Воля Ваша, но - для сравнения - взгляните на интерпретацию, которую дают этой работе Клебански, Панофски и Саксл в их "Сатурн и меланхолия": "Matthias Gerung's picture of 1558 (PLATE 123) shows in the centre Melancholia winged, and seated, in a typical attitude of "elbow on knee" , but full face and without any attributes. The compasses are not held by her, but by a man crouching at the bottom of the picture and apparently busy measuring a globe. not unlike God the Father in the Bibles Moralisies; we see in him a cosmographer, a perfect example of the possessor of the cast of mind symbolised by the chief figure. About these two figures there winds a bright garland of miniature scenes. In a richly variegated and undulating landscape we see every possible activity of urban, rural, and military life: but, though realiStically con· ceived, these representations appear to have no connexion of any kind' either with ea.ch other or with. the notion of melancholy. Th~" astral phenomena, however, poin:t the way to a possible inteipretation. Apart from the motifs of the rainbow and the comet, which have been taken over from Durer, we sec the sun and .the two planetary 'deities Luna and Mars, and between them a cherub apparently beckoning to Mars. (That angel. guided the planets in their courses was a notion very familiar to Christian astrology, which survived even in Raphael's mosaic in the Chigi Chapel in Santa Maria.del Popolo.) It is uncertain whether the planets of this triad are to be interpreted as the ruling planets of the year, as a conjunction, or as a mere sign of the general state of affairs, but it is certain that their presence is not accidental. One has the impression that there is a certain actuality inherent in the picture, and that it is a picture of melancholy not merely painted in the year 1558 but somehow conditioned by it. (This was the year of the death of Charles V.) In actual fact, the three planets are so obviously conducted with the scenes in the lower half of the picture (up to about the scroll) , that one can divide the scenes almost out of hand into the typical occupations of the "children" of the sun, the Moon and Mars. Banquets, games, baths, jugglers-note the dancing bear belong to the moon; music, wrestling, fencing and archery to the sun; warfare and metalwork-note the mine- belonging of course to Mars. The scenes in the upper part of the picture, however, seem to represent the seasons, or the months, and, probably signify the course of that ominous year : tilling, harvesting, pasturing, pig-slaughtering, hunting and sleighing. Sleighing, indeed, since it appears in a landscape not otherwise wintry, is scarcely explicable save by an intention to characterise the different parts of the year. The picture is by no means without charm, but the artistic effect of it as a whole is achieved by the fact that neither Melancholia nor the human representative of this temperament, the cosmographer, appear to take any part in all this gay or perilous round of daily life. They arc unmoved by the misery of war, they take no pleasure in the games, banquets or other amusements, no part in the joys and sorrows of the countryside. The homely verses in Amman's armorial sum up this quahty of the melancholy disposition :
Children's prattle joys me not Nor laying hens, nor capons fat. Let me alone, to think my mind, Small profit else in me you'll find". (Saturn and Melancholy Studies in the History of Natural Philosophy, Religion and Art by Raymond Klibansky Erwin Panofsky and Fritz Saxl. Nendeln, 1979. P. 380 - 382)
"Matthias Gerung's picture of 1558 (PLATE 123) shows in the
centre Melancholia winged, and seated, in a typical attitude of
"elbow on knee" , but full face and without any attributes. The
compasses are not held by her, but by a man crouching at the
bottom of the picture and apparently busy measuring a globe.
not unlike God the Father in the Bibles Moralisies; we see in him
a cosmographer, a perfect example of the possessor of the cast
of mind symbolised by the chief figure. About these two figures
there winds a bright garland of miniature scenes. In a richly
variegated and undulating landscape we see every possible activity
of urban, rural, and military life: but, though realiStically con·
ceived, these representations appear to have no connexion of any
kind' either with ea.ch other or with. the notion of melancholy.
Th~" astral phenomena, however, poin:t the way to a possible
inteipretation. Apart from the motifs of the rainbow and the
comet, which have been taken over from Durer, we sec the sun
and .the two planetary 'deities Luna and Mars, and between them
a cherub apparently beckoning to Mars. (That angel. guided the
planets in their courses was a notion very familiar to Christian
astrology, which survived even in Raphael's mosaic in the Chigi
Chapel in Santa Maria.del Popolo.)
It is uncertain whether the planets of this triad are to be
interpreted as the ruling planets of the year, as a conjunction,
or as a mere sign of the general state of affairs, but it is certain
that their presence is not accidental. One has the impression
that there is a certain actuality inherent in the picture, and that
it is a picture of melancholy not merely painted in the year 1558
but somehow conditioned by it. (This was the year of the death
of Charles V.) In actual fact, the three planets are so obviously
conducted with the scenes in the lower half of the picture (up
to about the scroll) , that one can divide the scenes almost out
of hand into the typical occupations of the "children" of the sun,
the Moon and Mars. Banquets, games, baths, jugglers-note the
dancing bear belong to the moon; music, wrestling, fencing and
archery to the sun; warfare and metalwork-note the mine-
belonging of course to Mars. The scenes in the upper part of the
picture, however, seem to represent the seasons, or the months,
and, probably signify the course of that ominous year : tilling,
harvesting, pasturing, pig-slaughtering, hunting and sleighing.
Sleighing, indeed, since it appears in a landscape not otherwise
wintry, is scarcely explicable save by an intention to characterise
the different parts of the year. The picture is by no means without
charm, but the artistic effect of it as a whole is achieved by the
fact that neither Melancholia nor the human representative of
this temperament, the cosmographer, appear to take any part in
all this gay or perilous round of daily life. They arc unmoved
by the misery of war, they take no pleasure in the games, banquets
or other amusements, no part in the joys and sorrows of the
countryside. The homely verses in Amman's armorial sum up
this quahty of the melancholy disposition :
Children's prattle joys me not
Nor laying hens, nor capons fat.
Let me alone, to think my mind,
Small profit else in me you'll find". (Saturn and Melancholy
Studies in the History of Natural Philosophy, Religion and Art
by Raymond Klibansky Erwin Panofsky and Fritz Saxl. Nendeln, 1979. P. 380 - 382)
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