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Christian symbolism in HEMA, Planetenkinder, Astrology, Alchemy

Horus, Egyptian God of the Sky, the Sun & the Moon, God of War and God of Protection. Symbolized by a Falcon.<br />
<br />
http://en.wikipedia.org/wiki/Horus

An "Apkallu Griffin", one of the three "good" Apkallu demon forms, from Sumerian mythology. <br />
<br />
Possibly the early form of the Nephilim or "fallen angels" in the Old Testament.<br />
<br />
http://en.wikipedia.org/wiki/Sumer

Persian Sun God Mithra Standing on a Lion, ca 1400BC.<br />
<br />
Mithra was also the God of Justice, Contract and War.<br />
<br />
The Romans also worshipped Mithra, renamed into Greek as "Mithras", with some featured elements from early Christianity.<br />
<br />
http://www.newadvent.org/cathen/10402a.htm<br />
<br />
http://en.wikipedia.org/wiki/Mithraic_mysteries<br />
<br />
http://en.wikipedia.org/wiki/Mitra

Apollon, the Greek and Roman Sun God, rides sidesaddle upon the back of a griffin. ca 380BC

Chariot of Diyonysos being pulled by a panther, a gryph and a bull. Ca 400BC.<br />
<br />
Kind of similar to the Lion, Eagle, Ox and Angel symbolising the evangelists.

Hittite Sun and Moon God standing on a lion.<br />
Wall of Herald, Carchemish ca 900BC<br />
<br />
http://en.wikipedia.org/wiki/Hittites

Protogonus, or Phanes, was the first supreme ruler of the universe in Greek Mythology, associated the Sun and light and is commonly depicted with golden wings. <br />
<br />
He is also commonly associated with Roman god Mithras who like St. Michael was the patron of the soldiers. This relief is Roman from ca 200AD.<br />
<br />
Note the Zodiac surrounding Phanes/Mithras

The Lion-headed man associated with Roman god Mithras, the patron of the soldiers. Mithras is also associated with the Sun God and as "Sol Invictus" (the Unconquered Sun).

The Dendera Zodiac in Dendera, Egypt. This is the first known depiction of a Zodiac, currently dated to 50BC.

Helios, the Greek Sun God surrounded by 12 naked figures representing the hours, twelve clothed apostles representing the months and in the outer ring the zodiac<br />
<br />
From Tetrabiblos of Ptolemaios. Manuscript from 800AD.

Mosaic showing Sun God Helios surrounded by the Zodiac symbolizing the twelve months, and four women representing the four seasons.<br />
<br />
Severus Synagogue, Hamat Tiberias, 337AD

Zodiac from Kitab al-Aqalim, Arabian treatise on Alchemy by Abu al-Qasim al-Iraqi , ca 1200AD<br />
<br />
http://en.wikipedia.org/wiki/Maslamah_Ibn_Ahmad_al-Majriti

Christ surrounded by the Zodiak, representations of the twelve months and the four seasons.<br />
<br />
From Mss.lat.7028, fo 154 ca 1000AD<br />
Bibliothèque nationale de France

Christ surrounded by his disciples and outside of that, the Zodiac, from the Georgian early medieval cathedral Svetitskhoveli. Unknown date. Probably ca1200-1400AD

Planetenfolge im Siebenstern

Kitab al-Mawalid, Egyptian copy from the 1300s likely made by Persian illustrator, and based on astrological treatise from the 900s.<br />
<br />
Note the musicians and the Swordsman depicted below the Sun and the Lion, very simlar to this: http://www.facebook.com/media/set/?set=a.324101747621088.80494.304263799604883&type=3&saved#!/photo.php?fbid=324102447621018&set=a.324101747621088.80494.304263799604883&type=3&theater

Kitab al-Bulhan (Book-of-Wonders) From the late 1300s.<br />
<br />
http://bibliodyssey.blogspot.com/2008/03/kitab-al-bulhan.html

Kitab al-Aqalim, Arabian treatise on Alchemy by Abu al-Qasim al-Iraqi , ca 1200AD<br />
<br />
Note the "Royal" Griffin, the melting of Gold and Fire.

