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Wurman, Richard Saul. Information Architects. Zürich: Graphis, 1996.

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StrekktekstSmackerel: «When Multimedia was Black and White»

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Rosenfeld, Louis, and Peter Morville. Information Architecture for the World Wide Web.

2nd ed. Sebastopol: O'Reilly, 2002.


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10

of individual emblems on the themes of love, politics, and religion.8 For example, love emblemswere especially popular in the Early Modern Period, and Dutch emblematists excelled at thisgenre.The Emblem Project Utrecht is devoted entirely to Dutch love emblems of the seventeenthcentury.9 While emblems also are preserved in manuscripts, the projects presented here focus onthe printed artifact, and have a strong component for preservation of, and access to, rare booksand special collections.10

“Sic Orbis Iter,” Emblem number 7 from Peter Isselburg, Emblemata Politica (Nürnberg 1617)serves to introduce the genre here.11

This digital image has been altered in order for us to present the German and Latin textstogether as one image and to provide a translation of the German verse into English.The senseof this arcane image and its texts is something like the proverbial saying “two steps forward, onestep backward.”The reader must know something about natural history and that crayfish scuttlebackward.Thus, the crayfish with the globe on its back symbolizes the way of the world, or “sicorbis iter.”The epigram deepens this message and relates it to a moral lesson, admonishing thereader to avoid the slippery slope of worldly things and to follow the divine path.

On the one hand, this emblem is typical: the Latin motto is placed in a cartouche at the topof a high quality, enigmatic engraving, depicting a crayfish with a globe on its back. Beneath theengraved image is an epigram that extrapolates on the interrelationship between motto andaccompanying image. On the other hand, this very typical emblem immediately presents anexception to the ideal: the German texts of the mottos and subscriptio are not found on the samepage. In the original 1617 edition, these texts are numbered and presented together as a list at theback of the book. In the 1640 edition the German texts are presented on the facing page of theimage and Latin texts with which they belong. Isselburg’s emblems are well known examples ofemblem literature, yet these very typical examples of the genre begin to illustrate some of thevery basic issues which digital projects must confront and which pose fundamental questions facedby all such initiatives concerning how we digitize and what we are digitizing.The quandary hereis whether to present all the texts and the accompanying images together or to present the bookas a digital edition from cover to cover as it is in its physical appearance.The two digital editionsby the UIUC and HAB show two solutions for dealing with this very easy problem.12 The proj-ects associated with this working conference aim to solve even more complex issues and devel-op standards for the presentation of rare illustrated texts in a Web environment.

Isselburg’s Emblem 7 used here for purposes of introduction serves to highlight several features

Illustration: Peter Isselburg, EmblemataPolitica (Nürnberg 1617), Emblem 7,“Sic Orbis Iter.”

8 For German political emblems atUIUC, see Peter Isselburg, EmblemataPolitica… (1617), for love emblems,see Triumphus Amoris… (1695), andfor religious emblems, see JosephusZoller, Maria Höchst-Wunderbarliche…(1712) all of which can be viewedvia a search at http://images.library.uiuc.edu: 8081/emblems/search_frame.htm. For an example of reli-gious emblems at the HAB, seeDaniel Cramer, Emblemata Sacra…(1624) at http://diglib.hab.de/drucke/th-470/start.htm; for politi-cal emblems there, see Peter Issel-burg, Emblemata Politica…(1617) athttp://diglib.hab. de/drucke/uk-40/start.htm, and for love emblems,see Paris Gille, Novum Tres Inter DeasJunonem,Venerem Et Palladem ParidisJudicium … (1684) at http://diglib.hab.de/drucke/xb-4f-386/start.htm.

9 http://emblems.let.uu.nl/emblems/html/index.html.

10 For a list of emblem books digi-tized by the HAB, see http://www.hab.de/bibliothek/wdb/barockdtd/siglist.htm#Emblembuch.

11 For a facsimile reprint edition ofthe imprint from Nürnberg (1640)with an introduction by WolfgangHarms, see Peter Isselburg and GeorgRem, Emblemata Politica… (Bern:Lang, 1982). For digitized editionsmade from different copies of the1617 imprint, see note 8.

