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Promptuarium Iconum Insigniorum
 Title page of the book, showing an engraved image of an eagle poised atop a globe flanked by two serpents and the Latin motto, "In virtute, et fortuna"
Title page of the first Latin edition, bearing Rouillé's emblem[a] and motto.[b] "D. MEM. S." is an abbreviation for Dis Memoribus Sacrum[2] ('Sacred to the Remembering Gods').
AuthorGuillaume Rouillé
IllustratorGeorges Reverdy[3]
Language
  • Latin
  • French
  • Italian (1553)
Spanish (1561)
Subject
PublisherGuillaume Rouillé
Publication date
1553
Publication placeLyon, France
Media typePrint
Pages
  • 172 (part I)
  • 247 (part II)
OCLC716696497
TextPromptuarium Iconum Insigniorum at Internet Archive

Prima [et Secunda] pars Promptuarii iconum insigniorum à seculo hominum, subiectis eorum vitis, per compendium ex probatissimis autoribus desumptis.[c] (listenⓘ; transl. 'The first [and second] part of the storehouse of images of the more notable men from the beginning of time, with their biographies subjoined, taken in abbreviated form from the most approved authors.'), abbreviated as Promptuarium Iconum Insigniorum,[d] is an iconographic collection of wood engravings authored and published in 1553 by Guillaume Rouillé, a French humanist publisher and bookseller. First published in Latin, French, and Italian simultaneously in the city of Lyon, the book features medallion-style portraits of renowned figures, both mythical and historical, spanning various eras and regions. These portraits are arranged in a roughly chronological sequence, beginning with Adam and Eve and concluding with notable individuals from the mid-16th century, each accompanied by a concise biographical summary. The earliest editions of the book featured 828 portraits, with around 100 more added in a 1577 edition. A Spanish edition was published by Rouillé in 1561.

The book's contents are divided into two parts: Prima pars ('first part') encompasses figures who supposedly or historically lived before the birth of Christ, while pars secunda ('second part') focuses on those from Christ's time and beyond. Although bound into a single volume, each part retains its own independent pagination. The engraver remains unnamed, but the portraits are widely attributed to Georges Reverdy [fr; it], a Piedmontese artist. Though the portraits were inspired by the style and imagery of ancient coins, they lack numismatic precision and were never intended to serve as a scholarly reference. Instead, Rouillé's goal was to engage a wider audience with accessible historical narratives—a strategy that propelled Rouillé's work to bestseller status in its era and left a lasting impact on European iconographic collections from the mid-16th to 17th centuries.

Iconographic bases

[edit]

Portrait books, featuring genuine or fictitious woodcut portraits of renowned individuals from various eras and regions, were highly popular in 16th-century Europe.[10] Guillaume Rouillé, an established publisher and bookseller in Lyon by mid-century, saw a business opportunity in this genre, just as many of his competitors did.[9] He took inspiration for the medallion portrait format from the 1517 book Illustrium imagines ('Images of the famous') by Renaissance humanist Andrea Fulvio, which featured 204 busts of individuals engraved in the style of antique coins.[11] Rouillé humorously states in the preface of Promptuarium Iconum Insigniorum that he included fictitious images of individuals who were said to have lived before the biblical Flood or before the invention of painting and engraving, so as not to be accused of having circulated counterfeit money.[12] He admits that these portraits were created with the help of imagination, yet in accordance with the characteristics of the individuals' deeds, customs, personalities, and the regions they were believed to be from. The same approach was applied to historical figures for whom no reliable iconographic sources existed.[12]

Rouillé and the engraver mistakenly based their portrait of Alexander the Great (pictured) on a depiction of Athena from a Macedonian gold stater.[13]

The bases for the remaining portraits were drawn from various sources. Rouillé and the engraver relied on paintings,[3] earlier portrait books,[5] as well as some numismatic, sigillographic, and intaglio collections to which they had access.[14] For example, they based the portrait of Alexander the Great on a Macedonian gold stater featuring Athena on the obverse, mistakenly identifying her depiction as that of Alexander,[13] while correctly using coins for the depictions of Demetrius I Poliorcetes and Mithridates VI Eupator.[15] The portraits of French monarchs were reproduced from two sources: Les Anciennes et modernes genealogies des Roys de France ('The ancient and modern genealogies of the Kings of France'), a 1528 work by French poet and historian Jean Bouchet [fr],[11] and Epitome gestorum LVIII regum Franciae ('Epitome of the deeds of the 58 kings of France'), published in 1546 by Lyonese bookseller Balthazar Arnoullet [fr; it].[5] Most of the early Caesars' portraits were sourced from Imperatorum et Caesarum vitae ('Lives of Emperors and Caesars'), a 1534 work by German historian Johannes Huttich [de].[15]

