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Art Education
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The Iconologia: Helping Art Students UnderstandsAllegory
Bradford Venable
To cite this article: Bradford Venable (2008) The Iconologia:
Helping Art Students UnderstandsAllegory, Art Education, 61:3,
15-21, DOI: 10.1080/00043125.2008.11652055
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https://doi.org/10.1080/00043125.2008.11652055
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llegory'lhcsc il//agcs arc the Representatives ojollr
otions;
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
RipasIclJlw[ogia or Mora[ EIIl/llt'IIlS, in his foreword to the
reader (1709, p. i ).
The Iconologia:Helping Art StudentsUndersta...~---.....,
BY BRADFORD VENABLE
T his article focuses on helping students understand allegory
through theinvestigation of images and text revealed in Johann
Georg Hertel'stranslation of Cesare Ripa's manuscript, Iconologia
(1971). It first exploresRipas background and the importance of his
volume that describes allegoricalthemes. Then, the organization of
Hertel's 18th-century edition is discussed and exemplifiedusing the
allegory, Justice. The sections that follow outline classroom
activities to guidestudents to understand of allegory more fully
and appreciate its presence in historic andcurrent 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 individualsymbols and attributes.
Finally, art production activities are proposed. These offer
students anopportunity to create allegorical artworks reflecting
their own interests and lives. The study ofallegory as presented
here is relevant to the K-12 art educator's classroom practice. It
isstandards-based and offers opportunities for student learning
across disciplines, includinggoals 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 orgeneralizations about
human existence" (Merriam-Webster online,2005). Such
generalizations typicallyrelate to morality, religion, or politics.
For example, the Iconologia describes allegorical themes such
asLogic, Decency, Flattery, and Jealousy. Ripas text (1971) serves
not only as a practical and meaningfultool in the interpretation
and analysis of significant images of the past and present, but
also as aspringboard to more complex and innovative imagery.
The study of allegory may appear out of place in traditional art
curriculum; however, a cursory look atthe subject matter that
interests young people may prove otherwise. Students latch onto
popular culturalsymbols and images with obstinate enthusiasm.
Students draw them repeatedly in the margins of theirnotebooks 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
MAY 2008 I ART EDUCATION 15
-
fiction, and horror themes that pervade our visual culture. As
enticing aspopular cultural icons are, students generally do not
realize that many haveevolved from historic roots, and discovering
these connections to the past canenlighten those who doggedly hang
onto the "original" fantasy ligures of SonyPlaystation", Marvel
Comics", and film industry's Industrial Light and
Magic".Researching the origins of these and other symbolic images
may bring a greaterappreciation and depth of understanding of how
popular images evolved.
Student use and understanding of allegory is important from
severalperspectives. From an art historical point of view,
allegorical themes framemany important artworks, particularly those
of the Renaissance. Additionally,skills are developed as students
discover the subtle symbols, metaphors, andpersonifications within
these works. Allegorical themes arc especially relevantto
curriculum trends that develop units of instruction around enduring
themessuch as war, death, poverty, or justice (see Daniel, Stuhr,
& Ballengee-Morris,2006; Stewart & Walker, 2005; Roberts,
2005; Walker, 2004; Walling, 2006). Likethese big ideas, allegory
relates well to contemporary culture, motivating artactivity that
allows for a "discourse on morality and social criticism,
[and]giving students points of reference for making choices in a
world of competingideologies, claims and interests" (Anderson &
Milbrandt, 2004, p. xxiv). Beforeconsidering how allegory might be
used within the framework of enduringthemes, it is important to
appreciate the historical background of Cesare Ripaand his
lconologia.
As enticing as popular cultural icons are, students
generally
donot realize that many have evolved from historic roots,
and
discovering these connections to the past canenlighten those
whodoggedly hang ontothe"original"
fantasy figures of Sony Playstation®, Marvel Comics®, and
film industry's Industrial light and Magic™ .