12 See note 8 for the urls for thedigital Isselburg editions.

DC_Emblemsbook_180204 19.02.2004 11:25 Uhr Seite 10

Emblem!i renessansen

• Motto

• Bilde

• Epigram (forklaring)

Institutt for medier og kommunikasjon (IMK) Motto (Latin): FLAMMAM SOLANTUR UNDAE Motto (Early Modern German): Die Hize zu löschen Motto (German): Die Hitze zu löschen Descriptors: stag shadow stream Topos: Stag cooling itself in a stream Theme:Tears of penance wash away sin

The keywords in the field “Descriptors” are a list of the “pictorial motifs” the indexer wantedto record.These keywords seem perfectly reasonable to me, although I have one small remark. Iassume the choice for “shadow” instead of e.g.,“tree” was somewhat influenced by the motto,because this speaks of trying to take away the heat.

An Iconclass encoding of these motifs would be rather straightforward:• 22C8 shadow • 25F24(STAG)(+1) hoofed animals (with NAME) + used symbolically • 25F24(STAG)(+536) hoofed animals (with NAME) + lying animal • 25G3(+371) tree + dead, withered plant • 25H212 brook

As you can see, I have elaborated a little bit and stated that the stag is lying down. It is not theresimply to be a stag, but to convey some meaning.This I called “used symbolically.” I also added anotation for the tree which seems to produce rather more shadow than its withered state war-rants.This detail may, of course, be irrelevant, but that does not necessarily make mentioning thetree superfluous.Things get more interesting when we look at the next field, called topos. Hereit says “stag cooling itself in a stream.”The difference between the descriptors and the topos is theremark that the animal is “cooling itself.” Here we seem to find ourselves in a curious predica-ment. How do we decide whether “cooling itself ” is a pictorial motif or not? Obviously, with-out the texts that surround the picture we would not know that the stag is lying down in thewater to escape the heat. So we would not add it to our descriptors. Not knowing this, howev-er, would also mean that we would not, or could not, incorporate it in the description of thetopos. Once we know it, in other words, we cannot “un-know” it.The information has becomean inescapable element of the meaning of this picture.

Is it really important to draw a sharp line between “pictorial motif ” and “topos”? To be quite

Illustration 20:“Die Hitze zu löschen,” Jacques Callot,Lux Claustri.Augsburg: Kolb, 1720, Emblem 12.

41



let us look again at the three Sertorius pictures (ill. 2-4). It is naive to think that an uninformedviewer would describe what is happening in these three pictures as “men pulling horses’ tails,”instead of, to give just the most obvious alternative, as “men trying to stop horses from runningaway by holding them by their tails.” If we miss the fact that the scenes illustrate the story of Ser-torius, there is only a very slim chance that we might call the man who is holding the tail withboth hands “a young man trying to tear off the whole tail of a weak horse,” and the other manas “an elderly man gradually plucking the tail of a strong horse.”

It would be impossible to identify the scene as a piece of strategic, military advice that Serto-rius supplied to the Lusitanians when they wanted to engage the Roman army. Its transforma-tion into a much more general piece of advice - patient perseverance to be preferred over violentrashness - would, of course, elude us.

The re-use of an emblem may demand a different description of the picturaAll parts of an emblem, in particular its inscriptio and its pictura, are prone to repeated use. Over

time an emblem may reappear, in part or in whole, as the device of a printer or bookseller; it maybe used to decorate the façade of a shop; and it may be encountered in paintings and wall deco-rations.And, of course, existing emblems often provoke new interpretations by other writers ofemblem books.

Different usage of the same image may either trigger a fresh interpretation or follow in the wakeof a new interpretation. In any case, the adaptation of the same picture to a new context with adifferent meaning forces the indexer to consider modifying the description as well.The reverse isalso relevant: a new image may be chosen to express the same, or closely, related meanings.

To show some of the permutations of form and meaning, a few pictures from the collectionswe have indexed so far are presented here. Some of them were used earlier in our article aboutlaboriousness and vigilance.1

There is a vigilant crane, the leader of his flock, standing guard to protect the others (ill. 8).Should the stone drop from his claw because he dozes off, the noise will wake him up again.Next, there is a watchful shepherd’s dog guarding a herd for his master (ill. 9). In spite of the sub-tle differences, e.g., in the social position of the crane and the dog, the motto of both emblems,“Pro Grege,” is the same and expresses that they are there to “serve and protect.”

1Hans Brandhorst and Peter vanHuisstede,“Weest altoos vigilant enarbeytsam. Drukkersmerken eenmentaliteitshistorische bron?”NieuwLetterkundig Magazijn 1999.

Illustration 8:“Pro Grege,” from Peter Isselburg,Emblemata Politica (1617).

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