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Here we present the Emblem "Oler" from
Ortiz's Ver, Oír, Oler, Gustar, Tocar (Lyons 1686). Besides
the pictura, here we only include the beginning of the long
commentary and the poem closing the emblem, but the CD, of course,
includes the full text complete with annotations.
Lorenzo Ortiz, Ver, Oír, Oler,
Gustar, Tocar. Empresas que enseñan y persuaden su buen uso en lo
Político y en lo Moral, Lyons 1686. Emblem "Oler" (p. 127)
LA fragancia de la rosa, à quien guarneciò como de puntas de azero
la naturaleza; la fragilidad de las flores, que un soplo del zierzo
las marchita, un rocio las desoja, un sol las consume, y un dia las
sepulta; el disfraz con que el ambar apareciò en el mundo tan
desconocido, que solo del sentido humano pudo ser descubierto, y la
malignidad enfin con que la naturaleza infamò los montes, donde los
balsamos y las drogas aromaticas se crian, haciendolos tan
intratables à la vida humana, que una enfermedad es el jornal, que
paga à los obreros, que suben à cortarles leña: todo se pone de
parte del mote de esta empresa,
Fue digna de tal pena tu osadia.
contra la mano afeminada que se alargo à cortar una rosa; y paraque
sino para que ò traida en la mano, ò prendida en el sombrero vaya,
como el centro, tirando acia si todas las lineas visuales de la
plaza, para que vea toda la mano de un hombre ocupado en tener una
flor, ò una flor, siendo indice en un sombrero de la importancia que
està dentro de el...
Lireno, que gallarda, y bella
Brilla en el prado esta encarnada rosa?
Viste en el cielo, mas hermosa estrella?
Viste flor en los campos, mas hermosa?
Puede la idea mas artificiosa,
Fingir tanta hermosura?
En tal descuido, tanta compostura?
No es una sombra aquel Carmin ardiente,
Con que ilumina el sol, el rojo Oriente?
Y del alua los candidos albores,
No son con ella palidos verdores?
No ves la vizarria,
Con que Reyna del prado soberana
Averguenza el carmin de la mañana,
En que comienza à colorirse el dia?
El vulgo de las flores, à porfia
Por besarle los pies, entre ellos nace,
O por ennoblezerse con la sombra,
(Que por ser suya ilustra) que les hace.
Verde Texida alfombra
Le ofrece de las yervas la esmeralda,
Adonde tienda la arrogante falda.
Aquella fuente mira,
Que risueña, que salta, bulle, y gira,
en circulos, y en cercos por el prado,
Pues toda su alegria està diciendo:
Que es vanidad de averla alimentado,
Y luzeros por rosas aver dado.
Aquel Dulce Gilguero que en la rama,
De ese frondoso sauze, à vozes llama,
A un mismo tiempo, al dia,
Y à su alada volante compañia,
Aplausos solicita de la rosa,
O por verla tan Reina, ò tan hermosa,
Si no es que apasionado,
La corteja galan y enamorado.
No parece bellissima? no pide
Que aun los ojos la miren con recato?
Pues no menos dichoso hace al olfato,
La fragancia suave, que despide,
Eleva, y adormece los sentidos,
Y entre delicias tantas suspendidos,
Dejan en dulce calma,
Como fuera de si, y en ella, al alma,
Y de aqui forma queja,
Ella misma de si; pues ella misma,
Tanto el sentir aleja,
Como fragante, pura, y olorosa,
Que la atencion se quita, para hermosa.
Si à la nariz la ponen,
Toda el alma querra ser su sentido
Arrebatada del suave objecto:
Parecerate que el Abril florido,
Y todo el Mayo de ella se componen,
Y que de ella reciben lo perfecto.
Adonde vas? detente; que indiscreto,
Andaras si te arrojas à cortarla:
Llegaste? que? te heriste?
Pues pagaste el agravio que la hiciste,
Pues que quiso tu mano profanarla,
Y de su regio solio despojarla.
