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'All the king's men . . . '
Dear Guy,
Here is my reaction. As for the 'divine coincidences' you keep talking about, I reread the passage (p. 169) and don't really see that I imply such a thing. Well from what I read on p. 169 I got the impression that when Philip was confronted by Villalpando's plates, he for the first time did discover the amazing resembles between the temple of Solomon and El Escorial. That's why I used the word 'divine coincidence' jokingly. But I fully agree with you that coincidence will never be an option for research by historians, not even in this postmodern time. You ask me about who devised these images of Philip II as Solomon and wrote those solomonic texts. This one of the main questions in The Seventh Window. In collaboration with Juan Rafael de la Cuadra Blanco we 'scanned' a whole lot through. As I wrote recently to Geoffrey Parker, I got the impression, in contrary to the propaganda scheme of projecting Charles V all antica as a Roman emperor, which was more a brainchild of Ferrante and Federigo II Gonzaga and was laid-out upon him with fully support of Granvelle, Philip II's identification with king Solomon as his role-model was a phantom proper to his own heart (el rey prudente). This concept came to birth - although it slumbered for many years - during his period in the Netherlands (and England). -------------------------------------------------------------------------------- J.C. Calvete de Estrella, El felicisimo viaje . . . : ' 1549 - Bruselas (1.04.1549): prudente Salomón (sabiduría y prudencia). La primera allusion es a la prudencia, no al tema sucesorio. - Gante (13.07.1549): sucesión de David (dinastía) - Brujas (21.07.1549): elegidos por Dios (compara la dinastía de David a la de los Austrias como elegidas por Dios) - Ieper (28.07.1549): sucesión y juicio de Salomón (dinastía y sabiduría) - Lille (4.08.1549): sucesión de David (dinastía) - Tournai (7.08.1549): sucesión de David (dinastía) - La Haya (28.09.1549): sucesión de David (dinastía) - Leiden (29.09.1549): sucesión y Juicio de Salomón (dinastía y sabiduría) - Haarlem (30.09.1549): sucesión, sabiduría, juicio y Saba (dinastía, prudencia y sabiduría) - Amsterdam (1.10.1549): sucesión de David (dinastía) 1550 Tapices de Vueyns y Madrigal, Bruselas 12.05.1550: F2 compra la historia de Salomón en 7 tapices 1554 Poole's intervención en el Parlamento decía en su lengua original: 'Of all Princes in Europe the Emperor hath travelled most in the Cause of Religio, as it appeareth by his Acts in Germany; yet happily, by some secret Judgement of God, he hath not atchieved the End. With whom in my Journey hitherwards I had Conference touching my Legation; whereof when we had Understanding, he shewed a great Appearence of most earnest Joy an Gladness, saying, That it rejoiced him no less of the Reconcilement of his Realm unto Christian Unity, than that his Son was placed by Marriage in the Kingdom; and most glad he was of all, that the Occasion thereof should come by me, being an Englishman born; which is (as it were) to call home ourselves. I can well compare him to David, who though he were a Man elect of God, yet, for that he was contaminate with Blood and War, he could not build the Temple of Jerusalem, but left the finishing thereof to Solomon, which was Rex pacificus. Si may it be thought, that the appeasing of Controversies of Religion in Christianity is not appointed to this Emperor, but rather to his Son, who shall perform the Building that his Father had begun. Which Church cannot be perfectly builded, unless universally in all Realms we adhere to one Head, and do acknowledge him to be the vicar of God, and to have power from above'. -------------------------------------------------------------------------------- Recent discovery 1554 Petrus Nannius (Alkmaar 1500 - Leuven 1557).