Table Of ContentJ3HAKESPHAHE1S BONNOT 34
IK THE LIGHT OF SIXTEENTH OEOTURX ART THEORY
by
Clayton Vought Fowler
A dissertation oubraitied in partial fulfillment of the
requirements for tho dosreo of Doctor of Hiilosophy
In the Department of Art9 in the
Graduate College of tho State
University of Iowa
Augustn 1951
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X wish, t© express my deepest appreciation
to Br. william S. Heckeeher who suggested this
subject as a topic for research and whose wise
counsel and discerning criticism have guided
the course of my study| to Dr* Ernest P* Kuhl
for his unfailing encouragement and innumerable
valuable references? and to the other members
of my committee, Dr* Earl E* Harper, Dr. James
F* dilliam, Professor Mauri©!© h&e&nsky,
Associate Professor James Lecliay> Mr* Palmar L*
Hordquist, and Dr* Lester D* Longman.
X am sincerely grateful to Andrew Schiller
for his constant interest and assistance In
editing and revising the manuscript.
11
At the suggestion of l)r, William 5. Heoksoher I
began the reading of Shakespeare1 b Sonnets in September,
1950, for the purpose of explaining that poet1® us© of terms
pertaining to art. X was Immediately much intrigued by the
apparent simplicity of the theme In Sonnets 1-129. There is
little or no evidence pointing toward biographical, reli
gious, or historical matter, or to antiquity. The reader
soon arrives at the conclusion that these Sonnets are almost
exclusively concerned with the poet and with the person
addressed. On consulting Hollins* Hew Variorum edition of
the Sonnets one runs into subsidiary literature of vast
proportions, mainly built upon conjecture. No fact ha® come
to light which would help to reveal or document the true
identity of the person addressed, nor is there any evidence
to show precisely, why the Sonnets were written.
The Sonnets are amazingly simple in vocabulary.
This is significant in view of the fact that they were
written during a period when •Euphuism* was still popular
among writers. Shakespeare seems to have been aware of this
peculiar state of affairs wft,en in Sonnet 76 he definitely
reject© a complex styles f,Why write I still all one, ©uer
the same/ And keep Inuentlon in a noted weed,/ That euery
ill
word doth almost fel (t©Xl) my name.,.*' It seems to me that
he writes simply and with as little elaboration as possible
in order to. foster and cultivate a close relationship with
the other person* the "you.**
With these considerations in mind, X was led to
the word "perspective*! It Is an unusual word when compared
with the Sonnet vocabulary as a whole. It appears that no
one has approached the problem of Shakespeare's Bonnet
sequence from the particular direction of "perspective1* and
the vast world of sixteenth-century art theory which Is
evoked by It, Xn the course of my studies X have been led
to believe that Shakespeare was well aware of the Heopla-
tonic nature of contemporary art theory| that he understood
Its mathematical and philosophical background! and, that In
Sonnet 24 he made reference to "perspective" and the
"Painters art" because these terms offer a legitimate method
which was generally understood and suitable for the utmost
of poetic "compression" by means of which the poet could— as
in a flash— "see" and know his own soul. Thus, concepts
such as congruence, proportion, illumination, and direc
tional movement which played such a large part in the writ
ings of Shakespeare's contemporaries, Lomazzo, Eucoari, and
others, as well as in Neopl atonic philosophy which furnished
these concepts to the mannerist theoretltiaas of art are
present in the Sonnet© and for the same purpose, In the
light of these concepts the "true Image“ of the person ad
dressed In Sonnets may turn out to he no tiling more and
nothing lees than a representation of the poet1© spiritual
counterpart* that is* the “angel" mentioned by art theorists
and Heeplatonists*
tho following dissertation presents evidence in
support of these “theses*“
T m m OF COOTEOTS
Chapter Fas©
X Introduction,........ l
IX The Problem of Congruence In Sonnet 24*.......* 51
XXX The Problem of Proportion In Sonnet 24....... 40
IV The Problem of Illumination In Sonnet 24,*.,,* 69
V The Problem of Mreetional Movement In
Sonnet £4.. ...... ......... .............. ,, Q?