Battle between the Sun and the Moon<br />
<br />
From Aurora Consurgens, dated to the 1400s.<br />
<br />
Notice the Lion and the Griffin, the symbols of the fencing guilds the Marxbrüder and the Freifechter.

The Sun riding a Lion, fighting the Moon riding a Griffin. The (winged) Lion was the symbol of the Marxbrüder Fencing Guild. The Griffin was the natural opposition chosen for the Freyfechter Fencing Guild.<br />
<br />
From the Mellon MS 110 of 1760, but the symbolism and opposition is far older

Beasts by Virgil Solis ca 1550. Virgil Solis is known to have illustrated several images of fencers training. Note the Lion and the Griffin fighting.

St. Vitus with the symbol of resurrection, a rooster. According to legend he was boiled alive together with a rooster.<br />
<br />
The Patron Saint of Bohemia and the Fencing Guild Die Freifechter was St. Vitus.<br />
<br />
It is hard to tell for sure if it is a feather or a palm branch he is holding in his right hand, but the latter seems likely considering that it symbolizes victory and martyrdom.<br />
<br />
From the Nuremberg Chronicle, 1493<br />
<br />
http://en.wikipedia.org/wiki/Vitus<br />
<br />
http://saints.bestlatin.net/saints/vitus.htm

Cherub from the 16th century.<br />
<br />
Cherubim, the angels below the Seraphim in Rank. The Seraphim have six pairs of wings to cover themselves so the can protect the humans from burning up from their radiance.<br />
<br />
The cherubim, resembling living fire, according to Hezekiel, on the other hand are tetrads, with each cherub having four faces; a man, a lion, an ox and an eagle, all of the cherubs having to pairs of wings. These are also the symbols of the evangelists Matt, Luke, John and Mark.<br />
<br />
http://en.wikipedia.org/wiki/Cherub<br />
<br />
http://en.wikipedia.org/wiki/Seraphim

The Tetramorphs symbolizing the Four Evangelists from Book of Kells, dated to 800AD, created by Celtic monks in Iona in the Inner Hebrides.<br />
<br />
The angel, the winged Lion, the winged ox and the eagle symbolizes Matthew, Mark, John and Luke respectively.<br />
<br />
http://en.wikipedia.org/wiki/Book_of_Kells

The wappen of the Marxbrüder fencing guild. The seven lances probably symbolizes the seven sorrows of the Virgin Mary. The winged lion is the symbol of St. Mark.

Die Fechtschul by Hanns Senger Maller, ca 1550.

Earthly Paradise: Dante confesses his guilt, Beatrice reveals her face.<br />
<br />
Notice the Griffin pulling the chariot and the angel, eagle, winged lion and winged bull flanking it. These symbolize Christ and the evangelists.<br />
<br />
Botticelli, Sandro, c.1480-c.1495

Photo from St. Petri Church in Malmö, Sweden. Painting from the 1500s.<br />
<br />
Visible here are some of the symbols for the four evangelists and Christ; An angel for St. Matthew, a winged lion for St. Mark, a winged calf for St. Luke and an eagle for St. John. The Unicorn often symbolizes Jesus Christ or the Virgin Mary.

A collage of the griffin from various images associated with the Veiterfechter, arranged chronologically with the oldest from 1541 on the top left, and the youngest on the bottom.

The Coat of Arms of the Veiterfechter/Federfechter (Freifechter von der Feder zum Greifenfels). <br />
<br />
The name is associated with St Vitus, their patron saint. The city of Prague where they were founded have ties to St Vitus going back to 925AD when the first of three important churches dedicated to St Vitus was built. Possibly the palm frond in the Coat of Arms is a reference to him, although it has also been interpreted as a goose pen.<br />
<br />
There are also ties to the Duchy of Mecklenburg, where they received their charter. The Griffin is also the symbol of Rostock, which was part of Mecklenburg.<br />
<br />
Austran Greifenfels is also interesting in relation to this, for several reasons.

