B. Quesada, coat of arms with motto and support

Sable, semé of Tulips Or; on a chief cousu Azure, two Crowns Or, in fess. Supporter A Tree Vert, eradicated. Motto «Amat victoria curam».

Escudo de sable, sembrado de tulipanes de oro; el jefe cosido de azur, dos coronas de oro, en faja. Por sostén un árbol de sinople, arrancado. Lema «Amat victoria curam» de oro, sobre una filacteria de azur.

The original design of this coat of arms, along with many others heraldic devices, is registered in [Salmerón Cabañas, A.; 2015a; page 11].

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Blazon keywords: Without divisions, Sable, Or, Azure, Chief, Two, Crown, In fess, Semé, Tulip, Crest and mantling, Vert, Tree, Erased, Supporter (thing), Motto and Scroll.

Style keywords: Watercolor, Semi-circular, Illuminated, Outlined in the field tincture, Outlined in sable and Cousu.

Classification: Coat of arms, Created and Personal.

Bearer: Quesada Valles, Bartolomé.

This video shows the ideation of this coat of arms step by step, its field, chief cousu, figures, motto and it supporter. The music is «Sonata No. 8 in G major – 1. Allegro» of Ludwig van Beethoven interpreted by Paul Rosenthal, violin, and Edward Auer, piano, available under an «Open Audio License».

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Credits:

• Paul Rosenthal violin performance.
• Edward Auer piano performance.

Blazon keywords: Without divisions, Sable, Or, Azure, Chief, Two, Crown, In fess, Semé, Tulip, Vert, Tree, Erased, Supporter (thing), Motto and Scroll.

Style keywords: Semi-circular, Illuminated, Outlined in the field tincture, Outlined in sable and Cousu.

Classification: Video, Created and Personal.

Bearer: Quesada Valles, Bartolomé.

José María Alonso Gamo, «Cayo Valerio Catulo: Poesías Completas», Volume I Complete Works of Alonso Gamo, edited by AACHE Ediciones de Guadalajara, 385 pages, ISBN 84-96236-15-3, Legal Deposit GU. 202/2004, Guadalajara, 2004.

The initial pages explain the author's devotion to Catullus and present the complete works of José María Alonso Gamo. From page 15 to 134, it studies Catullus and his poetic work. From page 137 to 335, it presents his poems in Latin and their translation by José María Alonso Gamo. From page 337 to 382, the bibliography on Catullus. This publication is made 10 years after the death of José María Alonso Gamo in 1993, by his express wish.

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Bibliographical reference of century XXI.

Author: Alonso Gamo, José María.

Bibliographical reference mentioned in the following article:

• Catullus, C. V.; Century I B.C.

External links:

• Google Books: Poesías Completas.
• Google Books: Catulo Amat Victoria Curam.

Gaius Valerius Catullus, from 87 to 57 BC or from 87 to 54 BC, «Corpus Catuliano, 116 Poems: Poem number 62, Wedding Hymn in Hexameters», Rome, 1^st Century BC.

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Gaius Valerius Catullus, Poem LVII, beginning

Vesper adest, iuvenes, consurgite: Vesper Olympo
Exspectata diu vix tandem lumina tollit.
Surgere iam tempus, iam pinguis linquere mensas,
Iam veniet virgo, iam dicetur Hymenaeus.
Hymen o Hymenaee, Hymen ades o Hymenaee!

Cernitis, innuptae, iuvenes? consurgite contra:
Nimirum Oetaeos ostendit Noctifer ignes.
Sic certest; viden ut perniciter exsiluere?
Non temere exsiluere, canent quod vincere par est.
Hymen o Hymenaee, Hymen ades o Hymenaee!

Non facilis nobis, aequales, palma parata est:
Aspicite, innuptae secum ut meditata requirunt.
Non frustra meditantur: habent memorabile quod sit.
Nec mirum, penitus quae tota mente laborant.
Nos alio mentes, alio divisimus aures:
Iure igitur vincemur: amat victoria curam.
Quare nunc animos saltem convertite vestros;
Dicere iam incipient, iam respondere decebit.
Hymen o Hymenaee, Hymen ades o Hymenaee!

...

My translation in hendecasyllables

...
They note everything worth remembering and do not practice in vain,
let it not surprise us, for their minds are focused on the work.
But if we distract our ears and scatter our thoughts,
by law they will defeat us, for victory loves those who care.
...

The complete poem can be consulted in Latin and Spanish in [Alonso Gamo, J. M.; 2004; page 242] and in Latin in [Gaio da Legnago, A. del; 1375; reverse of folio 17].

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Bibliographical reference of century I B.C.

Author: Catullus, Gaius Valerius.

The following article cites this bibliographic reference:

• Kleisner, T.; 2009

External resources:

• The text of Catullus in ASCII was extracted from.
• The edition and punctuation follow that of Google Books.
• Catullus Online: Poems.
• Catullus Online: Edited pages.

