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• Emblems in Scotland: Motifs and Meanings by Michael Bath
• Janet Hadley-Williams

From its Latin and Greek roots, the sense of ‘emblem’ was ‘inlaid work’; by the sixteenth and seventeenth centuries, it was ‘symbol’, ‘type’. In that linguistic evolution, as Michael Bath notes in his Preface, Alciato’s Emblematum liber (1531)—its use of a woodcut illustration of moral, proverbial or political ideas, with a Latin motto above, and a verse epigram below—was crucial as the model for the many later emblem books (Whitney, Montenay, Batilly, Farley, and Quarles).

The foundation of Bath’s study is the magnificent Stirling Maxwell Collection of emblem books at Glasgow University Library. His eight chronologically arranged essays reflect this Scottish context, especially in architectural example. In their explorations of the use and transmission of emblems, however, the essays range widely across different terrains, including cultural and political relations, Christian iconography, court ceremonies, and Modernist garden design. Translations throughout, of the Latin, Greek, and French inscriptions and distichs quoted in the text, notes, and captions, are of great assistance, as are the numerous well-placed illustrations. [End Page 177]

The first chapter examines the meaning of a fool’s-capped man, who lurks behind King Herod’s shoulder, within the fifteenth-century Crucifixion scene painted on the rood screen at St Marnock’s Church, Fowlis Easter, Angus. Bath’s many European examples of similar figures are contextualizing. In his discussion of the ‘Jester Figure’ (pp. 7–22) switching between the word ‘jester’ (a professional fool) and ‘fool’ (simpleton or, biblically, an impious person), both twists and informs the argument.

The emblematic links between three women, Christine de Pisan, Georgette de Montenay, and Esther Inglis, are the matter of Chapter 2. Bath draws on the previous work of Alison Saunders, Alison Adams, and Marie-Claude Tucker, adding to it, notably on portraiture (pp. 31–34); and with Susan Groag Bell’s innovative research on the City of Dames tapestries, his observations usefully confirming hers.

In Chapter 3, Bath identifies Guillaume de la Perrière’s Morosophie (‘The Wisdom of Folly’, 1553) as the hitherto unknown source of a motto over the now-demolished fireplace at Castle Ruthven (Huntingtower). The accompanying woodcut introduces a wider discussion (acknowledging Saxl and Iwaki) of the topic Veritas filia temporis. There are valuable Scottish examples here, and in the related study of the more doctrinally difficult emblem, In utrumque paratus, including Skelmorlie’s funerary ceiling (1636), and Rossend Castle’s painted ceiling.

Chapter 4 examines ceremonies associated with royal baptisms (James VI, 1566; Henry, 1594), the first through its illustration of the phrase Anglici caudati (‘all Englishmen have tails’), the second via William Fowler’s True Reportarie. There is confusion at p. 87. Bath cites a letter of 1517, from James V—or, since James was then five, Governor Albany—to Pope Leo. It refers to matters relating to the previous Pope, Julius, who died in 1513, and to the king’s older half-brother, Alexander Stewart, killed at Flodden in 1513, thus not alive in 1517 as Bath assumes.

The country house built at Pinkie in 1613 by Alexander Seton, Earl of Dunfermline, and its relationship to its historic site (where the 1547 battle repudiated the Treaty of Greenwich and union with England), is the subject of Chapter 5. Attempting to understand the man and his villa, Bath has identified Seton’s books (Vredeman, Du Cerceau, Vaenius, Blaise de Vignière, Lebey de Batilly and others) and studied the villa’s external inscriptions and the Long Gallery’s painted Neostoic emblems.

Chapter 6 begins with a rare contemporary (1618) response to the use of emblems: the account of how Church of Scotland minister, Patrick Simson, was encouraged on his deathbed by his brother to remember those emblems decorating the walls of his manse (Holy Rude Kirk, Stirling). His recollections included their source, ‘Pierus’, Pierio Valeriano’s 1556 Hieroglyphica (an expansion of Horapollo’s Egyptian lexicon to incorporate the major Christian iconologies). Bath shows how the (reformed) climate...