Bronze sculpture from Augsburg, late 1500s or early 1600s.

Reversed copy of an image of federfechters from 1541.<br />
<br />
The word Griffin is derived from the Greek word gryphos which is considered as a legendary creature with the body and head like that of a lion. <br />
<br />
Just like the lion it is considered as the King of beasts. Griffins were sacred to the Sun and the chariot of the Sun was commonly depicted as being pulled by the griffins.

Veiterfechter training with their symbol the griffin in the middle. Dated to 1550.<br />
<br />
From the Amberger Collection.

Sol Justitae by Albrecht Dürer, 1499AD

Mater Dolorosa, Stained Glass window dated to 1513. Ezbischöfliches Diözesanmuseum Freiburg. <br />
<br />
The seven swords represents the seven sorrows of the Virgin Mary.<br />
<br />
This window was originally made for the Freiburg Charterhouse. Dated to 1513–14, it has been attributed to the workshop of Hans Ropstein and shows a dramatic representation of the Virgin Mary grieving for her dead son (Mater Dolorosa) and pierced by seven swords, representing the Seven Sorrows of the Virgin; the Flight into Egypt; the search for the Holy Child Jesus in the temple; His arrest; flagellation; their meeting at the cross; His crucifixion and burial.

Frontispice d'un livre d'escrime, 1618<br />
<br />
Notice the griffon and the winged lion, the symbols of the fencing guilds the Freifechter and the Marxbrüder respectively. Also notice the smaller symbols the cat and the rooster behind them.

Astrology chart showing correlating areas on the human body. Date and source unknown.

"The Parts of the Body Ruled by the Signs of the Zodiac," Woodcut from Martyrologium der Heiligen nach dem Kalender, Strasbourg, 1484

From Johannes de Kethaäm's "Fasciculus Medicinae", 1493

Image showing what parts of the body that relate to the Zodiac. From Codex 3085, dated to 1470-75

Pisani-Dossi MS, 16r (1409)<br />
<br />
<br />
Fiore Dei Liberi

Codex.1324, 15r (1482-1487)<br />
<br />
Fillippo Vadi, heavily influenced by Fiore Dei Liberi

Cutting lines from Joachim Meyer's treatise of 1570.

Alchemical diagaram by Heinrich Cornelius Agrippa from 1533

Heinrich Cornelius Agrippa von Nettesheim , magician, mysticist, alchemist, theologian, astrologer, soldier and Freyfechter in 1537.<br />
<br />
"He was for some time in the service of Maximilian I, probably as a soldier in Italy, but devoted his time mainly to the study of the occult sciences and to problematic theological legal questions"<br />
<br />
http://en.wikipedia.org/wiki/Heinrich_Cornelius_Agrippa<br />
<br />
""...mit namen Heinricus Cornelius Agrippa, ein feiner Student unnd Freyfechter, der kam auff ein zeit gehn Ingolstadt."

Quote about Die Sonne in the Astrological section of Talhoffer's "Thott" treatise of 1459.

From Camillo Aggrippa's fencing treatise "Trattato Di Scientia d'Arme, con vn Dialogo di Filosofia di Camillo Aggrippa Milanese" of 1553.

The 'Mysterious Circles' proportionate to the fencer's body. - From Girard Thibault d'Anvers' Academie de l'Espée of 1630<br />
<br />
http://en.wikipedia.org/wiki/G%C3%A9rard_Thibault_d'Anvers

Uitrusting van een krijgsman, Michiel le Blon, 1597 - 1656<br />
<br />
Compare to https://www.facebook.com/304263799604883/photos/a.324101747621088.80494.304263799604883/754055161292409/?type=3&theater

From Girard Thibault d'Anvers' Academie de l'Espée of 1630

The Bronze Age Trundholm Chariot, dated to 1800 to 1600 BCE. In older Norse mythology, as described in Grímnismál, the Sun, Sol, the deity Svalinn (meaning cool as in Swe "sval") rides in the chariot of Sol and holds, or possibly stands as, a shield between the Sun and the earth below. If not the earth would be scorched and consumed in flames. Other myths tell about how two horses, Skinfaxi (Shining Mane) and Hrimfaxi (Frosty Mane) pull the Day and Night over the world. Later a myth of two wolves, Hate and Skoll, who chased the Sun and the Moon to devour them developed.

