Harvard College Library, Department of Printing and Graphic Arts: CATALOGUE OF BOOKS AND MANUSCRIPTS: PART I: FRENCH SIXTEENTH CENTURY BOOKS (two vols.: I, pp. xvii, 358; II, pp. 359–728), compiled by Ruth Mortimer under the supervision of Philip Hofer and William A. Jackson

1965 ◽  
Vol 12 (4) ◽  
pp. 157-159
Author(s):  
M. A. Screech
Keyword(s):  
Sixteenth Century ◽  
Graphic Arts ◽  
Harvard College ◽  
College Library

The Jost Amman Print: Aigentliche Abbildung dess Gantzen Gewerbs der Kauffmanschaft

1959 ◽  
Vol 33 (2) ◽  
pp. 175-177
Author(s):  
Dorothea D. Reeves
Keyword(s):  
Sixteenth Century ◽  
Graphic Arts ◽  
Harvard College ◽  
Works Of Art ◽  
College Library

This allegorical representation of commerce is based on the business scene in sixteenth-century Germany. It was conceived by Johann Neudorfer, was engraved on six woodblocks by Jost Amman (1539–1591), and printed at Augsberg in 1622. Mr. Philip Hofer, Curator of the Department of Printing and Graphic Arts of the Harvard College Library, early this year presented this intricately detailed engraving, measuring 30 × 46 inches, to Baker Library, where it enriches a growing collection of works of art portraying the business scene.

Reading and re-reading the Vasu-caritramu

2019 ◽  
Vol 56 (3) ◽  
pp. 339-360
Author(s):  
David Shulman
Keyword(s):  
Sixteenth Century ◽  
Natural World ◽  
Graphic Arts ◽  
The World ◽  
Second Wave

Bhaṭṭumūrti’s mid-sixteenth-century masterpiece, Vasu-caritramu, is a tour de force of linguistic and poetic experimentation. Its complex verses, many of them paronomastic (śliṣṭa), require decoding by the adept listener of reader; but such decoding never exhausts their expressive potential, much of which depends upon powerful sonic, musical and rhythmic effects. This essay attempts to reconstruct the (lost) protocols of reading for this complex work, including the pervasive links to earlier intertexts, the magic of combining syllables to work upon both the world and the reader’s mind, and the focus on conspicuous themes such as the processes of perception (always informed by language) and the domain of the natural world seen as rule-bound and autonomous. These features appear to belong to a specific Rāyalasīma sensibility evident not only in poetry but also in graphic arts such as the great temples of Lepakshi and Tadipatri. We find them operative throughout the second wave of Telugu prabandha composition, for example, in Piṅgaḷi Sūranna’s narrative novel, the Kaḷāpūrṇodayamu, also composed in Rāyalasīma.

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