The Epistemic Lives of Pictures and Visualisations
Edited By Nora S. Vaage, Rasmus T. Slaattelid, Trine Krigsvoll Haagensen and Samantha L. Smith
Framing Quetzalcoatl, Picturing Culture – Iconology and the image of the other in early modern mythography (John Ødemark)
John Ødemark Framing Quetzalcoatl, Picturing Culture – Iconology and the image of the other in early modern mythography IDOLATRY: [A] blind woman, with the knees on the ground, offering incense in an in- cense burner to the statue of a bronze bull. Idolatry, according to St. Thomas, 2.2. quæst. 94 art., est cultus debitus creaturæ exhibitus. The knees on the ground is an effect, and a sign, of religion, with which one demonstrates submission and humility in respect to the greatness of God. […]. And the bull in metal stands for the created things, whether made by nature or by art, to which the blindness of the peoples many time foolishly have given that honour which only pertains to God, from which the name idolatry is born, which means adoration of a false god. Cesare Ripa, Iconologia1 In this chapter, I examine how early modern mythography used visual criteria to oppose myth and fable to the Christian logos, and by doing this confirmed and reworked what I will call a heterology of images concerned with icons, idolatry and myth. Between 1548 and 1556, Vincenzo Cartari,2 Giglio Gregorio Giraldi3 and Natale Conti4 published books that became standard works on myth in early modern Europe.5 My focal point in the following is the 1615-edition of Cartari’s 1 «IDOLATRIA: Donna cieca, con le ginocchia in terra, e dia incenso con un turribolo alla statua di un toro di bronzo. Idolatria, secondo S. Tommaso, 2.2. quæst. 94 art., est cultus Deo debitus creatur...
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