No vias que aunque bella y tan airosa,
A penas tiene vida:
Y el verse de su tronco desunida,
Y dejar de ser Rosa,
A un mismo tiempo, es una misma cosa?
Por gozar de un deleite te atreviste,
A despojar al dia,
De un sol que mas esplendido le hacia?
Al campo de una flor por quien pudiera,
Desafiar à luzes à la esfera?
A las fuentes del Prado,
Del Narciso mas bello que han gozado?
A las aves velozes,
Del asunto mas digno de sus vozes?
Tanto pudo contigo
Un deleite, que siempre es enemigo?
Un apetito ciego,
Que como mariposa busca el fuego?
Un instantaneo gusto,
Que aun no comienza, quando acaba en susto?
Quejate pues de ti; pues sin reparo,
Prodigo para ti, con ella avaro,
Te buscaste atrevido,
El Aspid ò la espina que te ha herido,
Que en tanta groseria,
Fue digna de tal pena tu osadia. | |
Lorenzo Ortiz de Buxedo (Seville, 1632
– Seville, 1698)
We know very little
about the Andalusian
Jesuit Lorenzo Ortiz
and his work, in
spite of its
undeniable interest,
has barely been
studied. We know
that shortly after
joining the Society
in 1661 he was an
elementary education
teacher in the
Colegio de Sanlúcar
of Barrameda and
later in the Colegio
de San Hermenegildo
of Seville.
Subsequently we find
him as an assistant
to the Solicitor of
the Indies
[Procurador de
Indias] in this
city, beginning in
1669, and later, he
would hold the
office himself, from
1680 on. Two traits
universally praised
in his character are
his integrity and
cleverness,
especially for
accounting (he
published an ABC
of Calculating or
Computing in
Seville 1678) and
for the art of
calligraphy (The
Master of Writing,
Venice, 1696), as
well as for his
erudition and
dedication to
letters. He was a
person who was much
beloved by his
companions owing to
the humility with
which he faced all
tasks, and to the
exemplary manner in
which he combined
his intellectual
pursuits with other
labors and duties of
an administrative
nature, at a
relatively high
level. The fact that
he occupied a post
of so much
responsibility as
that of Solicitor of
the Indies without
being a priest is
singular proof of
the confidence that
his superiors had in
his abilities.
Indeed, thumbing
through his work we
see immediately a
brother of the
Society with little
formal learning but
with a great love of
letters. We do not
detail here his work
as a translator, but
he crafted
acceptable Spanish
versions of sermons,
including some by
St. Stanislaus
Koska, and several
speeches by the then
General of the
Society, Juan Pablo
Oliva (with Paolo
Segneri and Antonio
Vieira). In 1676 he
published in Seville
an Origen e
Instituto de la
Compañía de Jesús,
basically a
biography of Saint
Ignatius, that is
more than anything a
translation of the
Della vita e
dell’instituto di S.
Ignatio, fondatore
della Compagnia di
Gesù, by Daniele
Bartoli. His
dedication to the
Society culminated
in his most
reprinted work (at
least five times up
until 1702): El
príncipe del mar San
Francisco Xavier
(Brussels: Francisco
Foppens, 1682),
dedicated to the
Marquesa de Brenes
and with an
engraving by Juan de
Valdés Leal on the
title page. Faithful
to his love of
poetry, 34 of the 41
chapters of this
work conclude with
verse.
We have already
mentioned Ortiz's
work as a teacher of
calligraphy. In this
activity he also
managed to join
together wit and
pedagogy in his work
El maestro de
escribir, where
he offers an exam
through questions
and answers and 32
engravings, intended
to create
innumerable letter
forms. Finally, a
manuscript volume of
his poems is
conserved in the
Biblioteca Colombina
of Seville (Ocio
entretenido.
Fragmentos
poéticos), and
another work
attributed to him is
the Fábula de
Alfeo y Aretusa,
housed in the
Biblioteca del Gesù
of Rome, dedicated
to the Marqués de
San Miguel de Híjar,
Alcaide de los
Reales Alcázares de
Sevilla.
