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Promptuarium Iconum Insigniorum
 Title page of the book, showing an engraved image of an eagle poised atop a globe flanked by two serpents and the Latin motto, "In virtute, et fortuna"
Title page of the first Latin edition, bearing Rouillé's emblem[a] and motto.[b] "D. MEM. S." is an abbreviation for Dis Memoribus Sacrum.[2][c]
AuthorGuillaume Rouillé (debated)[3]
IllustratorGeorges Reverdy[4]
Language
  • Latin
  • French
  • Italian (1553)
Spanish (1561)
Subject
PublisherGuillaume Rouillé
Publication date
1553
Publication placeLyon, France
Media typePrint
Pages
  • 172 (part I)
  • 247 (part II)
OCLC716696497
TextPromptuarium Iconum Insigniorum at Internet Archive

Prima [et Secunda] pars Promptuarii iconum insigniorum à seculo hominum, subiectis eorum vitis, per compendium ex probatissimis autoribus desumptis.[d] (listenⓘ; transl. 'The first [and second] part of the storehouse of images of the more notable men from the beginning of time, with their biographies subjoined, taken in abbreviated form from the most approved authors.'), abbreviated as Promptuarium Iconum Insigniorum,[e] is an iconographic collection of wood engravings published in 1553 by Guillaume Rouillé, a French humanist publisher and bookseller. Initially published simultaneously in Latin, French, and Italian in Lyon, France, the book features medallion-style portraits of renowned figures, both mythical and historical, spanning various eras and regions. These portraits are arranged in a primarily chronological sequence, beginning with Adam and Eve and concluding with notable individuals from the mid-16th century, each accompanied by a concise biographical summary. The earliest editions of the book contained 828 portraits, with approximately 100 more added in the 1577 edition. Rouillé published a Spanish edition in 1561.

The book's contents are divided into two parts: Prima pars ('first part') covers figures who purportedly or historically lived before the birth of Christ, while pars secunda ('second part') focuses on those from Christ's time onward. Although usually bound into a single volume, each part maintains independent pagination. The portraits, drawing from diverse sources and attributed to Georges Reverdy [fr], were inspired by the aesthetic of ancient coins. However, they lack numismatic precision and were not intended to serve as a scholarly reference. Rouillé's goal was to engage a broader audience with accessible, illustrated historical narratives, an approach that elevated the work to bestseller status in its era. The work exerted an enduring influence on European iconographic collections from the mid-16th to 17th centuries.

Contents

[edit]
Woodcut portraits of Paris and Helen of Troy, in a round format with the names in circular inscriptions inside the portrait edge. There is a biographical text in Latin below them.
Portraits of Paris (left) and Helen of Troy, with biographical text below. The text cites the year of Helen's abduction as Anno Mundi 2768 and Ante Christum natum 1194.[f]

The work features 828 portraits in its earliest editions.[11][12] The portraits are presented in a medallion format, each circumscribed by a decorative border. The subject's name is inscribed curvilinearly along the inner edge of the border, conforming to its circular contour. Most portraits are arranged in pairs on each page, with concise biographical summaries provided beneath them. Many of these pairs depict couples regardless of their marital status or the legitimacy of their relationship. Individuals with multiple spouses from remarriage occasionally appear in multiple portraits, each time alongside a different spouse.[13] In one instance, a same-sex relationship between the paired figures is implicitly mentioned.[14] The biographical texts have been partially taken from compendia of history from the antiquity, such as Ausonius's epigrams.[15]

The title page of the first Latin edition features Rouillé's emblem: an eagle poised atop a globe, flanked by two serpents. This imagery, which symbolizes triumph over the world, is accompanied by his Latin motto: In virtute, et fortuna ('In virtue, and [good] fortune').[1] The inscription "D. MEM. S.", enclosed in an elaborate cartouche above the title, is an abbreviation for the Latin phrase Dis Memoribus Sacrum (lit. 'Sacred to the Remembering Gods').[2] The work is chronologically divided into two parts: Prima pars ('first part') and pars secunda ('second part'). Although divided, these parts are typically bound into a single volume, with each retaining separate pagination.[6] The division is marked by the birth of Christ, which Rouillé placed in the 3,962nd year after biblical creation of the world.[16] Individuals who purportedly or historically lived before Christ are grouped in the first part. Major events in their lives are marked by two dates: one in Anno Mundi ('in the year of the world'),[17] based on the world creation narrative in the Book of Genesis,[18] and the other in Ante Christum natum ('before Christ [was] born'),[17] a Latin equivalent of BC.[19] The Prima pars opens with portraits of Adam and Eve, depicted as an elderly couple.[20] It proceeds to illustrate other Old Testament figures, including patriarchs, prophets, and kings such as Abraham, Noah, Jeremiah, Nimrod, and Ahab. Numerous pagan deities and other mythical figures are also portrayed, among them Janus, Osiris, Theseus, the Minotaur, queens of the Amazons, Vesta, Romulus, and Helen of Troy. Interspersed are historical personages from the pre-Christian era, notably Zoroaster, Thales of Miletus, Julius Caesar, and Pericles.[21][22][17]

