Gaio da Legnago, A. del; 1375

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.

The following article cites this bibliographic reference:

• Catullus, C. V.; Century I B.C.

External link:

• 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.

The author is 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.

Luis Valero de Bernabé y Martín de Eugenio, «El Hombre en la Heráldica», 2012.

I received this article directly from the author, to whom I am grateful for his kind submission. I consider it a preliminary and preparatory work for his later article [Valero de Bernabé, L.; 2012b; pages 24-27].

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Bibliographical reference of century XXI.

The author is Valero de Bernabé y Martín de Eugenio, Luis.

Internal resources: ValeroBernabeL2012.ElHombreEnLaHeraldica.RevistaHidalgos.pdf article personally sent to me by the author.

Luis Valero de Bernabé y Martín de Eugenio, «Las Figuras Humanas en la Heráldica», Magazine of the Real Asociación de Hidalgos de España, «La Gacetilla de Hidalgos de España», number 530, pages 24, 25, 26 y 27. Madrid, Spring 2012.

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Bibliographical reference of century XXI.

The author is Valero de Bernabé y Martín de Eugenio, Luis.

The following article cites this bibliographic reference:

• Valero de Bernabé, L.; 2012a

External resource:

• Hidalgos de España.

Internal resources: ValeroBernabeL2012.530.RevistaCompleta.pdf.

F. S. Stych, University of Sheffield, «The Flow Chart Method and Heraldic Enquiries» RQ, volume 6, number 4, pages 169-174, published by American Library Association, Chicago, summer of 1967.

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This article describes, using a flowchart, a method to identify the holder of a coat of arms. This method is applicable to the armories of the United Kingdom, as it follows their heraldic norms and most important sources. One of the target readers of the article are librarians who, finding coats of arms in books, plates, ex libris, etc., need to classify them.

The most notable aspect of the article is the 1967 flowchart, which is shown in the image above. This image has been extracted, cleaned, and enhanced from the original diagram contained at the end of the article. Note that some functions appear repeated within the scheme, such as, «Check families listed in Anson, etc. in Burke's General Armory. Arms found?» which, in turn, is represented with a task rectangle, when it really is a rectangle containing a question, a bifurcation, which should be a diamond «Arms found?», that is, it has been represented by a rectangle what should have been represented by a rectangle and a diamond. This same issue occurs in other processes and is probably due to not complicating the flowchart further.

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Bibliographical reference of century XVIII.

The author is Stych, F. S..

Dr. A. Salmerón

The copyright of the images, drawings, compositions or accompanying texts displayed on this site Blason.es, or in its associated heraldry domains, and which are the product of the creation of new coats of arms or the interpretation of already existing coats of arms corresponds to its author Antonio Salmerón Cabañas who is, in turn, the proprietor Blason.es.

The copyright of each work is protected by its corresponding registration of intellectual property. Antonio Salmerón Cabañas is also the author of propiedad intelectual.

Antonio Salmerón Cabañas is also the author of:

• the design of this website,
• of the images that decorate it,
• of the source code in the HTML, Tol and Javascript languages that materialize it,
• of his personal signs, his pseudonym without anonymity and the «taglines» of Blason.es,
• documents in PDF, photographic or video formats and
• owner of the trademark «Chinapieria», [Salmerón Cabañas, A.; 2009], to the which is referenced in some articles of Blason.es,

all of which is protected and protected by the laws of intellectual and industrial property.

It is not allowed to copy, use or reproduce these images, drawings, compositions or texts without the express authorization of the author and, more importantly, always respecting the rights of the holders of the coats and blasons as specified in the article called ownership of blazons and coats of arms.

Kevin McLeod's music

Kevin MacLeod (Incompetech.com) is the author of the musical compositions of some videos. He has the generosity to license it through «Creative Commons: By Attribution 3.0» (CreativeCommons.org/licenses/by/3.0/) and both here and in the credits of all these videos this generosity is attributed. Although this license permits modification of the work, these soundtracks are the originals of Kevin MacLeod.

Fonts by Pia Frauss

The wonderful fonts shown in Blason.es and some of its documents in PDF format have the rights of Dr. Marianne Steinbauer (Pia-Frauss.de) who personally authorized me to use them, from here my most sincere gratitude.

Historical documents

They can also be found in Blason.es and in its associated heraldry domains images and compositions that contain parts or clippings of armorials, heraldic books, or heraldic pieces with centuries of antiquity and, therefore, already in public domain.