Die 7 Planeten: Sol, Leo, Löwe. Tierkreiszeichen des Juli (Signs of the Zodiac July), 1520-1550<br />
<br />
Hans Sebald Beham

"De Sphaera", Italian manuscript, 15th century.<br />
<br />
Biblioteca Estense, Modena, Italy

"De Sphaera", Italian manuscript, 15th century. Detail from previous image.<br />
<br />
Biblioteca Estense, Modena, Italy

Allegory of May - Triumph of Apollo, ca1469-70<br />
Francesco del Dossa<br />
<br />
From Salone dei Mesi di palazzo Schifanoia at Ferrara<br />
<br />
http://en.wikipedia.org/wiki/Francesco_del_Cossa

Dated ca 1450-1470<br />
<br />
Thanks to JPK for the link!<br />
<br />
http://daten.digitale-sammlungen.de/~db/0003/bsb00039824/images/index.html?id=00039824&fip=193.174.98.30&no&seite=18

The Seven Planets: Children of the Sun, 1464<br />
Baccio Baldini

The Seven Planets: Children of Mars, by Baccio Baldini 1464.

Planetenkinder der Sol, from German Astrological treatise Cod. 3085, dated to 1470-75.<br />
<br />
http://archiv.onb.ac.at:1801/webclient/DeliveryManager?pid=2945848

Planetenkinder der Sol (detail), from German Astrological treatise Cod. 3085, dated to 1470-75.

Planetenkinder der Mars, from German Astrological treatise Cod. 3085, dated to 1470-75.<br />
<br />
http://archiv.onb.ac.at:1801/webclient/DeliveryManager?pid=2945848

Planetenkinder from the late 1400s.<br />
<br />
The colouring is "modern" and the text is a also a modern translation. More can be read here:<br />
<br />
http://www.billyandcharlie.com/planets/

From the Kasseler Handschrift

Planetenkinder: Die Kinder der Sonne, 1477<br />
<br />
From Cod.lat.4394

Der kinder der Sonne (the fencers and the musicians).<br />
<br />
From Ms. C 101, 15th cent.

From Hausbuch Wolfegg (after 1480)

Planetenkinder Sol<br />
<br />
From Hausbuch Wolfegg (after 1480)

Planetenkinder Luna<br />
<br />
From Hausbuch Wolfegg (after 1480)

Sol, by Virgil Solis, ca 1530-1562

Mars, by Virgil Solis, ca 1530-1562

Mars and Sol, by Virgil Solis, ca 1530-1562

Planetenkinder: Sonne, 1530-1540<br />
<br />
Formerly attributed to Hans Sebald Beham, now attributed to Georg Pencz.<br />
<br />
Found in the collection of the British Museum.

