National Art Education Association

The "Iconologia:" Helping Art Students Understand Allegory

Author(s): Bradford Venable
Source: Art Education, Vol. 61, No. 3 (May, 2008), pp. 15-21
Published by: National Art Education Association
Stable URL: http://www.jstor.org/stable/27696292
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The Iconolog?a:
Helping Art Students
Understa
These images are the Representatives of our Notions;
they properly belong to Painters, who by Colours and Shadowing,
have invented the admirable Secret to give Body to our Thoughts,
thereby to render them visible.
?Peirce Tempest, issue of the first English edition of Cesare Ripas
Iconolog?a or Moral Emblems, in his foreword to the reader (1709, p. i).

BY BRADFORD VENABLE

This article focuses on helping students understand allegory through the

investigation of images and text revealed in Johann Georg Hertel's
translation of Cesare Ripa's manuscript, Iconolog?a (1971). It first explores
Ripas background and the importance of his volume that describes allegorical
themes. Then, the organization of Hertel's 18th-century edition is discussed and exemplified
using the allegory, Justice. The sections that follow outline classroom activities to guide
students to understand of allegory more fully and appreciate its presence in historic and
current works of art, as well as in visual culture. Included is an in-depth research component,
which again is exemplified through Justice and the historic development of her individual
symbols and attributes. Finally, art production activities are proposed. These offer students an
opportunity to create allegorical artworks reflecting their own interests and lives. The study of
allegory as presented here is relevant to the K-12 art educator's classroom practice. It is
standards-based and offers opportunities for student learning across disciplines, including
goals and objectives in language arts and social studies, in particular units on the Renaissance,
ancient Egypt, and Greece.
Allegory is defined as "the expression by means of symbolic fictional figures and actions of truths or
generalizations about human existence" (Merriam- Webster online, 2005). Such generalizations typically
relate to morality, religion, or politics. For example, the Iconolog?a describes allegorical themes such as
Logic, Decency, Flattery, and Jealousy. Ripa's text (1971) serves not only as a practical and meaningful
tool in the interpretation and analysis of significant images of the past and present, but also as a
springboard to more complex and innovative imagery.
The study of allegory may appear out of place in traditional art curriculum; however, a cursory look at
the subject matter that interests young people may prove otherwise. Students latch onto popular cultural
symbols and images with obstinate enthusiasm. Students draw them repeatedly in the margins of their
notebooks and introduce them as subject matter in drawing assignments. Often, their dragons,
monsters, fairies, and sword-wielding superheroes are inspired by the computer games, fantasy, science

