1694 1st ed Franciscus Junius Pictura Veterum Neoclassical Art Commentary Folio

Franciscus Junius Joannes Georgius Graevius

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Franciscus Junius (1591 – 1677), also known as François du Jon, was a pioneer of Germanic philology. As a collector of ancient manuscripts, he published the first modern editions of a number of important texts. In 1620 Junius was employed by Thomas Howard, earl of Arundel, as a tutor to his son, and later as librarian. It was for Arundel, an avid collector of Greek and Roman art objects, that Junius wrote his De pictura veterum, a theoretical discussion of classical art and one of the cornerstones of the Neoclassical movement.

De Pictura Veterum is divided in several books. One book is composed of classical texts on the arts and Junius’ commentary on them. A second is an alphabetical list of quotations of the lives and works of artists of antiquity. Like other collections of classical quotations, De Pictura Veterum served scholars and rhetoriticians as a source for ancient thought. Junius’ commentary to the inscriptions extended the scholarly content. The tome found a second important use, as well. The renaissance debate over the primacy of the arts–the written arts vs. the graphic arts–had once again come to the fore. The most recent dispute arose between the playwright Ben Jonson (1573-1637), and court architect Inigo Jones (1573-1652) for Charles I. In The Painting of the Ancients, Junius can be clearly read as siding with Jones and the supremacy of the visual arts. Junius’s championing of the visual arts also supported the notion of art’s power to promote a virtuous life, countering the argument of William Prynne (1600-1669) in his Histrio-mastix, 1633, which attacked the Court of Charles I and its patronage of the arts”

This work was a cornerstone of the neoclassical movement in art.

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1694 1st ed Franciscus Junius Pictura Veterum Neoclassical Art Commentary Folio

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Franciscus Junius (1591 – 1677), also known as François du Jon, was a pioneer of Germanic philology. As a collector of ancient manuscripts, he published the first modern editions of a number of important texts. In 1620 Junius was employed by Thomas Howard, earl of Arundel, as a tutor to his son, and later as librarian. It was for Arundel, an avid collector of Greek and Roman art objects, that Junius wrote his De pictura veterum, a theoretical discussion of classical art and one of the cornerstones of the Neoclassical movement.

 

De Pictura Veterum is divided in several books.  One book is composed of classical texts on the arts and Junius’ commentary on them.  A second is an alphabetical list of quotations of the lives and works of artists of antiquity.  Like other collections of classical quotations, De Pictura Veterum served scholars and rhetoriticians as a source for ancient thought.  Junius’ commentary to the inscriptions extended the scholarly content.  The tome found a second important use, as well.  The renaissance debate over the primacy of the arts–the written arts vs. the graphic arts–had once again come to the fore.  The most recent dispute arose between the playwright Ben Jonson (1573-1637), and court architect Inigo Jones (1573-1652) for Charles I.  In The Painting of the Ancients, Junius can be clearly read as siding with Jones and the supremacy of the visual arts. Junius’s championing of the visual arts also supported the notion of art’s power to promote a virtuous life, countering the argument of William Prynne (1600-1669) in his Histrio-mastix, 1633, which attacked the Court of Charles I and its patronage of the arts”

 

This work was a cornerstone of the neoclassical movement in art.

 

 

Main author: Franciscus Junius; Joannes Georgius Graevius

 

Title: Francisci Junii F.f. De pictura veterum libri tres : tot in locis emendati, & tam multis accessionibus aucti, ut plane novi possint videri, accedit Catalogus, adhuc ineditus, architectorum, mechanicorum, sed præcipue pictorum, statuariorum, cælatorum, tornatorum, aliorumque artificum, & operum quæ secerunt, secundum seriem litterarum digestus.

 

Published: Roterodami, Leers 1694.

 

Language: Latin

 

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  • 1st edition
  • Beautiful vellum binding
  • Illustrated engravings

 

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Pages: complete with all 296 + 236 pages; plus indexes, prefaces, and such

Publisher: Roterodami, Leers 1694.

Size: ~15in X 10in (28.5cm x 25.5cm)

 

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Franciscus Junius (29 January 1591 – 1677),[1] also known as François du Jon, was a pioneer of Germanic philology. As a collector of ancient manuscripts, he published the first modern editions of a number of important texts.

Contents  [hide]

1              Life

2              Works

3              Notes

4              Notes

5              References

6              External links

Life[edit]

Junius was born in Heidelberg. He was brought up at Leiden, Netherlands as his father, also called Franciscus Junius, was appointed professor of Hebrew at Leiden University in 1592. In 1602 his parents died, and Junius went to live with his future brother-in-law, the humanist scholar Gerhard Johann Vossius in Dordrecht. He studied theology at Leiden and Middelburg.