The Sun and its children, on a tapestry from the House of Condé, dated to ca 1547AD.<br />
<br />
A Renaissance Allegorical Tapestry, from the series depicting the Planets, Flemish, and depicting Sun (Leo), after woodcuts by the German artist Georg Pencz, mid-16th century.<br />
<br />
Woven with detailed architectural background, the balcony with onlookers including a King and Queen, the terraces and fields below with various groups of `striving’ figures, athletic and fighting, playing a form of bowls, wrestling and fencing, with larger figures in the foreground, the top left and right corners incorporating fleur-de-lys coats-of-arms of Condé family, within a blue shield and lozenge respectively, both surmounted with a crown, a horse drawn chariot, with wheel enclosing the Leo sign of the zodiac, the chariot with seated figure of a King with sceptre, cross the centre sky within clouds, within a four-sided border with exuberant fruit and flowers, incorporating birds, on a leaf stem support, the centre top border with blue ground entablature inscribed with `Sol’, flanked by small kneeling putti, the lower border centred with wider blue cartouche with golden strapwork, against a saffron ground, with further narrow banded red and blue outer selvedge<br />
Approximately 342cm. high, 450cm. wide; 11ft. 2in., 14ft. 9in.<br />
<br />
The original sets of Planet tapestries, depicting their influence on mankind, included seven panels attributed to the planets, Sol, Jupiter, Mars, Saturn, Luna, Venus, Mercury, and two additional subjects, Time and Fortuna, were added to the series. The influence of the planets was a popular theme in the late Middle Ages, and depictions extend back to 15th century Italy with Baccio Baldini’s engravings which distinctively included the gods travelling through the sky on chariots drawn by lesser beasts and birds, with humanity undertaking various pursuits, labours and leisure pursuits, under the ruling influence of the relevant planet. The influence of the Sun is strife. The theme of the Gods in their chariots overlooking their `children’ under their influence was taken up in the Northern countries, (incorporating gods from their mythology) and proliferated in the 16th and 17th centuries, and was woven to great effect by the Flemish weavers. Remaining sets in existence include a rare set of seven pieces woven with metal-thread highlights, with the Brussel’s mark, last third of 16th century (Nationalmuseum, Munich), a set in Vienna, and panels at Hardwick House (Derbyshire), Château Chaumont-sur-Loire (woven by Reymbouts, Brussels), and two panels at Holyrood House (Edinburgh). The Holyrood panels, originally from Hampton Court, depict Venus and Mars, are a late 16th century set and athough the main composition is of large foreground figures and very small chariot in the sky, they are within the same border type as the present border, and bear the Brussels mark, and unidentified weaver’s mark (Margaret Swain, Tapestries and Textiles: Palace of Holyroodhouse, HMSO for the Royal Collection, 1988, No. 7, The Planets, pp.29-32, figs. a-c). <br />
Records show that two tapestries from the Planet series, depicting Mercury and Sun were sold at the Galerie Georges Petit, Paris, 10th December 1926 (nos.139, 140, both illustrated), both after the Pencz woodcuts, woven within a Brussels floral and fruiting border, with the respective names of planets in the top borders, Mercury dated 1547, and with the arms of the Condé family. <br />
