Content: Titlepage

Introduction
This is our edition of Amoris divini emblemata, the book which Otto Vaenius
published in 1615 as a spiritual counterpart to his own book of secular love
emblems (Amorum Emblemata, 1608). In this introduction, we have limited
ourselves to the essentials.
About Otto Vaenius
Otto Vaenius (or Otto van Veen) was trained as a painter and humanist 1. He
was born in Leiden in 1556. In 1572, because of the political situation, he fled to
the southern Netherlands with his family. In Liege he studied for a few years
under Dominicus Lampsonius, then left for a five-year stay in Italy. After his
return to the southern Netherlands he stayed in Liege, Brussels and then settled
in Antwerp. In each of these locations, he always tried to maintain favour with
the Court. Until the return of his pupil Rubens from Italy, Vaenius was the
leading painter in Antwerp. In his later years he turned to producing emblem
books, notably Q. Horatii Flacci emblemata (1607), Amorum emblemata and
Amoris divini emblemata. In 1612 he was appointed Master of the Archducal
Mint. He moved to Brussels in 1615, where he died in 1629.
About the Amoris divini emblemata
The Amoris divini emblemata2 was published in 1615. In the v1615pre002 to
the book, Vaenius relates how the archduchess Isabella suggested his earlier
love emblems (Amorum emblemata, 1608) might be reworked in a spiritual and
divine sense. After all, the effects of divine and human love are, as to the loved
object, nearly equal.
Both books indeed look very similar. Formally, the emblems are very much alike
in structure: on the left-hand page first a Latin motto, then a group of

quotations in Latin, and finally verses in several vernacular languages, on

the right-hand page the picture. The visual unity of Amorum emblemata,
established among other things by the presence of the Cupid figure on all
emblems but one (Inversus crocodilus amor [109]), is echoed in Amoris divini
emblemata in the ubiquitous presence of Amor Divinus and the soul
(conveniently identified as such in the second emblem, Incipiendum [2]).
This is, basically, the way Praz viewed Amoris divini emblemata in his groundbreaking Studies in Seventeenth-Century Imagery. Though he notes a definite
change in atmosphere in the religious book, his discussion focusses on the
concetto-like emblems such as Superna respicit [16], Constans est [35] and
Amor dificat [36]. Besides those emblems, for him the main interest of the
book lies in the conceptist poet Alonso de Ledesma. 3
In Forsters study on Petrarchism in Renaissance literature, The Icy Fire, he
wrote in the same vein about Amoris divini emblemata and explained that here
too the conceits [of Petrarchism] were speedily converted to religious use.. 4
This is certainly evident in some cases if you compare the tortoises in Odit
moras [31] (Amoris divini emblemata) and Amor odit inertes [46] (Amorum
emblemata), or the sunflowers in Superna respicit [16] (Amoris divini
emblemata) and Quo pergis, eodem vergo [38] (Amorum emblemata). However,
Amoris divini emblemata also contains many emblems which are in no way
converted from Amorum emblemata (Pietate in parentes potior [18], Naturam
vincit [20]), and emblems where there is no conceit at all (Deus ante omnia
amandus [1], Ex amore adoptio [3]).

Introduction
An emblem book contains images and text. An emblem creates dialogue or
tension between image and word. Frequently allegorical in theme, emblems
were designed to engage, challenge, and instruct the audience.
Today, emblem books seem to be an unfamiliar textual form. An emblem book
represents a particular kind of reading. Unlike today, the eye is not intended to
move rapidly from page to page. The emblem arrests the sense, leads into the
text, both image and word, to the richness of its associations. An emblem is

something like a riddle, a "hieroglyph" in the Renaissance vocabulary -- what

many readers considered to be a form of natural language.
The English Emblem Book Project of the Penn State University Libraries'
Electronic Text Center is in the process of making this older form of text, the
emblem book, available within a newer form of text, the World Wide Web.
http://emblem.libraries.psu.edu/intro.htm

http://emblems.let.uu.nl/emblems/educational/edu002.php
The Dutch Love Emblem (2/54)
As you can see from this example, an emblem consists of three
characteristic parts:

motto [=motto]

pictura [=picture]

subscriptio [=verse]

Usually, the motto is positioned above or under the pictura; however,

sometimes it is draped over the pictura.
The meaning of the whole is determined by the combination of the three
parts. The curiosity is roused by either the motto or the pictura, and
then the subscriptio complements these to parts and provides a
logical explanation on the whole.
This specific emblem will be dealt with in more detail later on.