The second part presents portraits of notable figures from Christ's era to the mid-16th century, spanning the post-Christ Roman Empire, the Middle Ages, and Rouillé's contemporary period. In the initial Latin edition, it bears the title Promptuarii iconum pars secunda incipit à Christo nato, perpetuam ducens seriem ad usque Christianissimũ Francorum regem Henricum hoc nomine secundum, hodie feliciter regnantem.[g][23] This section opens with a title page depicting the Nativity of Jesus. The adult Christ is depicted in a medallion larger than all the others, with a cross-shaped halo and an inscription in Hebrew as well as the Latin motto Christus Rex Venit in Pace, Deus homo Factus est ('Christ the King came in peace, God became man').[24] Other subjects include Judas Iscariot, Pontius Pilate, most Roman emperors, Attila the Hun, the Islamic prophet Muhammad, a comprehensive series of early Ottoman sultans, and post-classical writers such as Dante Alighieri. Holy Roman Emperors from Charlemagne to Charles V are represented, as are contemporary royals including Edward VI of England, Margaret of Valois, and Catherine de' Medici.[17][25] Roman emperor Hadrian appears in a rare triple portrait combination on a single page, depicted alongside his wife, Vibia Sabina, with his male companion, Antinous, beneath him.[14] Anne of Brittany appears in two distinct portraits: one with her first husband, Charles VIII of France, in which she wears a wreath, and another with her second husband, Louis XII, where she dons her more commonly depicted headdress.[13] The 1577 edition augmented the second part with approximately 100 additional portraits, primarily of Rouillé's contemporaries.[22] This edition's appendix featured newly added portraits of Hippocrates and Galen.[26]

Iconographic bases and authorship

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Portrait books, featuring authentic or imagined woodcut portraits of notable figures from various historical periods and geographical regions, enjoyed widespread popularity in 16th-century Europe.[27] Guillaume Rouillé, an established publisher and bookseller in Lyon by the mid-16th century, recognized a market opportunity in this genre, as did many of his competitors.[10] The medallion portrait format he adopted was inspired by the 1517 work Illustrium imagines ('Images of the famous') by Renaissance humanist Andrea Fulvio, which presented 204 busts of historical figures engraved in the style of ancient coins.[21] In the preface of Promptuarium Iconum Insigniorum, Rouillé acknowledges the inclusion of fictitious images of individuals purported to have lived before the biblical Flood or prior to the invention of painting and engraving, wryly stating that this was done to avoid accusations of circulating counterfeit currency.[28] He admits to using artistic license in creating these portraits, while emphasizing that they were based on the contemporary understanding of the subjects' deeds, customs, personalities, and presumed geographical origins. This approach was likewise employed for historical figures lacking credible iconographic references.[28]

Rouillé and the engraver erroneously based their portrait of Alexander the Great (pictured) on a depiction of Athena from a Macedonian gold stater coin.[29]

The remaining portraits were derived from diverse sources. Rouillé and the engraver utilized paintings,[4] earlier portrait books,[6] and select numismatic, sigillographic, and intaglio collections at their disposal.[30] In one instance, they erroneously based Alexander the Great's portrait on the obverse of a Macedonian gold stater featuring Athena, misidentifying her depiction as that of Alexander.[29] However, they accurately employed coin imagery for the portrayals of Demetrius I Poliorcetes and Mithridates VI Eupator.[22] The portraits of French monarchs were reproduced from two sources: Les Anciennes et modernes genealogies des Roys de France ('The ancient and modern genealogies of the Kings of France'), a 1528 work by French poet and historian Jean Bouchet [fr],[21] and Epitome gestorum LVIII regum Franciae ('Epitome of the deeds of the 58 kings of France'), published in 1546 by Lyonese bookseller Balthazar Arnoullet [fr; it].[6] Most of the early Caesars' portraits were sourced from Imperatorum et Caesarum vitae ('Lives of Emperors and Caesars'), a 1534 work by German historian Johannes Huttich [de].[22]