<br />
The present tapestry is taken directly from the compositional designs of vertical woodcuts of the planets by the German Georg Pencz (b.1500-d.1550). Pencz worked with Barthel Beham and Hans Sebald Beham, and they all became part of a group of printers called the `Little Masters’, due to their intricate and influential prints. The composition depicts the chariot at the top, the architecturally detailed background with fighting figures, and the same figures in the foreground, albeit on a different scale to the present panel. For reference to the Pencz woodcuts of the seven subjects, including `Soll’, 1531, from the Kunstsammlungen der Veste Coburg (I, 122,499), see Katja Schmitz-von Ledebur, Die Planeten und ihre Kinder, 2009, pp.31-32, figs.18-24. <br />
<br />
In indentical set of German woven tapestries after Pencz, include narrative panels with German verse and dates across the top, and the comparable tapestry is clearly marked `Soll’, and is dated 1548, and all are woven with the composition in the same direction as the respective woodcut, see Schmitz-von Ledebur, opcit, pg.118, fig.73. The set of seven small tapestries were in the Baronne B.. sale, Galerie Charpentier, Paris, 2nd December 1958 (nos. 133A-G, all illustrated), exhibited in `Spiegel der Welt’, Dresden 2001, now in the Bibliotheca Bodmeriana, Geneva.<br />
<br />
The additional compositional sources which were of influence to the tapestries of the subject, were engravings of the `Seven Planets’, by Herman Muller, after designs by Marten van Heemskerck, dated 1568 and a set by Jan Saenredam, after Hendrick Goltzius, dated 1569. The later influencing the tapestry designs only with regard to the figures of humanity, as the Gods were shown on pedestals not in chariots. <br />
<br />
Planet Tapestries <br />
<br />
For comprehensive discussion of tapestries from the distinctive tapestry series from the Bayerisches Nationalmuseum, Munich, see Katja Schmitz-von Ledebur, Die Planeten und ihre Kinder, Eine Brüsseler Tapisserienserie des 16.Jahrhunderts aus der Sammlung Herzon Albrechts V. in München, Brepols, Belgium, 2009, Chp.III, Planetentapisserien im Bayerischen Nationalmuseum, No.9, `Soll’, pp.60-67, figs.37-42. This panel is within a more elaborate and allegorical border type, and the elements of the chariot within the cloud, and the architectural colonnade and small fighting figural groups on the left hand side are the only comparable similaraties, as the larger foreground figures are a different composition.<br />
<br />
For a Planets series panel of `Luna’, mid 16th century, within a very similar Flemish border type to that of the present tapestry, and a composition based on the respective Pencz, 1531 print, interpreted by a French designer, see Edith Appleton Standen, European Post-Medieval Tapestries and Related Hangings in the Metropolitan Museum, 1985, Vol. I, No.27, The Moon and her Children, pp.187-190.<br />
<br />
For a complete set of nine Planet Flemish tapestries, Oudenaarde, including woven dates 1591, 1601, bearing Oudenaarde weaver’s mark, see G.F. Wingfield Digby, The Tapestry Collection – Medieval and Renaissance, Victoria and Albert Museum, London 1980, Nos.60-61, pp.61-63, pl. 81-89., including a panel of Sol, which are all woven within an architectural setting flanked by Corinthian columns, within a four-sided border of strapwork.