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 fiction, and horror themes that pervade our visual culture. As enticing as
popular cultural icons are, students generally do not realize that many have
evolved from historic roots, and discovering these connections to the past can
enlighten those who doggedly hang onto the "original" fantasy figures of Sony
PlayStation?, Marvel Comics?, and film industry's Industrial Light and Magic .
Researching the origins of these and other symbolic images may bring a greater
appreciation and depth of understanding of how popular images evolved.
Student use and understanding of allegory is important from several
perspectives. From an art historical point of view, allegorical themes frame
many important artworks, particularly those of the Renaissance. Additionally,
skills are developed as students discover the subtle symbols, metaphors, and
personifications within these works. Allegorical themes are especially relevant
to curriculum trends that develop units of instruction around enduring themes
such as war, death, poverty, or justice (see Daniel, Stuhr, & Ballengee-Morris,
2006; Stewart & Walker, 2005; Roberts, 2005; Walker, 2004; Walling, 2006). Like
these big ideas, allegory relates well to contemporary culture, motivating art
activity that allows for a "discourse on morality and social criticism, [and]
giving students points of reference for making choices in a world of competing
ideologies, claims and interests" (Anderson & Milbrandt, 2004, p. xxiv). Before
considering how allegory might be used within the framework of enduring
themes, it is important to appreciate the historical background of Cesare Ripa
and his Iconolog?a.
As enticing as popular cultural ?cons are, students generally
do not realize that many have evolved from historic roots, and
discovering these connections to the past can
enlighten those who doggedly hang onto the "original"
fantasy figures of Sony Playstation?, Marvel Comics?, and
film industry's Industrial Light and Magic .
Background
Cesare Ripa was born in Perugia, Italy around 1560. Though in-depth
biographical data on him is scant, it is understood he came into the employ of
the court of Cardinal Antonio Maria Slaviati of Rome (Stefani, 1990). His
service to the court was as trinciante?one who carved meat for important
meals. In this capacity, Ripa no doubt made associations with scholars and
intellectuals, although the nature of his formal education is unclear. The
distinguished visitors to the Cardinal's home and his library certainly influenced
him. It is perhaps then, during his spare time, that his writing of the Iconolog?a
began. In 1598, after its publication, Pope Clement VIII dubbed the meat carver
a Knight of Saints Maurice and Lazarus (Witcombe, 1992). Cesare Ripa died in
1622, just as a fourth edition of the Iconolog?a was being prepared.
Originally published in 1593, the Iconolog?a became an important resource
for poets, writers, and artists in search of inspiration (Maser, 1971). Indeed, it
was the prominent art historian, Emile M?le who brought Ripa to scholarly
attention in the late 1920s. Upon discovering the text, M?le was able to better
understand the symbolic and allegorical elements in the artwork that adorned
the churches of Rome (Gordon, 1975).
Ripas original publication was merely descriptive of allegorical themes, and
therefore contained no imagery. Pictures were added in the 1603 edition, while
over 300 new allegorical themes were added to the 1618 edition. The first
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English translation (see Figure 1) entitled Iconolog?a or
Moral Emblems was published in London in 1709 and and
can be viewed in its entirety on the Internet (see The
English Emblem Book Project in Table A). The Iconolog?a
functioned then, as it does now, as a tool for deciphering
the symbols in allegorical subject matter (McGrath, 2006).
Typically narrative or dramatic, the depictions were
arranged alphabetically. They move beyond the characters
and subject matter presented to suggest a second, more
abstract concept.
Ripa's research in classical literature and the relics of
ancient Egypt, Greece, Rome, and the early Christian
Church, led to his use of figures to personify allegories.
Such personifications include a number of symbolic
elements that elaborate the allegorical concepts. Flattery,
for example, is described as a beautiful young woman
playing a flute beneath a palm tree with bees swarming
about a hollow in its trunk (see Figure 2). On the ground
near her lie a stag and a dog. Ripa (1971) explained that
the beauty of the figure represents the "pleasing exterior of
the flatterer which hides his real intention" (p. 30). The
wild stag, attracted by the music of flattery, forgets himself,
enabling his capture. The dog represents one's gratitude to
whoever offers flattery. Bees symbolize the flatterers?
"though they carry honey in their mouths, they sting with
their tails." A sculptured bust behind the woman has two
faces?one ugly, and one fair?to symbolize the "hidden
motives behind the flatterer's words." The explanation of
these elements was undoubtedly beneficial to those
interested in gaining understanding and developing
greater appreciation for allegorical concepts and their use
in art in the 16th and 17th centuries.
Ripa's text was extremely popular among Italian
painters and sculptors who kept copies in their workshops
(McGrath, 2006). Numerous editions of the original were
printed following its publication in 1593. As noted
previously, the first contained no images, however most
later editions included woodcuts and engravings illus
trating selected themes. Additionally, these later editions
expanded the number of allegories. For example, a five
volume edition published in Perugia (1764-67), well after
Ripa's death, described over a thousand. Natural elements,
such as Earth, Water, Fire, and Wind were added along
with emotions such as Grief, Happiness, Lust, and Vanity.
Additionally, concepts relating to human civilization were
incorporated such as Agriculture, Household Economy,
Government, and State Craft.
Hertel's translation, Baroque and Rococo Pictorial
Imagery, is distinct from earlier versions (see Figure 3).
The text for each allegory was reconstructed and further
augmented with a full-page engraving on the opposing
page. The images which were designed by the painter
Gottfried Eichler the Younger and completed by the
reputable engravers from Augsburg, Germany, made
Hertel's edition of the masterpiece one of the more
beautifully rendered (Maser, 1971). It is particularly useful
to readers possessing substantial knowledge of symbolism
of the post-Renaissance period, but its imagery and text
are also full of inspiration for students today.
 ?CaJTO L O S? A Figure 1. Book cover of first English
!fc;J? translation of Iconolog?a, or Moral
";fe*^ Emblems, by Caesar Ripa (1709). London:
Benjamin Motte.

. ' _" J?i'?mi- -. " _l^

R Various Images of ?fam* fhfyM^k Ami |:,;.i Figure 2. "Flattery." Baroque and Rococo Pictorial
Imagery: The 1758-60 Hertel Edition of Ripa's
Iconolog?a (1971). Used with permission from
Dover Publications, New York City.