Rouillé's book does not name the portrait engraver; however, the 19th-century Lyonese bibliographer and jurist Henri-Louis Baudrier attributed the portraits to Georges Reverdy from Piedmont, whose engraving skills he praised.[4] Reverdy was residing in Lyon at the time the book was authored and had already gained some recognition as an artist, being compared to Hans Holbein the Younger.[21] Reverdy either modeled some of the engravings after drawings and paintings by the Dutch painter Corneille de Lyon, or the two artists collaborated, because the style of certain contemporary portraits in the book—such as that of Margaret of Valois, Duchess of Berry—closely mirrors Corneille's work.[6][31] The authorship of the text remains a subject of debate, as Rouillé did not explicitly claim authorship of the work. The dedication to Margaret of Valois, signed with the initials "G.R.", may suggest Rouillé's authorship; however, these initials could also be attributed to Reverdy. An alternative theory proposes that the author of the text is Charles Fontaine [fr], a 16th-century French poet and translator.[3]

Publication history

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Portrait of Henry II, a king of France, with a dark green background
Henry II of France (r. 1547–1559), to whom Rouillé dedicated the first Latin edition in 1553. The first Italian edition was dedicated to his wife, Catherine de' Medici.[23]

The book was published in Lyon in 1553, with three editions released simultaneously: Latin, French, and Italian.[11] Rouillé often produced multiple language editions of works he believed would have international appeal, distributing them across Europe with the help of his in-law connections.[32] Rouillé dedicated the Latin edition to Henry II of France, the Italian edition to his wife, Catherine de' Medici, and the French edition to his sister, Margaret of Valois, Duchess of Berry, using these royal dedications as a subtle form of promotion.[33] In the following years, several more editions in these languages were published.[11] By the 1577 French edition, Rouillé shifted the focus, giving greater prominence to humanists who had shaped European law and medicine in the 16th century—figures such as the jurist François Douaren and the anatomist Andreas Vesalius—thereby paying homage to the intellectual spirit of the Renaissance.[26]

The Spanish translation, Promptuario de las medallas de todos las más insignes varones que ha habido desde el principio del mundo, was the work of Valencian theologian and translator Joan Martí Cordero [ca].[34] His dedication of the work, dated September 8, 1558, and written from the Université catholique de Louvain where he was a student at the time, was addressed "[...] al muy alto y muy poderoso señor don Carlos, por la gracia de Dios, Príncipe de las Españas ('[...] to the very high and very powerful lord Don Carlos, by the grace of God, Prince of the Spains')", referring to Prince Carlos of Asturias, who was the eldest son and heir apparent of King Philip II of Spain.[34] The Spanish edition was published by Rouillé in 1561.[11][35]

Reception

[edit]

Promptuarium Iconum Insigniorum was a bestseller in its era.[36] While many portraits in the book were derived from ancient coins and closely followed their artistic style, Rouillé did not intend his work to meet academic or numismatic reference standards, as evidenced by its lack of precise numismatic detail. For example, he omitted the reverse sides of the coins that served as models for the portraits.[37] Instead, the book appealed to a broader audience by offering concise, engaging, and uniquely illustrated history lessons.[22] In the decades following its publication, some of the iconographic collections produced in Europe from the mid-16th to 17th centuries drew upon and replicated Rouillé's work. This influence was partly due to his use of diverse sources and his bold selection of individuals, which to some extent challenged the accepted norms of his time.[38] Jean de Tournes, Rouillé's main competitor in the Lyonese publishing industry, published Insignium aliquot virorum icones ('Images of some notable men') in 1559, an imitation of Promptuarium Iconum Insigniorum with fewer portraits and a lower price. It did not sell as well as Rouillé's work, and no further editions were released.[39]

French physician and numismatist Antoine Le Pois [la] mentioned Promptuarium Iconum Insigniorum in his posthumous 1579 work Discours sur les médailles et gravures antiques ('Discourse on antique medals and engravings'), noting that he found the text more valuable for its historical abridgements than for the fictitious portraits it contained.[40] Julian Sharman, the 19th-century author of The Library of Mary Queen of Scots, described Rouillé's work as "not one of much numismatic interest"; however he added that the portrait book had been "pronounced to be one of the marvels of early wood-engraving".[41] In her 2006 essay, art historian Ilaria Andreoli commented on Promptuarium Iconum Insigniorum: "Rouillé's ambition is [...] to speak to the eyes [...] thanks to which the reader will be able to peer into the features and hear them speak, as if they were actors' masks".[42]