The Sun and its children, on a tapestry from the House of Condé, dated to ca 1547AD. (Image colour adjusted for aging)<br />
<br />
Woven with detailed architectural background, the balcony with onlookers including a King and Queen, the terraces and fields below with various groups of `striving’ figures, athletic and fighting, playing a form of bowls, wrestling and fencing, with larger figures in the foreground, the top left and right corners incorporating fleur-de-lys coats-of-arms of Condé family, within a blue shield and lozenge respectively, both surmounted with a crown, a horse drawn chariot, with wheel enclosing the Leo sign of the zodiac, the chariot with seated figure of a King with sceptre, cross the centre sky within clouds, within a four-sided border with exuberant fruit and flowers, incorporating birds, on a leaf stem support, the centre top border with blue ground entablature inscribed with `Sol’, flanked by small kneeling putti, the lower border centred with wider blue cartouche with golden strapwork, against a saffron ground, with further narrow banded red and blue outer selvedge<br />
Approximately 342cm. high, 450cm. wide; 11ft. 2in., 14ft. 9in.<br />
<br />
The original sets of Planet tapestries, depicting their influence on mankind, included seven panels attributed to the planets, Sol, Jupiter, Mars, Saturn, Luna, Venus, Mercury, and two additional subjects, Time and Fortuna, were added to the series. The influence of the planets was a popular theme in the late Middle Ages, and depictions extend back to 15th century Italy with Baccio Baldini’s engravings which distinctively included the gods travelling through the sky on chariots drawn by lesser beasts and birds, with humanity undertaking various pursuits, labours and leisure pursuits, under the ruling influence of the relevant planet. The influence of the Sun is strife. The theme of the Gods in their chariots overlooking their `children’ under their influence was taken up in the Northern countries, (incorporating gods from their mythology) and proliferated in the 16th and 17th centuries, and was woven to great effect by the Flemish weavers. Remaining sets in existence include a rare set of seven pieces woven with metal-thread highlights, with the Brussel’s mark, last third of 16th century (Nationalmuseum, Munich), a set in Vienna, and panels at Hardwick House (Derbyshire), Château Chaumont-sur-Loire (woven by Reymbouts, Brussels), and two panels at Holyrood House (Edinburgh). The Holyrood panels, originally from Hampton Court, depict Venus and Mars, are a late 16th century set and athough the main composition is of large foreground figures and very small chariot in the sky, they are within the same border type as the present border, and bear the Brussels mark, and unidentified weaver’s mark (Margaret Swain, Tapestries and Textiles: Palace of Holyroodhouse, HMSO for the Royal Collection, 1988, No. 7, The Planets, pp.29-32, figs. a-c). <br />
Records show that two tapestries from the Planet series, depicting Mercury and Sun were sold at the Galerie Georges Petit, Paris, 10th December 1926 (nos.139, 140, both illustrated), both after the Pencz woodcuts, woven within a Brussels floral and fruiting border, with the respective names of planets in the top borders, Mercury dated 1547, and with the arms of the Condé family. <br />
<br />
The present tapestry is taken directly from the compositional designs of vertical woodcuts of the planets by the German Georg Pencz (b.1500-d.1550). Pencz worked with Barthel Beham and Hans Sebald Beham, and they all became part of a group of printers called the `Little Masters’, due to their intricate and influential prints. The composition depicts the chariot at the top, the architecturally detailed background with fighting figures, and the same figures in the foreground, albeit on a different scale to the present panel. For reference to the Pencz woodcuts of the seven subjects, including `Soll’, 1531, from the Kunstsammlungen der Veste Coburg (I, 122,499), see Katja Schmitz-von Ledebur, Die Planeten und ihre Kinder, 2009, pp.31-32, figs.18-24. <br />
<br />
In indentical set of German woven tapestries after Pencz, include narrative panels with German verse and dates across the top, and the comparable tapestry is clearly marked `Soll’, and is dated 1548, and all are woven with the composition in the same direction as the respective woodcut, see Schmitz-von Ledebur, opcit, pg.118, fig.73. The set of seven small tapestries were in the Baronne B.. sale, Galerie Charpentier, Paris, 2nd December 1958 (nos. 133A-G, all illustrated), exhibited in `Spiegel der Welt’, Dresden 2001, now in the Bibliotheca Bodmeriana, Geneva.<br />
<br />
The additional compositional sources which were of influence to the tapestries of the subject, were engravings of the `Seven Planets’, by Herman Muller, after designs by Marten van Heemskerck, dated 1568 and a set by Jan Saenredam, after Hendrick Goltzius, dated 1569. The later influencing the tapestry designs only with regard to the figures of humanity, as the Gods were shown on pedestals not in chariots. <br />
<br />
Planet Tapestries <br />
<br />
For comprehensive discussion of tapestries from the distinctive tapestry series from the Bayerisches Nationalmuseum, Munich, see Katja Schmitz-von Ledebur, Die Planeten und ihre Kinder, Eine Brüsseler Tapisserienserie des 16.Jahrhunderts aus der Sammlung Herzon Albrechts V. in München, Brepols, Belgium, 2009, Chp.III, Planetentapisserien im Bayerischen Nationalmuseum, No.9, `Soll’, pp.60-67, figs.37-42. This panel is within a more elaborate and allegorical border type, and the elements of the chariot within the cloud, and the architectural colonnade and small fighting figural groups on the left hand side are the only comparable similaraties, as the larger foreground figures are a different composition.<br />
<br />
For a Planets series panel of `Luna’, mid 16th century, within a very similar Flemish border type to that of the present tapestry, and a composition based on the respective Pencz, 1531 print, interpreted by a French designer, see Edith Appleton Standen, European Post-Medieval Tapestries and Related Hangings in the Metropolitan Museum, 1985, Vol. I, No.27, The Moon and her Children, pp.187-190.<br />
<br />
For a complete set of nine Planet Flemish tapestries, Oudenaarde, including woven dates 1591, 1601, bearing Oudenaarde weaver’s mark, see G.F. Wingfield Digby, The Tapestry Collection – Medieval and Renaissance, Victoria and Albert Museum, London 1980, Nos.60-61, pp.61-63, pl. 81-89., including a panel of Sol, which are all woven within an architectural setting flanked by Corinthian columns, within a four-sided border of strapwork.

