The Domains of the Emblem

Mara R. Wade
University of Illinois
Domains of the Emblem: Early Modern Court Festivals, Print Culture and the Emblem
Scholars of the period from roughly 1500-1750 regularly encounter emblematic
practices across all disciplines. In their bimediality emblems informed poetry, drama, and
prose, while they were essential elements of painting, print graphics, and architecture.
The domains of the emblem led from the splendid court festival to the simple peasant
cupboard decorated with religious emblems, from the printed volumes studied today to
the ephemeral emblems in fireworks that exploded and deliquesced even as they revealed
their meaning. Emblems exist at the intersection of word and image and represent a
language of letters and signs that express ideas and articulate identities in compact form.
This ability to express meaning in words and pictures mean that one area where emblems
particularly flourished was the court festival, where pageants of emblems passed by
viewers in a grand sweep of Renaissance learning, triumphal arches displayed a panoply
of historical and mythological figures and texts, and illustrated festival books circulated
textual and pictorial descriptions of these events, preserving their ephemeral emblematic
content for posterity. This intersection of festival and emblem, two areas where virtuosic
displays of learning were made visible, provides the focus of the present investigation.
These two areas of emblem research are interrogated by first showing the prevalence of
emblems in court festivals of Northern Europe in the first half of the seventeenth century
and then by illustrating how modern iconographical resources can support broad research
into the emblematic practices of Renaissance Europe.
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Because both festival books and emblems books usually present texts and images
together, they share features of parallel iconographical discourses. This common
language of classical allusions, shared by many Renaissance art forms, means that a
consistent modern indexing system can be used to classify both emblems and festival
books, so that this mutual language of signs and images, a shared domain of Renaissance
knowledge, can be accessed within a common classification system. Building out from
research conducted on the basis of projects encoded with Iconclass, there is now the
possibility for meta-research that illuminates Renaissance emblematic practices across
international repositories in emblem books, festival books, and graphic prints of
Renaissance Europe.
A small number of court and civic festivals from Northern Germany and
Scandinavia serves to highlight emblematic themes and motifs from the festival tradition.
These dynastic performances employed emblems as compact forms of expression to
communicate their political goals and dynastic identities to the assembled powers of
Europe and later to readers of the printed festival accounts. Emblems were a mark of
cosmopolitanism and positioned the courts and towns in the political and philosophical
discourses of the day. Building out from the consistent metadata for thousands of
individual emblems in Emblematica Online, these examples from the Northern European
festivals serve as a case study for searching, browsing, and conducting research across
virtual repositories in the UK, the Netherlands, and several location in the US and
Germany. I demonstrate how a very large corpus of emblematic data can open new
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scholarly domains for traditional emblem studies and contribute to contextualized
research of emblematic practices in broader contexts.
Because we find ourselves in Northern Germany for this conference, the examples
have been taken from a cluster of festivals from Northern Europe during the first half of
seventeenth century. These festivals include:
 the 1603 tournament pageant of King Christian of Denmark held in nearby
Hamburg on the occasion of that city’s paying homage to him—a highly
contested act and the last time in history that the Free Hanseatic City welcomed a
Danish monarch in such fashion. It is also the first emblematic pageant in
Northern Europe that I have been able to document.
 the 1634 wedding of Prince-Elect Christian of Denmark and Magdalena Sibylla,
his Saxon bride from Dresden, that took place in Copenhagen. This event was a
summit meeting of European powers at the mid-point of the Thirty Years’ War.
Emblematic and allegorical fireworks as well as a tournament pageant lifted
straight from the pages of Rollenhagen’s emblems constituted only some of the
splendid spectacles at this two-week long celebration.
 the peace festivals in 1649-1650 in Nürnberg organized by the imperial
representative Ottavio Piccolomini and the chief negotiator for the Swedish
crown, Karl Gustav of Pfalz-Zweibrücken, Count Palatine on the Rhine, who in
1654 became King Charles X of Sweden upon the abdication of Queen Christine.
