Latin Inscriptions on Fine Art Works of “Allegory” Genre

258 Ac a Linguis ica Li huanica LXXXVI NATALIIA KOROLOVA Educa ional and Scien i ic Ins i u e o Philology o Ta as She chenko Na ional Uni e si y o Kyi ORCID id: o cid.o g/0000-0001-5014-5302 Field o esea ch: Me hodology o Teaching Classical Languages, Ancien Cul u e, Medie al La in, New and Con empo a y La in. OLESIA LAZER-PANKIV Educa ional and Scien i ic Ins i u e o Philology o Ta as She chenko Na ional Uni e si y o Kyi ORCID id: o cid.o g/0000-0001-5281-5816 Field o esea ch: Me hodology o Teaching Classical Languages, Classical Languages, Ancien G eek and La in Pa oemiology, Ancien Cul u e. DOI: doi.o g/10.35321/all86-11 LATIN INSCRIPTIONS ON FINE ART WORKS OF ALLEGORY GENRE Lo yniški į ašai alego ijos žan o aizduojamojo meno kū iniuose ANNOTATION The a icle p esen s he analysis o he La in insc ip ions on pain ings, escoes and eng a ings o he allego y gen e. The sou ces o bo owing, unc ional and seman ic load, as well as g aphic and linguis ic ea u es o La in insc ip ions ha e been s udied. Fo accompanying insc ip ions, a is s used ph ases om he wo ks o ancien au ho s, om he Bible, om he wo ks o con empo a ies and o iginal ph ases, he au ho ship o which could no be es ablished. Analysis o he linguis ic and g aphic ea u es o La in insc ip ions on ine a wo ks o allego y gen e e ealed a numbe o changes ypical o he language p ac ice o he ime. The as majo i y o hem we e caused by he p ocesses ha ook place in la e La in, ea ly medie al La in and we e pa ly a es ed by ancien g amma s. The S aipsniai / A icles 259 La in Insc ip ions on Fine A Wo ks o Allego y Gen e insc ip ions di e in he o m o p esen a ion (poe ic and p ose) and in he olume ( om one wo d o de ailed explana ions), which depends on hei unc ional load. KEYWORDS: allego y gen e, La in insc ip ions, unc ional ea u es, bo owing sou ces, language ea u es, g aphic ea u es. ANOTACIJA S aipsnyje analizuojami alego ijos žan o pa eiksluose, eskose i aižiniuose naudojami lo yniški į ašai. Ti iami lo yniškų į ašų skolinimosi šal iniai, unkcinis i seman inis k ū is, g a iniai i kalbiniai požymiai. Meno kū inius papildančius į ašus suda o azės iš an ikos au o ių da bų, Biblijos, au o ių gy enamojo laiko a pio da bų, o aip pa o iginalios azės, ku ių au o ys ės nus a y i nepa yko. Alego ijos žan o aizduojamojo meno kū iniuose pa- naudo ų lo yniškų į ašų kalbinių i g a inių požymių analizė a skleidė daug pokyčių, bū- dingų konk e aus laiko a pio kalbai. Daugumą pokyčių nulėmė p ocesai, ykę ėly ojoje lo ynų kalboje, anks y ųjų idu amžių lo ynų kalboje i iš dalies paliudy i an ikos laikų g ama ikose. Į ašai ski iasi i pa eikimo o ma (poezija i p oza), i apim imi (nuo ienažo- džių iki de alių paaiškinimų), ku i p iklauso nuo jų unkcinio k ū io. ESMINIAI ŽODŽIAI: alego ijos žan as, lo yniški į ašai, unkciniai požymiai, skolinimosi šal iniai, kalbiniai požymiai, g a iniai požymiai. INTRODUCTION Allego y has come a long way o de elopmen and o ganically mo ed o a ious sphe es o cul u e. The allego y gen e is p esen in li e a u e, music, sculp u e as well as igu a i e a . The wo d ‘allego y’ comes om G eek ἀλληγορία (ἄλλος ano he + ἀγορεύω o speak). I is eiled, igu a i e language, one o he ways o he aes he ic de elopmen o eali y, he ecep ion o he images o objec s and phenomena h ough he image, which is based on allego y. Mos o en, isual allego ies depic abs ac concep s, ypical phenomena, cha ac e s, my hological cha ac e s – he bea e s o a ce ain allego ical con en assigned o hem. Allego y can be a se ies o images connec ed by a single plo . The objec o ou esea ch is La in insc ip ions on pain ings, escoes and eng a ings o he allego y gen e. The subjec o esea ch is he sou ces o bo owing, unc ional and seman ic load, as well as he g aphic and linguis ic ea u es o La in insc ip ions. The pu pose o he esea ch is o in oduce he La in insc ip ions om he wo ks o a o he allego ical gen e g ouped by he hema ic p inciple, analysis and desc ip ion o he unc ional, linguis ic, g aphic ea u es o he insc ip ions NATALIIA KOROLOVA,  OLESIA LAZER-PANKIV 260 Ac a Linguis ica Li huanica LXXXVI in o linguis ics. Achie ing he goal in ol es he ollowing asks: 1) collec ing da a and c ea ing he sample o he wo ks o a o he allego y gen e wi h La in insc ip ions; 2) iden i ying he unc ional and seman ic ea u es o insc ip ions; 3) es ablishing he sou ces o insc ip ions; 4) analysing hei linguis ic and g aphic ea u es. La in insc ip ions ha e been used in he wo ks o ine a o a ious gen es and ends ( eligious, my hological, po ai pain ing, wo ks o he ani as gen e, e c.). The allego y gen e is no excep ion: La in insc ip ions a e qui e common in escoes, eng a ings and pain ings o his gen e, and he unde s anding o he image is some imes impossible o w