From a reading of
his most personal
work (the two emblem
books that we
publish here) we can
glimpse the image of
a man who was
primarily dedicated
to the domestic
problems of the
Colegio de San
Hermenegildo in
Seville, initially,
and later to those
of the Colegio de
Cádiz. De He speaks
of both, but
especially of that
of San Hermenegildo,
with great
affection, almost as
if he was
corroborating the
well-known praise of
the education
imparted by the
Jesuits of Seville
that Cervantes wrote
of in the
Coloquio de los
perros through
the mouth of the dog
Berganza. The
approbations and
preliminary
materials to both
works insist upon
the amazement that
an assistant brother
[“hermano
coadjutor”] would
have the time and
ability to carry out
such lovely things
[“primores”]. Father
Pedro Zapata, for
example, stresses
this in one of the
approbations to
Memoria,
Entendimiento y
Voluntad, where
he recalls how Saint
Ignatius advised
that the assistant
brothers “occupy
themselves with
things greater than
domestic exercises,
according to the
talents conceded to
them by God” (n.
p.). He ponders here
the modesty and
humility of Lorenzo
Ortiz and his
self-denying nature
to the benefit of
the community. The
affirmation made by
Pedro Torrado de
Guzmán in the first
tercet of the sonnet
which closes these
preliminary
materials is quite
curious: “En tu
humildad se ve como
preciso, / que las
letras que huyó tu
elección pía, / el
cielo te las da por
influencia” [“In
your humility it is
seen to be necessary
/ that the letters
your pious choice
fled from / be given
to you by the
influence of
heaven”].
Lorenzo Ortiz
published his first
book at the age of
45. He was totally
aware that
collections of
emblems were no
longer an editorial
novelty at that
time. He calls his
creations “imprese”
but offers no
theoretical
discussion about his
choice of this term.
The innovation that
he claims to have
contributed to the
genre in this
Memoria,
Entendimiento y
Voluntad, is to
arrange the
succession of
emblems in such a
way as to develop a
demonstrative
discourse:
“la primera es la
proposición del
asunto, la última su
conclusión y las
tres de enmedio las
tres Potencias. En
las otras, es libre
el cuerpo de la
empresa, en éstas no
porque todas han
sido nacidas del uso
de la mano. En las
otras, el alma o
mote unas veces ha
sido ajeno y otras
propio, ya verso, ya
prosa, ya latín, ya
de otra lengua. Aquí
todos (perdóname el
de la quinta empresa
por ser y por aver
de ser único) son
ajenos y todos
versos heroicos de
singulares poetas
españoles”. [“the
first is the
proposition of the
matter, the last its
conclusion, and the
three in between the
three Faculties. In
the others, the body
of the impresa is
unrestricted, but
not in these,
because they have
been born of the use
of the hand. In the
others, the soul or
motto at times is
mine, at times from
other authors,
sometimes in verse,
sometimes in prose,
at times in Latin,
at times in other
languages. Here all
of them (please
excuse that of the
fifth impresa for
being, for having to
be unique) are all
from other authors
and all heroic
verses of singular
Spanish poets”].
He even makes a
strong effort to
attribute to his
work other traits of
originality worthy
of commentary. In
the first place, he
stresses an
interesting
bibliophilic
concern. A book is
an object that must
possess quality in
its physical makeup.
Well-aware of recent
Jesuit tradition,
Ortiz believed that
in the Spain of his
time poorly made
books could not be
justified. Thus, the
printing of his book
would be really
careful and even
luxurious, unlike
others, he says,
that “foreigners”
make fun of: “Se
imprimen,
singularmente en
Madrid, libros por
mercadería [...], se
ponen en tal papel,
se les da tal letra
y tal desaseo que
testifican bien el
intento del que a su
costa les imprimió”
(“In Madrid
especially, books
are printed for
commercialization …
printed on such
paper with such poor
lettering and so
untidily that they
are a good
testimonial to the
intent of the
printer who produced
them at his own
expense”). His
control over the
production of the
book was so total,
in fact, that he
himself made the
engravings, for
which he asks
forgiveness for
their mediocre
quality: “solo
habrás de suplir la
poca destreza del
buril de las láminas
porque quise que no
fuese de otra mano
que de la mía” (“you
will have to make up
for the little skill
of the engraver’s
chisel on the plates
because I did not
want them to issue
from any hand except
my own”). In any
event, unhappy with
the results, ten
years later, when he
published Ver,
Oír, Oler, Gustar,
Tocar, he
commissioned an
engraver to do them.