These festivals commemorated the conclusion of negotiations of the Peace Treaty
of Münster and Osnabrück that ended the Thirty Years’ War, the finalizing of the
so-called Friedensexekutionsprocess.
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 The first emblematic ballet, held at the nearby court of Gottorf, also in 1650 that
marked the wedding of the Gottorf princess Marie Elisabeth to the Landgrave
Ludwig of Hessen. The marriages of the daughters of Duke Friedrich III of
Schleswig-Holstein-Gottorf and his wife, also named Marie Elisabeth, who hailed
from the Electoral Saxon court in Dresden, were instruments of peace—dynastic
marriages to carefully selected Protestant courts of Northern Germany and
Scandinavia.
These festivals all employed emblematic strategies to create dynastic and civic identity
and to communicate political goals, highlighting one of the many domains of the emblem
in the festival culture of Europe.
In the following I will briefly allude to the historical context of the respective
festival event and showcase a selected emblem from it. Then by focusing on a limited
number of examples from these festivals, I will demonstrate how scholars can leverage
Iconclass notations to search across internationally distributed projects for related
resources.
Hamburg 1603
In 1603 King Christian IV of Denmark and his brother-in-law, Duke Johann Adolf of
Schleswig-Holstein-Gottorf, received the homage of the city of Hamburg in spite of an
imperial prohibition. To celebrate the occasion, the Danish monarch held a tournament
that was introduced by a sumptuous pageant on the theme of the four ages of mankind
and culminated in a final fifth pageant wagon in which the twenty-five-year-old king
appears as the Sun king enclosed in a fiery circle with the motto ‘post nubila Phoebus.’
The Wolfenbüttel equerry Georg Engelhart Löhneysen designed this pageant, and the
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manuscript of the event that he presented to the Dresden court at New Year’s 1604
clearly depicts the Sun King Christian IV encircled by the motto post nubila Phoebus.
The image you see here is taken from the printed publication, Löhneysen’s Della
Cavalleria from 1622.1 First you see the two-page spread of the entire pageant with the
four chariots representing the ages of humankind, the chariot of the Sun followed by
tournament horses in splendid trappings, and a concluding fireworks blockhouse
defended by a Turk. The detail focuses on the chariot of the Sun king wreathed in flames.
While Rollenhagen’s emblem 82 from his Selectorum emblematum centuria secunda
(Utrecht 1613) was published after this pageant; I show it here as a well-known example
of this ubiquitous emblem.2
Copenhagen 1634
The 1634 dynastic wedding between Copenhagen and Dresden offered a firework
illumination on the theme of Constancy as well as an allegorical pyrotechnic drama on
the theme of the Vices and Virtues. The royal pageant of King Christian IV and his heir
Prince-Elect Christian was a magnificent event re-enacted each day before the
tournaments. As I have demonstrated in detail elsewhere, the elements for the five
pageant wagons and the Temple of Janus were lifted straight from the pages of
Rollenhagen’s emblems.3 Reading from left top to right and proceeding in serpentine
fashion, we see on this slide trumpeters and kettle drummers and figures on horse back,
before we see a pageant float on the theme of Triton alluding to Denmark as a seafaring
nation. The key elements are the five triumphal chariots: four of them treating the four
seasons, the four elements, and the four ages of humankind in an elaborate web of
associations focusing on love, marriage, dynasty, and politics. These four wagons
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precede the closed temple of Janus that is followed by a fifth wagon of good government.
As the central figures in both the pageant and the tournament, King Christian and Prince
Christian ride on horseback following the triumphal display in their costumes as Scipio
Africanus and Scipio Asiaticus. The pageant concludes with a parade float pulled by sea
monsters on the theme of commerce and good government, again stressing the role of
Denmark as a seafaring land. The pivotal image essential to the interpretation of the
entire pageant display is the closed temple of Janus, an unmistakable representation of
Peace at the midpoint of the Thirty Years’ War. Immediately after the temple comes the
fifth and final wagon, the so-called ‘political’ wagon, where stands Pallas Athena bearing
a shield with the image of a sword arm over a book and the motto Lex regit, arma
tuentur.