XXX BI.AN?1TI?.
S?uuptme, crudeH pon?asXtiotu/sius uryeir,
JFtect?t qdu?crzterrv Siihdola. verbct loq

Organization of Hertel's Baroque and

Rococo Pictorial Imagery
The text describing each allegory in Hertel's edition has
four divisions produced on a single page. On the page
opposite is a complementary engraving. The first division,
printed at the top of both pages, contains the title of the
allegory followed by a couplet. For example, the couplet
accompanying the allegory Justice relates the events of 500
B.C.E. when, according to tradition, Zaleucus, King of
Locris (Italy) established a code of law for ancient Greece:
King Zaleucus had made a very severe law. His son
having broken it, he commanded that one of his own
eyes and one of his sons be gouged out. This is to be
attributed to his love of justice. (Maser, 1971, p. 120)
The second division contains a written description of
the engraving, interpreting the personification and its
attributes. For Justice, the personification is a blindfolded
woman sitting at a table. She is blindfolded, as we may
suspect, "for nothing but pure reason, not the often
misleading evidence of the senses, should be used to make
her judgments." She is dressed in white and wearing a
crown symbolic of the "noblest of concepts." She possesses
a scale in one hand, for "each one of us receives that which
is due him" and a sword in the other as "there is no
hesitation to punish." Next to her, snakes curl about a
bundle of lectors' rods (a Roman symbol of a judges
power). The dog at her feet represents friendship and the
snakes, hatred; by neither of which should she be ?JfatA. ,*?>
influenced. On a table nearby lies a scepter of authority,
books of law and a human skull representing man's
mortality.

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?Hilly ^
Figure 3. Book cover of Baroque and Pictorial Imagery: The 1758-60 Hertel Edition ofRipa's
Iconolog?a (1971). Used with permission from Dover Publications, New York City.
Following the descriptive paragraph is a third division called the
fatto. This shorter narrative of the allegory is typically based in Biblical
or classical writings. Under Justice, the fatto returns to the story of
Zaleucus. The fatti (plural) typically are illustrated as part of the
background in the engravings (a picture within a picture). In the
engraving (see Figure 4), the reader is treated to a depiction of
Zaleucus' son bound to a chair, having his eye cut out while the king
looks on with his own eye already removed. For Flattery, the fatto
describes a courtier having his tongue removed as penalty for flattering
Dionysius I.
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The fourth and final division of each text is
a translation from the German, and a much
freer version of the couplet. It maintains
"something of the humor and the folksy
quality of the German Doggerel verses"
(Maser, 1971, p. xviii). The translation for
Justice reads:
Zaleucus lets no lawless act go by;
He and his erring son each lose an eye.
(1758-1760, p. 120)
Activities for the Classroom
An examination of the allegory Justice and
the companion engraving in Hertel's version
confirms that many visual components of this
well-known personification are retained in
contemporary images. While the dog, snake,
skull and other minor elements may be
absent, many people recognize the blind
folded woman with scales and sword who
greets those on their way into our courts of
law. Initially, art students need to understand
the concept of allegory. They can then be
guided through the rich symbolic history
attributed to the specific elements of the
allegories in Ripa's text. Afterward, they can
perform more in-depth research, which
might culminate in the creation of symbols
that illustrate allegories reflecting today's
culture.
Three general classroom activities are
helpful for guiding student under
standing of allegory. First, an introduction
provides students with a basic conceptual and
contextual framework of allegory. Second, an
examination of images and text from Hertel's
version of the Iconolog?a illustrates how
symbols have been used historically to depict
allegorical themes. Other resources can be
used to research and trace the evolution of
these symbols (see Tables A and B). Finally,
students produce works of art using symbols
that portray allegorical themes. Within each
of these broader directions, more specific
activities will occur.
Introductory Discussion. Initially,
students must grasp the concept of allegory.
Discussing allegorical themes in contempo
rary culture will help. For example, the
concepts of good and evil and the ongoing
struggle of one over the other is a typical
theme that be can identified in movies, on
television and in video games. Symbolic
qualities of various fictional characters can
demonstrate how these help communicate an
allegorical theme. This may be represented by
an object the character holds or suggested by
a pose. Or, these may be elaborated by the CXXL- ItTSTlTlA.. J20.
style of their clothing or insignias. Comic Jlcx Zaleucus izderatr legan, eandernjpie^/eif n?xrnarrL.
book and film superheroes provide examples Ct?fttsJ3r*s arm. earn v?yl^etutjibij?ioqite, c?ter
ex auahus oci?is enteretucr, jnxecefrit.Td amorx ejus
of such images: masks, capes, or super JhjLsiitue m?rito patestr?ntere, .
powers. Another source of allegorical themes
is sports. Students should have no trouble
identifying the symbolic rituals that are
characteristic of competitive play. Discussions
could relate to the insignias emblazoned on
team uniforms or ritualized practices that
solidify team spirit prior to athletic events.
Recently, Dan Brown's popular novels, The Da
Vinci Code (2003) and Angels and Demons
(2000), reignited interest in symbolism, as
witnessed by the related television programs
and newly published literature focused on
ancient conspiracy theories and religious
practices. While the teacher may want to
carefully consider if these are "authentic"
sources for student research, they may be
valuable to motivate students.