See also

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Notes

[edit]
  1. ^ An eagle poised atop a globe flanked by two serpents, symbolizing triumph over the world[1]
  2. ^ In virtute, et fortuna (Latin for 'In virtue, and [good] fortune')[1]
  3. ^ lit. 'Sacred to the Remembering Gods'
  4. ^ Prima pars Promptuarii [...] is the title of the book's first part, so the inclusion of the second part has been indicated by adding et Secunda ('and second'), as practiced by—for example—the Bonhams Skinner auction house.[5] The two parts are usually bound into one book, although they maintain separate pagination.[6]
  5. ^ 19th-century Lyonese bibliographer Henri-Louis Baudrier abbreviated the Latin edition title as Promptuarium iconum,[7] while Italian painter and antiquarian Riccardo Nobili shortened it as Promptuarium iconum insigniorum a seculo hominum in his 1922 text.[8] The noun promptuarium (Latin for 'storehouse' / 'repository') was a term medieval authors often used to name their lexicographical works.[9] Art historian John Cunnally [wikidata] speculated that Rouillé picked such a term because thesaurus, which would have been a more common term for a portrait book, had been used by Jean de Tournes—who was Rouillé's rival in the Lyonese publishing business—for another portrait book's title.[10]
  6. ^ Public Domain This article incorporates text from this source, which is in the public domain: transl. "Paris, also called Alexander, was the son of Priam and Hecuba. His father ordered him to be exposed because his mother, while pregnant, had dreamed that she had given birth to a burning torch. However, Hecuba, moved by maternal affection, ensured that he was raised by shepherds on Mount Ida. As a young man, he loved Oenone, by whom he fathered Idaios and Daphnis. Finally recognized and accepted by his parents, [Paris] undertook a mission to Greece to demand the return of Hesione, where he abducted Helen and brought her to Troy in the year 2768 of the world, 1194 years before the birth of Christ, during the first year of Agamemnon's reign. As a result, the war between the Greeks and the Trojans broke out. Herodotus writes that [Paris] abducted her despite resistance, and conquered Sparta, thereby deserving to receive her from her husband. Paris killed Achilles with an arrow but was himself killed in turn by Pyrrhus, the son of Achilles. Herodotus, Book 2. Dares and Dictys Cretensis."
  7. ^ transl. 'The second part of the storehouse of images begins with the birth of Christ, leading a continuous series to the most Christian king of France, Henry II, who reigns happily to this day'

