The 1557 Illustrated Metamorphoses of Ovid
In the heart of the 16th-century French Renaissance, the city of Lyon became a battlefield for publishers racing to produce the most definitive versions of ancient texts. Among these, the 1557 edition of Ovid's Metamorphoses stands as a pinnacle of artistic and literary collaboration. Published by the Maison Tournes under the title La Métamorphose d'Ovide figurée (The Illustrated Metamorphosis of Ovid), this work represents a pivotal shift in how classical mythology was consumed and perceived by the public.
The Collaboration of Tournes and Salomon
The 1557 edition was the result of a sophisticated partnership between the publisher Jean de Tournes and the renowned engraver Bernard Salomon. Published in an octavo format, the work is distinguished by its integration of text and imagery, featuring 178 detailed engravings that accompany Ovid's narratives.
The layout of the book was meticulously designed. Each page was centered around a title, an engraving, an octosyllabic stanza, and a neat border, creating a harmonious visual experience that mirrored the elegance of the poetry.
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A Competitive Publishing Landscape
The production of the Métamorphose figurée did not happen in isolation. Between 1540 and 1550, Lyon's publishing houses were engaged in a fierce competition to release translations of Ovid. Jean de Tournes had previously published the first two books of the Metamorphoses in 1456, followed by an illustrated reprint in 1549.
His primary rival, Guillaume Roville, challenged this dominance by publishing editions illustrated by Pierre Eskrich in 1550 and 1551. Roville further expanded his offerings in 1553, publishing the first three books with a translation by Barthélémy Aneau, following an earlier translation of the first two books by Clément Marot. Despite this competition, the 1557 Maison Tournes edition is recognized by historians as the most successful and influential version.
The Shift from Morality to Aesthetics
The 16th-century editions of the Metamorphoses signaled a radical change in cultural perception. In previous centuries, Ovid's verses were primarily read for their moralising impact—the lessons they could teach about virtue and vice. However, the Renaissance brought a new appreciation for the aesthetic and hedonistic qualities of the text.
This shift was closely tied to the birth of the Pléiade, a group of French Renaissance poets who championed the beauty of poetry for its own sake. The 1557 publication marked the moment the Renaissance fully appropriated Ovid's work, moving away from the "Gothic era" of publishing and embracing a taste for beauty and pleasure.
Artistic Influence and Process
Bernard Salomon did not create the 178 engravings in a single burst of inspiration. Many originated from the 1549 reissue of the first two books. In 1546, Salomon had prepared twenty-two initial engravings for a non-illustrated version of those same books.
Salomon's process involved a "mixture of memories," drawing from various sources to create original compositions. He studied earlier works, most notably the Metamorphoseos Vulgare published in Venice in 1497, which influenced his depictions of the "Creation of the World" and "Apollo and Daphne." Additionally, Salomon utilized Bellifontaine's canon for his figures, reflecting his background as a painter who had created frescoes in Lyon inspired by his work at Fontainebleau.
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Legacy and Preservation
The impact of the 1557 edition extended beyond France. In 1559, Gabriel Simeoni published an Italian version that included additional engravings. The work was also republished in French in 1564 and 1583.
Art historians have praised the work's significance. Panofsky described the woodcuts as "extraordinarily influential," while Rensselaer W. Lee called the publication "a major event in the history of art." Today, original copies are preserved in prestigious institutions, including the National Library of France, the Municipal Library of Lyon, the Library of Congress in Washington D.C., and the Brandeis University Library. A digital version is available via Gallica, and original wooden panels used as models for the engravings can be viewed at the Musée des Beaux-arts et des fabrics in Lyon.
Key Facts
- Title: La Métamorphose d'Ovide figurée
- Publication Date: 1557
- Publisher: Maison Tournes (Jean de Tournes), Lyon
- Illustrator: Bernard Salomon
- Content: 178 engravings accompanying Ovid's text
- Format: Octavo
- Key Influence: Shifted the perception of Ovid from moralistic to aesthetic/hedonistic
| Publisher | Year(s) | Key Collaborators/Translators | Notable Features |
|---|---|---|---|
| Jean de Tournes | 1546, 1549, 1557 | Bernard Salomon | 178 engravings; highly influential aesthetic focus |
| Guillaume Roville | 1550, 1551, 1553 | Pierre Eskrich, Barthélémy Aneau, Clément Marot | Competitive editions of the first three books |
Frequently Asked Questions
Who were the primary creators of the 1557 Metamorphoses?
The work was a collaboration between the publisher Jean de Tournes of the Maison Tournes in Lyon and the engraver Bernard Salomon.
How did the 1557 edition change the way people read Ovid?
It marked a transition from reading Ovid for moral lessons (the Gothic approach) to appreciating the work for its aesthetic beauty and hedonistic qualities, aligning with Renaissance tastes.
What sources did Bernard Salomon use for his illustrations?
Salomon used a "mixture of memories," including the 1497 Venice edition Metamorphoseos Vulgare and Bellifontaine's canon, as well as inspiration from his own fresco work at Fontainebleau.
Where can the 1557 edition be found today?
Physical copies are held by the National Library of France, the Municipal Library of Lyon, the Library of Congress, and Brandeis University. A digital copy is available on Gallica.
How many illustrations are included in the 1557 version?
The edition features a total of 178 engravings by Bernard Salomon.