{"title":"Languages, Latin, and the Jacobean Secretariat: William Fowler's Letters in Florence and Venice","authors":"Allison L. Steenson","doi":"10.1111/rest.12848","DOIUrl":"https://doi.org/10.1111/rest.12848","url":null,"abstract":"","PeriodicalId":45351,"journal":{"name":"Renaissance Studies","volume":"15 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-12-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74366729","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article investigates the nuanced relationship between songbirds and social dynamics in early modern England. It demonstrates how a rhetorical discourse of social distinction was created by printed bird‐training manuals. This discourse was necessary because the same species of songbird existed across the social spectrum. For native songbirds, therefore, their inherent value, and the status they conferred upon their owners, was determined more by their skill and training than by their particular species. Printed manuals explained how songbirds could be raised to surpass the limitations of nature through learning the song of another species, learning musical phrases and by being taught to sing in the winter rather than the summer. Analysing printed literature, probate inventories and household accounts, this article demonstrates that the practice of songbird‐keeping was widely affordable. This can then be contrasted to the ‘gentlemanly’ model of bird‐keeping outlined by printed manuals, which emphasise the need for investment into the birds to cause them to surpass the limitations of nature. The authority of this ‘gentlemanly’ model was used to cast judgment upon those who did not follow the manuals' guidance, highlighting the fact that a songbird's true value lay in its abilities rather than its species.
{"title":"Songbirds and Social Distinction in Seventeenth‐Century England","authors":"D. Frost","doi":"10.1111/rest.12845","DOIUrl":"https://doi.org/10.1111/rest.12845","url":null,"abstract":"This article investigates the nuanced relationship between songbirds and social dynamics in early modern England. It demonstrates how a rhetorical discourse of social distinction was created by printed bird‐training manuals. This discourse was necessary because the same species of songbird existed across the social spectrum. For native songbirds, therefore, their inherent value, and the status they conferred upon their owners, was determined more by their skill and training than by their particular species. Printed manuals explained how songbirds could be raised to surpass the limitations of nature through learning the song of another species, learning musical phrases and by being taught to sing in the winter rather than the summer. Analysing printed literature, probate inventories and household accounts, this article demonstrates that the practice of songbird‐keeping was widely affordable. This can then be contrasted to the ‘gentlemanly’ model of bird‐keeping outlined by printed manuals, which emphasise the need for investment into the birds to cause them to surpass the limitations of nature. The authority of this ‘gentlemanly’ model was used to cast judgment upon those who did not follow the manuals' guidance, highlighting the fact that a songbird's true value lay in its abilities rather than its species.","PeriodicalId":45351,"journal":{"name":"Renaissance Studies","volume":"65 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-12-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84671355","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
It is difficult to consider the resplendent display of Donatello’s sculpture under review here as a single exhibition. Of the approximately 130 artworks included, around fifty are by or attributed to Donatello; a number of these were made in partnership with the sculptorarchitect Michelozzo and many with workshop assistance. Divided between two venues, this seemed the equivalent of three exhibitions. Eleven rooms at the Palazzo Strozzi presented a chronological survey of the sculptor’s career and influence in the fifteenth century. A second section, in the Bargello’s cavernous Salone di Donatello, focused on several statues, including his bronze David, the Orsanmichele St. George with its tabernacle niche and schiacciato relief, and the Marzocco, the lion he carved in sandstone (macigno). And artworks in two groundfloor rooms at the Bargello explored his influence in the later fifteenth, sixteenth, and seventeenth centuries. The exhibition expanded, potentially, even beyond these sites, as signage encouraged visitors to explore other cultural institutions in Florence and outside the city in Tuscany where additional examples of Donatello’s art can be found – or where sculptures included in the exhibition usually reside. Before 2022, comprehensive museum exhibitions featured Donatello’s art twice: in 1887, on the fifth centenary of his birth, and in 1985– 6, when an exhibition staged in three cities marked the sixth centenary. 