Rouillé's book does not name the portrait engraver; however, the 19th-century Lyonese bibliographer and jurist Henri-Louis Baudrier attributed the portraits to Georges Reverdy from Piedmont, whose engraving skills he praised.[3] Reverdy was residing in Lyon at the time the book was authored and had already gained wide recognition as an artist, being compared to Hans Holbein the Younger.[11] Reverdy either modeled some engravings after drawings and paintings by the Dutch painter Corneille de Lyon, or the two artists collaborated, as the style of certain contemporary portraits in the book—such as that of Marguerite de Navarre—closely mirrors Corneille's work.[5][16]

Contents

[edit]

The work, featuring 828 medallion-style portraits in the earliest editions,[17][18] is chronologically divided into two parts: Prima pars ('first part') and pars secunda ('second part'), separated by the birth of Christ, which Rouillé placed in the 3,962nd year after the biblical accounts of the world creation.[19] The individuals who supposedly or historically lived before Christ are grouped together in the first part, and each major event of their lives is given two dates: one in anno mundi ('in the year of the world'),[20] which is based on the world creation narrative as described in the Book of Genesis,[21] and the other in ante Christum natum ('before Christ [was] born'),[20] a Latin equivalent to BC.[22] Those who lived during Christ's lifetime or after his death are listed in the second part, which is titled Promptuarii iconum pars secunda incipit à Christo nato, perpetuam ducens seriem ad usque Christianissimũ Francorum regem Henricum hoc nomine secundum, hodie feliciter regnantem (transl. 'The second part of the storehouse of images begins with the birth of Christ, leading a continuous series to the most Christian king of France, Henry II, who reigns happily to this day') in the initial Latin edition.[23] The two parts, nevertheless, are usually bound into one book, although they maintain separate pagination.[5]

Woodcut portraits of Paris and Helen of Troy, in a round format with the names in circular inscriptions inside the portrait edge. There is a biographical text in Latin below them.
Portrait of Paris (left) alongside Helen of Troy, with the biographical text below them citing the year of Helen's abduction as anno mundi 2768 and ante Christum natum 1194.[e]

Each portrait is accompanied by a concise biographical summary below it and includes the individual's name in a circular inscription inside the edge of the medallion. The medallions are arranged in pairs, so that a couple—regardless of their marital status or the legitimacy of their union—often appears together on the same page. Individuals who had more than one spouse due to remarriage are sometimes depicted multiple times, alongside each of their spouses.[24] The biographical texts have been partially taken from compendia of history from the antiquity, such as Ausonius's epigrams.[25] The first part begins with the portraits of Adam and Eve, who are depicted as an elderly couple.[26] They are followed by the patriarchs, prophets and kings of the Old Testament, including Abraham, Noah, Jeremiah, Nimrod and Ahab. Pagan deities as well as mythical creatures and heroes, like Janus, Osiris, the Minotaur, Vesta, Romulus and Hercules, and historical figures who lived before Christ's era, such as Zoroaster, Thales of Miletus, Julius Caesar and Pericles are included in the part.[11][15][20]

The second part opens with a title page depicting the Nativity and deals with the portraits and biographies of individuals from Christ's time, the Roman Empire after Christ's death, Middle Ages, and Rouillé's contemporary era—the mid-16th century: Christ himself, Judas Iscariot, Pontius Pilate, most of the Roman emperors, Attila the Hun, Islamic prophet Muhammad, a complete set of the early Ottoman sultans, post-classical writers like Dante Alighieri, the Holy Roman Emperors from Charlemagne up to Charles V, and a large number of contemporary royals such as Edward VI of England, Marguerite de Navarre and Catherine de' Medici.[20][27] Anne of Brittany appears in two different portraits of hers: one alongside her first husband, Charles VIII, in which she wears a wreath, and the other next to her second, Louis XII, wearing her more commonly depicted headdress.[24] In a 1577 edition, approximately 100 more portraits—mostly those of individuals from Rouillé's era—were added to the second part[15] and those of Hippocrates and Galen were added to the appendix.[28]