ong wi hou a co ec in e p e a ion o hese insc ip ions. Fo mode n iewe s, he si ua ion is u he complica ed by he ac ha some monumen s o his gen e a e p ese ed in poo condi ion. Un o una ely, inco ec eading and, consequen ly, in e p e a ion o some insc ip ions occu s no only on ama eu a si es, bu e en in he o icial ca alogues o epu able museums and galle ies. I is he need o adequa e in e p e a ion, as well as he co ec deciphe men and explica ion o La in insc ip ions ha de e mines he ele ance o he s udy, especially gi en hei lack o s udy, and he absence o a gene alized wo k on he s udy o La in insc ip ions o he allego y gen e on pain ings, escoes and eng a ings, hei con en , sou ces, language ea u es, unc ional load, e c. The p esen s udy applied a new app oach o he desc ip ion o wo ks o he allego ical gen e in e ms o he sync e ism o isual a and i s e bal embodimen . 1. METHODOLOGY The esea ch was based on he undamen al scien i ic wo ks on a his o y, as well as indi idual a icles and monog aphs (Bailey 2012; Baye 2009; Gomb ich 2018; Hall 2018; Honou & Fleming 2005; Smi h & S einho 2012; S oks ad 2008; Syson 2007; Thuillie 2002). The cu en wo ks on he allego y gen e highligh he ac i i ies o indi idual schools o pain ing and he wo k o speci ic mas e s, bu he main ocus o esea che s is on he non- e bal le el o pain ings (Bellan i 2006; Cheney 2017; Dessi 2007; Filippe i 2002; F ojmo ič 1996; Jenkins 1972; No den alk 1985; P ei e 1975; Se eb enniko 1986; Tucke 2015; Veldman 1980, e c.). Despi e he ac ha he insc ip ions analyzed in ou s udy we e men ioned in a ious publica ions, hey did no become he subjec o a special s udy. Howe e , such an emphasis seems jus i ied and use ul, as o en he insc ip ions a e an in eg al pa o he wo k, and hey explain he images o cla i y hei con en . S aipsniai / A icles 261 La in Insc ip ions on Fine A Wo ks o Allego y Gen e The sou ce o selec ion o he esea ch da a (namely pain ings, eng a ings and escoes o he allego y gen e) was he e e ence publica ions and ca alogues o la ge museum collec ions, which p o ide de ailed ac ual in o ma ion abou he wo k o a mas e , online museum ca alogues,1 as well as ma e ials p esen ed on he si es WikiA , De ian A , Ge yImages. To conduc he esea ch, a ep esen a i e sample o pain ings, escoes and eng a ings o he allego ical gen e wi h La in insc ip ions was made, which allows us o d aw ce ain conclusions and gene aliza ions abou he gen e as a whole. The main selec ion c i e ia we e hema ic, ch onological and geog aphical; he e o e, he wo ks o bo h sac ed and secula hemes o di e en pe iods and e i o ial a ilia ion we e aken in o conside a ion. The con en comple eness o he ex , he deg ee o cohe ence (co ela ion o ex and image), in o ma i eness, size, e c. we e also aken in o accoun . Thus, 231 wo ks o he allego ical gen e c ea ed in he 14 h–20 h cen u ies we e selec ed. Some allego ies wi h La in names de oid o insc ip ions (As ologia by Edwa d Bu ne-Jones; Ius i ia by Maa en an Heemske ck; P uden ia and Sol Jus i iae by Alb ech Dü e ; Amo Impe a o by F anz on S uck; Melancholia by Lucas C anach), and illus a ions om manusc ip s and old p in s (The Fou Ho semen o he Apocalypse in Apocalypse o Sain -Se e ; The Sep em Libe ales A es by F ancis Cleyn, e c.) we e used o compa a i e analysis. 2. THEORETICAL BACKGROUND: HISTORY OF THE FORMATION OF THE ALLEGORY GENRE Allego y begins i s long jou ney in ancien G eek li e a u e in he 6 h cen u y BC as an allego ical in e p e a ion o poe y – Home ’s epic wo ks (in pa icula , Theagenes o Rhegium and Phe ecydes o Sy os) (Doma adzki 2017: 303– 306). Allego esis is a echnique o in e p e a ion ha e eals he hidden (i.e. “allego ical”) con en o a wo k. G eek philosophe Clean hes (middle o he 3 d cen u y BC) was he i s o use he e m ἀλληγορικῶς (Robins 2013: 28); Deme ius o Phale on (app oxima ely 355–283 BC) used he e m ἀλληγορία: “νῦν δὲ ὥσπερ συγκαλύμματι τοῦ λόγου τῇ ἀλληγορίᾳ κέχρηται· πᾶν γάρ τὸ ὑπονοούμενον φοβερώτερον, καὶ ἄλλος εἰκάζει ἄλλο τι· ὃ δὲ σαφὲς, καὶ φανερόν, καταφρονεῖσθαι εἰκός, ὥσπερ 1 B i ish Museum, Galle ia Bo ghese, Lou e Museum, Me opoli an Museum o A , P ado Museum, S a e He mi age Museum, S a e T e yako Galle y, U izi Galle y, Va ican Museums, e c. NATALIIA KOROLOVA,  OLESIA LAZER-PANKIV 262 Ac a Linguis ica Li huanica LXXXVI τοὺς ἀποδεδυμένους” (In he ph ase ac ually used he speake has sh ouded his wo ds, as i we e, in allego y. Any da kly-hin ing exp ession is mo e e o -s iking, and i s impo is a iously conjec u ed by di e en hea e s. On he o he hand, hings ha a e clea and plain a e ap o be despised, jus like men when s ipped o hei ga men s) (Dem. Phal. Eloc. 2. 