698 THE SURVIVAL OF CLASSICAL MYTHOLOGY
Besides the painters already mentioned, Michelangelo at Florence and Rome,
Correggio at Ferrara, and both Paolo Veronese and Tintoretto at Venice were
sixteenth-century masters who found inspiration in classical mythology. One of
the most extensive mythological programs is the great series of paintings by the
Carracci brothers in the Gallery of the Farnese Palace at Rome (1597-1604) de-
picting the triumph of Love by means of one classical legend after another.
Two other Renaissance works show how the classical gods recovered their an-
tique forms. One is the map of the sky published in 1515 by the German Albrecht
Durer in which the classical forms of the Western astronomical tradition combine
with the scientific accuracy of the Arabs. Durer gave the mythological figures their
ancient forms; Hercules is a Greek once more and recovers his club and lionskin.
The second work is the decoration of the Vatican Stanza della Segnatura by
Raphael, after 1508. Here the classical, allegorical, and Christian traditions com-
bined to exalt the glory of the Church and its doctrine. In the place of honor
(though not supreme) was Apollo, surrounded by the Muses, the poets of an-
tiquity, and Renaissance humanists. Classical mythology and Renaissance hu-
manism had achieved the perfect synthesis.ILLUSTRATED EDITIONS OF OVID
In the sixteenth and seventeenth centuries Ovid's works were repeatedly issued
in illustrated editions, which were frequently used as sources by artists. The se-
ries began with a prose translation of the Metamorphoses known as the Grande
Olympe, published at Paris in 1539. The most important of the early editions was
that of Bernard Salomon, La Métamorphose d'Ovide Figurée, published at Lyons
in 1557 and reissued at Lyons in 1559 (in Italian) and at Antwerp in 1591. A Ger-
man translation of the Metamorphoses was issued by Virgilio Solis at Frankfurt
in 1563, and another at Leipzig in 1582, while an Italian translation by Andrea
d'Anguillara was published at Venice in 1584.
The most influential editions were those of Antonio Tempestà and George
Sandys. Tempestà published Metamorphoseon sive Transformationum Ovidianarum
Libri Quindecim at Amsterdam in 1606. His book consists of engravings of 150
scenes from the Metamorphoses without text, and it became an important source-
book of classical stories for painters. The importance of Sandys lay rather in his
connection of pictures with the text and commentary, which we have mentioned
earlier. In his preface to the 1632 edition he says:¥
And for thy farther delight I have contracted the substance of every Booke into
as many Figures... since there is betweene Poetry and Picture so great a con-
gruitie; the one ... a speaking Picture, and the other a silent Poésie: Both Daugh-
ters of the Imagination.Sandys was helped by the outstanding quality of his artist, Francis Clein,
and his engraver, Salomon Savery. They engraved a full-page illustration