2022 is not the anniversary of his birth or death or of the completion of a major sculpture (or so we think; missing
我们很难把这里展出的多纳泰罗的雕塑看作是一个单独的展览。在收录的大约130件艺术品中，大约有50件是多纳泰罗的作品或被认为是多纳泰罗的作品;其中许多是与雕塑家兼建筑师Michelozzo合作制作的，许多是在车间的帮助下制作的。分为两个场地，这似乎相当于三个展览。斯特罗齐宫(Palazzo Strozzi)的11个房间按时间顺序展示了这位雕塑家在15世纪的职业生涯和影响力。第二个展区在巴杰罗的多纳泰罗沙龙(Salone di Donatello)，集中展出了几尊雕像，包括他的青铜《大卫》(David)、奥桑米歇尔圣乔治(Orsanmichele St. George)和他在砂岩(macigno)上雕刻的狮子马佐科(Marzocco)。巴格罗底层的两个房间里的艺术品探索了他在15、16和17世纪后期的影响。展览有可能扩展到这些地点之外，因为指示牌鼓励参观者探索佛罗伦萨和托斯卡纳市以外的其他文化机构，在那里可以找到更多的多纳泰罗艺术作品，或者展览中包括的雕塑通常在那里展出。在2022年之前，综合博物馆展览了两次多纳泰罗的艺术:1887年，在他出生的第五个百年，1985 - 6年，当一个展览在三个城市举行，以纪念第六个百年。2022年不是他的诞辰或逝世纪念日，也不是他完成一件重要雕塑的纪念日(至少我们是这么认为的;失踪
{"title":"Donatello. Il Rinascimento (Florence, Palazzo Strozzi and Museo Nazionale del Bargello, 19 March–31 July 2022). Catalogue Donatello. Il Rinascimento ed. Francesco Caglioti. Venice: Marsilio Arte. 456 pp. €72. ISBN 979‐12‐5463‐005‐1","authors":"Amy Bloch","doi":"10.1111/rest.12842","DOIUrl":"https://doi.org/10.1111/rest.12842","url":null,"abstract":"It is difficult to consider the resplendent display of Donatello’s sculpture under review here as a single exhibition. Of the approximately 130 artworks included, around fifty are by or attributed to Donatello; a number of these were made in partnership with the sculptorarchitect Michelozzo and many with workshop assistance. Divided between two venues, this seemed the equivalent of three exhibitions. Eleven rooms at the Palazzo Strozzi presented a chronological survey of the sculptor’s career and influence in the fifteenth century. A second section, in the Bargello’s cavernous Salone di Donatello, focused on several statues, including his bronze David, the Orsanmichele St. George with its tabernacle niche and schiacciato relief, and the Marzocco, the lion he carved in sandstone (macigno). And artworks in two groundfloor rooms at the Bargello explored his influence in the later fifteenth, sixteenth, and seventeenth centuries. The exhibition expanded, potentially, even beyond these sites, as signage encouraged visitors to explore other cultural institutions in Florence and outside the city in Tuscany where additional examples of Donatello’s art can be found – or where sculptures included in the exhibition usually reside. Before 2022, comprehensive museum exhibitions featured Donatello’s art twice: in 1887, on the fifth centenary of his birth, and in 1985– 6, when an exhibition staged in three cities marked the sixth centenary. 2022 is not the anniversary of his birth or death or of the completion of a major sculpture (or so we think; missing","PeriodicalId":45351,"journal":{"name":"Renaissance Studies","volume":"116 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-12-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80369995","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In the late 1630s, the court poet William Davenant applied his literary energies to Madagascar, an island off the eastern coast of Africa: ‘Thus in a dreame, I did adventure out…/Betweene the Southern Tropick and the Line’. While previous scholarship has highlighted the poem's ambiguous attitude towards empire, focusing on the rising interest in global travel and eastern diplomacy at Charles I's court, this article revisits the poem's genre and social context by focusing on its specific engagement with colonization. In doing so, it establishes Madagascar as an important example of how cavalier poets helped shape the aesthetics of early Stuart colonialism at court. The use of fancy – explored here through poetic style and wit sociability, female colonial networks at Henrietta Maria's court, and real and imagined objects, including Malagasy artefacts – becomes key to reconciling the seeming incongruities between the poem's lover‐conquerors and the colonial aspirations that underpinned the project.