Antonio del Gaio da Legnago, «Catulli Veronensis Liber Incipit, Manuscript», Deposited in Paris at the National Library of France, Parisinus lat. 14137. Available in digital version at «http://CatullusOnline.org» edited by Dániel Kiss. Verona, 1375.

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Manuscript made in Italian Gothic minuscule, usually called «rotunda». The identification of Antonio del Gaio da Legnago as the scribe was made by Giuseppe Billanovich. On parchment, initial folio plus 36 double-sided folios (72 pages) measuring 24.0 x 16.5 centimeters, with a written area of 16.0 x 10.5 centimeters. Antonio del Gaio da Legnago left the manuscript incomplete, which was finished by a second hand that also made numerous corrections.

The recto of folio 1 begins with the phrase «Catulli Veronensis liber incipit» and ends with a shield of azure with nine gold figures, four, two, two, one, with the 5^th, 6^th, and 9^th in the tip being pear-shaped and the others more oval, which I do not identify although they could be stones or islands. On the recto of folio 36 appears the date 1375.

Catullus's poem 62 is found between the verso of folio 17 and the recto of folio 18, along with the phrase «amat victoria curam».

Verse 14 is missing

On the verso of folio 17, «amat victoria curam» is found in line 15 of the poem and not in line 16 because Antonio del Gaio da Legnago seems to have completely skipped verse 14 «Nec mirum, penitus quae tota mente laborant». I have always thought that the absence of this verse could help establish a possible path of manuscript copies of Catullus's poetry.

Hand pointing at the motto

An interesting detail is that on this verso of folio 17, there is a painting of what in heraldry is known as a «gloved hand». It was painted later, and it points with its index finger directly at the phrase «amat victoria curam».

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Bibliographical reference of century XIV.

Author: Gaio da Legnago, Antonio del.

Bibliographical reference mentioned in the following article:

• Catullus, C. V.; Century I B.C.

External resource:

• Catullus Online: Poems.

Tomáš Kleisner, «Amat Victoria Curam: The Device of Archduke Matthias on his Medals», Studia Rudolphina, issue 9, pages 87-99, bulletin of the Research Center for Visual Arts and Culture in the Age of Rudolf II (Research Center for Graphic Arts and Culture in the Age of Rudolf II, founded in January 2000), from the Institute of Art History, Academy of Sciences of the Czech Republic. edited by Lubomír Konecný and Beket Bukovinská, published by Artefactum, ISBN 978-80-86890-27-2, ISSN 1213-5372, Prague, 2009.

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The article reviews the use of the motto «Amat victoria curam» by Archduke Matthias on his medals and coats of arms, which he used as early as 1579, at the age of 22.

Regarding the origin of the motto «Amat victoria curam», Tomáš Kleisner refers us to the verses of [Catullus, C. V.; Century I B.C.; poem LVII, verse 16].

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Bibliographical reference of century XXI.

Author: Kleisner, Tomáš.

External links:

• Historický ústav AV CR.
• The coat of arms of Archduke Matthias.

Internal resources: KleisnerT2009.AmatVictoriaCuram.Original.pdf original and KleisnerT2009.AmatVictoriaCuram.Resumen.pdf summary.

My artistic evolution can be classified into three 3 major phases, each of them marked by the influence of a particular school. These three stages, in turn, made their own contributions to my current heraldic production:

• Pop Art: At the beginning of the 1980s, most of my initial work was tuned to the Pop Art. From there comes my interest in the representation of objects, the use of spot and basic colors, the production oriented to its graphic reproduction, the use of mixed techniques and the principles of clarity and cleanliness, so present in my current production. At the end of this stage I start to work on thick, but delicate, coated paper of the base color of the table on which I apply colors and textures by adding elements of color or by the destruction of the base itself.
• Geometric abstraction and abstract expressionism: During the 2^nd half of the 80's, my art evolves towards geometric abstraction in the line and to abstract expressionism in the color. Since then I base my painting in the two-dimensionality of the plane, the use of simple shapes, in harmonies with or without symmetries or with apparent symmetries, reinforcing the use of basic colors: yellow, red, blue, sometimes with white as a neutral background and black as a delimiter, which is the purest tradition of Heraldry.
• Surrealism and symbolism: Both two previous stages converged at the beginning of the 90s with my surreal and symbolic background to produce, during the following two decades, hundreds of automatic painting works in ink and watercolor characterized by a series of personal characteristics. Undoubtedly this evolution marks my current heraldic production. For example, the patterns inside the mantling of my shields are made with the mind of automatic state or the overall assembly of the heraldic work where symbolism is a constant. At this stage I usually use Fabriano paper of 300 grams, usually 100% cotton, liquid ink pens to favor speed, Vallejo (brand) liquid watercolors and, sometimes, as a complement, paste watercolors Winsor & Newton.

Sigue por: Valero de Bernabé, L.; 2012a.