Credits of the articles

In addition to the copyrights mentioned in the previous sections, The following list shows the credits of the coats of arms, photographs or other heraldic objects that appear in some articles of Blason.es.

Although this list does not intend to be exhaustive, I try to maintain it the most updated and complete as possible and I will be happy to make the inclusions or appropriate modifications that are communicated to me.

• Stephan Urs Breu is the designer of the coat of arms in: The coat of arms of Alena Rehberger in 3 steps, Coat of arms of Alena Rehberger, Rehberger, Alena, Alena Rehberger, Crest of Alena Rehberger, Crest and motto of Alena Rehberger and Commoners' certification for Alena Rehberger.
• Rudolf Juchter van Bergen Quast is the designer of the coat of arms in: Dubai Office of the European Chamber of Digital Commerce.
• Juan Lanzagorta Vallin is the designer of the coat of arms in: Francisca Aras Quirce, Aras Quirce, Manuel Maria, Sister Esperanza Vega Lanzagorta, schema 2x2, Sister Esperanza Vega Lanzagorta, outlined, Sister Esperanza Vega Lanzagorta, plain tincture, Vega Lanzagorta, Sister Esperanza, Ixai Lanzagorta Ochoa, schema 1x3, Ixai Lanzagorta Ochoa, schema 2x2, Lanzagorta Ochoa, Ixai, Ixai Lanzagorta Ochoa, plain tincture, Juan Lanzagorta Vallín, schema 1x3, Juan Lanzagorta Vallín, outlined, Juan Lanzagorta Vallín, plain tincture, Lanzagorta Vallín, Juan and Juan Lanzagorta Vallín.
• Rolando Yñigo-Genio is the designer of the coat of arms in: Motto of Rolando Yñigo-Genio, ISCH Certification for Rolando Yñigo-Genio, Yñigo-Genio, Elias, Coat of arms of Elias Yñigo-Genio, Yñigo-Genio, Noelia, Coat of arms of Noelia Yñigo-Genio, Yñigo-Genio, Rolando and Coat of arms of Rolando Yñigo-Genio.
• Alfonso de Ceballos-Escalera y Gila is the author of the certification of arms in: Carlos Vidriales, certification, cover and page 6, Carlos Vidriales, certification, pages 3 and 6, Carlos Vidriales, certification, pages 6 and 7 and Carlos Vidriales, certification, 8 pages.
• Andreu Alfaro is the author of the sculpture in: Location map.
• Carlos Vidriales commissioned this wax seal from my interpretation of his arms in: Carlos Vidriales, seal and sealing wax.
• Edward Auer piano performance in: B. Quesada, video of the blazon.
• Ernesto Juan Anaya is the designer of the coat of arms in: Lucca de Anaya, Nilda Ernestina, Nilda Ernestina Lucca de Anaya, Reverend Nilda Ernestina Lucca de Anaya and Galero and motto of Nilda Ernestina Lucca de Anaya.
• Felipe Trujillo Jiménez is the designer of the coat of arms in: Pons Paneque, Jonathan, Jonathan Pons Paneque, Arjona Berrocal, Rubén and Rubén Arjona Berrocal.
• Fernando Martínez Larrañaga is the designer of the coat of arms in: Trujillo Jiménez, Hermanos and Hermanos Trujillo Jiménez.
• Kevin MacLeod es el autor de la música in: Video, drawing a helm.
• Kevin MacLeod is the author of the music in: o-XI, video of the heraldic starmap.
• Pablo Plaza is the author of the photograph in: Carlos Vidriales, his arms in my Exhibition at the International Lab and Carlos Vidriales, his arms in my Lecture at the International Lab.
• Paul Rosenthal violin performance in: B. Quesada, video of the blazon.
• Ron Cobb is the designer of the original starship in: o-XI, video of the heraldic starmap.
• SkyL.designer in: Sparkles, Marie Unicorn, Marie Unicorn Sparkles, Crest of Marie Unicorn Sparkles, Crest and motto of Marie Unicorn Sparkles and Commoners' certification for Marie Unicorn Sparkles.
• This book belongs to the Biblioteca Nacional de España. License Creative Commons CC-BY. You may share, transform and create from images in the public domain that are accessible in the Hispanic Digital Library in: Tejero de Rojas y Sandoval, J. F.; XVII, Pérez de Vargas, J.; XVI, Rodríguez de la Vega, A.; XVI and Avilés, T. de; XVI.

Sigue por: Nisbet, A.; 1722.