In the second place,
Ortiz highlights
three aspects that
he thought would
distance his work
from run of the mill
emblem books: that
it is a book of
thematic unity, that
it makes use of the
poetry of
contemporary Spanish
authors as the
principal
ornamentation and
that it features the
depiction of a hand
as the primary image
in all of the
engravings. These
same characteristics
would also appear in
Ver, Oír, Oler,
Gustar, Tocar,
which was to be
presented explicitly
as a complement to
Memoria,
Entendimiento y
Voluntad. In
fact, he provides us
with reasons that
lead us to believe
that he began his
project by writing
the book on the
senses, which are
the “doors” of the
soul, and that only
afterwards did he
want to publish the
book on the
“faculties” of the
soul, or to make a
single work with
both (MEV,
“Prologue”, n. p.).
He also informs us
that if his duties
allow he would make
yet another book of
imprese on the
“seven Christian and
cardinal virtues”,
directed more
towards the
religious man than
towards the
“rational and
political man” that
this book is aimed
at (he never wrote
it, as far as we
know). The
Spiritual Exercises
proposed to “guide
the senses” towards
contemplation and,
by means of the
“interior senses” to
deepen contact with
Christian truths.
And indeed, Lorenzo
Ortiz must have been
profoundly imbued
with the
meticulously
directed program of
moral perfection of
the Spiritual
Exercises, where
the senses and the
faculties were
simultaneously
mobilized by means
of a discursive
training, which in
the final analysis
was rhetorical,
which would result
in that desired
restructuring of the
psychic life. We
believe that an
analysis of each one
of the elements of
originality
indicated by Ortiz
can lead to a
relatively complete
understanding of
both books.
In the first place,
the structure of
Lorenzo Ortiz’s is
not traditional. The
engraving is not
followed by the
customary epigram
and prose commentary
amplification but
rather the order is
inverted and the
development of each
impresa ends with a
poem specially
written by the
author himself as a
kind of summary or
recollection of the
ideological keys of
everything
presented. This
poem, in addition,
is written with the
somewhat forced
contrivance of
ending with the
verse that serves as
motto, thus
resulting in a
perfect circular
closure for each
emblem.
Nevertheless, it is
a fact that in the
middle of the poems,
the internal
dispersion is
enormous. This
structure, so
totally opposite of
the canonical, is
thus required by an
ordering principle
that the author is
aware of having
violated
unacceptably in his
development. The
poem makes a
conclusive summary
of each emblem, but
Lorenzo Ortiz
nevertheless
finishes off both
books with a closing
impresa that he
calls “Conclusion of
the work” or “of the
matter” where he
insists on their
global intent. What
is certain, is that
even then the unity
of composition is
broken. In Lorenzo
Ortiz, an ordering
principle
(ideologically
maintained by a
reiterated idea of
cosmic harmony to
which man must
reintegrate himself)
and a tendency
towards mundane
curiosity are at
work in a
contradictory and
unresolved manner, a
tendency to act in
the way Gracián
defined his Discrete
man: “hombre
noticioso, más de
«plausibles
noticias», que de
«noticiosa
erudición»,
mundano”. With this
tendency as a point
of departure, at
times Ortiz
unleashes a kind of
automatic writing
based on
associations and
memories from books
he has read where
the demonstrative
thread is
completely.
The best example of
this manner of
proceeding is an
extensive fragment
(cf. 4r-16v) from
the impresa
dedicated to memory.
