Alchemical Hands in the Hypnerotomachia Poliphili

171 In using the illustration as an organising device, the annotators worked backwards from the text, superimposing elements from the accompanying ekphrasic verbal description of the pyramid back onto the illustration itself. For example, the annotators note that the size of the pyramid, in stadia, is given in the text and label these dimensions back onto the illustration. The ‘sei stadij, dieci passi,’ is copying the ekphrastic description on b2r:14 Ritorniamo dunque alla vastissi...

171 In using the illustration as an organising device, the annotators worked backwards from the text, superimposing elements from the accompanying ekphrasic verbal description of the pyramid back onto the illustration itself. For example, the annotators note that the size of the pyramid, in stadia, is given in the text and label these dimensions back onto the illustration. The ‘sei stadij, dieci passi,’ is copying the ekphrastic description on b2r:14 Ritorniamo dunque alla vastissi...

ack onto the illustration itself. For example, the annotators note that the size of the pyramid, in stadia, is given in the text and label these dimensions back onto the illustration. The ‘sei stadij, dieci passi,’ is copying the ekphrastic description on b2r:14 Ritorniamo dunque alla vastissima Pyramide, sotto la quale uno ingente et solido Plintho, overo latastro, overo quadrato supposito iacea, di quatordeci passi la sua altitudine, et nella extensione, overo longitudine stadii sei. ...

ack onto the illustration itself. For example, the annotators note that the size of the pyramid, in stadia, is given in the text and label these dimensions back onto the illustration. The ‘sei stadij, dieci passi,’ is copying the ekphrastic description on b2r:14 Ritorniamo dunque alla vastissima Pyramide, sotto la quale uno ingente et solido Plintho, overo latastro, overo quadrato supposito iacea, di quatordeci passi la sua altitudine, et nella extensione, overo longitudine stadii sei. ...

NE AND SKILLED ORNAMENTATION, AND OF ITS REMARKABLE COMPOSITION. (G 47, block capitals) In marking the beginnings of descriptions, Chigi appears to consider a woodcut illustration and its accompanying description as part of one integral argument, in the manner of an impresa. For instance, the description of Jupiter and the Gigantomachy begins on the leaf prior to the actual woodcut it illustrates, so Chigi indicates the connection by writing ‘comincia a descrivere la seguente figura’ ...

NE AND SKILLED ORNAMENTATION, AND OF ITS REMARKABLE COMPOSITION. (G 47, block capitals) In marking the beginnings of descriptions, Chigi appears to consider a woodcut illustration and its accompanying description as part of one integral argument, in the manner of an impresa. For instance, the description of Jupiter and the Gigantomachy begins on the leaf prior to the actual woodcut it illustrates, so Chigi indicates the connection by writing ‘comincia a descrivere la seguente figura’ ...

r future study of this copy. In addition to the ‘mandavano ad’ example given above, there are corrections, identical to Siena, found in Sydney, including in spelling. These corrections are not found in the errata, indicating that the annotator of Sydney was in the proximity of A or C. These identical corrections themselves cluster near the front of the book. If two annotators began a collaborative enterprise, their energy, as would be expected, would be strongest at the outset. ...

171 In using the illustration as an organising device, the annotators worked backwards from the text, superimposing elements from the accompanying ekphrasic verbal description of the pyramid back onto the illustration itself. For example, the annotators note that the size of the pyramid, in stadia, is given in the text and label these dimensions back onto the illustration. The ‘sei stadij, dieci passi,’ is copying the ekphrastic description on b2r:14 Ritorniamo dunque alla vastissi...

171 In using the illustration as an organising device, the annotators worked backwards from the text, superimposing elements from the accompanying ekphrasic verbal description of the pyramid back onto the illustration itself. For example, the annotators note that the size of the pyramid, in stadia, is given in the text and label these dimensions back onto the illustration. The ‘sei stadij, dieci passi,’ is copying the ekphrastic description on b2r:14 Ritorniamo dunque alla vastissi...

ack onto the illustration itself. For example, the annotators note that the size of the pyramid, in stadia, is given in the text and label these dimensions back onto the illustration. The ‘sei stadij, dieci passi,’ is copying the ekphrastic description on b2r:14 Ritorniamo dunque alla vastissima Pyramide, sotto la quale uno ingente et solido Plintho, overo latastro, overo quadrato supposito iacea, di quatordeci passi la sua altitudine, et nella extensione, overo longitudine stadii sei. ...

ack onto the illustration itself. For example, the annotators note that the size of the pyramid, in stadia, is given in the text and label these dimensions back onto the illustration. The ‘sei stadij, dieci passi,’ is copying the ekphrastic description on b2r:14 Ritorniamo dunque alla vastissima Pyramide, sotto la quale uno ingente et solido Plintho, overo latastro, overo quadrato supposito iacea, di quatordeci passi la sua altitudine, et nella extensione, overo longitudine stadii sei. ...

NE AND SKILLED ORNAMENTATION, AND OF ITS REMARKABLE COMPOSITION. (G 47, block capitals) In marking the beginnings of descriptions, Chigi appears to consider a woodcut illustration and its accompanying description as part of one integral argument, in the manner of an impresa. For instance, the description of Jupiter and the Gigantomachy begins on the leaf prior to the actual woodcut it illustrates, so Chigi indicates the connection by writing ‘comincia a descrivere la seguente figura’ ...

NE AND SKILLED ORNAMENTATION, AND OF ITS REMARKABLE COMPOSITION. (G 47, block capitals) In marking the beginnings of descriptions, Chigi appears to consider a woodcut illustration and its accompanying description as part of one integral argument, in the manner of an impresa. For instance, the description of Jupiter and the Gigantomachy begins on the leaf prior to the actual woodcut it illustrates, so Chigi indicates the connection by writing ‘comincia a descrivere la seguente figura’ ...

r future study of this copy. In addition to the ‘mandavano ad’ example given above, there are corrections, identical to Siena, found in Sydney, including in spelling. These corrections are not found in the errata, indicating that the annotator of Sydney was in the proximity of A or C. These identical corrections themselves cluster near the front of the book. If two annotators began a collaborative enterprise, their energy, as would be expected, would be strongest at the outset. ...