Alchemical Hands in the Hypnerotomachia Poliphili

fisherman tries to catch it, vomits a certain dark liquor, with which it makes the water murky. Prestantissime Nymphe, se la candidecia al gli ochii egri, impuri, et lippi, nigriscente aparendo offende. Si le cose rutilante, di livido tectorio, et le micante di candore, et di splendore renitente. Maculate, di rubigine consperse, obtecte di caligine, di vomicione sepiale perfuse, et di atramento infuscate sono damnate, senza dubio, non per diffecto dillo obiecto, ma per il sensuale morbo. ...

fisherman tries to catch it, vomits a certain dark liquor, with which it makes the water murky. Prestantissime Nymphe, se la candidecia al gli ochii egri, impuri, et lippi, nigriscente aparendo offende. Si le cose rutilante, di livido tectorio, et le micante di candore, et di splendore renitente. Maculate, di rubigine consperse, obtecte di caligine, di vomicione sepiale perfuse, et di atramento infuscate sono damnate, senza dubio, non per diffecto dillo obiecto, ma per il sensuale morbo. ...

to overlook the fact that the woodcut images, presented to the viewer in linear sequence, are in fact different angles, or details, of a single monument viewed in the round. One image which appears to follow another is often a detail of the previous image. Like other annotators, Benedetto Giovio modified woodcuts in order to show the relationship and positioning of the images within the diegetic space of the dreamscape. For example, the annotator shades in the side panel of the chariot on ...

to overlook the fact that the woodcut images, presented to the viewer in linear sequence, are in fact different angles, or details, of a single monument viewed in the round. One image which appears to follow another is often a detail of the previous image. Like other annotators, Benedetto Giovio modified woodcuts in order to show the relationship and positioning of the images within the diegetic space of the dreamscape. For example, the annotator shades in the side panel of the chariot on ...

ent viewed in the round. One image which appears to follow another is often a detail of the previous image. Like other annotators, Benedetto Giovio modified woodcuts in order to show the relationship and positioning of the images within the diegetic space of the dreamscape. For example, the annotator shades in the side panel of the chariot on (l4v). This panel features images of putti at play and a male medusa, which are depicted in zoomed-in detail illustration on (l7r). The shading on ...

ent viewed in the round. One image which appears to follow another is often a detail of the previous image. Like other annotators, Benedetto Giovio modified woodcuts in order to show the relationship and positioning of the images within the diegetic space of the dreamscape. For example, the annotator shades in the side panel of the chariot on (l4v). This panel features images of putti at play and a male medusa, which are depicted in zoomed-in detail illustration on (l7r). The shading on ...