There, the
contemplation of a
gallery of paintings
by a “learned
gentleman”, his
memory well-provided
with recollections,
lets loose in second
person – obscurely
addressing an
ignorant friend that
accompanies him – a
whole chain of
anecdotes, varied
bits of knowledge,
and sudden
manifestations of
verses by well-known
poets, that call to
mind the enraptured
trance of one who
speaks only to
himself, breathing
upon the external
world an interior
world defended to
the end as superior
to the merely
sensible one. Based
upon this we realize
that Lorenzo Ortiz,
in spite of his
theories, is going
to produce a text
that is not
propaedeutic nor
even a compilation,
but rather, above
all, courtly, from a
discrete gentleman
who wants to be seen
as adorned with
knowledge that saves
him, and who
earnestly entreats
others to adopt this
same attitude. And,
at the heart of it
there is a quite
evident touch of the
evasion of everyday
reality. The
erudition that he
wants to display to
us is of all types.
Above all it is
historical, but also
scientific, although
his learning does
not exceed. He is
unable to keep
silent, for example,
that from the
highest sphere to
the Earth there is a
distance of
“twenty-six million,
nine hundred and
seventy-nine
thousand, five
hundred and
thirty-one leagues”
(12v), an attention
to detail of a
Jesuitical
tradition. In this
impresa on memory,
that could have
yielded so much
given the
revitalization that
artificial memory
acquired in the
hands of the
Jesuits, we see
clearly that Lorenzo
Ortiz, more
concerned with
natural memory,
belongs to a phase
in the evolution of
Jesuit emblem books
in which the process
of the “reconversion
of rhetorical memory
towards a Memory
which, alongside
Understanding and
Will, was to form
part of the superior
virtue of Prudence”,
was drawing to a
close, and indeed,
prudence is one of
the absolute key
words in both books.
It is also a matter
of teaching how to
read the great book
written by God that
is the world. And it
cannot be denied
that Lorenzo Ortiz
possessed a
sensorial
imagination, clearly
Baroque insofar as
it was trained in
the imaginative
practices of Saint
Ignatius, but also
in the reading of
texts such as the
Introducción al
símbolo de la fe:
“since for no other
reason” he says
“does it seem that
he (God) created the
beautiful and
fragrant flower of
the passionflower in
which the
instruments of the
Passion are seen
with such marvelous
and distinct
expression” (MEV,
18v). His images,
nevertheless, and as
opposed to those of
the Spiritual
Exercises, never
dwell on the
unpleasant nor do
they lower
themselves to
truculence. In
short, Lorenzo
Ortiz’s guide is the
daily practice,
frequently expressed
with a ne quid
nimis, that is,
with a “nothing in
excess” as the
directive principle
for all actions. But
above all he opts
for the attitude and
knowledge that will
help him to situate
himself in
community. Thus, the
kindnesses of
learned and friendly
conversation are
permanently
extolled.
From the reading of
these works we can
derive come thematic
constants that have
very little to do
with what the author
proposed initially.
As an example, let
us consider the
slipperiness of the
meaning of the
book's title on the
five senses. In
reality it is a
matter of two verbs,
of the actions
linked to these
senses, but we will
see right away how
they fill up with a
limited series of
concepts that appear
time and again. The
chapter dedicated to
“hearing” expounds
on that idea of
speaking discrete
and socially
acceptable speech
that we have pointed
out and which
appears in almost
all the imprese. The
chapter dedicated to
“smelling” is
structured along the
lines of the ancient
model of the
Characters by
Theophrastus in
subsections on those
who have noses like
those of puppies,
bucks, rabbits or
foxes, attributing
to them respectively
the qualities of
curiosity, of those
who believe that
they know more than
they do, of
presumptuousness and
of prudence. And so
on.
We have mentioned
prudence, elaborated
as a cautious
attitude which Ortiz
openly recommends on
occasion, like
Torquato Accetto did
(Della
dissimulazione
onesta, 1641),
or Gracián, as
dissimulation and
hiding the truth, an
idea joined to the
lesson of constant
disillusionment that
man should learn
from his passage
through this world.