BackgroundCesare 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 ofthe court of Cardinal Antonio Maria Slaviati of Rome
(Stefani, 1990). Hisservice to the court was as trinciante-one who
carved meat for importantmeals. In this capacity, Ripa no doubt
made associations with scholars andintellectuals, although the
nature of his formal education is unclear. '1 hedistinguished
visitors to the Cardinal's home and his library certainly
influencedhim. It is perhaps then, during his spare time, that his
writing of the lconologiabegan. In 1598, after its publication,
Pope Clement VIII dubbed the meat carvera Knight of Saints Maurice
and Lazarus (Witcombe, 1992). Cesare Ripa died in1622, just as a
fourth edition of the lconotogia was being prepared.
Originally published in 1593, the lconologia became an important
resourcefor poets, writers, and artists in search of inspiration
(Maser, 1971). Indeed, itwas the prominent art historian, Emile
Male who brought Ripa to scholarlyattention in the late 1920s. Upon
discovering the text, Mille was able to betterunderstand the
symbolic and allegorical elements in the artwork that adornedthe
churches of Rome (Gordon, 1975).
Ripas original publication was merely descriptive of allegorical
themes, andtherefore contained no imagery. Pictures were added in
the 1603 edition, whileover 300 new allegorical themes were added
to the 1618 edition. The first
16 ART EDUCATION I MAY 2008
English translation (see Figure I) entitled lconologia orMoral
Emblems was published in London in 1709 and andcan be viewed in its
entirety on the Internet (sec TIleEnglish Emblem Book Project in
Table A). 'lhe IWI/ologitlfunctioned then, as it does now, as a
tool for decipheringthe symbols in allegorical subject matter
(McGrath, 2(06).Typically narrative or dramatic, the depictions
werearranged alphabetically. They move beyond the charactersand
subject matter presented to suggest a second, moreabstract
concept.
Ripas research in classical literature and the relics ofancient
Egypt, Greece, Rome, and the early ChristianChurch, led to his use
of figures to personify allegories.Such personifications include a
number of symbolicelements that elaborate the allegorical concepts.
Hattery,tor example, is described as a beautiful young womanplaying
a flute beneath a palm tree with bees swarmingabout a hollow in its
trunk (see Figure 2). On the groundnear her lie a stag and a dog.
Ripa (1971) explained thatthe beauty of the figure represents the
"pleasing exterior ofthe flatterer which hides his real intention"
(p, 30). TIlewild stag, attracted by the music of flattery, forgets
himself,enabling his capture. The dog represents one's gratitude
towhoever offers flattery. Bees symbolize the t1atterers-"though
they carry honey in their mouths. they sting withtheir tails." A
sculptured bust behind the woman has twofaces-one ugly, and one
fair-to symbolize the "hiddenmotives behind the flatterer's words."
The explanation ofthese clements was undoubtedly beneficial to
thoseinterested in gaining understanding and developinggreater
appreciation for allegorical concepts and their usein art in the
16th and 17th centuries.
Ripas text was extremely popular among Italianpainters and
sculptors who kept copies in their workshops(McGrath, 2(06).
Numerous editions of the original wereprinted following its
publication in 1593. As notedpreviously, the first contained no
images, however mostlater editions included woodcuts and engravings
illus-trating selected themes. Additionally, these later
editionsexpanded the number of allegories. For example, a
five-volume edition published in Perugia (1764-67), well afterRipas
death, described over a thousand. Natural elements,such as Earth,
Water, Fire, and Wind were added alongwith emotions such as Grief,
Happiness. Lust. and Vanity.Additionally, concepts relating to
human civilization wereincorporated such as Agriculture, Household
Economy,Government, and State Craft.
Hertel's translation, Baroque and Roww PictorialImagery, is
distinct from earlier versions (sec Figure 3).The text for each
allegory was reconstructed and furtheraugmented with a full-page
engraving on the opposingpage. The images which were designed by
the painterGottfried Eichler the Younger and completed by
thereputable engravers from Augsburg, Germany, madeHertel's ed
ition of the masterpiece one of the morebeautifully rendered
(Maser, 197I). It is particularly usefulto readers possessing
substantial knowledge of symbolismof the post-Renaissance period,
but its imagery and textare also full of inspiration tor students
today.