Publication history

[edit]
Portrait of Henry II, a king of France, with a dark green background
Henry II of France, to whom Rouillé dedicated the first Latin edition in 1553. The first Italian edition was dedicated to his wife, Catherine de' Medici.[23]

The book was published in Lyon in 1553, with three editions released simultaneously: Latin, French, and Italian.[17] Rouillé often produced multiple language editions of works he believed would have international appeal, distributing them across Europe with the help of his in-law connections.[29] The title page of the first Latin edition displays Rouillé's emblem—an eagle poised atop a globe and flanked by two serpents, symbolizing triumph over the world—accompanied by his Latin motto, In virtute, et fortuna ('In virtue, and [good] fortune').[1] The abbreviated inscription "D. MEM. S.", enclosed in a cartouche above the book's title, stands for the Latin phrase Dis Memoribus Sacrum ('Sacred to the Remembering Gods').[2] Rouillé dedicated the Latin edition to Henry II of France, the Italian edition to Catherine de' Medici, and the French edition to Marguerite de Navarre, using these royal dedications as a subtle form of promotion.[30] In the following years, several more editions in these languages were published.[17] By the 1577 French edition, Rouillé shifted the focus, giving greater prominence to humanists who had shaped European law and medicine in the 16th century—figures such as the jurist François Douaren and the anatomist Andreas Vesalius—thereby paying homage to the intellectual spirit of the Renaissance.[28]

The Spanish translation, Promptuario de las medallas de todos las más insignes varones que ha habido desde el principio del mundo, was the work of Valencian theologian and translator Joan Martí Cordero [ca].[31] His dedication of the work, dated September 8, 1558, and written from the Université catholique de Louvain where he was a student at the time, was addressed "[...] al muy alto y muy poderoso señor don Carlos, por la gracia de Dios, Príncipe de las Españas ('[...] to the very high and very powerful lord Don Carlos, by the grace of God, Prince of the Spains')", referring to Prince Carlos of Asturias, who was the eldest son and heir apparent of King Philip II of Spain.[31] The Spanish edition was published by Rouillé in 1561.[17][32]

Reception

[edit]

Promptuarium Iconum Insigniorum was a bestseller in its era.[33] Although many of the portraits in the book were based on depictions from ancient coins and emulated their artistic styles, Rouillé never intended his work as a reference for academics or numismatists, which accounts for its lack of numismatic precision. For instance, he entirely disregarded the reverse sides of the coins that served as sources for the depictions.[34] Instead, the book resonated with a broader audience, offering concise, engaging, and uniquely illustrated history lessons.[15] Over the following decades, numerous iconographic collections published in Europe from the mid-16th to 17th centuries drew upon and replicated Rouillé’s work, in part due to his use of diverse sources and daring selection of individuals, the latter of which defied, to some extent, the accepted norms of his time.[35] Jean de Tournes, Rouillé's main competitor in the Lyonese publishing industry, published Insignium aliquot virorum icones ('Images of some notable men') in 1559, an imitation of Promptuarium Iconum Insigniorum with fewer portraits and a lower price. However, it did not sell as well as Rouillé's work, and no further editions were released.[36]

French physician and numismatist Antoine Le Pois [la] mentioned Promptuarium Iconum Insigniorum in his posthumous 1579 work Discours sur les médailles et gravures antiques ('Discourse on antique medals and engravings'), noting that he found the text more valuable for its historical abridgements than for the fictitious portraits it contained.[37] Julian Sharman, the 19th-century author of The Library of Mary Queen of Scots, described Rouillé's work as "not one of much numismatic interest"; however he added that the portrait book had been "pronounced to be one of the marvels of early wood-engraving".[38] In her 2006 essay, art historian Ilaria Andreoli commented on Promptuarium Iconum Insigniorum: "Rouillé's ambition is [...] to speak to the eyes [...] thanks to which the reader will be able to peer into the features and hear them speak, as if they were actors' masks".[39]