100). He acli us G amma icus (1s cen u y AD) in his ea ise Quaes iones Home icae p o ides an explana ion o allego y in he con ex o he in e p e a ion o he image o gods: “ὁ γὰρ ἄλλα μὲν ἀγορεύων τρόπος, ἕτερα δὲ ὧν λέγει σημαίνων, ἐπωνύμως ἀλληγορία καλεῖται” ( o he ope which says one hing bu signi ies some hing o he han wha i ecei es says he name “allego y” p ecisely om his) (He acli . QH 5.2). The allego ical in e p e a ion o my hs abou he gods p ac iced by he G eeks became widesp ead in Rome. Aelius Dona us in A s G amma ica gi es he ollowing de ini ion o allego y: “Allego ia es opus, quo aliud signi ica u quam dici u ” (Allego y is a igu e ha signi ies some hing di e en om wha i says) (Dona . A s g am. 3. 6). A simila de ini ion is ound in Isido e o Se ille (560–636): “Allego ia es alieniloquium. Aliud enim sona , aliud in elligi u ” (Allego y is o he speech, o i occu s when one hing is said and ano he is unde s ood) (Isid. O ig. 1.22) and in Ma ius Plo ius Sace dos (3 d cen u y AD): “aliud signi icans quam con ine u in e bis” (means o he han wha is con ained in he wo ds) (Sace d. A s g am. 1. 149–153). Despi e he ac ha allego y o igina ed in li e a u e and my hology, i was embodied in pain ing, sculp u e and a chi ec u e. Allego y in pain ing and sculp u e is a igu e o g oup ha depic s an abs ac idea o an a ea o ac i i y endowed wi h cons an “eloquen ” a ibu es (K asno a 2002: 10–11). Allego y is a ype o sign ha es ablishes a connec ion be ween image and meaning by di ec analogy and does no in ol e mul i ace ed laye s o con en ha g adually un old as in a symbol. Allego y in he ine a s is an a is ic image wi h a sub ex , an image wi h a hidden meaning, wi h which one can con ey a a ie y o abs ac concep s, ideas and alues o li e, exp ess pe sonal opinions o ouch on o bidden opics h ough i s “immense powe o illus a e complex ideas and concep s in ways ha a e easily diges ible and angible o i s iewe s, eade s, o lis ene s” (A Te ms, n.d.). The allego y gen e in he ine a s o igina ed in ancien imes. G eek a is s used pe sonalized abs ac ions o in e nal p ocesses, emo ions and s a es, such as ange o en y, which hey could no ye exp ess h ough acial exp essions and ges u es. In he Hellenis ic and Roman pe iods, di ine beings we e endowed wi h some cha ac e is ic a ibu e o e en eplaced by allego y. Hence o h, no S aipsniai / A icles 263 La in Insc ip ions on Fine A Wo ks o Allego y Gen e only s a es and eelings we e allego ized, bu also s a e and poli ical p ocesses: eedom, powe , jus ice, e c. Du ing he Middle Ages, allego y se ed o mo al and heological pu poses. Figu es ep esen ing i ues and ices we e mos o en depic ed du ing his pe iod. In he ine a s o he Renaissance he e is secula iza ion in he depic ion o mo al allego ies; hey a e illed wi h humanis ic con en . Pe soni ica ions a e demons a ed h ough in ellec ual quali ies, sciences, aspec s o he wo ld, plane s, e c., i.e. hose images in which he allego ical key e eals he gene al ideas abou he wo ld and man’s place in i . In he a o he Ba oque s yle, a is s, based on ancien adi ions, c ea ed wo ks ull o allego ical con en , as i ying o d aw pa allels be ween he pas and he u u e. By eely combining his o ical and my hological cha ac e s, pagan and Ch is ian images in one isual space, he au ho s c ea ed new seman ic connec ions, allusions, ideological sub ex . Such composi ions equi e an educa ed, in ellec ual spec a o , bu some imes hey a e so con using ha hey a e accompanied by insc ip ions, explana ions, and e en a sepa a e p og amme p esen ed in a li e a y, poe ic o m (Vlaso 2008: 242). In his ega d, he e was a whole doc ine o allego ical signs and images. In depic ing abs ac igu es ep esen ing i ues, laws, eelings, e c., he a is s elied on such publica ions as Emblema um Libe by And ea Alcia o (1531) o Iconologia by Cesa e Ripa ( i s edi ion 1593 e seq.). In addi ion, he e we e sepa a e collec ions o p o e bs on mo al and e hical hemes, which accompanied abs ac images. Among he mos signi ican collec ions a e Adagia Collec anea (1500) and Adagio um Chiliades (1508) by E asmus o Ro e dam. The poems which we e la e included in An hologia La ina2 we e e y popula insc ip ions as well. Johann Joachim Winckelmann, he ounde o he heo y o Neoclassicism, who i s explo ed he signi icance o allego y in he ine a s, di ides allego ies in o wo ypes: he sublime and he simple . The pain ings o he i s ca ego y include hose in which he e is a hidden meaning om ancien my hs o philosophy. The second ca ego y includes pain ings wi h be e known meanings, such as he pe soni ica ion o i ues and ices. Speaking abou he ac ha any allego y has some hing mys e ious and accessible no o e e yone, J. J. Winkelmann opposed he excessi e ascina ion wi h i . He ebuked hose who ied o make i mo e ins uc i e by saying in he insc ip ions wha he 2 An hologia La ina is a collec ion o ancien La in poems o small olume published by Ge man philologis