The majority of the
examples head in
this direction.
Human dealings and
culture are
understood as
elements that can
save one from human
animality, and
moderation if the
principal virtue.
But in addition to
these ideas that can
be abundantly
documented, it is
interesting to take
note of some
subthemes. He is
preoccupied with the
education of
children. As an
educator, he
believes that
teachers can do
nothing without the
help of parents.
Example is the best
kind of persuasion,
and not punishment,
and the nobility are
not guaranteed of
intellectual nor
moral superiority
just because they
are noble. We see
everywhere an author
accustomed to
dealing with
practical problems
and who finds in
literature a means
to escape from his
daily worries.
Another constant
that is not purely
thematic, rather one
of structure and
mental habit, also
clearly of Jesuit
origin, is the
permanent dialectic
of interior /
exterior that
governs the polarity
between the two
books: soul / body,
senses / faculties,
knowledge of the
world /
self-knowledge. “He
who has experience
of himself” he says
“will be able to
extend himself” and
deal adequately with
reality (VOOGT,
224). The impresa
“Touch” is
especially
interesting in this
respect. Touch is
the only sense
present in the whole
body and it is
presented as the
sentinel that stands
guard over it in the
face of the exterior
(cf. The
disquisition between
active and passive
touch p. 223).
The other trait that
Ortiz defended as
original was the
adornment of his
book with fragments
of contemporary
Spanish poetry. In
the first place we
should note that
Lorenzo Ortiz’s
library, his
sources, is not very
copious, and
practically the same
for both books. The
constitution of each
impresa as a kind of
silva or miscellany
of historical cases
is brought about
through the
intensive
exploitation of very
few reference works.
Fray Antonio de
Guevara and Pedro
Mejía or Pérez de
Moya provide the
source of his raw
materials,
second-hand, but the
classical source
most utilized is
Plutarch, whether or
not the extracted
anecdote is germane.
Nevertheless in
VOOGT the
variety is somewhat
greater, with the
main difference
being the appearance
of some Italian
authors. Among the
classical sources,
outside of the
extremely quoted
Plutarch, we find
Valerius Maximus,
Pliny, and then very
sporadically,
Aristotle, Ovid and
a few more. Among
the religious
authors, Saint
Augustine, due to
the undeniable role
he has in the
configuration of
certain aspects of
Jesuitism, could not
help but appear, but
the greatest praise
is reserved for the
previously mentioned
Fray Luis de
Granada, although he
has hardly ever
utilized in an
explicit way; Saint
Theresa and several
lives of saints,
Father Juan Eusebio
Nieremberg and
Thomas a Kempis
pretty much complete
the list. Among the
emblemists, Lorenzo
Ortiz only cites
Spaniards, and in
this order of
importance:
Covarrubias, from
whom he takes quite
a few ideas, his
brother Juan de
Horozco, and
Saavedra Fajardo.
And among the
symbolic
repertories,
Nieremberg aside,
only that of the
Jesuit Nicolás
Caussin (Causino),
author of the
Símbolos selectos y
parábolas históricas
(under this title
Francisco de la
Torre translated the
first books of vol.
12 of Caussin’s
complete works,
published in Madrid:
Imprenta Real, 1677)
that came out in
Spanish the same
year in which the
MEV was
published. Between
MEV and
VOOGT, that
important difference
of the appearance of
quotes from Italian
authors is seen
especially in the
names of Petrarch,
Ariosto and
Emmanuele Tesauro,
as well as in the
added difference of
a greater number of
poetic fragments
adduced.