While these popular images illustrate the

use of symbolism, significant historic
artworks are sure to propel student under
standing of allegorical themes. For example,
Hick's The Peaceable Kingdom (1833), Dossi's
Allegory of Fortune (1530), Raphael's Allegory
(1504), and Titian's Allegory of Time Governed
by Prudence (1565), though requiring a more
subtle analysis, are relatively open to
decipherment without extensive research.
Moreover, allegory and personification in
literature offers an inter-disciplinary approach
compatible with curricular goals in English.
Introducing the Iconolog?a. Once
students have a basic understanding of
allegory and appreciate the use of symbols,
Ripa's Iconolog?a can be introduced as a
source in which allegorical themes are
meticulously described and illustrated. The
teacher can lead the class in an analysis of a
particular allegory (or several) and then man 3%m m$& $0?m,mi?Li$ ??ffl??fjf.
research the symbolic elements that support
each theme. For example, in the allegory
Justice, the familiar scales, sword, and Figure 4. "Justice." Illustration of the "fatto." Baroque and Pictorial Imagery: The 1758-60
blindfold are worthy of study. Hertel Edition of Ripa's Iconolog?a (1971). Used with permission from Dover Publications,
New York City.
Looking at Justice: An Example of
Allegorical Study. A thorough examination
of the historical development of Justice could practices of the ancient Egyptians, but it also sheds light on their beliefs
fill volumes, but even with some elemental in the afterlife. In one narrative scene, Anubis, the mortuary god,
research, students may begin to appreciate weighs a deceased Egyptian's heart on a scale against a feather, the
this personification more fully. Justice has its symbol of Ma'at or truth.
roots in ancient Egypt where one of her The personification of Justice herself is derived from ancient
attributes, the set of scales, can be traced back mythology. Referred to as Themis, she was the daughter of Uranus and
to the Book of the Dead (1240 B.C.). This text Gaea, and belonged to the race of Titans. On Olympus she maintained
is well-known for illuminating the certain order, but on earth she had an extensive reign as Goddess of Justice

