348 Ulisse Aldrovandi

...unless we prefer, as others do, to interpret this three-headed figure as the tripartite division of the month into the Calends, Nones, and Ides. To the aforementioned, one might add the seven-headed image, which Valeriano called the hieroglyph of the multifaceted; for astrologers depicted a similar icon at the fifteenth degree of Gemini, predicting that those who enter the vital breezes under that degree would be multifaceted in character.

Having discussed the multitude of heads, let us now turn to animal heads set upon human torsos. In Pierio’s work, a man is depicted with a dog’s head as a hieroglyph for Impudence. This is why Helen, in Homer, reproached herself as a dog, for providing the occasion for so many evils; indeed, according to Pollux, someone full of the marks of shamelessness is said to have the "eye of a dog." Furthermore, Valeriano represents a man with a hawk’s head as a hieroglyph for God, since the Egyptians equated the hawk with the Sun because of its extreme fertility—naturalists even classify a type of hawk called the *triorchis* as having three testicles. To these we may add the image of a man with a donkey’s head, which Pierio called "donkey-headed." The Egyptian priests used this hieroglyph to signify an ignorant man who knows nothing of other places, as it is the nature of donkeys not to travel far; while horses and mules complete long journeys, donkeys wander only within the province where they were born—unless we simply say that donkeys are so dull-witted that the proverb "a donkey at the lyre" is used for an ignorant man. Finally, Pierio presents the image of a sleeping man with donkey ears as a hieroglyph for slavery. This seems somewhat ridiculous, however, as he bases his opinion on the trifles of the dream-interpreters, who claim that for those who dream they have donkey ears, it portends a life of servitude.

Monstrous images characterized by a multitude of hands are also included among the hieroglyphs. Pierio shows a human figure drawn with many arms and hands as a hieroglyph for Spring, Winter, and the Sun. Many have understood the hundred-handed Briareus to represent Spring, because of the abundance of herbs, flowers, and fruits that overflow during that season. Others used the hundred-handed Gyges to signify Winter, because of the many things gathered for various uses during that time. Finally, Homer called the Sun hundred-handed because of the infinite tasks it performs daily in the illuminated world. Another image is added of a man with four hands and four ears; by this, the Lacedaemonians represented Apollo, suggesting to all a hieroglyph of Wisdom (of which Apollo was the symbol), since no one is truly called wise who does not possess the knowledge and experience of many things. Lastly, Valeriano described a monstrous icon of a human face with a gaping mouth, protruding tongue, crooked nose, twisted lips, and grim eyes to express the hieroglyph of the Contradicting Adversary; astrologers imagine such a monstrous figure at the tenth degree of Scorpio.

We must now turn to consider those monstrous icons that feature human upper parts and bestial lower parts. Pierio, depicting a lioness with a maiden’s face, believes he is skillfully describing the character of a prostitute. He relies on the assertions of a certain Michael of Byzantium, who recorded that certain prostitutes from Megara were called "Sphinxes." Such beasts, with their human heads, usually present a certain outward gentleness, but with the rest of their lion-like bodies, they display rapacity and dominance—qualities and traits that a prostitute exercises over her lovers. For this reason, the Megarian prostitutes were once called sphinxes to their great shame, and the sordid morals of the Megarians, condemned by all, gave rise to this proverb. Furthermore, from Valeriano, we have a maiden’s figure down to the pubes, ending in fish tails and chicken feet. With this monstrous image, he attempts to express the Sirens and, at the same time, the ruin of possessions; for men are said to be ensnared by the alluring charms of the Sirens when they rot away most filthily, stuck in the mire of pleasures. Again, from the same Pierio, we have a depiction of a man to the waist who then takes on a goat-like form; this monster is published as a hieroglyph for hidden divinity. Through this monstrous image, the Sileni of the race of Satyrs are represented. According to the thought of the Platonic Alcibiades, these Sileni were icons so constructed that they could easily be folded and unfolded; these fol-