In fact, as we can
see, it was not true
that only Spanish
poets appeared. As
far as Portuguese
poetry is concerned,
Camões is first, but
we also have the
Baroque poets Faria
e Sousa or Francisco
Manuel de Melo, who
is cited with some
frequency. Without
any doubt, the poet
who is quoted most
often is Quevedo
(never mentioned as
a prose writer), and
only the Quevedo at
his most
neo-stoical;
therefore,
practically all of
the references from
this author pertain
to his translation
of Epictetus. We
also find some poets
who were temporally
or geographically
close to Lorenzo
Ortiz, whose works
were quite
accessible, such as
Gabriel Bocángel,
Francisco López de
Zárate, Luis de
Ulloa y Pereira,
Calderón... He gives
as an example of a
good moral poem one
by Saavedra Fajardo
(“Risa del monte, de
las aves lira...”);
and he includes an
interesting
roll-call of women:
Luisa de Carvajal,
Beatriz de Aguilar,
María de
Villafuerte, Marina
de Escobar (VOOGT,
273-77).
Lorenzo Ortiz, who
confesses to be a
devotee of honest
poetry, disseminates
in both books his
opinions defending a
clear style and
witty conceits over
verbal obscurity.
Indeed, his own
style is essentially
flat with some
imitation of sermon
style (more
pronounced in MEV
than in VOOGT).
Neither does he
neglect to aim a
barb at the
obscurity of a
Góngora in the
impresa devoted to
“seeing”, making a
joke about the
single eye of
Polyphemus. But he
praises the
“humorous” sacred
conceptismo in the
work of Bonilla (VOOGT,
287). He repeats on
several occasions
that culture, books,
study and therefore
writing, should be
taken seriously or
put aside. And we
see in this the
seriousness of
purpose of one who
never had the time
nor the opportunity
necessary to
dedicate himself to
letters as he would
have liked, and who
despises lazy or
vulgar poetasters.
In short, by taking
advantage of an
atmosphere that was
favorable to
emblematic
literature and the
overwhelming
gestation of this
type of book in
Jesuit circles,
Lorenzo Ortiz proved
his poetic and
literary abilities
in general,
constructing a work
that took only its
general impulse from
the strictly
Jesuitical, but then
went its own way. In
Lorenzo Ortiz, a lay
brother of an
average culture,
writing is a task of
personal salvation,
a challenge to
himself and a way to
dignify a life
devoted to the day
to day business of
the Order. Imbued
with the mental
habits of the
Exercises, he
nevertheless does
not elaborate a work
that delves deeply
into these avenues
that had proven to
be so fertile,
limiting himself to
a certain display,
though somewhat
ingenuous, of his
literary abilities,
knowledge and
quotations.
Works by Lorenzo
Ortiz
• Memoria,
Entendimiento y
Voluntad.
Empresas que enseñan
y persuaden su buen
uso en lo moral, y
en lo político.
Ofrécelas a D. Iuan
Eustaquio Vicentelo
y Toledo, Cavallero
de el Ábito de
Santiago. Hijo
primogénito del
Señor D. Iuan
Antonio Vicentelo y
Toledo, Cavallero
del Ábito de
Santiago, del
Consejo Supremo de
Guerra de su
Magestad, y de Iunta
de Armadas, y
Capitán General de
la Real Armada de la
Guarda de la Carrera
de las Indias. El
Hermano Lorenzo
Ortiz, de la
Compañía de Iesús.
Seville: Juan
Francisco de Blas,
1677.
• La fragrante
azuzena de la
Compañía de Iesús B.
Estanislao de Kostka
su novicio,
Panegyrico en la
solemnidad de su
beatificación. Orado
en Roma por el Rvdo.
P. Iuan Pablo Oliva,
Prepósito General de
la Compañía, Que
traducido de
italiano en español
lo dedica al Señor
D. Antonio de Castro
Marqués de
Villacampo, el
Hermano Lorenzo
Ortiz, de la misma
Compañía. Véndese en
calle de Génova en
Casa de Iuan
Salvador Pérez, s.
a. [“Aprobación” of
1677].