-
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bdol... , ·~rl,., I"'f~~tts .
- ... . I ,
XX"( .
Figure 2. "Flattery." Baroque and Rococo PictorialImagery: The
7758-60 Hertel Edition of Ripa'sIconologia (1971). Used with
permission fromDover Publications. New York City.
Figure 1. Book cover of first Englishtranslation of Iconologia,
or MoralEmblems, by Caesar Ripa (1709). London:Benjamin Motte.
T.,. 0 .'1
r t MDCC nt.
II Y
O R,
5110,1"1emblems,
~1 dlr c .... 6rW~ dw CIlI ... .... ol
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Organization of Hertel's Baroque andRococo Pictorial Imagery
The text describing each allegory in Hertel's edition hasfour
divisions produced on a single page. On the pageopposite is a
complementary engraving. The first division,printed at the top of
both pages, contains the title of theallegory followed by a
couplet. For example, the coupletaccompanying the allegory Justice
relates the events of 500B.C.E. when, according to tradition,
Zaleucus, King ofLocris (Italy) established a code of law for
ancient Greece:
King Zaleucus had made a very severe law. His sonhaving broken
it, he commanded that one of his owneyes and one of his son's be
gouged out. This is to beattributed to his love of justice, (Maser,
1971, p. 120)
The second division contains a written description ofthe
engraving, interpreting the personification and itsattributes. For
Justice, the personification is a blindfoldedwoman sitting at a
table. She is blindfolded, as we maysuspect, "for nothing but pure
reason, not the oftenmisleading evidence of the senses, should be
used to makeher judgments." She is dressed in white and wearing
acrown symbolic of the "noblest of concepts:' She possessesa scale
in one hand, for "each one of us receives that whichis due him" and
a sword in the other as "there is nohesitation to punish." Next to
her, snakes curl about abundle of lectors' rods (a Roman symbol of
a judge'spower). The dog at her feet represents friendship and
thesnakes, hatred; by neither of which should she beinfluenced. On
a table nearby lies a scepter of authority,books oflaw and a human
skull representing man'smortality.
MAY 2008 I ART EDUCATION 17
-
Figure 3. Book cover of Baroque and Pictorial Imagery: The
7758-60 Hertel Edition of Ripa'sIconologia (1971). Used with
permission from Dover Publications, New York City.
Following the descriptive paragraph is a third division called
thefatto. This shorter narrative of the allegory is typically based
in Biblicalor classical writings. Under Justice, the Jatto returns
to the story ofZaleucus. TheJatti (plural) typically are
illustrated as part of thebackground in the engravings (a picture
within a picture). In theengraving (see Figure 4), the reader is
treated to a depiction ofZaleucus' son bound to a chair, having his
eye cut out while the kinglooks on with his own eye already
removed. For Flattery. the Jattodescribes a courtier having his
tongue removed as penalty for flatteringDionysius I.
18 ART EDUCATION I MAY 2008
The fourth and final division of each text isa translation from
the German, and a muchfreer version of the couplet. It
maintains"something of the humor and the folksyquality of the
German Doggerel verses"(Maser, 1971, p. xviii). The translation
forJustice reads:
Zaleucus lets no lawless act go by;He and his erring son each
lose an eye.(1758-I760,p.120)
Activities for the ClassroomAn examination of the allegory
Justice and
the companion engraving in Hertel's versionconfirms that many
visual components of thiswell-known personification are retained
incontemporary images. While the dog, snake,skull and other minor
elements may beabsent. many people recognize the blind-folded woman
with scales and sword whogreets those on their way into our courts
oflaw. Initially, art students need to understandthe concept of
allegory. They can then beguided through the rich symbolic
historyattributed to the specific elements of theallegories in
Ripas text. Afterward, they canperform more in-depth research,
whichmight culminate in the creation of symbolsthat illustrate
allegories reflecting todaysculture.