Like almost every other emblem associated with the pageant, this one also comes
from Rollenhagen (emblem 3, 1613). On Rollenhagen’s open book, which stands for the
Bible, are the words Deus proximus (God is nearest) in the sense that the monarch is
nearest the Divine. The emblematic allegory portrays Demark as the bringer of Peace in
the empire; the Danish king and his son have closed the temple of war and peace reigns
within their lands. To the powers of Europe assembled that autumn in Copenhagen, King
Christian IV was offering himself and his heir as the mediators of the German peace. This
tournament pageant, like others of the period, argues emblematically and participated in a
pan-European discourse of texts and words: Lex regit. The emblem resonates even today
deeply in Danish culture, since it was (is) also the insignia of the Danish knightly order
known as the Order of the Mailed Sword Arm, called into being after the Kalmar Wars in
1611 and bestowed by royal favor on loyal subjects. Another popular version of this
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emblem is Isselburg’s emblem from the town hall in Nürnberg with the mailed arm
holding the sword in front of the tablets of the law with Hebrew text.
Nuurnberg 1650
The final two examples from Northern European festival culture conclude the
period of the Thirty Years’ War and center on the theme of Peace in the Empire. The first
example is a civic festival from celebrations held over a two-year period in 1649-1650 in
Nürnberg to celebrate the conclusion of the Thirty Years’ War. These spectacles are
among the most richly documented events—in both texts and images—from early
modern German history. Over a period of about 18 months both somewhat modest and
absolutely splendid festivals were held in Nürnberg to foster sociability and conviviality
among the previously warring parties in order to steer them toward a successful
conclusion of the practical solutions to dismantling a war of Thirty Years. The
accompanying banquets, concerts, orations, plays, and fireworks were saturated with
emblems.4 Among the many publications for the celebrations, written and staged by the
very active members of the Nürnberg literary society, the Pegnesicher Blumenorden, was
a group of texts by Johann Klaj called Irene, das ist, vollständige Ausbildung des zu
Nürnberg geschlossenen Friedens 1650, describing of a cluster of festivities sponsored
by the Swedish ambassador Carl Gustaf. 5 Among the several engravings from this
publication is the one from the section Geburtstag des Friedens, depicting the town hall
of Nürnberg where the Swedish Peace Banquet was held.6 On the print behind the town
hall is an idealized representation of the city that does not correspond to Nürnberg’s
spatial reality, but which does present recognizable topographical features of the city: the
Burg up above and the many church towers, with a massively disproportionately large
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town hall taking up the entire breadth of the middle of the pictorial space. A long line of
orderly, well-dressed citizens fills the bottom of the pictorial space, while from every
window the high-ranking guests of the Peace banquet look out. Above this quintessential
image of good civic government is the rainbow. It encompasses the whole scene, it
embraces the entire town and all in it. The scene echoes the first example in this talk the
emblem from Rollenhagen, post nubila Phoebus, expressing the idea that after the
storms, the sun returns. Most readers of Klaj’s volume and certainly everyone at the huge
banquet would have also immediately recognized one of Isselburg and Rem’s emblems
painted into the window niches of the townhall, Hoc foedere tuti (“In diesem Bund
sicher,” ‘In this alliance [league] were are protected [secure]”). While Henkel and Schöne
indexed the emblem pictura simply as ‘a rainbow over a town,’ informed readers would
have immediately recognized this town as Nürnberg. As I have argued elsewhere, the
town in this emblem can only represent Nürnberg (albeit seen from a different direction)
with its Burg and the towers of the churches of St. Sebald and St. Lorenz.
