Link to an image of this page [m8r p191]
Gratiae.
The Graces
VI.
Tres Charites Veneri assistunt, dominamque sequuntur.
Hincque voluptates, atque alimenta parant.
Laetitiam Euphrosyne, speciosum Aglaia nitorem.
Suadela est Pithus, blandus & ore lepos.[1]
Cur nudae? mentis quoniam candore venustas
Constat, & eximia simplicitate placet.
An quia nihil referunt ingrati atque arcula inanis,[2]
Est Charitum? qui dat munera, nudus eget.
Addita cur nuper pedibus talaria? bis dat
Qui cito dat,[3] minimi gratia tarda pretii est.
Implicitis ulnis cur vertitur altera? gratus
Foenerat, huic remanent una abeunte duae.[4]
Iuppiter iis genitor, coeli de semine divas
Omnibus acceptas edidit Eurynome.
The three Graces are attendant on Venus and follow their mistress. So they provide pleasures and pleasure’s nourishment. Euphrosyne brings gladness, Aglaia bright beauty; persuasion belongs to Peitho with winsome charm in speech. Why are they naked? Because loveliness consists in innocence of mind and commends itself by great simplicity. Or is it because the ungrateful make no return and the Graces’ treasure-chest is empty? He who gives gifts is stripped and needy. Why are there wings newly fastened to their feet? He gives twice who gives quickly. A favour granted late is of little value. Why does the second one link arms but turn her back to us? The man who shows gratitude gets more than he lays out; as one goes, two remain for him. Jupiter was their begetter; and Eurynome bore them, the divine offspring of the heavenly seed, goddesses loved by all mankind.
1. The Latin words laetitia (gladness), nitor (beauty) and suadela (persuasion) are translations of the Greek names of the Graces, Euphrosyne, Aglaia and Peitho.
2. arcula inanis, ‘treasure-chest is empty’. See Erasmus, Adagia, 1812 (Simonidis cantilenae).
3. bis dat / Qui cito dat ‘He gives twice who gives quickly’. See Erasmus, Adagia, 791 (Bis dat qui cito dat).
4. Lines 9-12 express common sentiments, found e.g. in Seneca, De Beneficiis, passim. For the Graces especially, see Ibid., 1.3-4. See also Erasmus, Adagia, 1650 (Nudae Gratiae), where Erasmus associates the Graces with both friendship and ingratitude.
Related Emblems
Show related emblemsHint: You can set whether related emblems are displayed by default on the preferences page
Iconclass Keywords
Relating to the image:
Relating to the text:
- joy, 'Gaudium' ~ one of the seven gifts of the soul [11S727] Search | Browse Iconclass
- animals (+ wings of an animal) [25F(+342)] Search | Browse Iconclass
- animals (+ wings of an animal) [25F(+342):31A2255] Search | Browse Iconclass
- the (nude) human figure; 'Corpo humano' (Ripa) [31A] Search | Browse Iconclass
- Beauty; 'Bellezza' (Ripa) [51D4] Search | Browse Iconclass
- Swiftness, Speed; 'Agilità ', 'Celerità ', 'Velocità ' (Ripa) [51M11] Search | Browse Iconclass
- Eloquence; 'Eloquenza', 'Fermezza & Gravità dell'Oratione' (Ripa) [52D3] Search | Browse Iconclass
- Incorruption, Purity; 'Purità ' (Ripa) [57A63] Search | Browse Iconclass
- Innocence; 'Innocenza', 'Innocenza o purità ' (Ripa) [57A631] Search | Browse Iconclass
- Gratitude; 'Gratitudine', 'Memoria grata de beneficii ricevuti' (Ripa) [57A8] Search | Browse Iconclass
- Ingratitude; 'Ingratitudine' (Ripa) [57AA8] Search | Browse Iconclass
- (story of) Jupiter (Zeus) [92B1] Search | Browse Iconclass
- toilet of Venus [92C452] Search | Browse Iconclass
- Graces (Charites), generally three in number; 'Gratie' (Ripa) [92D3] Search | Browse Iconclass
- Aglaia (one of the Graces) [92D31] Search | Browse Iconclass
- Euphrosyne (one of the Graces) [92D32] Search | Browse Iconclass
- other Graces (with NAME) [92D34(PITHO)] Search | Browse Iconclass
- Eurynome, mother of the Graces [92K24] Search | Browse Iconclass
Hint: You can turn translations and name underlining on or off using the preferences page.
Link to an image of this page [L7r p173]
La plus part de ce que l’on dit de
l’antiquité est controuvé.
VII.
O Protee vieillard,[1] qui comme un charlatant
Changes à coup de forme, or’ homme, or’ beste estant,
Dy moy
d’où te provient ceste grande inconstance,
Si que jamais tu n’es en estat
d’asseurance?
Je represente ainsi l’antiquité qu’on prise,
De laquelle chacun fait comptes à sa guise.
Commentaires.
Protee, selon quelques uns, estoit de Pallene: Les
autres tiennent qu’il estoit
Egyptien. Cest embleme
reprend l’impudence & inconstance de plusieurs,
lesquels, ou pour avoir beaucoup d’annees sur la te-
Link to an image of this page [L7v p174]
ste, ou pour avoir beaucoup voyagé, ou bien, pour a-
voir leu plusieurs anciens historiographes, se
laschent
toute bride à controuver des fables & mensonges.
1. Proteus was ‘the Old Man of the Sea’, who evaded capture by constantly changing his shape. See e.g. Homer, Odyssey, 4.400ff.; Vergil, Georgics, 4. 405-10, 440-2; Erasmus, Adagia, 1174 (Proteo mutabilior). Vergil (Georgics, 4.391) describes him living near the headland of Pallene (on the Macedonian coast). The idea of Proteus as a gifted actor or mime-artist is taken from Lucian, Saltatio, 19.
Related Emblems
Show related emblemsHint: You can set whether related emblems are displayed by default on the preferences page
Iconclass Keywords
Relating to the image:
Relating to the text:
- historical epochs [23T0] Search | Browse Iconclass
- monsters ~ swimming mammals (+ tail) [31A4527(+23)] Search | Browse Iconclass
- Change (+ emblematical representation of concept) [51K1(+4)] Search | Browse Iconclass
- Invention, Inventiveness; 'Inventione' (Ripa) (+ emblematical representation of concept) [52A42(+4)] Search | Browse Iconclass
- Fantasy, Caprice; 'Capriccio' (Ripa) [52A44] Search | Browse Iconclass
- Proteus [92H4] Search | Browse Iconclass
Hint: You can turn translations and name underlining on or off using the preferences page.