Alexande Riese in 1869–1879. The mos aluable pa o An hologia La ina is aken om he so-called Codex Salmasianus (8 h cen u y). In he Middle Ages, he lis s o hese poems we e widely known and included in a ious collec ions. NATALIIA KOROLOVA,  OLESIA LAZER-PANKIV 264 Ac a Linguis ica Li huanica LXXXVI pain ings signi ied and wha hey did no signi y, and called o lea ning om ancien a is s who mos ly cla i ied hei pain ings wi h such signs ha we e unique o one pa icula hing and no o he (Winckelmann 1935: 163–170). A hu Schopenhaue no es ha “ he allego ical pic u e [...] ? se es wo pu poses simul aneously: he exp ession o he concep and he exp ession o he idea. Only he la e can be a wo k o a ; he o he is someone else’s goal, play ul un – o o ce he pic u e o se e as an insc ip ion a he same ime” (Schopenhaue 2021: 232). O he wo ks (Γιαγκάζογλου 2001; Ka zenellenbogen 1939; Me ens 2015; Michel 1987; Spanily 2010; Vandendo pe 1999; 2005; Wa ncke 2005; Whi man 2000; Zla a 1997, e c.) we e also de o ed o he peculia i ies o allego y. 3. FUNCTIONAL AND SEMANTIC CHARACTERISTICS OF INSCRIPTIONS The allego y o a is ic hinking pe mea es he a o all s yles and di ec ions, allego ical images a e p esen in wo ks o a ious gen es – eligious and my hological, s ill li e, landscape, e c. They we e aimed p ima ily a educa ed people who a e able o ecognize he sec e con en hidden in he images o people, animals, objec s o a ibu es ha accompany he main cha ac e s o he can as. All he elemen s o he allego ical can as we e “wo ds”. A he same ime, he ques ion o he insc ip ions accompanying d awings and eng a ings equi es close a en ion, because i is o en wi h hei help ha he image which is di icul o comp ehend based on i s a ibu es is e ealed. The insc ip ions (so-called i uli) whose o igins a e associa ed wi h explana o y insc ip ions on a ious objec s o an iqui y o m a uni y wi h he elemen s o an allego ical pain ing: hey explain o commen on he image and help ansla e a isual pic u e in o a e bal pic u e. As Vandendo pe poin s ou , in pa icula , “ he pleasu e ha hese pain ings should b ing is bo n om he co espondence be ween he depic ed a ibu es and he abs ac concep ma ked by he insc ip ion [...]. The allego y becomes clea only i , inding he key o eading he insc ip ion abo e he pic u e, we hen deciphe he a ious symbols by linking hem o me apho ical exp essions bo owed om e e yday language” (Vandendo pe 2005: 31–32). Fo example, he essence o he image depic ing an o dina y gi l wi h a mi o in he hand who si s on a s one bench in he au umn a e noon is e ealed by he insc ip ion MELANCHOLIA (Melancholia by A nold Böcklin). In he minia u e The Fou Ho semen o he Apocalypse (pages 108 and 109 o Apocalypse o S . Se e ), he ide who ep esen s Dea h can only be iden i ied by he insc ip ion mo s S aipsniai / A icles 265 La in Insc ip ions on Fine A Wo ks o Allego y Gen e abo e his head. Ti ian placed an insc ip ion a he op o The Allego y o Age Go e ned by P udence: EX PRAETERITO PRAESENS PRVDENTER AGIT, NI FVTVRVM ACTIONEM DETVRPET (F om he expe ience o he pas , he p esen ac s p uden ly, les i spoil u u e ac ions3), which is he key o deciphe ing he allego y o his can as: ad ice o ac p uden ly and cau iously, passing his expe ience on o hei descendan s. The objec o he image in he pain ings o he allego y gen e included i ues and ices (89), sciences and a (68), as well as gene al ideas abou he wo ld and man’s place in i : in ellec ual quali ies, eelings, seasons, e c. (74) (Fig. 1). These can be like cycles o pain ings (e.g. The Fou Mona chies by Е ienne Delaune; Se ies The Fou Tempe amen s, Seasons and Plane s by Maa en an Heemske ck), as well as indi idual images (Allego y o T ansience by Jan an den Hoecke; Allego y o Celes ial Lo e by Sodoma). Figu e 1. Themes o La in insc ip ions on he wo ks o a o he allego y gen e (in %) Abs ac cha ac e s mos o en depic ed in he wo ks o a o he allego ical gen e include he igu es ep esen ing i ues o ices (89). Hall no es ha “ he idea o pe soni ying an abs ac concep wi h he human (gene ally emale) igu e was aken up by he ea ly Chu ch om classical an iqui y; he Chu ch used i o each a mo al lesson by ep esen ing i ues and ices in con lic ” (Hall 2018: 347). The cycle o se en p incipal Ch is ian i ues ( he h ee ‘ heological i ues’, i.e. ai h, hope and cha i y (I Co . 