[1]. From 1536 professor at the Collegium Trilingue at Leuven. 1521- 1522 Rector of the Latin gymnasium at Gouda (1521-22). 1546 Pour satisfaire à la demande de plusieurs théologiens, désireux d'avoir le sens exact du texte grec du livre de la Sagesse, attribué à Salomon, Nannius en fit une traduction; elle était terminée en 1546, et il la dédia par une lettre du 5 septembre a l'évèque de Winchester, Stephen Gardiner. 1552 SAPIENTIA / SOLOMONIS VNA CVM / SCHOLIIS, PETRO NANNIO ALCMA- / tiano interprete, Latinae linguae apud / Louanienses professore. // <marque de> FROBEN // M D LII. Colophon, f M ³ v: BASILEAE, APVD HIER. FROBENIVM / ET NIC. EPISCOPIVM, / M. D. LLII. Because of the bishop's disappointing reaction the Sapientia Salomonis was dedicated to Louis of Flanders, baron of Praet. 1554 PETRI NANNII ALCMARIANI / IN COLLEGIO BVSLIDIANO LATINI / PROFESSORIS, IN CANTICA / CANTICORVM PARAPHRASES / ET SCHOLIA // <marque de l'imprimeur> // LOVANII / Ex officina typographica Stephani Gualtheri / & Ionannis Batenii Typogr. Iurat. / Anno Domini 1554. / CUM GRATIA ET PRIVILEGIO In Cantica Canticorum Paraphrases et Scholia est précéde d'une préface adressée à Philippe II et à Marie Tudor àl'occasion de leurs épousailles.[2] L'opinion de Nannius sur l'origine du Cantique est curieuse à noter: c'est le seul des cinq milles ouvrages attribués à Salomon qui soit authentique. Il se rattache au genre bucolique; c'est un chant amébée, du moins pour la matière et les personnages. Selon la lettre, l'amant représente Salomon, et l'amante, la Judée. Mais, si l'on pénètre l'esprit de l'oeuvre, on reconnaît que Salomon y chante, en réalité, les épousailles du Christ avec l'Église, et la divinisation de l'humanité. En exprimant cette allégorie sous la forme d'un amour profane, l'auteur sacré a suivi une coutume des Anciens. Le Christ a parlé en paraboles; Orphée a révélé ses mystères par des cérémonies; les poètes ont enseigné les phènomènes de la nature physique sous le voile des fables; les philosophes ont exposé leurs préceptes sous la forme d'énigmes ou de mythes très obscurs; enfin, les Égyptiens ont orné leurs monuments de peintures hiéroglyphiques.[3] Nannius énumère les principaux auteurs grecs et latins qui ont commenté le Cantique (The Song of Songs/ of Solomon). Nannius n'a pas négligé d'en consulter la majorité, mais il a, néanmoins, visé à donner une exégèse à la fois personnelle et objective du texte et des allégories qu'il renferme. Dan sa paraphrase, il a fait preuve de vénération et de pudeur à l'égard du texte sacré. D'autre part, dans ses scolies, il a procédé à la comparaison des diverses traductions, sans dissimuler les emprunts qu'il leur faisait. Parmi les 5000 oevres attribuées à Salomon, seul le Cantique est authentique. Après de longues considérations sur l'esprit et la lettre de l'oeuvre, Nanius termine en formant des voeux de bonheur et de fécondité pour l'union chaste et sainte des des Princes.[4] 1554 On July 25th 1554, the day of St. James, patron saint of Spain, bishop Stephen Gardiner married Philip II and Mary Tudor in Winchester Cathedral. -------------------------------------------------------------------------------- [1] A. Polet, Petrus Nannius, 1500-1557. Une gloire de l'humanisme belge, Leuven 1936. [2] Épitre dédicatoire des In Cantica Canticorum Paraphrases et Scholia: Louvain. Ét. Gualtherus et J. Balthenius, 1554. Cf. pp. 171. sq. (The text of Nannius' latin letter to the Royal couple will follow later). [3] Polet (1936), pp. 171-172. [4] Polet (1936), pp. 321-322. -------------------------------------------------------------------------------- 