The Dutch Love Emblem (3/54)

http://emblems.let.uu.nl/emblems/educational/edu003.php
The first book of love emblems was
published in 1601. The adjoining image
shows a pictura from this book. Initially, the
creator kept his identity hidden. Moreover,
he did not give his book a clear title, most
probably to avoid drawing attention to
himself.
The emblems were practically an
immediate success. In later reprints, this
book was titled Emblemata amatoria,
which is Latin for 'love emblems'.
By then, the reason for the author's
mysteriousness became apparent. The
emblems were created by Danil Heinsius,
a respectable Dutch professor from
Leiden. According to Britannica 2001,
"Heinsius produced classical editions,
verses, and orations from an early age. [...]
[A]nd the popularity of his lectures dazzled
his colleagues." So presumably he wished
to remain anonymous to keep his
reputation as a serious scholar intact.

The Dutch Love Emblem (5/54)

http://emblems.let.uu.nl/emblems/educational/edu005.php

The love emblem d

form from a genre t
around for a while.
emblem book, Emb
Andrea Alciato, orig
1531.
In that very first boo
'love' was hardly giv
in comparison to ot
becomes apparent
account that in Alcia
plays a minor role.
Cupid only appears
On the adjoining pic
Cupid complaining
Venus, about being
The fact that it is he
stung is meant to b
Initially, the mottoes
subscriptiones were
Latin. However, wh
emblematic genre s
to Western Europe,
as French, Spanish
Dutch were then als
practice.
Although the langua
sometimes vary, the
texts and pictorial e
with its moralistic ch
remained. That is to
always contained a
the reader about a
virtues and duties c
(Christian) life.

(6/54)
The novelty was the detailed attention on the subject of love
(Cupid) and its effect on men and women. Vital to the love
emblem's image is Cupid's role as a matchmaker.
Another outstanding feature is the windmill: it gave the whole
look a typical Dutch feel, because in the seventeenth century,
windmills were successfully deployed in the battle against the
advancing sea.
Perhaps you have noticed that, on the pictura, the girl is playing
hard to get and the man suffers greatly from this rejection.

Initially, this was a theme that re-occurred frequently in love

emblems, which will be discussed in more detail later on.
Next
The Dutch Love Emblem (7/54)
The Dutch Love Emblem (7/54)

Incidentally, when referring to t

on this site, we actually mean t
century northern Netherlands,
consisted of seven provinces. Y
around 1600, the areas that no
Belgium and the Netherlands u
southern and northern Netherla
During the Eighty Year's War a
(1568-1648), the northern Neth
themselves into the Republic o
Provinces (the Dutch Republic)
Netherlands, on the other hand
to Spain and henceforth were n
Spanish Netherlands, resulting
of the southern and northern N
Around 1600, the concept of th
originated in Leiden (for more i
this site) and gradually spread
Netherlands. There, the genre
more religious view. On this sit
the northern Dutch variants of t
will be discussed.
Next

The History of the Development of the Love Emblem (13/54)

The Dutch love emblems were part of a West European tradition. When
after 1531 the first emblem book appeared (Alciato's Emblematum
liber), numerous emblem books on a wide variety of themes were
published nationwide. The adjoining image shows an emblem book on
politics.
Already in Alciato's Emblematum liber, a broader subject matter was
explored. These themes have had a significant influence on the Dutch
books on love emblems.
Before exploring the roots of influence in greater detail, another
important issue needs to be addressed: during the time the emblematic
genre flourished, literature was not only moralistic in nature, but also
imitative. Whereas nowadays originality is vital, in the seventeenth
century, the highest ideal was that of imitatio. Works imitating renowned
examples was just as honourable as it was self-evident. For this reason,
books on love emblems were influenced by many works.
Next

The History of the Development of the Love Emblem (14/54)

In the love emblem genre, traces can be found

leading back to an emblem from Alciato's
Emblematum liber. The motto went as follows:
Amicitia etiam post mortem durans [=Even in
death, friendship lasts]
A vine, covered in vibrant greenery, has
embraced an elm,
dry with age and even stripped of foliage.
It acknowledges natural change,
and gratefully gives back to its parent the
reciprocal obligations of service.
And so by example it counsels us to seek out
friends
those whose pact of friendship is not broken
even by death.
Next

The History of the Development of the Love Emblem (15/54)

Alciato's influence becomes visible in
the first Dutch book of love emblems,
the Emblemata amatoria by Danil
Heinsius. Heinsius adapted Alciato's
theme of 'friendship'. As can be seen
on the pictura, Cupid made his
arrival:
Ni mesme la mort [=Not even death]
One has perished, another still
stands,
spreading its branches, lavishly
displaying,
its evergreen self. So too will happen
to you,
oh Venus charming child, ever
residing in me.
Death can take away man, but lets
love live:
neither death, nor time can drive her
out;
she remains when all has gone; even
in distress she thrives.
Death may conquer all, but Venus
conquers death.