See also

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Notes

[edit]
  1. ^ An eagle poised atop a globe flanked by two serpents, symbolizing triumph over the world[1]
  2. ^ In virtute, et fortuna (Latin for 'In virtue, and [good] fortune')[1]
  3. ^ Prima pars Promptuarii [...] is the title of the book's first part, so the inclusion of the second part has been indicated by adding et Secunda ('and second'), as practiced by—for example—the Bonhams Skinner auction house.[4] The two parts are usually bound into one book, although they maintain separate pagination.[5]
  4. ^ 19th-century Lyonese bibliographer Henri-Louis Baudrier abbreviated the Latin edition title as Promptuarium iconum,[6] while Italian painter and antiquarian Riccardo Nobili shortened it as Promptuarium iconum insigniorum a seculo hominum in his 1922 text.[7] The noun promptuarium (Latin for 'storehouse' / 'repository') was a term medieval authors often used to name their lexicographical works.[8] Art historian John Cunnally [wikidata] speculated that Rouillé picked such a term because thesaurus, which would have been a more common term for a portrait book, had been used by Jean de Tournes—who was Rouillé's rival in the Lyonese publishing business—for another portrait book's title.[9]
  5. ^ Public Domain This article incorporates text from this source, which is in the public domain: transl. "Paris, also called Alexander, was the son of Priam and Hecuba. His father ordered him to be exposed because his mother, while pregnant, had dreamed that she had given birth to a burning torch. However, Hecuba, moved by maternal affection, ensured that he was raised by shepherds on Mount Ida. As a young man, he loved Oenone, by whom he fathered Idaios and Daphnis. Finally recognized and accepted by his parents, [Paris] undertook a mission to Greece to demand the return of Hesione, where he abducted Helen and brought her to Troy in the year 2768 of the world, 1194 years before the birth of Christ, during the first year of Agamemnon's reign. As a result, the war between the Greeks and the Trojans broke out. Herodotus writes that [Paris] abducted her despite resistance, and conquered Sparta, thereby deserving to receive her from her husband. Paris killed Achilles with an arrow but was himself killed in turn by Pyrrhus, the son of Achilles. Herodotus, Book 2. Dares and Dictys Cretensis."