Isselburg’s pictura advances the emblematic argument made by Rollenhagen and
in true emblematic fashion parses the meaning in a new way, supplementing the
underlying sense that good times follow bad, with the concept of the divine covenant as
signified by the rainbow. The argument is elevated to that of the divine promise after the
Flood when God sends the rainbow as His promise never again to destroy his people by
water. Since Nürnberg was one of the few cities in German-speaking lands to avoid mass
destruction during the long war, its covenant with God would have seemed apparent.
Instead of post nubila Phoebus, the motto here could read post nubila Iris, that is, after
the clouds and rain, Iris, the goddess of the rainbow. To demonstrate the iconographic
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associations between printed emblem books and other illustrated volumes, it suffices to
indicate here that the view of Nürnberg was also well known in Europe from Schedel’s
Weltchronik of 1493.
Gottorf 1650
The final festival event investigated here is the ballet put on in 1650 for marriage
of Marie Elisabeth of Schleswig-Holstein-Gottorf to the Landgrave Ludwig of Hessen.
This wedding was one of an ambitious series of arranged marriages of ducal daughters
that began in 1649 with the wedding of Sophie Auguste to Johann of Anhalt and
culminated in the wedding of Hedwig Eleonora to the Swedish King Charles X in 1654,
or Carl Gustaf, Count Palatine on the Rhein as he was still referred to at the Nünrberg
Peace celebrations. The emblem of Fortuna on the title page of the ballet for the 1649
wedding suggests the preoccupation of the Gottorf court with emblematics and prepares
the way for the fully emblematic ballet in the following year.
The nuptial ballet of 1650, Von der Unbeständigkeit der Weltlichen Dinge, or
‘About the Inconstancy of Wordly Things,” builds conceptually on the ups and downs of
Fortuna’s wheel suggested in the first ballet. This ballet is however a philosophical
statement by the court on the intersecting joys of marriage and good government. In a
very compressed interpretation, it advocates that a good household means good
government. The ballet is structured by seven emblems, and it concludes with an emblem
each for the bride and the groom for a total of nine. Globes and scientific instruments
figure prominently in these emblems and reflect the engagement at the Gotttorf court
with scientific study of the heavens and earth, of literature and the arts. The library at
Gottorf was part of a campus, so to speak, which also had gardens with statuary, a globe
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collection, a cabinet of optical instruments, as well as the famous Kunstkammer. The
court at Gottorf was home to the famous Reisenglobus, an enormous globe in which
people could sit and experience the revolutions of the sky as seen from Gottorf. The focus
on globes, the stars, and in the ballet is a natural extension therefore of other interests at
court.
These four festivals show that modern scholars could always turn to the wellknown emblem books by Rollenhagen and Isselburg as potential sources for emblematic
festival programs. But many scholars would like to explore broader contexts and wider
associations of emblematic content and meaning. In order to demonstrate some of the
research potential offered by emerging electronic resources such as Emblematica Online,
I have chosen a few examples from these festivals to demonstrate how using consistently
structured metadata can support broader textual and iconographic studies around the field
of emblematics.
Because several emblem digitization projects agreed very early to use similar data
structure for emblem books and the emblems within them, it has been possible to
aggregate these projects into a single point of access for searching and browsing.
Emblematica Online with its OpenEmblem Portal now offers now 1,323 fully digitized
emblem books from the collections of the University of Illinois, the Herzog August
Bibliothek, Duke University, the Getty research Library, Glasgow University and Utrecht
University. We are currently adding book metadata for the Glasgow and Utrecht emblem
projects. Emblematica Online now offers emblem-level metadata for ca. 15,602 emblems
with roughly 100,000 Iconclass notations for these emblems. This emblem count will be
supplemented by the emblem-level metadata for 8,231 emblems from Glasgow and
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Utrecht that is currently being incorporated into the portal. We are also currently indexing
with Arkyves.org another 8,000 emblems from the University of Illinois. Thus the
community of emblem scholars will very soon be able to rely on a considerable corpus of
digital emblem data (~30,000 individual indexed emblems) for their teaching and
research. While Emblematica Online is the subject of Friday’s session, my goal here is to
point to what can now be done on the basis of this treasure trove of Iconclass metadata
with regard to another quintessentially Renaissance genre, the festival book.
