Notes and indexes
Allegory. Allegorical interpretation of contemporary events 19 a.f. Allegorical representation is often difficult to distinguish from a realistic representation 214:3, 239/40, Plate 4:1. The best way to represent abstractions and therefore not applicable in archaeological works 208/09. Often used to glorify persons or figures 94:2, 108/09 foremost in the form codified by Rubens for this purpose 95. The - has a traditional character and prefers to use archaic forms 62/3. The - in Dutch painting 108:2.
Anachronism. Division 46 a.f. Avoiding - for the artist of the Renaissance a consequence of the ‘Convenienza theory’ and always subordinate to it 43, 118; for Romanticism an historical illusion 13. - in the visual arts especially difficult to avoid 47, 173 (example).
Group, iconological = a number of works of art which show an iconological connection with each other. The subjects of such a group need not be the same. The purpose of iconology is principally the study of the forces which pull or thrust images out of the circle of their immediate relationships, and make them form new groups with non-identical works 4:4.
The forces which play a role in these processes may be of a formal as well as of an ideological nature. Sometimes an iconological group suddenly expands, because the aesthetic ‘climate’ has become conducive to its growth (prevalence) 66, at other times ideological factors inhibit the traditional representation, although the undesirable elements often survive in a purely formal guise (divergency) 288.
Every iconographical group can exercise a great influence by the operation of analogy, f.i. if it establishes a type, for a subject not so far represented 76. The force of such analogies should not be underestimated. This is evident in cases where data, otherwise well known, remain unrepresented for a considerable time for want of parallels in the visual arts 74, 285, 292/93. One can speak of contamination 84 a.f., or even infection 112, if the operation of analogy extends to already existing iconographical groups.
The unit present within one inconological group we call the theme or motive, and because we are dealing here with products of the visual arts, it is often possible to replace this terminology by the word scheme 266, 282, 285. For the groups of works of art with the same purpose or destination, however, one can use the term genre 266. Sometimes the terms iconological group and genre overlap completely, sometimes only partly or not at all. For example, in the 17th century, the genre of paintings destined for courts of justice often displays as its subject ‘the Judgment of William III’ or ‘Charles the Bold’, the actual theme, motive, or even scheme is, however, an indoor execution in either case.
Illustration. More connected with the publisher than with the author 159, for that reason unscientific and attuned to the public taste 129. - of the historical study is preceded by the - of literary works 126, - of the legendary-primitive older than - of the historical primitive 162. Scientific - limited to maps and reproductions of inscriptions 152. Not meant to be realistic: 1, 50/51, 136, 249, 252, 254.
Subject. Meaning of the - 38; especially for Rembrandt 232, 234. Subject of heroical paintings not necessarily relevant 108/9.
Tradition. Effect of - in, descriptions 52, but still stronger in portrayal 12, 44. Historical costume maintained for traditional reasons in portrayal 62. - in portrayal of exotic peoples 93:3; in descriptions 198:1.
Woodblocks. Existing - are again and again used 35, 77; sometimes even after two centuries for the representation of topical events 78:5, constantly repeated within one book 122. International spread of - 121.
Woodcut. Relations between the inventor and the woodcutter 135/36; especially in the case of Lucas van Leyden 146.
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