• Plática
espiritual hecha a
la comunidad de la
Casa Professa de la
Compañia de Iesús de
Roma, el día de
Santa Catalina de
Sena del año de
1677. Por el Rmo
P. Ivan Paulo Oliva,
Prepósito General de
toda la Compañia de
Iesús. Y traducida
de Toscano en
Español por el
Hermano Lorenzo
Ortiz, de la misma
Compañía. En
Sevilla, Por Iuan
Francisco de Blas,
Impressor mayor. Año
1678.
• Origen y
instituto de la
Compañía de Iesús en
la vida de San
Ignacio de Loyola su
padre y fundador que ofrece a las sus muy religiosas y apostólicas
provincias de la Compañía de Iesús de las Indias, Occidentales que comprehende
la assistencia General en Roma, por la Corona de Castilla / el hermano Lorenzo
Ortiz religioso de la mesma Compañía de Iesús. Sevilla: en el Colegio de San
Hermenegildo de la Compañía de Iesús: véndese en casa de Ivá Salvador Pérez,
1679.
• Pláticas
domésticas
espirituales, hechas por el Reverendíssimo Padre Juan Paulo Oliva,
Prepósito General de la Compañia de Jesús, a las Communidades de su Casa
Professa, y demás Colegios de Roma, traducidas de Toscano en Español por el
Hermano Lorenzo Ortiz de la Compañia de Iesús. Y las ofrece a la muy
Religiosa, y muy Apostólica Provincia del Pirú de la misma Compañia de Iesús.
En Brusselas, por Francesco Tserstevens, 1680.
• El Príncipe del
Mar San Francisco
Xavier: de la Compañía de Jesús, Apóstol de el Oriente, y patrón de sus
navegaciones... singulares demonstraciones de su amor para con los navegantes,
y seguras prendas de su patrocinio en todos los peligros del mar, Por el
Hermano Lorenzo Ortiz, de la misma Compañía. Bruselas: Francisco Foppens,
1682. There are editions in Seville: Imprenta
castellana y Latina de Diego López de Haro (n. d., but certainly the same as
the 1st ed, 1682); Cádiz: Imprenta del
Colegio de la Compañía de Jesús, por Christóval de Requena,
1688 (the title indicates that it is the
“second printing expanded and emended”); Seville, en la Imprenta de Manuel
Caballero, 1701; Seville: Lucas Martín de
Hermosilla, 1702. (the title indicates that
it is the “fifth printing, expanded and emended by its author”); Seville:
1731.
• Ver Oír, Oler,
Gustar, Tocar. Empresas que enseñan y persuaden su buen uso en lo Político
y en lo Moral; que ofrece el hermano Lorenço Ortiz, de la Compañía de Jesús,
al Illustrísimo y Reverendísimo Señor Don Manuel Hernández de Santa Cruz, de
el Consejo de su Magestad, Obispo de la Puebla de los Ángeles. Lyon, en la
Emprenta de Anisson, Posuel y Rigaud. A costa de Francisco Brugieres, y
Compañía, 1686.
• Ver, Oír, Oler,
Gustar, Tocar: Empresas que enseñan y persuaden su buen uso en lo moral, y
en lo político, que ofrece el hermano Lorenço Ortiz de la Compañía de Jesús al
Excelentíssimo Señor Don Rodrigo Manuel Fernández Manrique de Lara Ramírez de
Arellano, Mendoza y Albarado, Conde de Aguilar, y de Frigiliana, & c.
Gentilhombre de la Cámara de su Magestad, Capitán General de la Armada, y
Exércitos de el Mar Océano, y de sus Costas de la Andalucía y Presidios de
África, &c. Lyon: en la Emprenta de Anisson, Posuel y Rigaud. A costa de
Francisco Brugieres y Compañía, 1687.
• El maestro de
escrivir. La theórica y la practica para aprender y para enseñar este
utilíssimo arte con dos artes nuevos, uno para formar rasgos, otro para
inventar innumerables formas de letras... que ofrece el hermano Lorenzo Ortiz,
de la Compañia de Iesús. Venecia: presso Paolo Baglioni,
1696.
• Ocio
entretenido.
Fragmentos poéticos.
(Seville, Biblioteca
Colombina, prints
and mss.)
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