Iconclass has emerged as an international standard for indexing iconographical
material as our colleague Hans Brandhorst has told us about at many of our conferences.
Today I want to demonstrate some cross-project searching that can be very useful for
emblem scholars and that further attests to the many domains of the emblem. Three
international scholarly portals have employed Iconclass indexing for their projects:
Emblematica Online, the joint project of the University of Illinois and the Herzog August
Bibliothek and including our project partners at Glasgow and Utrecht. This is one silo of
emblematic data indexed through Iconclass. Two other mass digitization projects
originating at the Herzog August Bibliothek also employ Iconclass indexing: Festival
Culture Online is a joint project with the British Library which presents 567 fully
digitized Renaissance festival books indexed with Iconclass.
7
The second mass
digitization project at the HAB using Iconclass is the Virtual Print Room, uniting the
graphic collections of the Herzog Anton Ulrich Museum, Braunschweig, and the Herzog
August Bibliothek, Wolfenbüttel. From the graphic collections at each institution—which
were once united in the ducal collections of Wolfenbüttel—a selection of 40,000 prints
before 1800 have been digitized and indexed in the virtual print room. All three resources
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discussed here— Emblematica Online, Festival Culture Online, and the Virtual
Printroom—are freely available on the web for research. Together these projects offer
hundreds of thousands of Iconclass notations available as linked open data for scholarly
research. For digital humanities scholars this is in fact big data.
Because of the fascination at the court of Gottorf with globes, I used “globe” as
my search term in Emblematica Online. By searching on the term ‘globe,’ I retrieved 59
hits in the portal. By clicking on one of the results, I retrieved a full emblem record that
includes the Iconclass notations, including the one for globe: “25A13.” These
alphanumeric Iconclass notations are consistent metadata, they provide hotlinks that
allow us to browse in the Iconclass hierarchy. So another search used the Iconclass
notation “25A13,” thereby retrieving 68 records. This is just a small demonstration of
how to use Iconclass notations to search in Emblematica Online.
The research potential increases exponetially in combination with other projects
that have used the consistent vocabulary and data structures of Iconclass. Because I work
on court festivals, I am interested in the intersection of emblems and festival iconography
and go to Festkultur Online and search for globes there, using the Iconclass notation,
“25A13.” It brings users to the digital facsimile of the festival book by Wilhelm Dilich
commemorating the baptism of Princess Elisabeth of Hessen-Kassel in 1601. 8 This
particular image actually has two globes—one being carried by an allegorical figure and
Fortuna standing on her globe. Searching in Festival Culture Online retrieves works from
the HAB and the British Library.
Scholars can also search the same Iconclass notation “25A13” in the Virtual
Printroom and retrieve 226 hits of prints concerning globes. The one chosen here is from
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Philippe Galle’s Americae Retectio, with the inscription “Quis potis est ... maiestate,
hisque repertis?”9 All of the metadata is linked and clicking can lead to new associations,
depending on one’s interests and ideas (for example, ‘Christopher Columbus’).
A final example shows another type of search using keywords and concepts, and
not elements from the emblem pictura. One of the festival emblems discussed above
concerned the mailed sword arm and the motto “hic regit et arma tuetur.” This concept
can also be searched in the portal as we can follow in the next slide. This revealed only a
single hit in the portal, but one of interest to me because of my work on festivals.
Perusing the Iconclcass notations for this emblem, I see that one possible association of
this motto is “gute Regierung,” or good government. By clicking on this, I can retrieve 57
emblems concerning good government that can possibly inform my study of the role of
emblems and court festivals, particularly with respect to their political meaning.
