Clever Dogs and Nimble Spaniels: on the Iconography of Logic, Invention, and Imagination

Carl Josef Höltgen (Erlangen)

NOTES ON THE ILLUSTRATIONS

Fig. 1.
"Dialectica Holding a Dog's Head." Detail of a miniature from Herrad of Landsberg, Hortus deliciarum, fol. 32. Facsimile edition by Otto Gillen, Neustadt, 1971.
(Photo by permission of pva, Druck und Medien-Dienstleistungen, Landau, Pfalz)

Fig. 2.
Tobias Stimmer, Dialectica. Drawing, 1578. Bernisches Historisches Museum.
(Photo by permission of Historisches Museum, Bern)

Fig. 3.
The Allegory of the Dominicans as Domini canes.
Fresco in S. Maria Novella, Florence, by Andrea di Bonaiuto
Istituto Fratelli Alinari, Firenze

Fig. 4.
Meester van de Kanis-Triptiek (1526)
Nijmegen Museum, 'Commanderie van Sint-Jan'

Fig. 5.
Canisius als Kontroverstheologe;
Kupferstich von Paulus Pontius nach Abraham von Diepenbeck, 1641
München, Staatliche Graphische Sammlung

Fig. 6.
Cesare Fracassini, Petrus Canisius before the Emperor Ferdinand I and Otto Cardinal Truchsess von Waldburg. Painting, 1864. Vatican Museum, Rome.
(Photo by permission of Dia-Dienst, Munich)

Fig. 7.
Benoazo Gozzoli, St. Augustine Lecturing in Philosophy and Rhetoric. Fresco, between 1463-67. San Agostino, San Gimignano.
(Photo by permission of Istituto Fratelli Alinari, Firenze)

Fig. 8.
Albrecht Dürer, St. Jerome in his Study. Engraving, 1514. Universitätsbibliothek Erlangen-Nürnberg.
(Photo by permission of Universitätsbibliothek Erlangen-Nürnberg)

Fig. 9.
Albrecht Dürer, "Melencolia I." Engraving, copy of 1602 by Jan Wierix. Universitätsbibliothek Erlangen-Nürnberg. In this copy the flourish between MELENCOLIA and I is missing.
(Photo by permission of Universitätsbibliothek Erlangen-Nürnberg)

Fig. 10.
Frans Francken, the Younger, Allegory of Good Fortune. Painting, 1627. State Collections, Wawel Castle, Cracow.
(Photo by permission of State Collections, Wawel Castle, Cracow)

Fig. 11.
Louis-Léopold Boilly, The Geograpby Lesson. Painting, 1812. Kimbell Art Museum, Fort Worth, Texas.
(Photo by permission of Kimbell Art Museum, Fort Worth, Texas)
http://www.kimbellart.org/database/images/jpg/AP1990_01.jpg

Fig. 12.
Georg Adam
Der Geschichtsunterricht
Vor 1830
(By permission of the
Deutsches Historisches Museum, Berlin)

Fig. 13.
Gregor Reisch, Margarita philosophica, Basel, 1517. Universitätsbibliothek Erlangen-Nürnberg. "Typus Logice," woodcut. This version, like the one in the first edition Freiburg, 1503, shows the different appearance of the two dogs, lively Veritas and lazy Falsitas.
(Photo by permission of Universitätsbibliothek Erlangen-Nürnberg)

Fig. 14.
Martin Schongauer (?)
Hortus conclusus,
Museum Unterlinden, Colmar, France

Fig. 15.
Gregor Reisch, Margarita philosophica, Strasbourg, 1508. Universitätsbibliothek Erlangen-Nürnberg. "Typus Logice," woodcut. In the Strasbourg editions by the printer Grüninger the two dogs look alike, the lady's figure and hairstyle have been improved, the philosophers' names relocated, and the logical propositions omnis, nullus, quidam, quidam non on four summits on the left have been added.
(Photo by permission of Universitätsbibliothek Erlangen-Nürnberg)

Fig. 16.
Thomas Murner, Logica memorativa, Strasbourg, 1509. Stadtbibliothek Nürnberg. "Typus Logice," woodcut. Similar to Fig. 10, but the figure of Parmenides and the four summits have been cut off.
(Photo by permission of Stadtbibliothek Nürnberg)

Fig. 17.
Thomas Murner, Logica memorativa, Strasbourg, 1509. Stadtbibliothek Nürnberg. "The King of Bells," woodcut.
(Photo by permission of Stadtbibliothek Nürnberg)

Fig. 18.
Petrus Ramus, Dialecticae libri duo, Paris, 1594. Synopsis of dialectic.
(Private ownership)

Fig. 19.
Monogrammist HIV, Dialectica. Engraving, l6th century. A huntress with two dogs, horn, bow, and arrows.
(No copyright traced)

Fig. 20.
Andreas and Christophorus Coricynius, Emblemata in VII artes liberales agalmatice declarantia, Olomouc, 1597. National Library, Prague. Hunting scene, emblem of dialectic.
(Photo by permission of the National Library, Prague)