References

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  1. ^ a b c Davis, Natalie Zemon (1966). "Publisher Guillaume Rouillé, Businessman and Humanist". In Schoeck, Richard J. (ed.). Editing Sixteenth-Century Texts: Papers Given at the Editorial Conference, University of Toronto October 1965. Toronto: University of Toronto Press. pp. 93–95. ISBN 9781487582128. Archived from the original on January 1, 2023. Retrieved December 28, 2022 – via Academia.edu.
  2. ^ a b Dubu, Jean (1988). "Le Promptuaire des medalles de Gvillavme Roville". In Possenti, Antonio; Mastrangelo, Giulia (eds.). Il Rinascimento a Lione: atti del congresso internazionale (Macerato, 6–11 Maggio 1985) [The Renaissance in Lyon: Proceedings of the International Congress (Macerata, May 6–11, 1985)] (in French and Italian). Edizioni dell'Ateneo. p. 189. OCLC 24229343.
  3. ^ a b Dubu, Jean (1988). "Le Promptuaire des medalles de Gvillavme Roville". In Possenti, Antonio; Mastrangelo, Giulia (eds.). Il Rinascimento a Lione: atti del congresso internazionale (Macerato, 6–11 Maggio 1985) [The Renaissance in Lyon: Proceedings of the International Congress (Macerata, May 6–11, 1985)] (in French and Italian). Edizioni dell'Ateneo. pp. 208–209. OCLC 24229343.
  4. ^ a b c Public Domain This article incorporates text from this source, which is in the public domain: Baudrier, Henri-Louis; Baudrier, Julien; Tricou, Georges (1912) [1895]. Bibliographie lyonnaise: recherches sur les imprimeurs, libraires, relieurs et fondeurs de lettres de Lyon au XVIe siècle par le Président Baudrier, publiées et continuées par J. Baudrier [Bibliography of Lyon: Research on the printers, booksellers, bookbinders, and founders of letters in Lyon in the 16th century by President Baudrier, published and continued by J. Baudrier] (in French). Vol. 9. Lyon: Librairie ancienne d'Auguste Brun. p. 207. OCLC 6966263. Retrieved December 29, 2022 – via Internet Archive.
  5. ^ "Fine Books & Manuscripts – 2730B: 269. Rouillé, Guillaume (c. 1518–1589) Prima [et Secunda] Pars Promptuarii Iconum Insigniorum a Seculo Hominum". Bonhams Skinner. May 31, 2014. Archived from the original on September 19, 2024. Retrieved September 19, 2024.
  6. ^ a b c d e Cunnally, John (1999). "9. Comme au Clair Miroir de l'Âme: Rouille, Physiognomy, and the Renaissance Bildnisvitenbücher". Images of the Illustrious: the Numismatic Presence in the Renaissance. Princeton University Press. p. 99, 101. ISBN 9780691016689. Retrieved August 27, 2023 – via Internet Archive.
  7. ^ Baudrier, Henri-Louis; Baudrier, Julien; Tricou, Georges (1912) [1895]. Bibliographie lyonnaise: recherches sur les imprimeurs, libraires, relieurs et fondeurs de lettres de Lyon au XVIe siècle par le Président Baudrier, publiées et continuées par J. Baudrier [Bibliography of Lyon: Research on the printers, booksellers, bookbinders, and founders of letters in Lyon in the 16th century by President Baudrier, published and continued by J. Baudrier] (in French). Vol. 9. Lyon: Librairie ancienne d'Auguste Brun. p. 204. OCLC 6966263. Retrieved December 29, 2022 – via Internet Archive.
  8. ^ Nobili, Riccardo (1922). "VIII. Imitation, Plagiarism, and Faking". The Gentle Art of Faking: A history of the methods of producing imitations & spurious works of art from the earliest times up to the present day. London: Seeley Service & Co. Ltd. p. 93. Archived from the original on September 14, 2024. Retrieved September 14, 2024 – via Project Gutenberg.
  9. ^ Stein, Gabriele (2014) [1985]. "12. The Promptuarium parvulorum". The English Dictionary Before Cawdrey. Lexicographica. Series Maior. Tübingen: Max Niemeyer Verlag. p. 91. doi:10.1515/9783111664873. ISBN 9783484309098.
  10. ^ a b Cunnally, John (1999). "9. Comme au Clair Miroir de l'Âme: Rouille, Physiognomy, and the Renaissance Bildnisvitenbücher". Images of the Illustrious: the Numismatic Presence in the Renaissance. Princeton University Press. p. 98. ISBN 9780691016689. Retrieved August 27, 2023 – via Internet Archive.
  11. ^ a b c d Kluczek, Agata A. [in Polish] (2018). "Klodia Metelli w rzymskiej tradycji literackiej i nowożytnej tradycji numizmatycznej, czyli uwagi na kanwie książki Agnieszki Dziuby Klodia Metelli. Literacki portret patrycjuszki, Wydawnictwo KUL, Lublin 2016, ss. 320" [Clodia Metelli in the Roman Literary Tradition and Modern Numismatic Tradition, i.e. Remarks Based on Agnieszka Dziuba's Book "Klodia Metelli. Literacki portret patrycjuszki", KUL Publishing House, Lublin 2016, pp. 320]. Res Historica (in Polish). 45. Lublin: Maria Curie-Skłodowska University: 365–366. doi:10.17951/rh.2018.45.359-371. ISSN 2082-6060. S2CID 240165655. Archived from the original on June 20, 2023. Retrieved August 20, 2023.