In Summation
In 2012 there were completed digitization projects at a number of institutions with
a focus on emblematica at varying levels of granularity. Owing to mass digitization in
American libraries through Open Content Archives, Emblematica Online could easily
incorporate ~400 books from the Getty Research Library and Duke University Library.
Duke and Getty remain at the level of digitizing emblem books and provide no emblemlevel metadata. Glasgow, Utrecht, Wolfenbüttel, and Illinois have had funded projects
over the years, and their goal was to make accessible individual emblems within the
books for research and pedagogy. By aggregating well-designed projects at Glasgow,
Illinois, Utrecht, and Wolfenbüttel that use open standards and best practices, above all
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consistent metadata structures like Iconclass, researchers at Emblematica Online are
producing an integrated corpus of extremely rich metadata for emblem-level searching
across multiple international collections that are geographically dispersed. This corpus of
emblematica is a real milestone in emblem studies.
Emblem scholars need no convincing to recognize that emblems informed all
areas of early modern life and that knowledge of emblems is essential to every scholar of
the Renaissance and early modern period. A carefully curated corpus of digital
emblematica is an extremely valuable resource for scholarship and teaching in all areas of
renaissance Studies. Emblematica Online is a very rich resource with enormous potential
for multiplying its impact in historical text and image studies. The preceding
demonstration illustrated in a compact and abbreviated manner, how emblem studies can
inform the study of European culture in festival and illustrated books. In 2014 scholars
have three carefully curated portals of richly indexed materials, three separate silos of
information, so to speak, that already link the resources of multiple institution for
aggregating resources concerning specific genres and topics of Renaissance culture.
Because these projects all rely on the same consistent data structure of Iconclass, we can
envision in the not very distant future a single digital resource, a single point of entry that
allows users to conduct research in all of these collections.
In conclusion I can assert with confidence that digital humanities have expanded
the domain of the emblem by making visible its associations in early modern culture.
That digital emblematic resources make our work more compact and efficient is not
insignificant, while permitting users to study intellectually contiguous resources across
institutions and collections is enormously useful. The multiple domains of the emblem
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are increasingly easier for scholars to discern and allow them to cluster resources in ways
that lead to new insights. The possibility to compare works—an emblem, a pageant, a
richly allegorical printed graphic—is critical to deep study. Works held not only far apart
in Durham, NC; Santa Monica, CA; Urbana, IL; and Glasgow, Utrecht, London, and
Wolfenbüttel, but also in different reading rooms of the same institution can be studied
side by side. The ability to return to a work to consult it again after having read new texts
and seen new images allows scholars and students to make connections that were not
immediately apparent upon first encounter. Scalability is important to humanistic work, a
large corpus creates a larger test bed for our ideas; more details from many genres can
contribute to better nuance in scholarly arguments.
As emblem scholars, we know that emblems were the vehicles of Renaissance
knowledge. Scholars can employ this key genre to understand the graphic and textual
communications of Renaissance Europe in a much wider context. While not every
Renaissance scholar is an emblem scholar, every student of Renaissance studies can, and
should be, informed by the emblem. The domain of the emblem is the Renaissance.
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16
1622, pp. 388-389.
This emblem was used incidentally again in the 1634 pageant for the wedding of the
Danish Prince-Elect.Wade, 1996, 163-164.
3
Wade, 1996, 160-170.
4
Hartmut Laufhütte, “Das Friedensfest in Nürnberg 1650,” 1648: Krieg und Frieden in
Europa. Vol. 2: 347-357.
5
The publication is dedicated to him. The copy used for this study is from the Herzog
August Bibliothek, Wolfenbüttel: 65.15 Poet. 2.
6
The images from Klaj’s 1650 publication of Irene where all re-used in Sigmund von
Birken’s Die Fried-erfreuete Teutonie Nürnberg: Dümler, 1652. The copy of this work
used for this study is from the Herzog August Bibliothek, Wolfenbüttel: Gl 488. It was
Birken’s presentation copy to Duke Ferdinand Albrecht of Braunschweig-Wolfenbüttel,
his former pupil. The engraving of the rainbow over the Nürnberg town hall is between
pp. 92-93 in this book.