{"title":"‘Not as a Poet, but a Pioner’: Fancy and the Colonial Gaze in William Davenant's Madagascar (1638)","authors":"Lauren Working","doi":"10.1111/rest.12835","DOIUrl":"https://doi.org/10.1111/rest.12835","url":null,"abstract":"In the late 1630s, the court poet William Davenant applied his literary energies to Madagascar, an island off the eastern coast of Africa: ‘Thus in a dreame, I did adventure out…/Betweene the Southern Tropick and the Line’. While previous scholarship has highlighted the poem's ambiguous attitude towards empire, focusing on the rising interest in global travel and eastern diplomacy at Charles I's court, this article revisits the poem's genre and social context by focusing on its specific engagement with colonization. In doing so, it establishes Madagascar as an important example of how cavalier poets helped shape the aesthetics of early Stuart colonialism at court. The use of fancy – explored here through poetic style and wit sociability, female colonial networks at Henrietta Maria's court, and real and imagined objects, including Malagasy artefacts – becomes key to reconciling the seeming incongruities between the poem's lover‐conquerors and the colonial aspirations that underpinned the project.","PeriodicalId":45351,"journal":{"name":"Renaissance Studies","volume":"16 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-11-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75447723","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article presents a text on the Ottoman Empire left by Marcantonio Donini – a career secretary with the Venetian diplomatic service, sent three times to Constantinople/Istanbul. After the death of his superior during his second stay in the Ottoman Empire, Donini was entrusted with temporarily heading the mission and with presenting the final mission report (relazione) after his return to Venice (1562). Most probably, he also wrote a much less formal text, composed of three dialogues on the Ottoman reality (signed 1591). Donini's writings attest to well‐developed rhetorical skills, manifested by the clear division of topics between the dialogues and relazione and by the ways used to present alleged Ottoman otherness. Some of the original traits in his writings are also attributable to Marcantonio's individual views and his social position as a secretary. By focusing on Donini and his dialogues, this paper aims to enrich discussion on the scope and content of texts on the Ottoman Empire produced by Venetian diplomats.
{"title":"A Venetian Secretary's Expertise. Marcantonio Donini and his Three Dialogues… on the Ottoman Empire and ‘Turkish’ Affairs","authors":"Piotr Chmiel","doi":"10.1111/rest.12843","DOIUrl":"https://doi.org/10.1111/rest.12843","url":null,"abstract":"This article presents a text on the Ottoman Empire left by Marcantonio Donini – a career secretary with the Venetian diplomatic service, sent three times to Constantinople/Istanbul. After the death of his superior during his second stay in the Ottoman Empire, Donini was entrusted with temporarily heading the mission and with presenting the final mission report (relazione) after his return to Venice (1562). Most probably, he also wrote a much less formal text, composed of three dialogues on the Ottoman reality (signed 1591). Donini's writings attest to well‐developed rhetorical skills, manifested by the clear division of topics between the dialogues and relazione and by the ways used to present alleged Ottoman otherness. Some of the original traits in his writings are also attributable to Marcantonio's individual views and his social position as a secretary. By focusing on Donini and his dialogues, this paper aims to enrich discussion on the scope and content of texts on the Ottoman Empire produced by Venetian diplomats.","PeriodicalId":45351,"journal":{"name":"Renaissance Studies","volume":"1 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-11-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86706808","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Only a decade ago Roger Kuin's The Correspondence of Sir Philip Sidney (2012) offered scholars for the first time a complete edition of Sidney's correspondence. Kuin modestly allowed room for new discoveries, in the hope that additional letters might be identified. This article introduces a previously unpublished autograph letter by Sidney, written in French, addressed on 21 April 1576 to Carolus Clusius or Charles de l'Écluse, an associate of Hubert Languet and a noted botanist then active in Vienna at the court of the Holy Roman Emperor Maximilian II. After briefly discussing the provenance of the manuscript I turn to its contents, situating the letter within the wider corpus of Sidney's extant correspondence, with reference to letters to and from Clusius and Languet in Kuin's edition, and analysing it within this context. The newly discovered letter, transcribed and translated in an appendix, is shown to offer important new evidence for Sidney's relationships with Clusius and Languet as well as his place in European intellectual culture more generally.
