéron (1613–1646). Tab. 50, showing heads of former popes. 1638.
     Facsimile of printed image in La perspective curievse, ou, Magie artificielle des effets merveilleux de l’optique ... la catoptrique ... la dioptrique ... par Jean François Nicéron. Paris: Pierre Billaine, 1638.

CAT. 32.  Portrait of Venetia Stanley (1600-1633), Lady Digby, as Prudence. By Sir Anthony van Dyck (1599–1641), after a design by Kenelm Digby (1603–1665). 1633.
     Facsimile of original painting (oil on canvas, 39¼ x 31¼ in.). The posthumous allegorical portrait was commissioned by her husband, Kenelm Digby, whose conceptual design represents Venetia as treading on Envy and Malice, and unhurt by a serpent that twines round her arm.

CAT. 33.  Portrait of Sir Kenelm Digby (1603–1665), “in a Philosophical habit,” hand on breast, an armillary sphere on table to left. By Sir Anthony van Dyck (1599–1641). 1633–5.
     Facsimile of original oil painting on canvas.

CAT. 34.  Isotta Nogarola (1418–1466). Woodcut showing the 15th-century she-philosopher in her book-lined cell, for which she was famous from c.1441/early 1450s onwards. 1497.
     Facsimile of printed image in Jacopo Filippo Foresti da Bergamo (1434–1520). De plurimis claris sceletisque mulieribus. Ferrara: Laurentius de Rubeis de Valentia, 1497.

CAT. 35.  Theophilus Dorrington (d. 1715). “The Excellent Woman.” Frontispiece engraving by John Sturt (1658–1730). 1692.
     Facsimile of printed image in The excellent woman described by her true characters and their opposites. London: Printed for Joseph Watts ..., 1692.

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CAT. 36.  Portrait engraving of John Wilkins (1614–1672), after Mary Beale (1633–1699). Possibly by John Sturt (1658–1730). 1708.
     Facsimile of printed image in The mathematical and philosophical works of the Right Reverend John Wilkins, late Lord Bishop of Chester: to which is prefix’d the author’s life, and an account of his works. London: Printed for J. Nicholson [etc.], 1708.

CAT. 37.  Margaret Cavendish (1623–1673). Detail from marble effigy in Westminster Abbey. The tomb — “a Noble Monument of white Marble, adorned with two Columns (of black Marble) and an Entablature of the Corinthian Order, with their Graces Portraitures, in full Proportion” — was possibly designed by William Cavendish, and sculpted by Grinling Gibbons. c.1673.
     Facsimile of sepulchral image.

CAT. 38.  Peirce Tempest (1653–1717). Emblem 59, “Melancholy.” Designed and engraved by Isaac Fuller the younger (fl. 1678–1709), et al. 1709.
     Facsimile of printed image in Iconologia: or, moral emblems, by Caesar Ripa. Wherein are express’d, various images of virtues, vices, passions, arts, humours, elements and celestial bodies; as design’d by the ancient Egyptians, Greeks, Romans, and modern Italians. Useful for orators, poets, painters, sculptors, and all lovers of ingenuity. Illustrated with three hundred twenty-six humane figures, with their explanations. Newly design’d, and engraven on copper, by I. Fuller, painter, and other masters. By the care and at the charge of P. Tempest. London: Printed by Benj. Motte, 1709.

CAT. 39.  Roeland Saverij (1576–1639). Study of a Tree. Chalk, oil pigments, and washes on brown paper. c.1615.
     Facsimile of original chalk drawing (19 x 14.0625 in.).
     Note: This image will be included in the gallery exhibit, “Portraits of Melancholy — I,” when that exhibit is updated. A digital facsimile is temporarily unavailable until then.

CAT. 40.  Sir Peter Lely (1618–1680). Identified, by Walpole and others, as a portrait of Abraham Cowley (1618–1667), when a youth, in the character of a shepherd, with pipe and crook. Beckett disagrees with this identification, retitling the painting “Called Abraham Cowley,” and contending that it “Cannot be identified with the poet (1618-67)” (Beckett, 42). c.1657.
     Facsimile of original oil painting (35.25 x 29.25 in.).

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