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 Table A
Internet Resources Through their in-depth research,
students may truly appreciate the
Site development of the symbols used for
Information on Ripa and the Iconolog?a. Grove Art Online, Oxford University Press. Justice and other personifications in
Access at http://www.groveart.com/index.html Hertel's translation. If time is limited,
Alciato's Book of Emblems. Memorial University of Newfoundland. Access at students can begin to develop an appreciation
http://www.mun.ca/alciato/order.html of these symbols through a guided perusal of
Emblamatica Online. Access at the engravings in the text. Critical skills in
http://www.hab.de/forschung/projekte/emblematica-e.htm perception will be important in under
standing and analyzing the composition of
The English Emblem Book Project. Access at
images. At the conclusion of this phase,
http://emblem.libraries.psu.edu/home.htm
students may begin producing an allegory of
Symbols.Net. Access at http://www.symbols.net/ their own, combining symbols examined in
the text, or through creation of personal
Table B symbols.
Producing Allegorical Art. There are
Text Resources
many possibilities for art production activities
Citation as culminating experiences in the study of
allegory. Teachers should consider the level of
Clirlot, J. E. (1962). The dictionary of symbols. New York: Philosophical Library. student abilities and the skill development
Cooper, J. C. (1987). An illustrated encyclopedia of traditional symbols. New York: needed. Since engravings are used throughout
Thames and Hudson. Hertel's edition and others, the development
Fontana, D. (2003). The secret language of symbols: A visual key to symbols and their of value tones by means of hatching and
meanings. San Francisco: Chronicle Books. cross-hatching is most appropriate. Figure
Hall, J. (1994). Illustrated dictionary of symbols in eastern and western art. New York:
drawing is another obvious choice. The pose
Harper Collins. of a figure can help in the portrayal of
allegorical themes. Student models might
Liungman, C. G. (1991). Dictionary of symbols. Santa Barbara: ABC-CLIO.
experiment with poses that illustrate, for
Matthews, B. (1993). The Herder dictionary of symbols: Symbols for art, archeology example, strength, grief, fear, serenity or
mythology literature, and religion. New York: Chiron Publications. apprehension. Further, teachers can demon
Speake, J. (1994). The Dent dictionary of symbols in Christian art. London: Orion strate how point of view, foreshortening, and
Publishing Group. deliberate exaggeration of proportions may
help illustrate an allegorical theme. Another
drawing option is to use an engraving in the
(Hamlyn, 1964). She represented the moralists, were considered essential in that text as a starting point. Students could re
"embodiment of order and balance that other worthwhile qualities hinged on their create it in a more individual interpretation of
society depend[s] upon and externalizes on existence. In fact, the word "cardinal" comes the allegory.
behalf of the general good" (Burnett, 1987, p. from the Latin cardo, which means, "hinge." Lessons can also be created around the use
80), and thus, played an active role in the Many of Justice's attributes are seen in of collage, particularly with students who
disputes between the gods. early Christian art. For example, in Rogier have limited drawing skills. Carefully cutting
Original depictions of Themis did not van der Weydens altarpiece, The Last and pasting images from magazines onto a
include the familiar blindfold, as she Judgment (c.1450), the Archangel Michael figure or a scene may communicate a
possessed the power of prophecy?a different weighs the souls of the dead before Christ. personalized allegorical theme. Graphic
kind of "vision." Nor was she depicted with a Other examples include Giotto's The Seven design software such as Photoshop or
sword, for she wielded not the powers of Virtues: Justice (1306), Ambrogio Lorenzettis Quark can also be used. Teachers could use
coercion or punishment, but of cooperation Justice (1340) and Jacobello del Fiores Justice this software to demonstrate how exchanging
and mutual consensus. Those attributes and the Archangels (1421). These offer one visual element for another can develop
evolved with the Roman god, Justitia who is interesting variations in the depiction of different meanings.
reflected in our contemporary versions. Justice and her attributes. Finally, the great Popular culture as seen in fantasy and
Additionally, Justice is one of the Four extent to which Justice has been depicted is science fiction can also yield important ideas
Cardinal Virtues (the others being Prudence, evidenced on a website devoted to the
for developing lesson plans where students
Temperance, and Fortitude). These virtues, reproduction of her image throughout the generate their own allegorical theme. For
originally developed by early Greek philoso world (see http://members.tripod.com/ example, the films based on J. R. R. Tolkien's
phers and later adopted by early Christian mdean/justice.html). Lord of the Rings (1965) contain numerous
symbolic elements that can be analyzed. The
quest of the humble hobbit, Frodo Baggins, is

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one that repeats itself in many contemporary Conclusion
stories where a reluctant hero must persevere
Finding connections between important historical antecedents and the imagery that our
to attain what appears to be an insurmount students find fascinating can lead to a richer understanding and appreciation of art. Moreover,
able goal. Students can consider symbolic seeing how allegory, personification, and symbolism can be used in art is valuable for students
elements such as Frodo's ring, which may to learn and put into practice. Hertel's version of Ripa's Iconolog?a is ripe with opportunity for
empower or enslave, or the other characters' developing this knowledge and skill.
supernatural powers revealed throughout the
saga. These can be compared and contrasted Bradford B. Venable is a faculty member and Art Education Program Coordinator at Indiana
with allegories in the Iconolog?a such as State University in Terre Haute, Indiana. E-mail: bvenable@isugw.indstate.edu
Vigilance, Humility, Victory and Honor.
Students can begin to consider their own REFERENCES
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composition, for example), there are Witcombe, C. L. C. E. (1992). Cesare Ripa and the Sala Clementina. Journal of the Warburg and Courtauld
additional aspects that can shed light on Institute, 55, 277-282.
student success. A journal maintained
throughout the project or writing prompts
that ask students to trace the development of
their composition can help a teacher assess a
student's ability to use what they have
discovered. This kind of reflective and
process-oriented thinking is important,
regardless of their ability to render believable
imagery.

MAY 2008 / ART EDUCATION 21

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