Book contents
- The Cambridge Guide to the Worlds of Shakespeare
- Frontispiece
- Frontispiece
- The Cambridge Guide to the Worlds of Shakespeare
- Worlds of Shakespeare
- Copyright page
- Contents
- Illustrations
- Contributors
- Preface
- Acknowledgments
- Abbreviations
- Part I Mapping Shakespeare’s World
- Part II Theater
- Part III Language
- Part IV Science and Technology
- Part V Printing, Publishing, Textuality
- Part VI Visual Arts
- Introduction
- 51 Ornament
- 52 Single-Sheet Prints
- 53 Emblems
- 54 Architecture
- 55 Gardens
- 56 Sculpture
- 57 Painting on Wooden Panel
- 58 Decorative Arts
- 59 Tapestries
- 60 Painted Cloths
- 61 Triumphal Entries
- 62 Collecting
- Part VII Popular Culture
- Part VIII High Culture
- Part IX England, 1560–1650
- Part X Religion
- Part XI Medicine
- Part XII The Historical William Shakespeare
- Part XIII Shakespeare’s Fellows
- Part XIV Shakespeare’s Early Reception (to 1660)
- Part XV International Encounters
- Part XVI Making the Scene
- Part XVII Shakespeare as Cultural Icon
- Part XVIII Shakespeare and Popular Culture
- Part XIX Translation
- Part XX Changing Technologies of Stage Performance
- Part XXI Audiences
- Part XXII Production History
- Part XXIII Printing and Reception History
- Part XXIV Shakespeare and the Book
- Part XXV Shakespeare and the Critics
- Part XXVI Shakespeare and the Performing Arts
- Part XXVII Shakespeare and the Visual Arts
- Part XXVIII Shakespeare and Media History
- Index
- References
53 - Emblems
from Part VI - Visual Arts
Published online by Cambridge University Press: 17 August 2019
Edited by
Edited in association with
Book contents
- The Cambridge Guide to the Worlds of Shakespeare
- Frontispiece
- Frontispiece
- The Cambridge Guide to the Worlds of Shakespeare
- Worlds of Shakespeare
- Copyright page
- Contents
- Illustrations
- Contributors
- Preface
- Acknowledgments
- Abbreviations
- Part I Mapping Shakespeare’s World
- Part II Theater
- Part III Language
- Part IV Science and Technology
- Part V Printing, Publishing, Textuality
- Part VI Visual Arts
- Introduction
- 51 Ornament
- 52 Single-Sheet Prints
- 53 Emblems
- 54 Architecture
- 55 Gardens
- 56 Sculpture
- 57 Painting on Wooden Panel
- 58 Decorative Arts
- 59 Tapestries
- 60 Painted Cloths
- 61 Triumphal Entries
- 62 Collecting
- Part VII Popular Culture
- Part VIII High Culture
- Part IX England, 1560–1650
- Part X Religion
- Part XI Medicine
- Part XII The Historical William Shakespeare
- Part XIII Shakespeare’s Fellows
- Part XIV Shakespeare’s Early Reception (to 1660)
- Part XV International Encounters
- Part XVI Making the Scene
- Part XVII Shakespeare as Cultural Icon
- Part XVIII Shakespeare and Popular Culture
- Part XIX Translation
- Part XX Changing Technologies of Stage Performance
- Part XXI Audiences
- Part XXII Production History
- Part XXIII Printing and Reception History
- Part XXIV Shakespeare and the Book
- Part XXV Shakespeare and the Critics
- Part XXVI Shakespeare and the Performing Arts
- Part XXVII Shakespeare and the Visual Arts
- Part XXVIII Shakespeare and Media History
- Index
- References
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- The Cambridge Guide to the Worlds of Shakespeare , pp. 407 - 417Publisher: Cambridge University PressPrint publication year: 2016
References
Sources cited
Bacon, Francis. The tvvoo bookes of Francis Bacon. Of the proficience and aduancement of learning, diuine and humane To the King. London: 1605.Google Scholar
Cotgrave, Randle. A dictionarie of the French and English [t]ongues. Compiled by Randle Cotgrave. London: Adam Islip, 1611.Google Scholar
De la Perrière, Guillaume. Le Théâtre de Bons Engins. Paris: 1539. http://www.emblems.arts.gla.ac.uk/french/books.php?id=FLPa.Google Scholar
Estienne, Henri. L’Art de faire les Devises. Trans. Blount, Thomas. London: Richard Royston, 1646.Google Scholar
Gent, Lucy. Picture and Poetry, 1560–1620: Relations between Literature and the Visual Arts in the English Renaissance. Leamington Spa: James Hall, 1981.Google Scholar
Lecercle, François. La Chimère de Zeuxis: Portrait poétique et portrait peint en France et en Italie à la Renaissance. Tübingen: Gunter Narr Verlag, 1987.Google Scholar
Moseley, C. W. R. D. “Cleopatra’s Prudence: Three Notes on the Use of Emblems in Antony and Cleopatra.” Shakespeare Jahrbuch (West) (1986): 119–37.Google Scholar
Moseley, C. W. R. D. “A Portrait of Sir Christopher Hatton, Erasmus and an Emblem of Alciato: Some questions.” The Antiquaries’ Journal 86 (2006): 373–79.Google Scholar
Paradin, Claude. Devises Héroïques. Lyons: 1557. http://www.emblems.arts.gla.ac.uk/french/books.php?id=FPAb.Google Scholar
Whitney, Geoffrey. A Choice of Emblems. Leiden: 1586. http://www.emblems.arts.gla.ac.uk/french/books.php?id=FPAb.Google Scholar
Wither, George. A collection of Emblems. London: 1635. http://emblem.libraries.psu.edu/withetoc.htm.Google Scholar
Further reading
Bath, Michael. Speaking Pictures: English Emblem Books and Renaissance Culture. London: Longman, 1994.Google Scholar
Daly, Peter M. Literature in the Light of the Emblem: Structural Parallels between the Emblem and Literature in the Sixteenth and Seventeenth Centuries. Toronto: U of Toronto P, 1998.Google Scholar
Freeman, Rosemary. English Emblem Books. London: Chatto and Windus, 1948. Rpt. Octagon Books, 1966.Google Scholar
Green, H. Shax and the Emblem Writers: An Exposition of Their Similarities of Thought and Expression. London: Trubner, 1870.Google Scholar
Moseley, C. W. R. D. A Century of Emblems: An Introduction to the Renaissance Emblem. Aldershot: Scolar, 1989.Google Scholar