Three general classroom activities arehelpful for guiding
student under-standing of allegory. First, an introductionprovides
students with a basic conceptual andcontextual framework of
allegory. Second. anexamination of images and text from
Hertel'sversion of the lconologia illustrates howsymbols have been
used historically to depictallegorical themes. Other resources can
beused to research and trace the evolution ofthese symbols (see
Tables A and B). Finally,students produce works of art using
symbolsthat portray allegorical themes. Within eachof these broader
directions. more specificactivities will occur.
Introductory Discussion. Initially,students must grasp the
concept of allegory.Discussing allegorical themes in contempo-rary
culture will help. For example. theconcepts of good and evil and
the ongoingstruggle of one over the other is a typicaltheme that be
can identified in movies, ontelevision and in video games.
Symbolicqualities of various fictional characters candemonstrate
how these help communicate anallegorical theme. This may be
represented byan object the character holds or suggested by
-
a pose. Or, these may be elaborated by thestyle of their
clothing or insignias. Comicbook and film superheroes provide
examplesof such images: masks, capes, or superpowers. Another
source of allegorical themesis sports. Students should have no
troubleidentifying the symbolic rituals that arecharacteristic of
competitive play. Discussionscould relate to the insignias
emblazoned onteam uniforms or ritualized practices thatsolidify
team spirit prior to athletic events.Recently, Dan Brown's popular
novels, TheDaVinci Code (2003) and Angels and Demons(2000),
reignited interest in symbolism, aswitnessed by the related
television programsand newly published literature focused onancient
conspiracy theories and religiouspractices. While the teacher may
want tocarefully consider if these are "authentic"sources for
student research, they may bevaluable to motivate students.
While these popular images illustrate theuse of symbolism,
significant historicartworks are sure to propel student
under-standing of allegorical themes. For example,Hick's The
Peaceable Kingdom (1833), Dossi'sAllegory of Fortune (1530),
Raphael's Allegory(1504), and Titian's Allegory of Time Governedby
Prudence (1565), though requiring a moresubtle analysis, are
relatively open todecipherment without extensive research.Moreover,
allegory and personification inliterature offers an
inter-disciplinary approachcompatible with curricular goals in
English.
Introducing the lconologia. Oncestudents have a basic
understanding ofallegory and appreciate the use of symbols,Ripas
lconologia can be introduced as asource in which allegorical themes
aremeticulously described and illustrated. Theteacher can lead the
class in an analysis of aparticular allegory (or several) and
thenresearch the symbolic elements that supporteach theme. For
example, in the allegoryJustice, the familiar scales, sword,
andblindfold are worthy of study.
Looking at Justice: An Example ofAllegorical Study. A thorough
examinationof the historical development of lustice couldfill
volumes, but even with some elementalresearch, students may begin
to appreciatethis personification more fully. Justice has itsroots
in ancient Egypt where one of herattributes, the set of scales, can
be traced backto the Bookof the Dead (1240 B.C.). This textis
well-known for illuminating the certain
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,,,.,l#.r~ut:Jrbl:fr1J,,.,u~ alter-~.r JflOlnU "4.~}~A. ~rll~~r~
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Figure 4. "Justice." Illustration of the "fatto." Baroque and
Pictorial Imagery: The 1758-60Hertel Edition of Ripa's Icono/ogia
(1971). Used with permission from Dover Publications,New York
City.
practices of the ancient Egyptians, but it also sheds light on
their beliefsin the afterlife. In one narrative scene, Anubis, the
mortuary god,weighs a deceased Egyptian's heart on a scale against
a feather, thesymbol of Maat or truth.
The personification of Justice herself is derived from
ancientmythology. Referred to as Thernis, she was the daughter of
Uranus andGaea, and belonged to the race of Titans. On Olympus she
maintainedorder, but on earth she had an extensive reign as Goddess
of Justice
MAY 2008 I ART EDUCATION 19
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Table A
Internet Resources
Site
Information on Ripa and the Iconologia. Grove Art Online, Oxford
University Press.Access at http://www.groveart.com/index.html
Alciato's Book of Emblems. Memorial University of Newfoundland.
Access athttp://www.mun.calalciato/order.html
Emblamatica Online. Access
athttp://www.hab.de/forschung/projektelemblematica-e.htm
The English Emblem Book Project. Access
athttp://emblem.libraries.psu.edu/home.htm
Symbols.Net. Access at http://www.symbols.net!