In 1617, he became a pastor at Hillegersberg, near Rotterdam. He resigned this position the following year, after he refused to take sides in a theological conflict in the Dutch Reformed Church, centering on faith out of free will as advocated by Jacobus Arminius or faith out of predestination, as defended by Junius’ uncle Franciscus Gomarus. After his resignation, Junius elected to travel instead: he visited first France, and then moved to England, where in 1620 he was employed by Thomas Howard, earl of Arundel, as a tutor to his son, and later as librarian. It was for Arundel, an avid collector of Greek and Roman art objects, that Junius wrote his De pictura veterum, a theoretical discussion of classical art and one of the cornerstones of the Neoclassical movement. Published in 1637 in Latin, it was followed by his own translations into English (1638) and Dutch (1641). Junius remained resident in England for more than twenty years, but upon the revolt against Charles I in 1642, he joined the Earl and his wife to the Low Countries. Soon after his return in Holland, Junius became interested in the history of the Dutch language, an interest that quickly spread to the oldest phases of other Germanic languages. As a result, he published a commentary on an Old High German paraphrase of the Song of Songs, the first edition of a collection of Old English poems, and the first edition, together with an extensive dictionary, of the Gothic Gospels. Upon his death a number of lexicographical works remained unpublished, of which an English etymological dictionary was published posthumously.

Junius was the owner of an important piece of Christian literature called the MS Junius 11 codex,[1] also known as the “Cædmon manuscript”, or “Junius” codex. Junius was a close acquaintance of John Milton.[1] It has been suggested that similarities between Milton’s Paradise Lost and parts of the “Genesis” material in MS Junius 11, are the result of Milton having consulted MS Junius 11 via Junius,[1] though this hypothesis cannot be proven.[1]

The first mention of the Heliand in modern times occurred when Junius found a fragment in 1587.

Junius was the first person to substantially study the Codex Argenteus (or Gothic Bible).[2] He first showed an interest in Gothic in 1654, and engaged in a study of the Codex Argenteus in 1654.[2] Isaac Vossius entrusted the codex to Junius.[2] Vossius had secured the codex from Queen Christina as part of a debt settlement.[2] MS Junius 55 is a transcript Junius made of the full text of the original manuscript.[2] Junius engaged Jan van Vliet in his study of Gothic.[2]

The earliest extant reference to the first foliation of the Nowell Codex (British Library MS Cotton Vitellius A.xv), which contains the poem Beowulf, was made sometime between 1628 and 1650 by Junius.[3]

In 1675, Junius returned to Oxford and died in November 1677 at the house of his nephew Isaac Vossius in Windsor, Berkshire; he was buried there at St George’s Chapel. In his life he had amassed a large collection of ancient manuscripts, and in his will he bequeathed these to the Bodleian Library at the University of Oxford. Amongst the works included in this bequest were a major manuscript of Anglo-Saxon poetry, commonly known as the Junius manuscript after him, and the unique manuscript of the Ormulum.

Works[edit]

In his later life, Junius devoted himself to the study of the Old Germanic languages. His work, while intrinsically valuable, is particularly important as having aroused interest in a subject that at the time was often neglected.

Major works include:

1637, De pictura veterum translated as On the Painting of the Ancients in 1638, and as De Schilder-konst der Oude begrepen in drie boecken in 1641, reprinted 1659.

A second edition of De pictura, enlarged and improved by himself and augmented with an index, was published posthumously by J. G. Graevius in 1694, with a life of Junius included as a preface.

1655, Observationes in Willerami Abbatis Francicam paraphrasin Cantici Canticorum

“Notes on Abbot Williram’s Frankish paraphrase of the Song of Songs”

1655, Annotationes in harmoniam Latino-Francicam quatuor evangelistarum, latine a Tatiano confectam

“Annotations on the Latin-Frankish harmony of the four Gospels, with the Latin of Tatian” (i.e. the Diatessaron)

1655, Cædmonis monachi paraphrasis poetica Genesios ac praecipuarum sacrae paginae historiarum, abhinc annos M.LXX. Anglo-Saxonice conscripta, et nunc primum edita

“The poetical paraphrase by the monk Cædmon of Genesis and the other principal pages of sacred history, composed in Anglo-Saxon 1070 years ago, and now edited for the first time”.

The first edition of the important poetical codex now designated Bodleian Library MS Junius 11. While it is no longer believed that Cædmon wrote the poems it contains, it is still commonly known as the Cædmon manuscript.

1664, Gothicum Glossarium, quo Argentii Codicis Vocabula explicantur

“A glossary of words of the Gothic language as found in the Codex Argenteus”

1665, Quatuor Domini Nostri Iesu Christi Evangeliorum Versiones perantiquae duae, Gothica scilicet et Anglo-Saxonica

“The Four Gospels of Our Lord Jesus Christ in two ancient versions, namely the Gothic and the Anglo-Saxon”

The Gothic version is Ulfilas’ translation, and was edited by Junius from the Codex Argenteus. The Anglo-Saxon version was edited by Thomas Marshall. Junius’ Gothic glossary (above) was included, along with Marshall’s notes.

1743, Etymologicum anglicanum

“English Etymology”

Published posthumously in an edition by Edward Lye, who included a life of Junius and George Hickes’s Anglo-Saxon grammar.

Category

Arts & Architecture

Authors

Franciscus Junius Joannes Georgius Graevius

Printing Date

17th Century

Language

Latin

Binding

Vellum

Book Condition

Good

Collation

Complete