1556 Abdicación de Carlos V en Bruselas (1555-56): dinastía 1556 Felipe de la Torre y los erasmistas (Amberes, 1556): Salomón como constructor del Templo: "V.M. como otro segundo Salomon, edifique à Dios con mucha paz el templo que à nuestro Señor no plugo que el Emperador su padre lo edificasse, como tampoco à [2.Regum 7 & 1.Paral.17 & 28] David se lo permitió" 1557 La Vidriera del Rey (Gouda, 1557-59): Salomón como constructor del Templo. Felipe como reconstructor de la Iglesia (Trento = eucaristía). The battle of Saint-Quentin in 1557, in which the Gouda nobility window-donors (Jean de Ligne, duke of Aremberg, window 6, 1562-71; Eric, duke of Brunswick, lord of Woerden, window 8, 1564-66; prince William of Orange, window 22, 1562-unfinished; duke Philippe de Ligne, lord of Wassenaar, window 24, 1559-61 and of course Philip II, window 7, 1557-59) were all involved, played an important part in the process. The new king keen on a quick formal success, made his debut as a commander-in-field in the easiest way - he was not even there when the decisive battle on 10th August took place. As a set-up it was an important stage-prop in the Solomonistic theater, but we should look at it from the fiction- and reality angle and put this lofted moment in its just perspective: in other words, for instance the gruesome aftermath: the killing of the citizens of Saint-Quentin (H.W. van Asch van Wijck (a.o.), De Slag bij St. Quentin (10 Augustus 1557), Utrecht 1891; Henning von Kosz, Die Schlachten bei St. Quentin (10. August 1557) und bei Gravelingen (13. Juli 1558). Nebst einem Beitrag zur Kenntnis der spanischen Infanterie in 16. Jahrhundert, Berlin 1914; J.L. Motley, The Rise of the Dutch Republic, London 1862, vol. I, cap. II, pp. 156-169; and I. Clouas, Henri II, París 1985, pp. 460-470). It was proclaimed later that this moment (San Lorenzo-day) was brought by Philip in relation to announce his plan to build El Escorial, the new Temple of Solomon, in honor of the God who had granted him victory over the French. Interludio: el perro Salomón (Bruselas, 1558): Felipe tuvo un perro Salomón 1558 Exequias de Carlos V (Bruselas, 1558): Salomón como constructor del Templo: 'como Salomón después de la muerte de su padre, también usaría todos sus recursos y sus fuerzas para recomponer las ruinas del verdadero templo de Dios, que es la Iglesia'. 1559 Felipe II, nuevo Salomón by Lucas de Heere (Gante, 1559) in commissioned by Aytta of Viglius who was also an intermediair between Brussels and the King's Window of Gouda. Felipe=Salomón (prudencia=sabiduría), difícil una prueba mayor que este cuadro. Then it peaked in Spain where Philip II from 1562 onwards to build El Escorial, el nuevo templo de Salomón. Guy, I'm aware that today I didn't came to the main questions and hammered home, 'Who were the king's men', who stood behind all this iconografic Solomistic propaganda programs (see for instance the very complex iconography of th Gouda-window). Lethmaet, Viglius, Nannius, Crabeth or Philip II himself ???? About Marie Tanner later. I carboncopied this e-mail also to Juan Raphael who is happy to meet you in cyberspace. Enjoy your Sunday, which in the US has just started. Here it is noon. Wim de Groot domingo, 23 de septiembre de 2001 12:07 |
Re: 'All the king's men . . . '
Hummmm... This looks good. But I don´t understand yet all this things about the Song of the Songs and the Scholia (Sabiduría de Salomón?). There is a preface dedicated to F2 and Mary? I want to know much about it. I WANT THE COMPLETE TEXT OF THE F2' QUOTE (in .jpg?), PLEAAAASSSSEEE? <:-( In Spanish there is traduction of the "Cantar de los Cantares" of Fray Luis de León (1527-¿1591?), one of the be
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