References

[edit]
  1. ^ a b c Davis, Natalie Zemon (1966). "Publisher Guillaume Rouillé, Businessman and Humanist". In Schoeck, Richard J. (ed.). Editing Sixteenth-Century Texts: Papers Given at the Editorial Conference, University of Toronto October 1965. Toronto: University of Toronto Press. pp. 93–95. ISBN 9781487582128. Archived from the original on January 1, 2023. Retrieved December 28, 2022 – via Academia.edu.
  2. ^ a b Dubu, Jean (1988). "Le Promptuaire des medalles de Gvillavme Roville". In Possenti, Antonio; Mastrangelo, Giulia (eds.). Il Rinascimento a Lione: atti del congresso internazionale (Macerato, 6–11 Maggio 1985) [The Renaissance in Lyon: Proceedings of the International Congress (Macerata, May 6–11, 1985)] (in French and Italian). Edizioni dell'Ateneo. p. 189. OCLC 24229343.
  3. ^ a b c Public Domain This article incorporates text from this source, which is in the public domain: Baudrier, Henri-Louis; Baudrier, Julien; Tricou, Georges (1912) [1895]. Bibliographie lyonnaise: recherches sur les imprimeurs, libraires, relieurs et fondeurs de lettres de Lyon au XVIe siècle par le Président Baudrier, publiées et continuées par J. Baudrier [Bibliography of Lyon: Research on the printers, booksellers, bookbinders, and founders of letters in Lyon in the 16th century by President Baudrier, published and continued by J. Baudrier] (in French). Vol. 9. Lyon: Librairie ancienne d'Auguste Brun. p. 207. OCLC 6966263. Retrieved December 29, 2022 – via Internet Archive.
  4. ^ "Fine Books & Manuscripts – 2730B: 269. Rouillé, Guillaume (c. 1518–1589) Prima [et Secunda] Pars Promptuarii Iconum Insigniorum a Seculo Hominum". Bonhams Skinner. May 31, 2014. Archived from the original on September 19, 2024. Retrieved September 19, 2024.
  5. ^ a b c d e Cunnally, John (1999). "9. Comme au Clair Miroir de l'Âme: Rouille, Physiognomy, and the Renaissance Bildnisvitenbücher". Images of the Illustrious: the Numismatic Presence in the Renaissance. Princeton University Press. p. 99, 101. ISBN 9780691016689. Retrieved August 27, 2023 – via Internet Archive.
  6. ^ Baudrier, Henri-Louis; Baudrier, Julien; Tricou, Georges (1912) [1895]. Bibliographie lyonnaise: recherches sur les imprimeurs, libraires, relieurs et fondeurs de lettres de Lyon au XVIe siècle par le Président Baudrier, publiées et continuées par J. Baudrier [Bibliography of Lyon: Research on the printers, booksellers, bookbinders, and founders of letters in Lyon in the 16th century by President Baudrier, published and continued by J. Baudrier] (in French). Vol. 9. Lyon: Librairie ancienne d'Auguste Brun. p. 204. OCLC 6966263. Retrieved December 29, 2022 – via Internet Archive.
  7. ^ Nobili, Riccardo (1922). "VIII. Imitation, Plagiarism, and Faking". The Gentle Art of Faking: A history of the methods of producing imitations & spurious works of art from the earliest times up to the present day. London: Seeley Service & Co. Ltd. p. 93. Archived from the original on September 14, 2024. Retrieved September 14, 2024 – via Project Gutenberg.
  8. ^ Stein, Gabriele (2014) [1985]. "12. The Promptuarium parvulorum". The English Dictionary Before Cawdrey. Lexicographica. Series Maior. Tübingen: Max Niemeyer Verlag. p. 91. doi:10.1515/9783111664873. ISBN 9783484309098.
  9. ^ a b Cunnally, John (1999). "9. Comme au Clair Miroir de l'Âme: Rouille, Physiognomy, and the Renaissance Bildnisvitenbücher". Images of the Illustrious: the Numismatic Presence in the Renaissance. Princeton University Press. p. 98. ISBN 9780691016689. Retrieved August 27, 2023 – via Internet Archive.
  10. ^ Cunnally, John (1999). "9. Comme au Clair Miroir de l'Âme: Rouille, Physiognomy, and the Renaissance Bildnisvitenbücher". Images of the Illustrious: the Numismatic Presence in the Renaissance. Princeton University Press. p. 95. ISBN 9780691016689. Retrieved September 2, 2023 – via Internet Archive.
  11. ^ a b c d Perkinson, Stephen (2002). "From an 'Art De Memoire' to the Art of Portraiture: Printed Effigy Books of the Sixteenth Century". Sixteenth Century Journal. 33 (3): 700–705. doi:10.2307/4144020. JSTOR 4144020.
