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''I Modi'' (''The Ways''), also known as ''The Sixteen Pleasures'' or under the Latin title ''De omnibus Veneris Schematibus'', is a famous erotic book of the Italian Renaissance in which a series of sexual positions were explicitly depicted in engravings.〔Walter Kendrick, ''The Secret Museum, Pornography in Modern Culture'' (1987:59)〕 While the original edition was apparently completely destroyed by the Catholic Church, fragments of a later edition survived. The second edition was accompanied by sonnets written by Pietro Aretino, which described the sexual acts depicted. The original illustrations were probably copied by Agostino Caracci, whose version survives. ==Original edition== The original edition was created by the engraver Marcantonio Raimondi, basing his sixteen images of sexual positions on, according to the traditional view, a series of erotic paintings that Giulio Romano was doing as a commission for Federico II Gonzaga’s new Palazzo Te in Mantua.〔''I Modi: the sixteen pleasures. An erotic album of the Italian renaissance / Giulio Romano … (al. )'' edited, translated from the Italian and with a commentary by Lynne Lawner. Northwestern University Press, 1988. ISBN 0-7206-0724-8〕 Raimondi had worked extensively with Romano's master Raphael, who had died in 1520, producing prints to his design. The engravings were published by Raimondi in 1524, and led to his imprisonment by Pope Clement VII and the destruction of all copies of the illustrations. Romano did not become aware of the engravings until the poet Pietro Aretino came to see the original paintings while Romano was still working on them. Romano was not prosecuted since—unlike Raimondi—his images were not intended for public consumption. Aretino then composed sixteen explicit〔Sample quote: “both in your pussy and your behind, my cock will make me happy, and you happy and blissful”〕 sonnets to accompany the paintings/engravings, and secured Raimondi’s release from prison. ''I Modi'' were then published a second time in 1527, now with the poems that have given them the traditional English title ''Aretino's Postures'', making this the first time erotic text and images were combined, though the papacy once more seized all the copies it could find. Raimondi escaped prison on this occasion, but the suppression on both occasions was comprehensive. No original copies of this edition have survived, with the exception of a few fragments in the British Museum, and two copies of posture 1. A, possibly pirated〔Max Sander, who discovered the volume, believes it to be the original 1527 edition; other scholars dispute this. vid. ''A History of Erotic Literature'', P.J. Kearney, Macmillan 1982.〕 copy with crude illustrations in woodcut, printed in Venice in 1550,〔formerly owned by Toscanini, now in a private collection; (illustrations here )〕 and bound in with some contemporary texts was discovered in the 1920s, containing fifteen of the sixteen postures.〔The images in this edition appear in reverse next to the British Museum fragments, clear evidence that they are copied from a set of prints and not from the original paintings, since engravers and woodcutters of the period do not habitually re-reverse their images, and their quality is such that one might doubt that the artist would even have been capable of doing so.〕 Despite the seeming loss of Raimondi’s originals today, it seems certain that at least one full set survived, since both the 1550 woodcuts and the so-called Caracci suite of prints (see below) agree in every compositional and stylistic respect with those fragments that have survived. Certainly, unless the engraver of the Caracci edition had access to the British Museum’s fragments, and reconstructed his compositions from them, the similarities are too close to be accidental.〔The Caracci suite contains eighteen images plus frontispiece, however.〕 In the 17th century, certain Fellows of All Souls College, Oxford, engaged in the surreptitious printing at the University Press of ''Aretino's Postures'', Aretino's ''De omnis Veneris schematibus'' and the indecent engravings after Giulio Romano. The Dean, Dr. John Fell, impounded the copper plates and threatened those involved with expulsion.〔R. W. Ketton-Cremer, "Humphrey Prideaux", ''Norfolk Assembly'' (London: Faber & Faber) 1957:65.〕〔In the 19th century Jean Frederic Waldeck published a new edition of the work, claiming to be based on a set of tracings he made of the ''I Modi'' prints found in a convent near Palenque in Mexico, but more likely a direct copy of a combination of the BM fragments and the Caracci edition, since no such convent exists, and it is hardly likely to have harboured such material in its library.〕 The text of Aretino’s sonnets, however, survives. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「I Modi」の詳細全文を読む スポンサード リンク
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