13:13), and he ou ‘ca dinal i ues’, i.e. jus ice, p udence, o i ude and empe ance), some imes 3 The ansla ions gi en he e and below a e aken om specialized websi es and online ca alogues o museums. NATALIIA KOROLOVA,  OLESIA LAZER-PANKIV 266 Ac a Linguis ica Li huanica LXXXVI pai ed wi h app op ia e ices, was widely ep esen ed in medie al sculp u e and esco. The images o i ues and ices we e mos ly accompanied by one-wo d i uli helping o iden i y he image: SPES, COGNICIO, PRVDENCIA, TEMPERANCIA, FIDES, IVSTICIA, CHARITAS, PACIENTIA, FORTITUDO, OBEDIENTIA, HUMILITAS, ARDOR, IMMUNDITIA, GULA, ACCIDIA, LUXURIA, SUPERBIA, IRA, INVIDIA, AVARICIA, e c. (e.g. S . F ancis Cycle by Gio o; Cogni ion and he Se en Vi ues by Hans Sebald Beham; The Se en Vi ues by F ancesco Pesellino; The Vi ues and Vices by Hein ich Aldeg e e ; The Se en Ch is ian Vi ues by Mas e IB; The Se en Vi ues by Lucas an Leyden; The Se en Deadly Sins and he Fou Las Things by Hie onymus Bosch). Some imes a is s di e si ied i uli wi h epi he s: FIDES RECTA, CARITAS CONSVMMATA (Allego y o Fai h, Allego y o Cha i y by Pie o di F ancesco degli O ioli). The p ac ice o ex ensi e commen s was also widesp ead. They o en simply accompanied allego ical igu es and had no di ec connec ion wi h he igu a i e s uc u e o d awings, e.g. The Vices and he Vi ues by Pie e B uegel he Elde . On he o he hand, Gio o aces he co espondence be ween he image and he insc ip ion. Allego ies o Se en Vi ues and Vices in Sc o egni Chapel ha e sho i uli and ex ensi e commen a ies ha illus a e he image wi h a ocus on he cha ac e is ics and ac ions o he allego ies p esen ed. In Allego y o Old and New Tes amen by Ga o alo he e is a la ge numbe o insc ip ions o a ious olumes, mos ly nomina i e and in o ma i e: PARADISVS, ECCLESIA CRISTI, INITIAT, PVRGAT, PERFICIT, SINAGOGA, TEMPLVM SALOMONIS, INFERNVS, e c. The in e p e a ion o he Bible p esen ed in An Allego y o he Old and New Tes amen s by Hans Holbein he Younge also con ains a la ge numbe o insc ip ions o simila con en , in pa icula : GRATIA, LEX, PECCATVM, MORS, MYSTERIVM IVSTIFICATIONIS, ESAYAS PROPHETA, HOMO, IOANNES BAPTISTA, AGNVS DEI, IVSTIFICATIO NOSTRA, VICTORIA NOSTRA. Allego y o Celes ial Lo e by Sodoma can be in e p e ed as hea enly lo e ha su passes he ea hly one. In he image a woman pou s wa e om a jug in o he i e on he al a wi h he insc ip ion STINSI TERENAS (I ex inguished he ea h). Behind i we see abula ansa a wi h he insc ip ion CELESTES (Hea enly). We will also gi e examples o he allego ies ela ed o secula hemes. The image o i ues and ices is also impo an he e (15). The Hall o he Nine Palazzo Pubblico in Siena is deco a ed wi h he escoes The Allego y o Good and Bad Go e nmen by Amb ogio Lo enze i. Bad Go e nmen is S aipsniai / A icles 273 La in Insc ip ions on Fine A Wo ks o Allego y Gen e The ending o a wo d may be sho ened: DIVINA℞ RE℞ (DIVINARVM RERVM) in Theology by Raphael in S anza della Segna u a. The e is a con ac ion “sonan + consonan ”, which is also ma ked by linea nasalis abo e he p e ious owel: PRVDẼTER (PRVDENTER) in The Allego y o Age Go e ned by P udence by Ti ian; MṼDI (MVNDI) in Allego y o he Old and New Tes amen s by Hans Holbein he Younge ; VIVAT (VIVANT) in The Vices and he Vi ues by Pie e B uegel he Elde , ĨMŨDITIA (IMMUNDITIA) in Cycle o F escoes o he Li e o Sain F ancis by Gio o. I is adi ional o educe he pos posi i e conjunc ion -que: CAETERAꝖ (CAETERAQUE), PENEꝖ (PENEQVE) in The Vices and he Vi ues by Pie e B uegel he Elde . Abb e ia ion o nomina sac a: DN (dominus) in The Se en Deadly Sins and he Fou Las Things by Hie onymus Bosch and  (sanc a) in Cycle o F escoes o he Li e o Sain F ancis by Gio o. The insc ip ion INІUSTITIA in Allego ies o Se en Vi ues and Vices by Gio o has a di e en g aphic o he le e s T. 5. SOURCES OF BORROWING LATIN QUOTATIONS The bulk o he i uli consis s o sho i les ha con ain an indica ion o he objec in he image. La ge insc ip ions can be di ided in o h ee g oups ha co ela e wi h he heme o he pain ings: quo es om ancien sou ces and ea ly medie al au ho s; quo es om he wo ks o con empo a ies; eligious wo ks (Bible). I should be no ed ha he au ho s o pain ings a e qui e ee o handle quo a ions by changing and composing hem acco ding o speci ic needs o a is ic in en . 5.1. Quo a ions om ancien sou ces Among he analyzed La in insc ip ions used in he wo ks o a o he allego y gen e, a signi ican pa is comp ised o quo es om classical au ho s. The cycle o eng a ings The Vices and he Vi ues by Pie e B uegel he Elde is indica i e. The i le o he wo k Insc ip ion and ansla ion Sou ce AVARITIA QVIS METVS, AVT PVDOR EST VNQVAM PROPERANTIS AVARI? Which ea o which awe is e e ound in one who is has ily g eedy? Ju en. XIV.177–178 NATALIIA KOROLOVA,  OLESIA LAZER-PANKIV 274 Ac a Linguis ica Li huanica LXXXVI The i le o he wo k Insc ip ion and ansla ion Sou ce IRA ORA TVMENT IRA, NIGRESCVNT SANGVINE VENAE Ange makes he ace swell up, and he eins g ow black wi h blood O . A s 3. 