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Link to an image of this page  Link to an image of this page  [I1r p129]

Contra la estatua d’el Amor.

TERCETOS.

Que cosa fuesse Amor muchos poetas
Por muy diversos nombres lo cantaron.
Mas dandole fuego, alas, y saetas,
Niņo desnudo y įiego le pintaron.
Pero si contra autores tan subidos
Es licito escrivir, mal lo miraron.
Link to an image of this page  Link to an image of this page  [I1v p130] Porque a’l Amor pintaron sin vestidos?
Faltavale con que cubrir pudiesse
Sus carnes a’l que manda ā los naįidos?
Y dado caso que esto acaeįiesse.
Como podria pasar sin vestidura
Por parte que de nieve llena fuesse?[1]
Si es niņo, como niņo siempre dura?
Siendo mayor que Nestor[2] en los aņos?
Su origen en Ascręo no estā escura.[3]  [M]
Mudanse de ligero con engaņos
Los niņos, mas aqueste estā contino
Firme, sin se apartar de hazernos daņos
Tras este error vino otro desatino,
Que fue a’l niņo dar arco duro y flechas
En fuerįas, siendo el niņo tan mezquino.
Tras esto pintanle alas muy bien echas,
Como jamas ā buelo se levante
Por do las aves de amor sean desechas.
Siempre anda entre los hombres este infante,
Sinque de mas se alįar aya contienda,
Mostrandose en aquesto muy triunphante.
Link to an image of this page  Link to an image of this page  [I2r p131] Y si įiego es, de que sirve la venda?
Pues que menos ni mas vista por ella
Pierde ni tiene, que ay que ella pretenda?
Y si me dizes que es muy bien tenella.
Pues el įiego jamas bien flecha tira,
Como do quiere puede este ponella?
Y si es de fuego, como en tanta yra
De llamas dura, puesque el fuego abrasa
Lo que cabe el estā con fuerįa dira?
Y como no se apaga aquesta brasa
De Amor, quando en aquellos siembra amores  [M]
De quien las aguas son morada y casa ?[4]
Mas por que no confundas en errores
Lettor, tu ymaginar tan cuydadoso,
Dirč de Amor en breve y sus primores.
Amor es un trabajo muy sabroso,
Echo de oįiosidad muy descansada.
D’esto serā retrato milagroso,
En un escudo negro, una granada.

[Marginalia - link to text]Hesiodo.

[Marginalia - link to text]Pezes Nymphas &c.

Notes:

1.  The question mark is editorial, replacing a full-stop.

2.  ‘nieve’. Snow is a tradional hardship endured by the hopeful lover who finds the door shut against him. See e.g. Horace, Odes 3.10..

3.  Nestor, king of Pylos, who had outlived three generations of men, was a proverbial example of extreme old age.

4.  the poet Hesiod who, at Theogony 120, describes Love as a primeval cosmic force.

5.  ‘Pezes Nymphas &c.’ - marginal note: a reference to the many legends of water nymphs and other water spirits succumbing to love


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Link to an image of this page  Link to an image of this page  [F3r]

TUMULUS IOANNIS GA-
leacii Vicecomitis
primi Ducis
Mediolani.[1]

The tomb of Gian Galeazzo Visconti, first Duke of Milan

Pro tumulo pone Italiam, pone arma ducesque,[2]
Et mare quod geminos mugit adusque sinus.
Adde his barbariem[3] conantem irrumpere frustra
Gallus uti, & Teuton alpe & hyberus aquis.[4]
Anguiger aut[5] summo sistens in culmine dicat,
Queîs parvis magnum me super imposuit?

Instead of the tomb, put Italy, put weapons and leaders, and the sea which roars right up to the twin curving coasts. Add to these the barbarian host, trying in vain to burst in, like the French, the German over the Alps and the Spanish by sea. But the one holding a snake, standing on the roof of the tomb, may well say: Who has put me, great as I am, on top of little things?

Notes:

1.  Gian Galeazzo Visconti (1351-1402), created first Duke of Milan in 1395. Noted for his ruthlessness, he united most of the Po valley under the rule of Milan for the first time, defeated Bologna, and set his sights on Florence until his death saved that city.

2.  This epigram is based on Anthologia graeca 7.73 (by Geminos, but wrongly attributed to Germanicus in the sixteenth century). The Greek epigram is concerned with what would be a worthy tomb for the Greek hero Themistocles, who was buried in a very simple grave. It suggests one with representations of Salamis and the Persians, recalling the hero’s most famous exploit, the victory over the Persians at the battle of Salamis. Likewise, memorials of Visconti’s achievements are proposed here.

3.  ‘the barbarian host’, i.e. the ‘barbarian’ French, who were induced to become involved in the Milan/Florence conflict and were defeated by Visconti. The French are mentioned specifically in the version of this poem found in Selecta epigrammata p.254, where 1.4 reads: Gallus ut et Theuton Alpe et Hyberus aquis, ‘like the Gaul and the Teuton via the Alps and the Spaniard via the sea’. In Alciato’s day, the French continued to overrun the Italian peninsula and attempt to dictate its internal affairs.

4.  This line is revised in later editions.

5.  This is presumably a figure of the Duke of Milan, whose arms included a snake; see [A34a001]. In the accompanying woodcut, we have written on a snaking ribbon held by a figure the Greek version (taken from the original Greek epigram) of the Latin words quoted in l.6.


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