Table B
Text Resources
CitationClirlot, J. E. (1962). The dictionary of symbols. New
York: Philosophical library.
Cooper, J. C. (1987). An illustrated encyclopedia of traditional
symbols. New York:Thames and Hudson.
Fontana, D. (2003). The secret language of symbols: A visual key
to symbols and theirmeanings. San Francisco: Chronicle Books.
Hall, J. (1994). Illustrated dictionary of symbols in eastern
and western art. New York:Harper Collins.
liungman, C. G. (1991). Dictionary of symbols. Santa Barbara:
ABC-CLIO.
Matthews, B. (1993). The Herder dictionary of symbols: Symbols
for art, archeology.mythology literature, and religion. New York:
Chiron Publications.
Speake, J. (1994). The Dent dictionary of symbols in Christian
art. london: OrionPublishing Group.
(Hamlyn, 1964). She represented the"embodiment of order and
balance thatsociety depend[s] upon and externalizes onbehalf of the
general good" (Burnett, 1987, p.80), and thus, played an active
role in thedisputes between the gods.
Original depictions of Themis did notinclude the familiar
blindfold, as shepossessed the power of prophecy-a differentkind of
"vision." Nor was she depicted with asword, for she wielded not the
powers ofcoercion or punishment, but of cooperationand mutual
consensus. Those attributesevolved with the Roman god, Justitia who
isreflected in our contemporary versions.Additionally, Justice is
one of the FourCardinal Virtues (the others being
Prudence,Temperance, and Fortitude). These virtues,originally
developed by early Greek philoso-phers and later adopted by early
Christian
20 ART EDUCATION I MAY 2008
moralists, were considered essential in thatother worthwhile
qualities hinged on theirexistence. In fact, the word "cardinal"
comesfrom the Latin carda, which means, "hinge."
Many of Justice's attributes are seen inearly Christian art. For
example, in Rogiervan der Weydens altarpiece, The LastJudgment
(c.1450), the Archangel Michaelweighs the souls of the dead before
Christ.Other examples include Giotto's The SevenVirtues: Justice
(1306), Ambrogio Lorenzetti'sJustice (1340) and Iacobello del
Fiore's Justiceand the Archangels (1421). lhese offerinteresting
variations in the depiction of[ustice and her attributes. Finally,
the greatextent to which Justice has been depicted isevidenced on a
website devoted to thereproduction of her image throughout theworld
(sec http://members.tripod.com/mdean/justice.html).
Through their in-depth research,students may truly appreciate
thedevelopment of the symbols used forJustice and other
personifications inHertel's translation. If time is
limited,students can begin to develop an appreciationof these
symbols through a guided perusal ofthe engravings in the text.
Critical skills inperception will be important in under-standing
and analyzing the composition ofimages. At the conclusion of this
phase,students may begin producing an allegory oftheir own,
combining symbols examined inthe text, or through creation of
personalsymbols.
Producing Allegorical Art. There aremany possibilities for art
production activitiesas culminating experiences in the study
ofallegory. Teachers should consider the level ofstudent abilities
and the skill developmentneeded. Since engravings are used
throughoutHertel's edition and others, the developmentof value
tones by means of hatching andcross-hatching is most appropriate.
Figuredrawing is another obvious choice. the poseof a figure can
help in the portrayal ofallegorical themes. Student models
mightexperiment with poses that illustrate, forexample, strength,
grief, fear, serenity orapprehension. Further, teachers can
demon-strate how point of view, foreshortening, anddeliberate
exaggeration of proportions mayhelp illustrate an allegorical
theme. Anotherdrawing option is to use an engraving in thetext as a
starting point. Students could re-create it in a more individual
interpretation ofthe allegory.
Lessons can also be created around the useof collage,
particularly with students whohave limited drawing skills.
Carefully cuttingand pasting images from magazines onto afigure or
a scene may communicate apersonalized allegorical theme.
Graphicdesign software such as Photoshop" orQuark" can also be
used. Teachers could usethis software to demonstrate how
exchangingone visual element tor another can developdifferent
meanings.