503–504 IVSTICIA SCOPVS LEGIS EST, AVT VT EVM QVEM PVNIT EMENDET, AVT POENA / EIVS CAETEROS MELIORES REDDET AVT SVBLATIS MALIS CAETERI SECVRIORES VIVANT The pu pose o law is ei he o co ec hose who i punishes o , h ough punishmen , imp o e he es o hem; o , ollowing he emo al o he culp i , ha he emaining people can li e mo e secu ely Sen. Cl. 1.22.1 FORTITVDO ANIMVM VINCERE, IRACVNDIAM COHIBERE CAETERAQVE VITIA ET AFFECTVS / COHIBERE VERA FORTITVDO EST To conque one’s impulses, o es ain ange and he o he ices and emo ion: his is he ue o i ude Cic. Ma c. 3.8 The nex wo i ues include modi ied quo a ions om he Epi ome o he la e an ique au ho Lac an ius. The i le o he wo k Insc ip ion and ansla ion Sou ce CHARITAS SPERES TIBI ACCIDERE QVOD ALTERI ACCIDIT, ITA DEMVM EXCITABERIS AD OPEM FERENDAM SI SVMPSERIS EIVS ANIMVM QVI OPEM TVNC IN MALIS CONSTITVTVS IMPLORAT Assume ha wha happens o o he s shall also happen o you. You will hus only be oused o p o ide help when you eel empa hy o he s a e o he soul o he who begs o help in his ime o need Lac . Epi . 65 FIDES FIDES MAXIME A NOBIS CONSERVANDA EST PRAECIPVE IN RELIGIONEM, QVIA DEVS PRIOR ET POTENTIOR EST QVAM HOMO Abo e all we mus keep ai h, pa icula y in espec o eligion, o God comes be o e all, and is migh ie han man Lac . Epi . 66 The quo a ion on he eng a ing PRVDENTIA belongs o one o he mos p ominen chu ch igu es o he Ea ly Middle Ages Ma in o B aga: SI PRVDENS ESSE CVPIS, IN FVTVRVM PROSPECTVM OSTENDE, ET S aipsniai / A icles 275 La in Insc ip ions on Fine A Wo ks o Allego y Gen e QVAE POSSVNT CONTINGERE, ANIMO TVO CVNCTA PROPONE (I you wish o be p uden , bea in mind he u u e and imagine e e y hing ha could possibly happen) (PL 72: 24).9 The escoes Poli ical Vi ues by Domenico Becca umi a e deco a ed wi h quo a ions om he wo ks o Seneca, Cice o, Sallus . The i le o he wo k Insc ip ion and ansla ion Sou ce CONCORDIA MVTVA BENIVOLENTIA NV(M)Q(VAM) DEBET SENESCERE RVMORES MITIGAT Mu ual iendliness should ne e g ow old [ o] hold back umo s10 Cic. Amic. 22 Sen. Ben. 1.3 CARITAS IDEM VELLE IDEM NOLLE wan ing he same hings, ejec ing he same hings Sal. Ca . 10 The ex placed a he op igh o Allego y o T ansience by Jan an den Hoecke NOSCE TE IPSVM (Know hysel ) is a amous apho ism, a La in ansla ion o he G eek ph ase ΓΝΩΘΙ ΣΕΑΥΤΟΝ w i en a he Temple o Apollo a Delphi. The allego ies by Raphael in S anza della Segna u a a e di ec ly ela ed o he accompanying insc ip ions. The i le o he wo k Insc ip ion and ansla ion Sou ce Jus ice IVS SVVM VNICVIQVE TRIBVIT Jus ice gi es o each his own CIC 1, Dig. 1.10 Theology DIVINARVM RERVM NOTITIA Knowledge o di ine hings CIC 1, Ins . 1.1.1 Philosophy CAVSARVM COGNITIO Know he Causes Cic. Top. 18.67 Poe y NVMINE AFFLATVR Inspi ed by he Di ine Ve g. A. 6.49–51 In he lowe pa o he ame o he eng a ing Aes as by Pie e B uegel he Elde in he cen e we ead: AESTAS, adolescen iae imago (Summe , image o you h), which b ie ly connec s he change o seasons wi h human age. The 9 The quo e is o en mis akenly a ibu ed o Seneca. The wo k Fo mula Hones ae Vi ae was w i en in imi a ion o he Seneca s yle and was conside ed he wo k o his ancien Roman philosophe almos h oughou he Middle Ages: in he 12 h cen u y, as a esul o he acciden , he p e ace abou Ma in’s au ho ship was los . 10 Cap ions a e usually combined in o one exp ession; see, o example, Jenkins 1972. NATALIIA KOROLOVA,  OLESIA LAZER-PANKIV 276 Ac a Linguis ica Li huanica LXXXVI insc ip ion on he le : Iulius, Augus us, nec non e Iunius Aes as (July, Augus and also June make summe ) is an exce p om he eclogue o Ausonius De Mensibus e Qua uo Anni Tempo ibus (Aus. Ecl. 1318). The insc ip ion on he igh (F ugi e as a is e Aes as o ida messeis Ho summe b ings e ile c ops o he ields) is an abb e ia ed quo e om he e as ich abou he ou seasons o Julian (AL 571). Wo ks o con empo a ies we e also popula . The insc ip ion on he eng a ing SPES by Pie e B uegel he Elde IVCVNDISSIMA EST SPEI PERSVASIO ET VITАE IMPRIMIS, NECESSARIA INTER TOT AERVMNAS PENEQVE INTOLERABILЕS (Swee is he us ha sp ings om hope, wi hou which we could no endu e li e’s many and almos unbea able ad e si ies) is a modi ied quo a ion om he Spanish humanis J. L. Vi es (Vi es 1538: 250). Allego ies o indi idual de ec s om he cycle The Vices and he Vi ues by Pie e B uegel he Elde con ain quo a ions om he wo k Zodiacus Vi ae by he I alian physician, poe and philosophe Pie Angelo Manzolli o Ma cello S ella o, o Ma cellus Palingenius S ella us in La in. In e es ingly, a e his dea h in 1551, he was decla ed a he e ic, he Ca holic Chu ch bu ned his bones and Pope Paul IV placed his book Zodiacus Vi ae in he i s Index Lib o um P ohibi o um (Index o P ohibi ed Books) in 1559. Despi e a ban by he Inquisi ion, he poem was ansla ed in o se e al Eu opean languages and has su i ed nume ous ep in s ou side I aly. The i le o he wo k Insc ip ion and ansla ion Sou ce SVPERBIA NEMO SVPERBVS AMAT SVPEROS, NEC AMATVR AB ILLIS Nobody who is p oud lo es he god abo e, no is he lo ed by hem PZV 9: 901 LVXVRIA LVXVRIA ENERVAT VIRES, EFFOEMINAT ARTVS Lus