AD AMVSSIM.

[No source given]
Vt perpendiculo cuntos manus ipse labores
Dirigit artificis: sic quoque verus amans.
Verus amans recto numquam de tramite flectet,
A domina pendens totus, & in domina.

Not swaruing from right.

Euen as the plomet doth depend directly down,
The louer must not sway to th’one or th’other syde,
But euer to his loue direct and rightly byde,
For swaying once awry hee loseth his renown.

Ne quà, ne là.

Con misura l’artista opra, & corregge;
l’Amante il ben seruir hà per misura,
Sol la sua Diua d’aggradir procura,
E d’ogni suo volere à se fà legge.

Recht soo ’t behoort.

In ’t water-pas het loot altijdt wel recht moet hanghen:
Een minnaer die oprecht wil zijn/ moet niet bestaen
Te wijcken van sijn lief/ noch hier/ noch daer te gaen.
Want ware Liefde dwaelt niet van de rechte ganghen.

Ny ça, ny là.

Le plomb doibt au niueau tousiours justement pendre:
Ainsi doibt vn amant, sans d’vn point le passer,
Au gré de sa maitresse, en tout se compasser,
Sa seule volonté pour son but faut il prendre.

77 ↓

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Facsimile Images

76, LEI:

76, LDF:

76, LIF:

77, pictura:

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Translations

Nauwkeurig [Lineaal-recht].

Accurately.

Zoals de hand van de kunstenaar al zijn werken richt naar de loodlijn, zo doet ook een echte minnaar. Een echte minnaar zal nooit van het directe pad afwijken en geheel van zijn meesteres afhangen en naar haar gericht hangen.

Like the very hand of the artisan directs all his works to a plumb-line, so does a real lover. A real lover will never turn from the right path hanging totally from and to his mistress.

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Literature

Henkel and Schöne, Emblemata, col. 1423
Praz, Seventeenth-Century Imagery, pp. 109-110
Sebastiàn, Lectura crítica, p. 27

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Sources and parallels

See the plummet in: Amor rectus [4] (in: Otto Vaenius, Amoris divini emblemata (1615)) [Compare]
Ad amussim [24] (in: Otto Vaenius, Emblemata aliquot selectiora amatoria (1618)) [Compare]
Daer schuijlt [29] (in: Pieter Cornelisz. Hooft, Emblemata amatoria (1611)) [Compare]
Reference to the importance of staying in the middle: In medio consistit virtus. [6] (in: Otto Vaenius, Q. Horatii Flacci Emblemata (1612)) [Compare]
Compare Harvey, School of the Heart, embl. 23
Same attribute in: Culmen honoris lubricum. [46] (in: Otto Vaenius, Q. Horatii Flacci Emblemata (1612)) [Compare]
Parallel for the pictura (but background less detailed and a decorated frame) and for some mottoes (Latin, Italian, French) in: Un Amour avec un Niveau (in: Daniel de la Feuille, Devises et emblemes (1691)) [Compare]

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References, across this site, to this page:

Un Amour avec un Niveau (in: Daniel de la Feuille, Devises et emblemes (1691))
Daer schuijlt [29] (in: Pieter Cornelisz. Hooft, Emblemata amatoria (1611))
Amor rectus [4] (in: Otto Vaenius, Amoris divini emblemata (1615))
In medio consistit virtus. [6] (in: Otto Vaenius, Q. Horatii Flacci Emblemata (1612))
Culmen honoris lubricum. [46] (in: Otto Vaenius, Q. Horatii Flacci Emblemata (1612))
Ad amussim [24] (in: Otto Vaenius, Emblemata aliquot selectiora amatoria (1618))

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Iconclass

A cupid holding a plumb-line

farm or solitary house in landscape [25I3]
castle [41A12]
annexes and outbuildings; fencing; gate [41A5]
tools and machines ~ building: plumb-line [47G6(PLUMB-LINE)]
the Golden Mean; 'Mediocrité' (Ripa) (+ emblematical representation of concept) [54A431(+4)]
Luck, Fortune, Lot; 'Fato', 'Fortuna', 'Fortuna aurea', 'Fortuna buona', 'Fortuna pacifica overo clemente', 'Sorte' (Ripa) (+ emblematical representation of concept) [54F12(+4)]
(personifications and symbolic representations of) Love; 'Amore (secondo Seneca)' (Ripa) (+ emblematical representation of concept) [56F2(+4)]
proverbs, sayings, etc. (with TEXT) [86(AD AMUSSIM)]
other non-aggressive activities of Cupid [92D156]

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Comments

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Ad amussim [39]

Facsimile Images

Translations

Literature

Sources and parallels

References, across this site, to this page:

Iconclass

Comments

Notes