  12. ^ Andreoli, Ilaria (2006). "La storia 'in soldoni': il Promptuaire des medalles di Guillaume Rouillé" [History 'in a nutshell': Guillaume Rouillé's Promptuaire des medalles]. In Rozzo, Ugo; Gabriele, Mino (eds.). Storia per parole e per immagini [History in words and pictures] (in Italian). Udine: Forum. p. 237. Archived from the original on January 1, 2023. Retrieved December 29, 2022 – via Academia.edu.
  13. ^ a b Dubu, Jean (1988). "Le Promptuaire des medalles de Gvillavme Roville". In Possenti, Antonio; Mastrangelo, Giulia (eds.). Il Rinascimento a Lione: atti del congresso internazionale (Macerato, 6–11 Maggio 1985) [The Renaissance in Lyon: Proceedings of the International Congress (Macerata, May 6–11, 1985)] (in French and Italian). Edizioni dell'Ateneo. p. 191. OCLC 24229343.
  14. ^ a b Dubu, Jean (1988). "Le Promptuaire des medalles de Gvillavme Roville". In Possenti, Antonio; Mastrangelo, Giulia (eds.). Il Rinascimento a Lione: atti del congresso internazionale (Macerato, 6–11 Maggio 1985) [The Renaissance in Lyon: Proceedings of the International Congress (Macerata, May 6–11, 1985)] (in French and Italian). Edizioni dell'Ateneo. p. 192. OCLC 24229343.
  15. ^ Cunnally, John (1999). "9. Comme au Clair Miroir de l'Âme: Rouille, Physiognomy, and the Renaissance Bildnisvitenbücher". Images of the Illustrious: the Numismatic Presence in the Renaissance. Princeton University Press. p. 102. ISBN 9780691016689. Retrieved August 29, 2023 – via Internet Archive.
  16. ^ Rouillé, Guillaume (1581) [1553]. SECONDA PARTE DEL PRONTVARIO DELLE MEDAGLIE, LA QVALE comincia dà la natiuità del nostro Saluatore GIESV CHRISTO, & continoua insino al Christianissimo Rè di Francia & di Pologna, HENRICO III. di nome, il quale al presente regna felicemente [The second part of the Handbook of Medals begins with the birth of Christ, leading a continuous series to the most Christian king of France and Poland, Henry III, who reigns happily to this day.] (in Italian). Lyon: Guillaume Rouillé. p. 3. OCLC 1050826580. Archived from the original on August 19, 2023. Retrieved December 31, 2022 – via Digital Libraries Connected.
  17. ^ a b c d Andreoli, Ilaria (2006). "La storia 'in soldoni': il Promptuaire des medalles di Guillaume Rouillé" [History 'in a nutshell': Guillaume Rouillé's Promptuaire des medalles]. In Rozzo, Ugo; Gabriele, Mino (eds.). Storia per parole e per immagini [History in words and pictures] (in Italian). Udine: Forum. p. 238. Archived from the original on January 1, 2023. Retrieved December 29, 2022 – via Academia.edu.
  18. ^ "Anno mundi". Merriam-Webster.com Dictionary. Merriam-Webster. Archived from the original on December 6, 2023. Retrieved September 12, 2024.
  19. ^ Eames, Christopher (April 13, 2023). "B.C./A.D. or B.C.E./C.E.?". Armstrong Institute of Biblical Archaeology. Archived from the original on March 1, 2024. Retrieved September 12, 2024.
  20. ^ Dubu, Jean (1988). "Le Promptuaire des medalles de Gvillavme Roville". In Possenti, Antonio; Mastrangelo, Giulia (eds.). Il Rinascimento a Lione: atti del congresso internazionale (Macerato, 6–11 Maggio 1985) [The Renaissance in Lyon: Proceedings of the International Congress (Macerata, May 6–11, 1985)] (in French and Italian). Edizioni dell'Ateneo. p. 190. OCLC 24229343.
  21. ^ a b c d Perkinson, Stephen (2002). "From an 'Art De Memoire' to the Art of Portraiture: Printed Effigy Books of the Sixteenth Century". Sixteenth Century Journal. 33 (3): 700–705. doi:10.2307/4144020. JSTOR 4144020.
  22. ^ a b c d e Cunnally, John (1999). "9. Comme au Clair Miroir de l'Âme: Rouille, Physiognomy, and the Renaissance Bildnisvitenbücher". Images of the Illustrious: the Numismatic Presence in the Renaissance. Princeton University Press. p. 101. ISBN 9780691016689. Retrieved August 28, 2023 – via Internet Archive.
  23. ^ a b Andreoli, Ilaria (2006). "La storia 'in soldoni': il Promptuaire des medalles di Guillaume Rouillé" [History 'in a nutshell': Guillaume Rouillé's Promptuaire des medalles]. In Rozzo, Ugo; Gabriele, Mino (eds.). Storia per parole e per immagini [History in words and pictures] (in Italian). Udine: Forum. p. 236. Archived from the original on January 1, 2023. Retrieved December 29, 2022 – via Academia.edu.