obs you s eng h and weakens you limbs PZV 4: 315 DESIDIA SEGNITIES ROBVR FRANGIT LONGA OCIA NERVOS Sluggishness b eaks s eng h, long idleness (b eaks) he ne es PZV 10: 139–140 GULA EBRIETAS EST VITANDA, INGLVVIESQVE CIBORVM A oid d unkenness and glu ony PZV 10: 133 INVIDIA INVIDIA HORRENDVM MONSTRVM, SAEVISSIMA PESTIS En y is a mons e o be ea ed, and a mos se e e plague PZV 4: 414 S aipsniai / A icles 277 La in Insc ip ions on Fine A Wo ks o Allego y Gen e The insc ip ion on he eng a ing AVDITVS om he se ies o eng a ings The Fi e Senses by Geo g Pencz is o en ead as TRVXA PER AVDITV11 (ins ead o TRVX APER AVDITV), which is inco ec o se e al easons: he o m TRVXA o he La in adjec i e ux is impossible acco ding o he no ms o he La in g amma ; he p eposi ion pe should be used wi h accusa i e. In addi ion, all he insc ip ions om his se ies o eng a ings make up one ph ase: TRVX APER AVDITV (AVDITVS), LINX VISV (VISVS), MILVVS ODORE (OLFATVS), SIMIA NOS SVPERAT GVSTV (GVSTVS), SED ARANEA TACTV (TACTVS) (Boa su passes us by hea ing, lynx by sigh , ki e by smell, monkey by as e, and spide by ouch). I i s appea s in medie al w i e Thomas o Can imp é (Can imp a ensis 1973: 106) in he ollowing o m: Nos ape audi u, lynx isu, simia gus u, Vul u odo a u p aecelli , a anea ac u. The o iginal ph ase is abou a wild boa and i is his image ha we see in he eng a ing. We assume ha he inco ec di ision o he ph ase in o elemen s occu s due o sc ip u a con inua. 5.2. Quo a ions om he Bible Allego ical eligious wo ks con ain quo a ions om he Bible.12 The i le o he wo k Insc ip ion and ansla ion Sou ce The Child and Dea h by Hans Holbein he Younge Homo na us de mulie e b e i i ens empo e eple u mul is mise iis. Qui quasi los eg edi u e con e i u e ugi elu umb a Man bo n o woman, li ing a sho ime, is eplenished wi h many mise ies. Who as a lowe come h o h and is des oyed, and lye h as a shadow Job 14: 1 (BSV) Alego ía de la sal ación by Juan de Valdés Leal QVAM REPROMISIT DEVS Which he Lo d p omised Jacob 1: 12 (BSV) JUSTIСIA in Poli ical Vi ues by Domenico Becca umi PER ME REGES REGNANT By me kings eign P o e b 8: 15 (BSV) 11 E.g., h ps://collec ions.lou e. /en/a k:/53355/cl020576776, h ps://www. ijksmuseum.nl/ en/collec ion/RP-P-OB-11.059. 12 The ansla ions gi en he e and below a e aken om he Biblia Sac a Vulga a websi e (BSV). NATALIIA KOROLOVA,  OLESIA LAZER-PANKIV 278 Ac a Linguis ica Li huanica LXXXVI The i le o he wo k Insc ip ion and ansla ion Sou ce The Se en Deadly Sins and he Fou Las Things by Hie onymus Bosch Gens absque consilio es e sine p uden ia Fo hey a e a na ion oid o counsel, nei he is he e any unde s anding in hem U inam sape en e in ellige en ac no issima p o ide en O ha hey we e wise, ha hey unde s ood his, ha hey would conside hei la e end! Deu e . 32.28–29 (BSV) Abscondam aciem meam ab eis e conside abo no issima eo um I will hide my ace om hem, I will see wha hei end shall be Deu e . 32.20 (BSV) Jus ice in The Allego y o Good Go e nmen by Amb ogio Lo enze i DILIGITE IVSTITIAM QVI IVDICATIS TERRAM Lo e jus ice, you ha a e he judges o he ea h Wisdom 1 (BSV) Allego y o Dea h by Juan de Valdés Leal IN ICTV OCVLI Twinkling o an Eye I Co . 15: 52 (BSV) Allego y o he Old and New Tes amen s by Hans Holbein he Younge ECCE VIRGO CONCIPIET ET PARIET FILIVM Behold, a i gin shall concei e and bea a son Isaiah 7: 14 (BSV) MISER EGO HOMO, QVIS ME ERIPIET EX HOC CORPORE MORTI OBNOXIO W e ched man ha I am, who will deli e me om his body subjec o dea h Romans, 7: 24–25 (BSV) ECCE AGNVS ILLE DEI QVI TOLLIT PECCATVM MVNDI Behold he lamb o God who ake h away he sins o he wo ld John 1: 29 (BSV) S aipsniai / A icles 279 La in Insc ip ions on Fine A Wo ks o Allego y Gen e The i le o he wo k Insc ip ion and ansla ion Sou ce Allego y o Old and New Tes amen by Ga o alo QVIA NON COGNOVIT MONDVS PER SAPIENTIAM / DEVM PLACVIT DEO PER STVLTITIAM PREDICATIONIS SALVOS FACERE CREDENTES Fo since, in he wisdom o God, he wo ld did no know God h ough wisdom, i pleased God h ough he olly o wha we p each o sa e hose who belie e 1 Co . 1: 20 (BSV) НEС EST VIA ANBVLATE PER EAN This is he way! Walk in i ! Isaiah 30: 21 (BSV) VENI COLUNBA MEA INFORAMINIBVS PETRЕ. CORON(A)BERIS DE CAPITE AMANA DE VERTICE SANIR ET HERMON. VVLNARASTI COR МЕVM SOROR MEA O my do e, ha a in he cle s o he ock… Look om he op o Amana, F om he op o Seni and He mon… Thou has a ished my hea , my sis e Song o Solomon 2: 14; 4: 8–9 (BSV) NON OFFERRATIS VLTRA SACRIFICIV FRVSTRA INCENSVM ABOMINATIO EST MIHI ORATIONES VESTRAS NON EXAVDIAM MANVS ENIM VESTRE SANGVINE PLENE SVNT B ing no mo e ain obla ions; incense is an abomina ion un o me... yea, when ye make many p aye s, I will no hea : you hands a e ull o blood Isaiah 1: 13, 15 (BSV) NON INTRABVNT NISI QVI SCRIPTI SVNT IN LIBRO VITE AGNI And he e shall in no wise en e in o i …bu only hey ha a e w i en in he Lamb’s book o li e Re ela ion (Apocalyps) 21: 27 (BSV) FACTVS EST DOMINVS QVASI INIMICVS: PRECIPITAVIT ISRAEL TRE. Z. The Lo d is become as an enemy, he ha h swallowed up Is ael Lamen . 