审核人：

• 苏格兰的象征：迈克尔·巴斯的主题和意义
• 珍妮特·哈德利·威廉姆斯（Janet Hadley-Williams）

从拉丁语和希腊语的起源看，“会徽”的意思是“镶嵌作品”。到了十六，十七世纪，它是“符号”，“类型”。正如迈克尔·巴斯（Michael Bath）在其序言中指出的那样，在这种语言发展中，阿尔西亚托（Alciato）的《象征自由》（Emblematum liber）（1531）的使用是道德，谚语或政治思想的木刻插图，上方是拉丁格言，下方是诗句。许多后来的会徽书籍（惠特尼，蒙泰尼，巴蒂利，法利和夸勒）的模型。

巴斯研究的基础是格拉斯哥大学图书馆的壮丽的斯特林·麦克斯韦（Stirling Maxwell）徽记书集。他的八篇按时间顺序排列的文章反映了这种苏格兰语境，特别是在建筑示例中。然而，在探索使用和传播标志的过程中，论文范围广泛，跨越了不同的领域，包括文化和政治关系，基督教的肖像画，法院的仪式以及现代主义的花园设计。全文，文字，注释和标题中引用的拉丁文，希腊文和法文铭文和地名的译文，以及大量位置适当的插图，都将为您提供很大的帮助。[结束页177]

第一章考察了安格斯·福利斯·复活节的圣马诺克教堂在天幕上描绘的十五世纪被钉十字架的场景中，一个潜伏在希律王国王肩膀上的傻瓜男子的含义。巴斯（Bath）在欧洲有许多类似数字的例子正在情境化。在他对“小丑形象”（第7-22页）的讨论中，在“小丑”（一个专业的傻瓜）和“傻瓜”（一个简单的人，或者圣经上是一个卑鄙的人）之间切换时，既扭曲又提供了论点。

Christine de Pisan，Georgette de Montenay和Esther Inglis这三个女人之间的象征性联系是第2章的问题。Bath借鉴了Alison Saunders，Alison Adams和Marie-Claude Tucker的先前作品，特别是在其中肖像画（第31-34页）；苏珊·格罗格·贝尔（Susan Groag Bell）对贵妇城挂毯的创新研究，使他的观察结果得到了证实。

在第三章中，巴斯指出，纪尧姆·德拉·佩里埃（Guillaume de laPerrière）的《愚蠢的智慧》（Morosophie，1553年）是鲁斯文城堡（Huntingtower）现已拆除的壁炉上迄今未知的座右铭。随附的木刻版对Veritas filia temporis主题进行了更广泛的讨论（承认Saxl和Iwaki）。在这里有一些有价值的苏格兰例子，在有关更难学到的徽记的相关研究中，《极乐世界》中，包括斯凯莫利的葬礼天花板（1636年）和罗森德城堡的彩绘天花板。

第四章考察了与皇家洗礼有关的仪式（詹姆斯五世，1566年；亨利，1594年），第一个通过对短语Anglici caudati（“所有英国人都有尾巴”）的阐释，第二个通过威廉·福勒的《真实报道》。p处有混淆。87.巴斯援引了詹姆斯五世（或自詹姆斯五岁起担任州长奥尔巴尼）给教皇利奥的1517年的一封信。它涉及与1513年去世的前教皇朱利叶斯（Julius）以及国王的同父异母兄弟亚历山大·斯图尔特（Alexander Stewart）有关的事情，亚历山大·斯图尔特于1513年在弗洛登（Flodden）遇害，因此如巴斯所言，在1517年还没有生命。

邓弗姆林伯爵亚历山大·塞顿（Alexander Seton）于1613年在平奇（Pinkie）建造的乡间别墅及其与历史古迹的关系（1547年战斗否决了《格林威治条约》并与英国合并），是第5章的主题。作为巴斯夫及其别墅，巴斯已经确定了塞顿的书籍（弗雷德曼，杜·切索，维埃纽斯，布莱斯·维尼耶尔，贝蒂·巴蒂利等人），并研究了别墅的外部铭文和长廊上涂有油漆的Neostoic标志。

第6章以当代罕见的对标志使用的回应（1618）开始：苏格兰教会大臣帕特里克·西姆森（Patrick Simson）在他的病床上被他的兄弟鼓励如何记住那些装饰他的鬃毛墙壁的标志的说明（Holy Rude柯克，斯特灵）。他的回忆包括其来源“皮耶鲁斯（Pierus）”，皮耶里奥·瓦莱里亚诺（Pierio Valeriano）1556年的象形文字（霍拉波尔洛（Horapollo）埃及词典的扩展，其中纳入了主要的基督教肖像。巴斯展示了（经过改革的）气候如何...