  24. ^ Dubu, Jean (1988). "Le Promptuaire des medalles de Gvillavme Roville". In Possenti, Antonio; Mastrangelo, Giulia (eds.). Il Rinascimento a Lione: atti del congresso internazionale (Macerato, 6–11 Maggio 1985) [The Renaissance in Lyon: Proceedings of the International Congress (Macerata, May 6–11, 1985)] (in French and Italian). Edizioni dell'Ateneo. p. 196. OCLC 24229343.
  25. ^ Milwright, Marcus (2017). "The martyred sultan: Tuman Bay II in André Thevet's Les vrais pourtraits et vies des hommes illustrés". Word & Image. 33 (1): 14. doi:10.1080/02666286.2016.1228279. S2CID 164672006.
  26. ^ a b Rajchenbach-Teller, Élise (2012). "De «ceux qui de leur pouvoir aydent et favorisent au publiq» Guillaume Rouillé, libraire à Lyon" [Of 'those who use their power to help and encourage the public': Guillaume Rouillé, bookseller in Lyon]. In Bénévent, Christine; Charon, Anne; Diu, Isabelle; Vène, Magali (eds.). Passeurs de textes: Imprimeurs et libraires à l'âge de l'humanisme [Couriers of Texts: Printers and Booksellers in the Age of Humanism] (in French). Paris: École Nationale des Chartes. pp. 99–116. doi:10.4000/books.enc.533. ISBN 9782357231108. Archived from the original on February 27, 2023. Retrieved August 16, 2023 – via OpenEdition Books [fr].
  27. ^ Cunnally, John (1999). "9. Comme au Clair Miroir de l'Âme: Rouille, Physiognomy, and the Renaissance Bildnisvitenbücher". Images of the Illustrious: the Numismatic Presence in the Renaissance. Princeton University Press. p. 95. ISBN 9780691016689. Retrieved September 2, 2023 – via Internet Archive.
  28. ^ a b Public Domain This article incorporates text from this source, which is in the public domain: Rouillé, Guillaume (1553). "Gulielmus Rovillius lectori" [Guillaume Rouillé to the reader]. Prima pars Promptuarii iconum insigniorum à seculo hominum, subiectis eorum vitis, per compendium ex probatissimis autoribus desumptis [The first part of the storehouse of images of the more notable men from the beginning of time, with their biographies subjoined, taken in abbreviated form from the most approved authors.] (in Latin and Ancient Greek). Lyon: Guillaume Rouillé. OCLC 716696497. Retrieved August 25, 2023 – via Internet Archive. Cæterùm ne quis lege Cornelia nos falsi arguat, quod commentitias, seu factitias quasdam figuras velut adulterina numismata in publicum sparserimus: concedatur confessioni venia: εις το γαρ αδυνατον ουτις αναρτωται. Priscorum enim hominum qui ante diluvium, & ante inventas pingendi, & scalpendi artes vixisse memorantur. Ut Adæ, Abrahæ, & Patriarcharum εικωνας non negamus à nobis fuisse per imaginationem effictas: & cum nullum haberemus Prototypum ex descripta eorum Natura, moribus, ætate, regione & rebus gestis φανταστικως fuisse conformatas. [However, lest anyone accuse us of falsification according to the Lex Cornelia—that we have scattered false or invented images like counterfeit coins among the public: let pardon be granted to our confession (for no one is bound to do the impossible). For in the case of the men of ancient times who are said to have lived before the Flood and before the invention of the arts of painting and carving, for example Adam, Abraham, and the Patriarchs, their images we do not deny have been created by us imaginatively: and since we had no model, the images have been shaped from the description of their nature, from their manners, age, region, and deeds, by imagination.]
  29. ^ a b Chatzidakis, Michail (2010). "Ciriacos Numismata und Gemmae. Die Bedeutung der Münz- und Gemmenkunde für die Altertumsforschungen des Ciriaco d'Ancona" [Ciriaco's Numismata and Gemmae. The Importance of Numismatics and Gemology for the Archeology of Ciriaco d'Ancona]. Mitteilungen des Kunsthistorischen Institutes in Florenz (in German). 54 (1). Kunsthistorisches Institut in Florenz: 40. ISSN 0342-1201. JSTOR 41414764. [...] eben ein solches Bild der behelmten Athena von einer mazedonischen Goldmünze als Vorlage für sein Alexanderporträt [...]
  30. ^ Andreoli, Ilaria (2006). "La storia 'in soldoni': il Promptuaire des medalles di Guillaume Rouillé" [History 'in a nutshell': Guillaume Rouillé's Promptuaire des medalles]. In Rozzo, Ugo; Gabriele, Mino (eds.). Storia per parole e per immagini [History in words and pictures] (in Italian). Udine: Forum. p. 259. Archived from the original on January 1, 2023. Retrieved December 29, 2022 – via Academia.edu.