  12. ^ a b Public Domain This article incorporates text from this source, which is in the public domain: Rouillé, Guillaume (1553). "Gulielmus Rovillius lectori" [Guillaume Rouillé to the reader]. Prima pars Promptuarii iconum insigniorum à seculo hominum, subiectis eorum vitis, per compendium ex probatissimis autoribus desumptis [The first part of the storehouse of images of the more notable men from the beginning of time, with their biographies subjoined, taken in abbreviated form from the most approved authors.] (in Latin and Ancient Greek). Lyon: Guillaume Rouillé. OCLC 716696497. Retrieved August 25, 2023 – via Internet Archive. Cæterùm ne quis lege Cornelia nos falsi arguat, quod commentitias, seu factitias quasdam figuras velut adulterina numismata in publicum sparserimus: concedatur confessioni venia: εις το γαρ αδυνατον ουτις αναρτωται. Priscorum enim hominum qui ante diluvium, & ante inventas pingendi, & scalpendi artes vixisse memorantur. Ut Adæ, Abrahæ, & Patriarcharum εικωνας non negamus à nobis fuisse per imaginationem effictas: & cum nullum haberemus Prototypum ex descripta eorum Natura, moribus, ætate, regione & rebus gestis φανταστικως fuisse conformatas. [However, lest anyone accuse us of falsification according to the Lex Cornelia—that we have scattered false or invented images like counterfeit coins among the public: let pardon be granted to our confession (for no one is bound to do the impossible). For in the case of the men of ancient times who are said to have lived before the Flood and before the invention of the arts of painting and carving, for example Adam, Abraham, and the Patriarchs, their images we do not deny have been created by us imaginatively: and since we had no model, the images have been shaped from the description of their nature, from their manners, age, region, and deeds, by imagination.]
  13. ^ a b Chatzidakis, Michail (2010). "Ciriacos Numismata und Gemmae. Die Bedeutung der Münz- und Gemmenkunde für die Altertumsforschungen des Ciriaco d'Ancona" [Ciriaco's Numismata and Gemmae. The Importance of Numismatics and Gemology for the Archeology of Ciriaco d'Ancona]. Mitteilungen des Kunsthistorischen Institutes in Florenz (in German). 54 (1). Kunsthistorisches Institut in Florenz: 40. ISSN 0342-1201. JSTOR 41414764. [...] eben ein solches Bild der behelmten Athena von einer mazedonischen Goldmünze als Vorlage für sein Alexanderporträt [...]
  14. ^ Andreoli, Ilaria (2006). "La storia 'in soldoni': il Promptuaire des medalles di Guillaume Rouillé" [History 'in a nutshell': Guillaume Rouillé's Promptuaire des medalles]. In Rozzo, Ugo; Gabriele, Mino (eds.). Storia per parole e per immagini [History in words and pictures] (in Italian). Udine: Forum. p. 259. Archived from the original on January 1, 2023. Retrieved December 29, 2022 – via Academia.edu.
  15. ^ a b c d e Cunnally, John (1999). "9. Comme au Clair Miroir de l'Âme: Rouille, Physiognomy, and the Renaissance Bildnisvitenbücher". Images of the Illustrious: the Numismatic Presence in the Renaissance. Princeton University Press. p. 101. ISBN 9780691016689. Retrieved August 28, 2023 – via Internet Archive.
  16. ^ Dubois de Groër, Anne (1996). Corneille de La Haye, dit Corneille de Lyon (1500/1510–1575) [Corneille de La Haye, known as Corneille de Lyon (1500/1510–1575)] (in French). Paris: Arthena. p. 47. ISBN 2-903239-21-5. Archived from the original on July 8, 2023. Retrieved December 31, 2022 – via Google Books. [...] Georges Reverdy [...] n'en était pas l'unique auteur mais que Corneille en avait exécuté un certain nombre.
  17. ^ a b c d Kluczek, Agata A. [in Polish] (2018). "Klodia Metelli w rzymskiej tradycji literackiej i nowożytnej tradycji numizmatycznej, czyli uwagi na kanwie książki Agnieszki Dziuby Klodia Metelli. Literacki portret patrycjuszki, Wydawnictwo KUL, Lublin 2016, ss. 320" [Clodia Metelli in the Roman Literary Tradition and Modern Numismatic Tradition, i.e. Remarks Based on Agnieszka Dziuba's Book "Klodia Metelli. Literacki portret patrycjuszki", KUL Publishing House, Lublin 2016, pp. 320]. Res Historica (in Polish). 45. Lublin: Maria Curie-Skłodowska University: 365–366. doi:10.17951/rh.2018.45.359-371. ISSN 2082-6060. S2CID 240165655. Archived from the original on June 20, 2023. Retrieved August 20, 2023.