{"title":"An Unpublished Autograph Letter from Sir Philip Sidney to Carolus Clusius, 21 April 1576","authors":"T. Vozar","doi":"10.1111/rest.12844","DOIUrl":"https://doi.org/10.1111/rest.12844","url":null,"abstract":"Only a decade ago Roger Kuin's The Correspondence of Sir Philip Sidney (2012) offered scholars for the first time a complete edition of Sidney's correspondence. Kuin modestly allowed room for new discoveries, in the hope that additional letters might be identified. This article introduces a previously unpublished autograph letter by Sidney, written in French, addressed on 21 April 1576 to Carolus Clusius or Charles de l'Écluse, an associate of Hubert Languet and a noted botanist then active in Vienna at the court of the Holy Roman Emperor Maximilian II. After briefly discussing the provenance of the manuscript I turn to its contents, situating the letter within the wider corpus of Sidney's extant correspondence, with reference to letters to and from Clusius and Languet in Kuin's edition, and analysing it within this context. The newly discovered letter, transcribed and translated in an appendix, is shown to offer important new evidence for Sidney's relationships with Clusius and Languet as well as his place in European intellectual culture more generally.","PeriodicalId":45351,"journal":{"name":"Renaissance Studies","volume":"122 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-11-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79461141","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Shakespeare and his texts","authors":"Joshua R. Held","doi":"10.1111/rest.12839","DOIUrl":"https://doi.org/10.1111/rest.12839","url":null,"abstract":"","PeriodicalId":45351,"journal":{"name":"Renaissance Studies","volume":"8 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-11-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72699278","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Why does Falstaff travel to York via Gloucestershire in Henry the Fourth, part two? And why does Shakespeare interrupt his second tetralogy of history plays to take his most famous comic character to Windsor in the Merry Wives? This article uses Falstaff's tour of England in these two plays to explore an idea of the country founded upon local identities rather than on the overarching appeal of nationhood. Drawing upon chorography and social history, it focusses on the association of people and place and offers a view of England from the ground up rather than through the more imposing structures of political narrative and symbolic form.
{"title":"Falstaff on Tour: County, Town and Country in the Late Elizabethan Theatre","authors":"Neil Rhodes","doi":"10.1111/rest.12838","DOIUrl":"https://doi.org/10.1111/rest.12838","url":null,"abstract":"Why does Falstaff travel to York via Gloucestershire in Henry the Fourth, part two? And why does Shakespeare interrupt his second tetralogy of history plays to take his most famous comic character to Windsor in the Merry Wives? This article uses Falstaff's tour of England in these two plays to explore an idea of the country founded upon local identities rather than on the overarching appeal of nationhood. Drawing upon chorography and social history, it focusses on the association of people and place and offers a view of England from the ground up rather than through the more imposing structures of political narrative and symbolic form.","PeriodicalId":45351,"journal":{"name":"Renaissance Studies","volume":"67 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-11-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74380017","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"MarioCasari, MonicaPreti, and MichaelWyatt, eds. Ariosto and the Arabs: Contexts for the ‘Orlando Furioso.’ I Tatti Research Series. Florence: Villa I Tatti, 2022. 468 pp. $50.00/£40.95/€45.00. ISBN: 978‐0‐674‐27879‐0 (pb).","authors":"R. Clines","doi":"10.1111/rest.12841","DOIUrl":"https://doi.org/10.1111/rest.12841","url":null,"abstract":"","PeriodicalId":45351,"journal":{"name":"Renaissance Studies","volume":"29 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-11-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75030644","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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