VI Conclusion, *,..***........................... 113
Bibliography*........ 130
vi
t*m& of ihhmtmTjoim
Figure Pag©
1 . rtPer0peotiv0 Study# *...... ******** 116
Pen drawing5 Codex Huygens,
fol. 110* uCa^ByTDT? om*)?
the Flerponb Morgan library* o. 1570*
2* ** perspective study# *****......************** 117
Pen tracing, Codex. Huygens*
fol* 116 3 r* , vTCT3 d^TsVB uiii, ) p
fhe Fierpont Morgan library, c. 1570.
5. 11 Allegory of Design# ♦ * *........********.... 118
Federigo Zuec&rl (1543-1609),
Fresco^ wSala del Dleegno,# (center)
Suooarl Palace, Rome*
4* HTh® transfiguration of the Artist11*****.... 119
Pe&erigo ftucoari £1542-1609),
Fr© soo, w Sal® f errena,11
Zuocarl Palace, Bob®,
5* 11 An unknown Lady#******.... *****........... 120
Nicholas Hilliard (1547-1619),
drawing, approximately actual size,
Victoria and Albert Museum*
6. 11 Self Portrait« * 121
Nicholas. Hilliard (1547-1619),
Miniature, approximately actual size,
Victoria and Albert Museum*
7* "Self Portrait1* (detail)..........*........ 122
Nicholas Hilliard (1547-1619),
Miniature, much enlarged,
Victoria and Albert Museum*
8* # Divine Relationships*1 .......... 123
Illustration for liber de Sapient©
of Carolus Bovillus,
Paris-Amiens 1610/11*
vil
9. *•*•*,*«.., * *. *.......**..*. 124
Oeeare Bipa* Xoonologia.
Siena, X6XS, pT SW*
ID* "0&i arwaft* *.*****,.,*.**.... 12a
Oes&re Mpa, Xeenoloi&ia*
Siena, 1616, p* 105*
1.31, "DXvia© Relationships* ......... 126
Illustration for Llbe£ $&, Saj>lente
of Garolus Boviliue*
Pari s—Amiens , 1510/11 *
12. ^Bivin© EolatloBShlpa**..... *........ 12?
lllaatration for Mfoer do B&olente
of O&rolme BoiriXlus*
Paris** Amiens, 1510/lX*
13. ttAn unknown Man against a Background with to®
Flames of Passion1*. ....... 128
Micholas Hilliard (1547-1619),
Miniature* 2 m / m x 2 1/8 in.*
Victoria and Albert Museum.
14* wAn unknown ladytt 129
Hieholas Hilliard (1547-1619),
Miniature *
Earl of Radnor.
Till
Chapter I
XMTHODtJCMON
Shakespeare* more often than one might think*
makes reference to technical terms which are common to art.
Mien therefor® he borrows terns from the HFainter*s art*# as
in Sonnet 24, we are put under obligation to inquire into
their exact meanings and into the variety of connotations
which surround them, The purpose of this dissertation is to
show that Shakespeare used these terms in a maimer compatible
with the convention of his day, and, that h© Intended to make
full use of the metaphysical overtones characteristic of the
**natural magic,# a© it was known on the Continent and in the
British Isles during the last half of the sixteenth century.
Furthermore, Shakespeare1 & usage of such concepts may help to
reveal the true Identity of the **friend# addressed In the Son-
1
nets. My procedure would b© to examine the word #perspec
tive" in conjunction with other key words used in this Sonnet.
Mine eye hath play5d the painter and'hath stoeld,
Thy beauties forme in table of my heart,
My body Is the frame wherein ti*a held,
And perspective it is best Painters art.
For through the Painter must you sea his skill,
Tb'flmde- where your true Image pictur*d lies,
Which in my bosemes shop is hanging stil,
That hath,hi© window©s glazed with thine eyest
How see what good**turn©s eyes for eies haue done,
Mina ©yes haue drawn© thy shape, and thin© for me
Are window©© to my brest, whore-through the Bun
Delights to peep©, to gaze therein on thee