7
http://www.hab.de/de/home/wissenschaft/projekte/festkultur-online.html
8
[Beschreibung und Abriß dero Ritterspiel] Beschreibung vnd Abriß dero Ritterspiel/ so
der Durchleuchtige/ 45 Herr Moritz/ Landgraff zu Hessen/ etc . auff die Fürstliche
Kindtauffen Frewlein Elisabethen/ vnd dann auch Herrn Moritzen des andern/
Landgrafen zu Hessen/ etc . am Fürstlichen Hoff zu Cassel angeordnet/ vnd halten lassen
/ Auffs eigentlichst erkleret vnd verfertiget Durch Wilhelm Dilich… Kassel: Dilich, 1601.
9
http://diglib.hab.de/?grafik=graph-a1-470d
2
Domains of the Emblem

Court Festivals

1603 Hamburg

1634 Copenhagen

1650 Nürnberg

1650 Gottorf

Emblematica Online & Linked Open Data

OpenEmblem Portal

Festival Books Online

Virtual Printroom (VKK)
Domains of the Emblem
 Court Festivals
 1603 Hamburg
Christian IV of Denmark’s
Hamburg Pageant 1603
Christian IV as
the Sun King
post nubila Phoebus
Gabriel Rollenhagen,
Emblem 82,
Selectorum emblematum
centuria secunda.
Utrecht 1613.
Domains of the Emblem
 Court Festivals
 1634 Copenhagen
Copenhagen 1634
Fireworks
Constancy
Copenhagen, 1634
Tragedy of the
Vice and Virtues,
Fireworks Drama
The ‘Great Wedding’ Copenhagen 1634
Lex regit et arma tuentur
The Insignia of the Danish Order of the Mailed Sword Arm
Peter Isselburg,
Emblem 20,
Emblemata Politca…
Nürnberg 1617.
Domains of the Emblem
 Court Festivals
 1650 Nürnberg
Peter Isselburg,
Emblem 20,
Emblemata Politica…
Nürnberg 1617.
Domains of the Emblem
 Court Festivals
 1650 Gottorf
Gottorf 1649
Browsing By Iconclass Heading
Emblematica Online
Festkultur Online
Virtuelles
Kupferstichkabinett
Browsing by Search Term “GLOBE”
Search Box
Search Results
Metadata Display
Page Image
Emblematica Online
Iconclass Heading Search
Search Box
Search Results
Metadata Display
Page Image
Festkultur Online
Iconclass Heading Search
Search Box
Search Results
Metadata Display
Page Image
Virtuelles
Kupferstichkabinett
Iconclass Heading Search
Emblematica Online: Iconclass Structure Browsing
Search Box
Metadata Display
Iconclass Display
Metadata Display
Search Results
Search Results
2012
Digitized Emblem Book Collections
2014
Repositories
Emblem Books
Festival Books
Virtual Printroom
BOOKS PER INSTITUTION
21 French Emblem Books – Glasgow
22 Alciati Emblem Books-Glasgow
197 Emblem Books - Duke University
248 Emblem Books - Getty Library
389 Emblem Books - UIUC
30 Emblem Project Utrecht – Utrecht
455 Emblematica Online – HAB
1388 Total
Emblems per Institution
1,947 French Emblems -Glasgow
3,647 Alciati Books-Glasgow
10,300 Emblems - UIUC
2,192 Emblems Project Utrecht
5,302 HAB
23,388 Total
Emblems w/ Iconclass
1,947 French Emblems – Glasgow
3,647 Alciati Emblems -Glasgow
3,897 Emblem - UIUC
1,664 Emblem Project – Utrecht
5,277 Emblems - HAB
16,432 Total
2016 ?
Linking Repositories Through Iconclass