"Planetenkinder der Sol" by Virgil Solis ca 1530-1562.<br />
<br />
These are the poets, musicians and fencers. <br />
<br />
The Dussack fencers are also seen here: http://www.facebook.com/media/set/?set=a.324101747621088.80494.304263799604883&type=1#!/photo.php?fbid=364333580264571&set=a.324101747621088.80494.304263799604883&type=1&theater

Planetenkinder der Mars, by Virgil Solis, ca 1530-1562.<br />
<br />
These are the mercenaries, soldiers murderers and robbers.

Planetenkinder: Sol<br />
<br />
Harmen Jansz Muller (1540-1617)<br />
<br />
http://www.virtuelles-kupferstichkabinett.de/zoomed.php?signatur=12970

Planetenkinder: Sol (Detail)<br />
<br />
Harmen Jansz Muller (1540-1617)<br />
<br />
http://www.virtuelles-kupferstichkabinett.de/zoomed.php?signatur=12970

The children of Mars; soldiers, murderers, rapists and robbers.<br />
<br />
De planeet Mars en zijn kinderen, Harmen Jansz Muller, Hieronymus Cock, 1566 - 1570

Splendor Solis, mid 1500s.<br />
<br />
http://en.wikipedia.org/wiki/Splendor_Solis<br />
<br />
http://www.rexresearch.com/splsol/trismosin.htm

"Planetenkinder und die Freien Künst" 1560<br />
Jobst Amman

Sol und seine Kinder, dated to 1551-1600<br />
<br />
Maarten de Vos

From Opera Nova by Achille Marozzo, 1536.<br />
<br />
Achille Marozzo writing alchemical symbols in a circle surrounding him, amongst others and near his knee, the symbol for the Archangel Michael. St. Michael was also associated with the Sun and he is sometimes represented by the Sun symbol with the circle and a dot at its centre.<br />
<br />
The symbol he is writing on might relate to "steel".

Tripus Aureus: Sonne-Luna, 1618<br />
<br />
Michael Meier

From Emblemata Nova, 1617.<br />
by Friedrich Andreas

Die Fechtenden by Jost Amman, 1539-1591

Franz Isaac Brun, Presbourg (Bratislava) *1535 , 1555-†1610, Strasbourg.

From the treatise Cgm 3711 by Jörg Wilhalm

Die Melancholie im Garten des Lebens, 1558<br />
By Matthias Gerung<br />
<br />
Not really Planetenkinder, but similar enough to be of interest.<br />
<br />
The painting "discusses" melancholy and the busy life of people contrasted by contemplation and study.<br />
<br />
Melancholia was a popular topic during this time period and is tightly connected to the concept of the four humors.<br />
<br />
http://lib.rochester.edu/index.cfm?PAGE=3566<br />
<br />
http://en.wikipedia.org/wiki/Humorism<br />
<br />
http://en.wikipedia.org/wiki/Melancholia

Die Melancholie im Garten des Lebens (detail), 1558<br />
By Matthias Gerung<br />
<br />
Not really Planetenkinder, but similar enough to be of interest<br />
<br />
http://lib.rochester.edu/index.cfm?PAGE=3566

Die Melancholie im Garten des Lebens (detail), 1558<br />
By Matthias Gerung<br />
<br />
Not really Planetenkinder, but similar enough to be of interest<br />
<br />
http://lib.rochester.edu/index.cfm?PAGE=3566

Die Melancholie im Garten des Lebens (detail), 1558<br />
By Matthias Gerung<br />
<br />
Not really Planetenkinder, but similar enough to be of interest<br />
<br />
http://lib.rochester.edu/index.cfm?PAGE=3566

$Note the lion and the griffon pulling the chariot of the Roman-Catholic Bishop.<br /> Netherlands, ca 1551-1600.<br /> <br /> "Et quorum pars magna fui / In which I had a great part" <br /> <br /> "Roboravit Qui Ligavit / The strong wind hath bound them"<br /> <br /> "Non tantum ser pens sed et globus nobilitis est / ??? "<br /> <br /> "Ex ungue Leonem / We know the lion by its claws"<br /> <br /> "O spinae spinae / Oh thorns thorns"<br /> <br /> "Unio et ??? fractiones / Union and ??? fractions"<br /> <br /> http://www.virtuelles-kupferstichkabinett.de/index.php?selTab=3&currentWerk=2292&$

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