The Greeks had two words for us: ekphrasis (the verbal description of a work of art) and topothesia (the description of an imagined place).
As topothesia is the less common, look it up in your copy of Erasmus De copia:
Quae si verae sint, ÏoÏoÎłÏÎ±ÏÎčÎ±Ï appellari volunt, sin fictae, ÏoÏoÎžÎ”ÏÎčÎ±Ï. Prioris formae sunt: Carthiginis et portus apud Maronem descriptio; apud Plinium in Epistolis Laurentis villae; apud Statium Surretinum Polii et Tibertinum Manlii; posterioris: sedes Somni apud Ouidium; domes Famae et regia Solis apud eundem; inferorum et Caci domus apud Vergilium; Tenari apud Statium; domus apud Lucianum; regia Psyches apud Apuleium.
[If these descriptions are true, they are called topographias; if imagined, topothesias. In the first category are: the description of Carthage and its port in Virgil; of his Laurentine villa in the letters of Pliny; the villas of Polius in Sorrento and Manlius in Tivoli in Statius. The imagined include: the House of Sleep, the House of Fame, and the Palace of the Sun in Ovid [Met. 11.592; 12.39; 2.1]; Hell and the House of Cacus in Virgil [Aen. 6.268; 8. 225 ss]; Taenarum in Statius [Thebaid 2.32]; the house in Lucian [De domo]; and the Palace of Psyche in Apuleius [5.1-2].]
As nobody has seen the next world and lived to tell the tale, descriptions of the Other Side count as imagined descriptions.
A once well-known ekphrasis is the Table (or Tablet) of Cebes, alias Pinax. This describes a metal plate on which is depicted the whole life of man:
It was rather a circular enclosure, with two other such enclosures within it, one larger than the other. On the first circle was a gateway, near which was pictured a crowd of folk, and within it we saw a multitude of women. [...]
[An old man explains:]
This circle is called life. The great crowd you see standing beside the gate are those about to journey into life. The old man standing above the crowd holding a paper in his hand [...] is called Genius. He is giving advice [...]
That woman of affected appearance and smooth, plausible manner [...] is called Deceit and leads all men astray [...]
So, decidedly a text: what image could incorporate so much teeming detail?
But many people took ekphrasis as a challenge: various sculptors attempted the Shield of Achilles on the basis of Homerâs text; and some tried to make visual the Table of Cebes.
An example is the image below:
All educated people in the 17th century knew the Pinax: Milton, in his treatise Of Education includes it among the âeasy and delightful books of educationâ.
Francisco de Quevedo was no exception.
In 1627 he issued his SueĂ±os (Dreams), apocalyptic visions, loosely arranged but always biting vignettes of the folly and sins of man and woman, grotesque in a very baroque way. They were censored in subsequent editions because among other things Quevedo attacked priests. Like the Good Lord, he was no respecter of parsons (Acts 10.34), a biblical pun that would have been OK in the 15th century but would have got me into trouble in the 1600s.
They were translated by Sir Roger LâEstrange.
The first illustrations of the Dreams came in Brussels in 1669 in vol. I of Quevedoâs works.
Above and below: illustrations from Francisco de Quevedo, Obras ... Nueva impression corregida y ilustrada con muchas estampas muy donosas y apropriadas aÌ la materia. [Edited by Pedro Aldrete Quevedo y Villegas.] (Antwerp, 1699) 635.g.3-5#
The plates are by Gaspar Bouttats (1640?-96?), who âinvenit et fecitâ, i.e. they are his own designs.
I was struck by the resemblance between the engraving of the Table and the depiction of Hell and the Last Judgment in the Dreams, particularly the numerous figures crowded into a steeply raking landscape.
The resemblance is almost certainly because both images are the work of artists from the Low Countries. Perhaps when reading the text of the Dreams Bouttatsâs visual memory recalled images of the Pinax.
Barry Taylor, Curator Romance Studies
The Characters of Theophrastos. The Mimes of Herodas. The Tablet of Kebes. Translated with an introduction by R. Thomson Clark and 34 full page illustrations from Francis Howellâs edition of 1824. (London, ) 8464.aa.28.
Sagrario LĂłpez Poza, âLa Tabla de Cebes y los SueĂ±os de Quevedoâ, Edad de Oro, 13 (1994), 85-101. P.901/3635
Erasmus, De copia verborum ac rerum, ed. Betty I. Knott, Opera omnia Desiderii Erasmi Roterodami, Ordo I, tom. 6 (Amsterdam, 1988), p. 214
Enrique Gacto FernĂĄndez, âSobre la censura literaria en el s. XVII: Cervantes, Quevedo y la InquisiciĂłnâ, Revista de la InquisiciĂłn, 1 (1991), 11-61. ZA.9.a.6465