  18. ^ Andreoli, Ilaria (2006). "La storia 'in soldoni': il Promptuaire des medalles di Guillaume Rouillé" [History 'in a nutshell': Guillaume Rouillé's Promptuaire des medalles]. In Rozzo, Ugo; Gabriele, Mino (eds.). Storia per parole e per immagini [History in words and pictures] (in Italian). Udine: Forum. p. 237. Archived from the original on January 1, 2023. Retrieved December 29, 2022 – via Academia.edu.
  19. ^ Rouillé, Guillaume (1581) [1553]. SECONDA PARTE DEL PRONTVARIO DELLE MEDAGLIE, LA QVALE comincia dà la natiuità del nostro Saluatore GIESV CHRISTO, & continoua insino al Christianissimo Rè di Francia & di Pologna, HENRICO III. di nome, il quale al presente regna felicemente [The second part of the Handbook of Medals begins with the birth of Christ, leading a continuous series to the most Christian king of France and Poland, Henry III, who reigns happily to this day.] (in Italian). Lyon: Guillaume Rouillé. p. 3. OCLC 1050826580. Archived from the original on August 19, 2023. Retrieved December 31, 2022 – via Digital Libraries Connected.
  20. ^ a b c d Andreoli, Ilaria (2006). "La storia 'in soldoni': il Promptuaire des medalles di Guillaume Rouillé" [History 'in a nutshell': Guillaume Rouillé's Promptuaire des medalles]. In Rozzo, Ugo; Gabriele, Mino (eds.). Storia per parole e per immagini [History in words and pictures] (in Italian). Udine: Forum. p. 238. Archived from the original on January 1, 2023. Retrieved December 29, 2022 – via Academia.edu.
  21. ^ "Anno mundi". Merriam-Webster.com Dictionary. Merriam-Webster. Archived from the original on December 6, 2023. Retrieved September 12, 2024.
  22. ^ Eames, Christopher (April 13, 2023). "B.C./A.D. or B.C.E./C.E.?". Armstrong Institute of Biblical Archaeology. Archived from the original on March 1, 2024. Retrieved September 12, 2024.
  23. ^ a b Andreoli, Ilaria (2006). "La storia 'in soldoni': il Promptuaire des medalles di Guillaume Rouillé" [History 'in a nutshell': Guillaume Rouillé's Promptuaire des medalles]. In Rozzo, Ugo; Gabriele, Mino (eds.). Storia per parole e per immagini [History in words and pictures] (in Italian). Udine: Forum. p. 236. Archived from the original on January 1, 2023. Retrieved December 29, 2022 – via Academia.edu.
  24. ^ a b Dubu, Jean (1988). "Le Promptuaire des medalles de Gvillavme Roville". In Possenti, Antonio; Mastrangelo, Giulia (eds.). Il Rinascimento a Lione: atti del congresso internazionale (Macerato, 6–11 Maggio 1985) [The Renaissance in Lyon: Proceedings of the International Congress (Macerata, May 6–11, 1985)] (in French and Italian). Edizioni dell'Ateneo. p. 191. OCLC 24229343.
  25. ^ Cunnally, John (1999). "9. Comme au Clair Miroir de l'Âme: Rouille, Physiognomy, and the Renaissance Bildnisvitenbücher". Images of the Illustrious: the Numismatic Presence in the Renaissance. Princeton University Press. p. 102. ISBN 9780691016689. Retrieved August 29, 2023 – via Internet Archive.
  26. ^ Dubu, Jean (1988). "Le Promptuaire des medalles de Gvillavme Roville". In Possenti, Antonio; Mastrangelo, Giulia (eds.). Il Rinascimento a Lione: atti del congresso internazionale (Macerato, 6–11 Maggio 1985) [The Renaissance in Lyon: Proceedings of the International Congress (Macerata, May 6–11, 1985)] (in French and Italian). Edizioni dell'Ateneo. p. 190. OCLC 24229343.
  27. ^ Milwright, Marcus (2017). "The martyred sultan: Tuman Bay II in André Thevet's Les vrais pourtraits et vies des hommes illustrés". Word & Image. 33 (1): 14. doi:10.1080/02666286.2016.1228279. S2CID 164672006.
  28. ^ a b Rajchenbach-Teller, Élise (2012). "De «ceux qui de leur pouvoir aydent et favorisent au publiq» Guillaume Rouillé, libraire à Lyon" [Of 'those who use their power to help and encourage the public': Guillaume Rouillé, bookseller in Lyon]. In Bénévent, Christine; Charon, Anne; Diu, Isabelle; Vène, Magali (eds.). Passeurs de textes: Imprimeurs et libraires à l'âge de l'humanisme [Couriers of Texts: Printers and Booksellers in the Age of Humanism] (in French). Paris: École Nationale des Chartes. pp. 99–116. doi:10.4000/books.enc.533. ISBN 9782357231108. Archived from the original on February 27, 2023. Retrieved August 16, 2023 – via OpenEdition Books [fr].