2: 5 (BSV) NATALIIA KOROLOVA,  OLESIA LAZER-PANKIV 280 Ac a Linguis ica Li huanica LXXXVI 6. CONCLUSIONS Thus, based on he analysis o La in insc ip ions used in he wo ks o he allego y gen e, we can d aw he ollowing conclusions and gene aliza ions. The objec s depic ed in allego ical wo ks a e mos ly i ues and ices; sciences and a ; na u e and he uni e se; man ( eelings, abili ies, e c.); abs ac concep s. A la ge numbe o allego ical images a e incomp ehensible o he mode n iewe , because hei pe cep ion depends on he gene al le el o he p e iously acqui ed knowledge and amilia i y wi h he his o ical con ex . The use o La in insc ip ions as an in eg al pa o escoes, pain ings and eng a ings o allego ical con en was due o he peculia i ies o he o igin, o ma ion and de elopmen o his gen e. Accompanying insc ip ions some imes ca y he main seman ic load, and he e o e hei unde s anding is ex emely impo an o g asping he meaning ha he au ho laid in he wo k. Wi hou a cla i ying name o a La in insc ip ion, hey may well emain a mys e y. Many insc ip ions ha e a poe ic o m (mos ly hexame e o elegiac) (e.g. Allego ies o Se en Vi ues and Vices by Gio o, The Ass a School by Pie e B uegel he Elde ). These could be exce p s om he poems o Roman poe s (Ju enal, O id, e c.), wo ks o con empo a ies (e.g. Pie Angelo Manzolli) o unknown au ho s. The insc ip ions di e no only in he o m o p esen a ion bu also in he olume ( om one wo d o de ailed explana ions), which depends on hei unc ional load. One-wo d i les- i uli iden i y he objec o he image and pe o m a nomina i e and in o ma i e unc ion, cla i ying de ails and p o iding addi ional in o ma ion. Sho exp essions ha commen on he image and help us o unde s and i s essence pe o m an explica i e unc ion. Some ex ensi e quo a ions and explana ions ha e an addi ional didac ic and mo alizing load. The e bal pa is no always iden ical o he d awings, bu close o hem in ideological con en , which sugges s he p esence o he unc ion o cohe ence. We should no o ge he ac ha hose who we e in ol ed in he insc ibing p ocess we e also in ol ed in he selec ion o ex s and con eyed hei unde s anding o he image. I is known ha la ge wo kshops (e.g. Hie onymus Cock’s wo kshop) could en us he selec ion o insc ip ions o a eam o specialis s. Fo accompanying insc ip ions, a is s used quo a ions om a a ie y o sou ces. These a e mos ly ph ases om he wo ks o ancien au ho s and he Bible, which is ob iously due o he o ien a ion o socie y o he ele an models and hei ecognizabili y o he audience a he ime. The e a e also quo a ions om he wo ks o con empo a ies and o iginal ph ases, he au ho ship o which could no be es ablished. S aipsniai / A icles 281 La in Insc ip ions on Fine A Wo ks o Allego y Gen e The as majo i y o insc ip ions a e made wi h capi al le e s. Such g aphic phenomena as diac i ical ma ks and liga u es a e p esen in bo h lowe case and uppe case le e s. O en he on is s ylized in o de o c ea e a single composi ional ensemble. The exis ing e o s can be o en explained by he ins abili y o spelling no ms no only o la e and medie al La in, bu also classical: some e o s, which occu in La in insc ip ions on he wo ks o he allego y gen e, we e a es ed by ancien g amma s. A he same ime, he e a e e o s ha can be explained by he in luence o he au ho ’s na i e language and impe ec knowledge o La in by some a is s and eng a e s. ABBREVIATIONS AL – An hologia La ina, Lipsiae: B. G. Teubne i, 1869–1926. A ailable a : h ps:// a chi e.o g/de ails/p 1a2an hologial01buecuo /page/64/mode/2up. BSV – Biblia Sac a Vulga a (n. d.). A ailable a : h ps://www.biblega eway.com/. GL – G amma ici La ini: P obi, Dona i, Se ii, qui e un u de A e G amma ica Lib i 4, Lipsia: B. G. Teubne i, 1864. A ailable a : h ps://cu .ly/zABew70. PL – Pa ologiae cu sus comple us 72, Se ies La ina, ed. J. P. Migne, Pa isiis: Ga nie , 1879, 21–28. A ailable a : h ps://a chi e.o g/de ails/pa ologiaecu s00 migngoog/ page/n16/mode/2up. PZV – Palingenius Ma cellus S ella us Zodiacus Vi ae, id es de hominis i a, s udio, ac mo ibus op ime ins i uendis lib i XII, Ro e odami Apud Joannem Ho hou , 1722. A ailable a : h ps://cu .ly/9ABeS5B. REFERENCES A Te ms. A ailable a : h ps://www. a e.o g.uk/a /a - e ms/a/allego y. Bailey Gau in Alexande 2012: Ba oque & Rococo, London, New Yo k: Phaidon. Baye And ea 2009: A and Lo e in Renaissance I aly, New Yo k: Me opoli an Museum o A . Bellan i Claudio 2006: Gio o: Map o he Sc o egni Chapel 1300–1305, Ponzano, T e iso: Vianello. 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