Development of the Love Emblem (16/54)

The History of the Development of the Love Emblem (18/54)

Another long line of sources: from Botticelli to the emblem poet Hooft to Evian mineral wa

The History of the Development of the Love Emblem (19/54)

In this particular instance, a long line of sources can be found: orig

the Italian painter, Sandro Botticelli, and his painting The Birth of V
1485) the line meanders to the Dutch poet, Pieter Cornelisz. Hoof
emblem from his book Emblemata amatoria (1611), and ultimately
picture for a campaign on Evian mineral water (2003).
When arriving at the Evian campaign, hardly anything is left of Bot

theme. While Botticelli painted The Birth of Venus as a means to c

the concept of divine beauty, Evian used this image to show that th
water was just as pure as Venus' beauty (portrayed here by Jerry
Indeed, on this painting too, the branch of a vine and the tree represent a lover's fidelity. Also
they represent male fidelity and love, respectively.
Go to the next Text

Conjugal Ethics (32/54)

As mentioned earlier, under the influence of the Roman C

different view on marriage developed in the Netherlands.
the sixteenth century, the Roman Catholic ethics were su
ones, a new view on conjugal ethics was born. The aristo
to concede ground to the commoners. Slowly but surely,
now called the 'government'.
An important difference between the old and new view on
that from around 1580, in the province of Holland, marria
announced either in the town hall or in church. Other pro
example, bringing to an end the clandestine forms of livin
Next

Conjugal Ethics (34/54)

During the seventeenth century, in
the northern Netherlands, the
purpose of marriage was seen in a
new light. While the Roman Catholic
church put procreation and the
raising of children first, the Protestant
teachings believed that the important
matter was for a couple to stand by
each other (in times of need).
This idea is aptly expressed and
visualized on an emblem from
Vaenius' Amorum emblemata. The
subscriptio states the following:
Worthy are those helping others.

The lame shows the way to the blind.

And the blind repays the lame by
carrying him.
One's love overcomes what the other
is lacking.
17. How Does One Find a Partner?
Does Cats advise his young male reader to observe his ladylove's parents to
see how she will turn out in the future?

A monkey begets a monkey, and an owl an owl.

What else does a donkey produce than a graceless nag?
You want information of what the future will bring
with the girl you court? Then pay attention to her parentage.

Male-Female Relations (38/54)

Here is an emblem from
Hooft's Emblemata amatoria
with the motto 'Het oude
deuntje' (Roughly translates
into "The same old song"). The
accompanying subscriptio
states the following:
Always hoping, yet nothing
good comes from it,
And whatever I walk or chase,
my toil is endless.
Next

Male-Female Relations (39/54)

On the foreground of the pictura, you can see a
squirrel running in a treadmill, closely observed and
perhaps even spurred on by Cupid himself.
On the background, a loving couple and two swans
are present. The swans were associated with
Venus.
Next

Male-Female Relations (41/54)

This Petrarcan image, as portrayed on love emblems,
contrasts with the reality of the time. In Dutch society, the
women were to bide their time and follow their men. On the
love emblems, on the other hand, this particular role was acted
out by the men.
Among other things, this meant that it was socially
unacceptable for a woman to initiate a relationship (which is
somewhat different than having her parents deciding on a
suitable husband for her. In the end, she was able to choose
her own husband, as long as the rules of courtship were
obeyed.) When the woman finally did enter into a relationship,
she was to obey her man. And when married, she was to fulfil
the mother role.
People found evidence in the Bible for these specific malefemale relations. After all, Eve was found responsible for the
expulsion of man from paradise, which resulted in a
punishment affecting all women: they were to obey men.
Medical evidence was also put forth at the time; apparently,
men played the significant role in the process of procreation by
supplying the seamen; women simply received the seamen
and had no further participation in the conception. This made
her role subordinate to that of her man. In addition, it was
believed that women were disposed with an inferior
combination of bodily fluids, which, in turn, determined her
inferior character