  29. ^ Cunnally, John (1999). "9. Comme au Clair Miroir de l'Âme: Rouille, Physiognomy, and the Renaissance Bildnisvitenbücher". Images of the Illustrious: the Numismatic Presence in the Renaissance. Princeton University Press. pp. 96–98. ISBN 9780691016689. Retrieved August 27, 2023 – via Internet Archive.
  30. ^ Andreoli, Ilaria (2006). "La storia 'in soldoni': il Promptuaire des medalles di Guillaume Rouillé" [History 'in a nutshell': Guillaume Rouillé's Promptuaire des medalles]. In Rozzo, Ugo; Gabriele, Mino (eds.). Storia per parole e per immagini [History in words and pictures] (in Italian). Udine: Forum. pp. 235–236. Archived from the original on January 1, 2023. Retrieved December 29, 2022 – via Academia.edu. Il tutto accompagnato da scaltre 'tecniche pubblicitarie' basate sulle richieste di privilegi e dediche a personaggi famosi.
  31. ^ a b Lluís Martos, Josep (January–June 2015). "Juan Martín Cordero en Flandes: Humanismo, mecenazgo e imprenta" [Juan Martín Cordero in Flanders: Humanism, patronage and printing]. Revista de Filología Española (in Spanish). 95 (1). Madrid: Spanish National Research Council: 85–87. doi:10.3989/rfe.2015.04. hdl:10045/48808. ISSN 0210-9174.
  32. ^ Cunnally, John (1999). "Appendix: A Biographical and Bibliographical Guide to Renaissance Numismatists and Their Books". Images of the Illustrious: the Numismatic Presence in the Renaissance. Princeton University Press. p. 206. ISBN 9780691016689. Retrieved September 1, 2023 – via Internet Archive.
  33. ^ Andreoli, Ilaria (2006). "La storia 'in soldoni': il Promptuaire des medalles di Guillaume Rouillé" [History 'in a nutshell': Guillaume Rouillé's Promptuaire des medalles]. In Rozzo, Ugo; Gabriele, Mino (eds.). Storia per parole e per immagini [History in words and pictures] (in Italian). Udine: Forum. p. 235. Archived from the original on January 1, 2023. Retrieved December 29, 2022 – via Academia.edu. Rouillé, uomo di mondo e dagli svariati contatti internazionali, [...] si lanciò in prima persona nel circo letterario, confezionando quello che divenne un vero e proprio best seller dell'epoca: il Promptuaire des medailles.
  34. ^ Perkinson, Stephen (2002). "From an 'Art De Memoire' to the Art of Portraiture: Printed Effigy Books of the Sixteenth Century". Sixteenth Century Journal. 33 (3): 722. doi:10.2307/4144020. JSTOR 4144020.
  35. ^ Andreoli, Ilaria (2006). "La storia 'in soldoni': il Promptuaire des medalles di Guillaume Rouillé" [History 'in a nutshell': Guillaume Rouillé's Promptuaire des medalles]. In Rozzo, Ugo; Gabriele, Mino (eds.). Storia per parole e per immagini [History in words and pictures] (in Italian). Udine: Forum. pp. 263–264. Archived from the original on January 1, 2023. Retrieved January 1, 2023 – via Academia.edu.
  36. ^ Cunnally, John (1999). "Notes". Images of the Illustrious: the Numismatic Presence in the Renaissance. Princeton University Press. p. 174. ISBN 9780691016689. Retrieved September 2, 2023 – via Internet Archive.
  37. ^ Cunnally, John (1999). "8. Ceux Qui Ont Escrit des Medalles: The Earliest Numismatic Bibliography". Images of the Illustrious: the Numismatic Presence in the Renaissance. Princeton University Press. p. 93. ISBN 9780691016689. Retrieved August 30, 2023 – via Internet Archive.
  38. ^ Public Domain This article incorporates text from this source, which is in the public domain: Sharman, Julian (1889). The Library of Mary Queen of Scots, with an historical introduction and a rare portrait of the queen. London: Elliot Stock. pp. 152–153. OCLC 4700578. Archived from the original on August 19, 2023. Retrieved December 29, 2022 – via HathiTrust Digital Library.
  39. ^ Andreoli, Ilaria (2006). "La storia 'in soldoni': il Promptuaire des medalles di Guillaume Rouillé" [History 'in a nutshell': Guillaume Rouillé's Promptuaire des medalles]. In Rozzo, Ugo; Gabriele, Mino (eds.). Storia per parole e per immagini [History in words and pictures] (in Italian). Udine: Forum. p. 264. Archived from the original on January 1, 2023. Retrieved January 1, 2023 – via Academia.edu. l'ambizione di Rouillé è [...] di parlare agl'occhi [...] grazie ai quali il lettore potrà scrutare i tratti e sentir parlare, come se fossero maschere d'attori,
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