Editing Paracelsus (section)

===Portraits===
[[File:Paracelsus-03.jpg|thumb|The 1540 portrait by Hirschvogel]]
[[File:Paracelsus 1567.jpg|thumb|The 1567 "Rosicrucian" portrait]]
[[File:Effigies Paracelsi Medici Celeberrimi FA 2000.001.203.jpg|thumb| Engraving by Pieter Van Sompel, before 1643; after [[Pieter Soutman]] ]]
[[File:Aureolus Theophrastus Bombastus von Hohenheim (Paracelsus). Wellcome V0004461.jpg|thumb|Full-body portrait from the Dutch edition of [[Gottfried Arnold]]'s ''History of the Church and of Heresy'' (1701), engraving by [[Romeyn de Hooghe]]]]
The oldest surviving portrait of Paracelsus is a woodcut by [[Augustin Hirschvogel]], published in 1538, still during Paracelsus's lifetime. A still older painting by [[Quentin Matsys]] has been lost, but at least three 17th-century copies survive, one by an anonymous [[Flemish people|Flemish]] artist, kept in the [[Louvre]], one by [[Peter Paul Rubens]], kept in Brussels, and one by a student of Rubens, now kept in [[Uppsala]]. Another portrait by Hirschvogel, dated 1540, claims to show Paracelsus "at the age of 47" (''sue aetatis 47''), i.e. less than a year before his death. In this portrait, Paracelsus is shown as holding his sword, gripping the spherical pommel with the right hand. Above and below the image are the mottos ''Alterius non sit qui suus esse potest'' ("Let no man belong to another who can belong to himself") and ''Omne donum perfectum a Deo, inperfectum a Diabolo'' ("All perfect gifts are from God, [all] imperfect [ones] from the Devil"); later portraits give a German rendition in two rhyming couplets (''Eines andern Knecht soll Niemand sein / der für sich bleiben kann allein /all gute Gaben sint von Got / des Teufels aber sein Spot'').<ref>Werneck in ''Beiträge zur praktischen Heilkunde: mit vorzüglicher Berücksichtigung der medicinischen Geographie, Topographie und Epidemiologie'', Volume 3 (1836), [https://books.google.com/books?id=wW8_AAAAcAAJ&pg=PA214 212–216] {{Webarchive|url=https://web.archive.org/web/20230326164816/https://books.google.com/books?id=wW8_AAAAcAAJ&pg=PA214 |date=26 March 2023 }}.
''Neues Journal zur Litteratur und Kunstgeschichte'', Volume 2 (1799), [https://books.google.com/books?id=iEdMAAAAcAAJ&pg=PA249 246–256].</ref> Posthumous portraits of Paracelsus, made for publications of his books during the second half of the 16th century, often show him in the same pose, holding his sword by its pommel.

The so-called "Rosicrucian portrait", published with ''Philosophiae magnae Paracelsi'' (Heirs of Arnold Birckmann, Cologne, 1567), is closely based on the 1540 portrait by Hirschvogel (but mirrored, so that now Paracelsus's left hand rests on the sword pommel), adding a variety of additional elements: the pommel of the sword is inscribed by ''[[Azoth]]'', and next to the figure of Paracelsus, the [[Bombast von Hohenheim]] arms are shown (with an additional border of eight [[cross patty|crosses patty]]).<ref>The von Hohenheim arms showed a blue (azure) bend with three white (argent) balls in a yellow (or) field (Julius Kindler von Knobloch, ''Oberbadisches Geschlechterbuch'' vol. 1, 1894, [http://digi.ub.uni-heidelberg.de/diglit/kindlervonknobloch1898bd1/0146 p. 142] {{Webarchive|url=https://web.archive.org/web/20180124005910/http://digi.ub.uni-heidelberg.de/diglit/kindlervonknobloch1898bd1/0146 |date=24 January 2018 }}), i.e. without the border. Franz Hartmann, ''[https://archive.org/details/lifeanddoctrine00hartgoog Life and Doctrines]'' (1887), [https://archive.org/details/lifeanddoctrine00hartgoog p. 12] describes the
arms shown on the monument in St Sebastian church, Salzburg as  "a beam of silver, upon which are ranged three black balls".</ref> Shown in the background are "early [[Rosicrucian]] symbols", including the head of a child protruding from the ground (indicating rebirth). The portrait is possibly a work by [[Frans Hogenberg]], acting under the directions of Theodor Birckmann (1531/33–1586).