Alchemical Hands in the Hypnerotomachia Poliphili

140 Detail, (b4v) This labelling continues onto the facing page. The adjacent inscription, labelled ‘Equus Infoelicitatis’, A writes as ‘the unfortunat (sic) horse.’ This is one of the few instances in which B responds to A, offering an alternate formulation of the epigram as ‘the hors (sic) of infelicity.’ Hand A’s interest in architectural matters extends to the identification of orders of columniation (m7v). Le Corinthie pedavano sopra uno subcolumnio, o veramente uno subbas...

y. Stichel has identified sixty authors in the marginalia, including Latin and Greek, patristic, and medieval and Renaissance authors.66 The space permitted in this study will only include a few observations on the application of the annotator’s learning. This section will feature a few of those situations in which newly- documented marginalia offer insight into assumed readings, challenge modern commentaries, or assist in the dating and attribution of the marginalia themselves. 14. ...

y. Stichel has identified sixty authors in the marginalia, including Latin and Greek, patristic, and medieval and Renaissance authors.66 The space permitted in this study will only include a few observations on the application of the annotator’s learning. This section will feature a few of those situations in which newly- documented marginalia offer insight into assumed readings, challenge modern commentaries, or assist in the dating and attribution of the marginalia themselves. 14. ...

ions on the banks and tits piers keel-shaped on both sides, to support the firm structure, and a noble parapet. On the central arch of the bridge, above the key-stone, a polished square of porphyry sood out on either side, containing hieroglyphs sculpted in relief. On the right as we went, I saw a lady wreathed with a serpent. (G 133) Hand A recognised another source in another source, Aulus Gellius’ Noctes Atticae. One side of the base of the statue of the horse signifying ‘TEMPUS’ on ...

ions on the banks and tits piers keel-shaped on both sides, to support the firm structure, and a noble parapet. On the central arch of the bridge, above the key-stone, a polished square of porphyry sood out on either side, containing hieroglyphs sculpted in relief. On the right as we went, I saw a lady wreathed with a serpent. (G 133) Hand A recognised another source in another source, Aulus Gellius’ Noctes Atticae. One side of the base of the statue of the horse signifying ‘TEMPUS’ on ...

oco ò ballo’ h1r: ‘terzo ballo ò gioco’ h1r: ‘finito il 3o ballo la regina parla al Polifilo e gli dice che vada dalla regina Telosia.’ g8v: ‘Returns again to the game or dance’ h1r: ‘third dance or game’ h1r: ‘the third dance finishes, the queen speaks to Poliphilo and tells him to go to the queen Telosia’ Nevertheless, Chigi is not always consistent in marking the point where the description is supposed to end. For example, on opening the description of the ‘TEMPUS AMISSIO’ horse ...

oco ò ballo’ h1r: ‘terzo ballo ò gioco’ h1r: ‘finito il 3o ballo la regina parla al Polifilo e gli dice che vada dalla regina Telosia.’ g8v: ‘Returns again to the game or dance’ h1r: ‘third dance or game’ h1r: ‘the third dance finishes, the queen speaks to Poliphilo and tells him to go to the queen Telosia’ Nevertheless, Chigi is not always consistent in marking the point where the description is supposed to end. For example, on opening the description of the ‘TEMPUS AMISSIO’ horse ...

140 Detail, (b4v) This labelling continues onto the facing page. The adjacent inscription, labelled ‘Equus Infoelicitatis’, A writes as ‘the unfortunat (sic) horse.’ This is one of the few instances in which B responds to A, offering an alternate formulation of the epigram as ‘the hors (sic) of infelicity.’ Hand A’s interest in architectural matters extends to the identification of orders of columniation (m7v). Le Corinthie pedavano sopra uno subcolumnio, o veramente uno subbas...

y. Stichel has identified sixty authors in the marginalia, including Latin and Greek, patristic, and medieval and Renaissance authors.66 The space permitted in this study will only include a few observations on the application of the annotator’s learning. This section will feature a few of those situations in which newly- documented marginalia offer insight into assumed readings, challenge modern commentaries, or assist in the dating and attribution of the marginalia themselves. 14. ...

y. Stichel has identified sixty authors in the marginalia, including Latin and Greek, patristic, and medieval and Renaissance authors.66 The space permitted in this study will only include a few observations on the application of the annotator’s learning. This section will feature a few of those situations in which newly- documented marginalia offer insight into assumed readings, challenge modern commentaries, or assist in the dating and attribution of the marginalia themselves. 14. ...

ions on the banks and tits piers keel-shaped on both sides, to support the firm structure, and a noble parapet. On the central arch of the bridge, above the key-stone, a polished square of porphyry sood out on either side, containing hieroglyphs sculpted in relief. On the right as we went, I saw a lady wreathed with a serpent. (G 133) Hand A recognised another source in another source, Aulus Gellius’ Noctes Atticae. One side of the base of the statue of the horse signifying ‘TEMPUS’ on ...

ions on the banks and tits piers keel-shaped on both sides, to support the firm structure, and a noble parapet. On the central arch of the bridge, above the key-stone, a polished square of porphyry sood out on either side, containing hieroglyphs sculpted in relief. On the right as we went, I saw a lady wreathed with a serpent. (G 133) Hand A recognised another source in another source, Aulus Gellius’ Noctes Atticae. One side of the base of the statue of the horse signifying ‘TEMPUS’ on ...

oco ò ballo’ h1r: ‘terzo ballo ò gioco’ h1r: ‘finito il 3o ballo la regina parla al Polifilo e gli dice che vada dalla regina Telosia.’ g8v: ‘Returns again to the game or dance’ h1r: ‘third dance or game’ h1r: ‘the third dance finishes, the queen speaks to Poliphilo and tells him to go to the queen Telosia’ Nevertheless, Chigi is not always consistent in marking the point where the description is supposed to end. For example, on opening the description of the ‘TEMPUS AMISSIO’ horse ...

oco ò ballo’ h1r: ‘terzo ballo ò gioco’ h1r: ‘finito il 3o ballo la regina parla al Polifilo e gli dice che vada dalla regina Telosia.’ g8v: ‘Returns again to the game or dance’ h1r: ‘third dance or game’ h1r: ‘the third dance finishes, the queen speaks to Poliphilo and tells him to go to the queen Telosia’ Nevertheless, Chigi is not always consistent in marking the point where the description is supposed to end. For example, on opening the description of the ‘TEMPUS AMISSIO’ horse ...