  31. ^ Dubois de Groër, Anne (1996). Corneille de La Haye, dit Corneille de Lyon (1500/1510–1575) [Corneille de La Haye, known as Corneille de Lyon (1500/1510–1575)] (in French). Paris: Arthena. p. 47. ISBN 2-903239-21-5. Archived from the original on July 8, 2023. Retrieved December 31, 2022 – via Google Books. [...] Georges Reverdy [...] n'en était pas l'unique auteur mais que Corneille en avait exécuté un certain nombre.
  32. ^ Cunnally, John (1999). "9. Comme au Clair Miroir de l'Âme: Rouille, Physiognomy, and the Renaissance Bildnisvitenbücher". Images of the Illustrious: the Numismatic Presence in the Renaissance. Princeton University Press. pp. 96–98. ISBN 9780691016689. Retrieved August 27, 2023 – via Internet Archive.
  33. ^ Andreoli, Ilaria (2006). "La storia 'in soldoni': il Promptuaire des medalles di Guillaume Rouillé" [History 'in a nutshell': Guillaume Rouillé's Promptuaire des medalles]. In Rozzo, Ugo; Gabriele, Mino (eds.). Storia per parole e per immagini [History in words and pictures] (in Italian). Udine: Forum. pp. 235–236. Archived from the original on January 1, 2023. Retrieved December 29, 2022 – via Academia.edu. Il tutto accompagnato da scaltre 'tecniche pubblicitarie' basate sulle richieste di privilegi e dediche a personaggi famosi.
  34. ^ a b Lluís Martos, Josep (January–June 2015). "Juan Martín Cordero en Flandes: Humanismo, mecenazgo e imprenta" [Juan Martín Cordero in Flanders: Humanism, patronage and printing]. Revista de Filología Española (in Spanish). 95 (1). Madrid: Spanish National Research Council: 85–87. doi:10.3989/rfe.2015.04. hdl:10045/48808. ISSN 0210-9174.
  35. ^ Cunnally, John (1999). "Appendix: A Biographical and Bibliographical Guide to Renaissance Numismatists and Their Books". Images of the Illustrious: the Numismatic Presence in the Renaissance. Princeton University Press. p. 206. ISBN 9780691016689. Retrieved September 1, 2023 – via Internet Archive.
  36. ^ Andreoli, Ilaria (2006). "La storia 'in soldoni': il Promptuaire des medalles di Guillaume Rouillé" [History 'in a nutshell': Guillaume Rouillé's Promptuaire des medalles]. In Rozzo, Ugo; Gabriele, Mino (eds.). Storia per parole e per immagini [History in words and pictures] (in Italian). Udine: Forum. p. 235. Archived from the original on January 1, 2023. Retrieved December 29, 2022 – via Academia.edu. Rouillé, uomo di mondo e dagli svariati contatti internazionali, [...] si lanciò in prima persona nel circo letterario, confezionando quello che divenne un vero e proprio best seller dell'epoca: il Promptuaire des medailles.
  37. ^ Perkinson, Stephen (2002). "From an 'Art De Memoire' to the Art of Portraiture: Printed Effigy Books of the Sixteenth Century". Sixteenth Century Journal. 33 (3): 722. doi:10.2307/4144020. JSTOR 4144020.
  38. ^ Andreoli, Ilaria (2006). "La storia 'in soldoni': il Promptuaire des medalles di Guillaume Rouillé" [History 'in a nutshell': Guillaume Rouillé's Promptuaire des medalles]. In Rozzo, Ugo; Gabriele, Mino (eds.). Storia per parole e per immagini [History in words and pictures] (in Italian). Udine: Forum. pp. 263–264. Archived from the original on January 1, 2023. Retrieved January 1, 2023 – via Academia.edu.
  39. ^ Cunnally, John (1999). "Notes". Images of the Illustrious: the Numismatic Presence in the Renaissance. Princeton University Press. p. 174. ISBN 9780691016689. Retrieved September 2, 2023 – via Internet Archive.
  40. ^ Cunnally, John (1999). "8. Ceux Qui Ont Escrit des Medalles: The Earliest Numismatic Bibliography". Images of the Illustrious: the Numismatic Presence in the Renaissance. Princeton University Press. p. 93. ISBN 9780691016689. Retrieved August 30, 2023 – via Internet Archive.
  41. ^ Public Domain This article incorporates text from this source, which is in the public domain: Sharman, Julian (1889). The Library of Mary Queen of Scots, with an historical introduction and a rare portrait of the queen. London: Elliot Stock. pp. 152–153. OCLC 4700578. Archived from the original on August 19, 2023. Retrieved December 29, 2022 – via HathiTrust Digital Library.
  42. ^ Andreoli, Ilaria (2006). "La storia 'in soldoni': il Promptuaire des medalles di Guillaume Rouillé" [History 'in a nutshell': Guillaume Rouillé's Promptuaire des medalles]. In Rozzo, Ugo; Gabriele, Mino (eds.). Storia per parole e per immagini [History in words and pictures] (in Italian). Udine: Forum. p. 264. Archived from the original on January 1, 2023. Retrieved January 1, 2023 – via Academia.edu. l'ambizione di Rouillé è [...] di parlare agl'occhi [...] grazie ai quali il lettore potrà scrutare i tratti e sentir parlare, come se fossero maschere d'attori,
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