Popular culture as seen in fantasy andscience fiction can also
yield important ideasfor developing lesson plans where
studentsgenerate their own allegorical theme. Forexample, the films
based on I. R. R. TolkicnsLord ojth« R.ings (1965) contain
numeroussymbolic elements that can be analyzed. '1hequest of the
humble hobbit, Frodo Haggins, is
-
one that repeats itself in many contemporarystories where a
reluctant hero must persevereto attain what appears to be an
insurmount-able goal. Students can consider symbolicelements such
as Frodos ring, which mayempower or enslave. or the other
characters'supernatural powers revealed throughout thesaga. '1 hese
can be compared and contrastedwith allegories in the lconologia
such asVigilance. Humility, Victory and Honor.Students can begin to
consider their ownquests toward college, a career,
sportingachievements, or other personal goals andcreate an allegory
that reflects their journey.Other popular culture genres that
holdpotential for study include comic booksuperheroes, computer
games and tech-nology. action figures. and music videos.Analysis of
these can form a foundation forstudent understanding and the
expression inartwork.
Once projects are completed, classroomcritiques could focus on
how studentstranslated their understanding of the allegoryto make
it different from the original.whether more personal or up-dated to
thecontemporary. Students could discuss andanalyze portrayals by
their peers, looking forsimilarities and differences.
Assessment. Evaluation of studentachievement happens throughout
anyassignment. In this case. it is particularlyadvisable to return
to student objectives todetermine assessment strategies. Allegory
canbe complex to define. so it is important thatstudents have the
opportunity to articulate itsmeaning and demonstrate their ability
torecognize it. Teachers (;\11 assess the level ofunderstanding
through classroom discussionand/or writing assignments. Other
in-processmethods (formative assessments) mightinclude outlines and
rough drafts from theresearch phase of the unit. Criteria can
bedeveloped that focus on students' abilities todemonstrate the
concept of allegory in theirartwork. While some criteria depend
onaccurate portrayal (proportion, lighting,composition. for
example), there areadditional aspects that can shed light onstudent
success. A journal maintainedthroughout the project or writing
promptsthat ask students to trace the development oftheir
composition can help a teacher assess astudent's ability to use
what they havediscovered. '(his kind of reflective
andprocess-oriented thinking is important,regardless of their
ability to render believableimagery.
ConclusionFinding connections between important historical
antecedents and the imagery that our
students find fascinating can lead to a richer understanding and
appreciation of art. Moreover,seeing how allegory, personification.
and symbolism can be used in art is valuable for studentsto learn
and put into practice. Hertel's version of Ripas lconologia is ripe
with opportunity fordeveloping this knowledge and skill.
Bradford B. Venable is a [acuity member and Art Education
Program Coordinator at IndianaState University in Terre Haute.
Indiana. E-mail: bvenablccoisugw.indstatc.edu
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Brown. D. (2000). Ange!«and demo/ls. New York: Simon and
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Budge. E.A.W. (1956). 'JI,ebook of till' dead: An F-nglis/t
translation of the chupters, hynms. etc., of theThcbun recession.
New York: Barnes & Noble.
Burnett. C. (198i). Justice; Myth and symbol.l.egal Studies
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Daniel. V. A. II.. Stuhr. P.L.. & Ballengee-Morris, C.
(2006). Suggestions for integrating the arts intocurriculum. Art
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Dean, M. A. (n.d.), Images ofiustice. Retrieved January 30. 2006
from http://members.tripod.com/mdean/justice.html
Gordon. D. J. (l9i5). Ripa's Fate. In Orgel. S. (Ed.], the
Renaissance inlllgination (pp, 51-i4). Berkeley:University of
California Press.
Hamlyn, P. (1964). l.arousse encyclopedia of mythology. London:
Paul Hamlyn.
Maser, E. A. (19i I). Introduction to Baroque and Rococo
pictorial imagery: the 17S8-60 Hertel Edition ofRipus lconologia.
New York: Dover Publications.
McGrath. E. (2006). Grove art online. Oxford University Press.
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