This article discusses the transcultural career of one particular Spanish ecclesiastic, the Palencian, Francisco de Reynoso (1534–1601). Reynoso is a far more significant historical and cultural figure than has previously been thought, although never the subject of a holistic study. He began his ecclesiastical life as major domo and secretary of Pope Pius V and ended it as Bishop of Córdoba. Through a novel and detailed analysis of Reynoso's career and patronage the article sheds new light on the dynamics of a broader Iberian world that co‐existed between Spain and Italy. It reveals the ties that continued to bind Reynoso to Rome, where he had lived for some ten years, throughout his long career and demonstrates how easily individuals could now transition between Spain and Italy. In particular, the extensive opportunities for cultural patronage that were offered thereby are analysed, Reynoso was to prove a discerning patron in many fields – art, architecture, music and literature. Finally, it makes a revealing comparison between Reynoso and the career trajectory of his exact Bolognese contemporary and colleague, Alessandro Casale, as to the different possibilities this Iberian world now offered the ambitious cleric.
{"title":"All roads lead from Rome: the transcultural career of Francisco de Reynoso","authors":"Piers Baker‐Bates","doi":"10.1111/rest.12921","DOIUrl":"https://doi.org/10.1111/rest.12921","url":null,"abstract":"This article discusses the transcultural career of one particular Spanish ecclesiastic, the Palencian, Francisco de Reynoso (1534–1601). Reynoso is a far more significant historical and cultural figure than has previously been thought, although never the subject of a holistic study. He began his ecclesiastical life as major domo and secretary of Pope Pius V and ended it as Bishop of Córdoba. Through a novel and detailed analysis of Reynoso's career and patronage the article sheds new light on the dynamics of a broader Iberian world that co‐existed between Spain and Italy. It reveals the ties that continued to bind Reynoso to Rome, where he had lived for some ten years, throughout his long career and demonstrates how easily individuals could now transition between Spain and Italy. In particular, the extensive opportunities for cultural patronage that were offered thereby are analysed, Reynoso was to prove a discerning patron in many fields – art, architecture, music and literature. Finally, it makes a revealing comparison between Reynoso and the career trajectory of his exact Bolognese contemporary and colleague, Alessandro Casale, as to the different possibilities this Iberian world now offered the ambitious cleric.","PeriodicalId":45351,"journal":{"name":"Renaissance Studies","volume":"21 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2024-03-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140147562","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":"Ulrich L.Lehner, The Inner Life of Catholic Reform: From the Council of Trent to the Enlightenment. New York: Oxford University Press, 2022. xi + 294 pp. £26.49. ISBN 9780197620601 (hb).","authors":"Joshua Rushton","doi":"10.1111/rest.12930","DOIUrl":"https://doi.org/10.1111/rest.12930","url":null,"abstract":"","PeriodicalId":45351,"journal":{"name":"Renaissance Studies","volume":"134 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2024-03-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140054211","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}
Unlike the carts that crawled with angels in the medieval pageant plays, angels of the early modern stage were a rare breed. Eventually they disappeared from the stage altogether; they did not, however, disappear all at once in a puff of celestial smoke. This article reveals a pattern of suppression in the representation of angels on the English stage, ranging from Christopher Marlowe's Doctor Faustus in 1592 until 1645, three years after the closure of the theatres in England. This study examines plays that present angels as characters who contribute to the play's action and denouement; however, by noting plays that include allegorical and decorative angels too, it comprises the most comprehensive survey of angels within plays from the period to date. Angels do not appear in many plays performed at the commercial playhouses of Elizabethan and Jacobean England; but when they do, it becomes clear that early modern playwrights gradually developed more calculated ways of staging these controversial creatures. As stage angels assume more silent roles, but before angels leave the stage entirely, human characters begin to communicate with these celestial figures differently and encounters with angels become a far more intimate experience.
{"title":"‘A Voice Amidst Mine Ears’: Silent Angels on the Early Modern Stage","authors":"Caitlín Rankin-McCabe","doi":"10.1111/rest.12925","DOIUrl":"https://doi.org/10.1111/rest.12925","url":null,"abstract":"Unlike the carts that crawled with angels in the medieval pageant plays, angels of the early modern stage were a rare breed. Eventually they disappeared from the stage altogether; they did not, however, disappear all at once in a puff of celestial smoke. This article reveals a pattern of suppression in the representation of angels on the English stage, ranging from Christopher Marlowe's Doctor Faustus in 1592 until 1645, three years after the closure of the theatres in England. This study examines plays that present angels as characters who contribute to the play's action and denouement; however, by noting plays that include allegorical and decorative angels too, it comprises the most comprehensive survey of angels within plays from the period to date. Angels do not appear in many plays performed at the commercial playhouses of Elizabethan and Jacobean England; but when they do, it becomes clear that early modern playwrights gradually developed more calculated ways of staging these controversial creatures. As stage angels assume more silent roles, but before angels leave the stage entirely, human characters begin to communicate with these celestial figures differently and encounters with angels become a far more intimate experience.","PeriodicalId":45351,"journal":{"name":"Renaissance Studies","volume":"20 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2024-03-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140074014","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":"Pesellino: A Renaissance Master Revealed (London, The National Gallery, 7 December 2023 –10 March 2024). Catalogue by Laura Llewellyn (ed.), with contributions by Jill Dunkerton and Nathaniel Silver. London: National Gallery Global Limited, distributed by Yale University Press, 2023. 80 pp., illus. col., ISBN 97818570971081052658.","authors":"Samuel Dawson","doi":"10.1111/rest.12928","DOIUrl":"https://doi.org/10.1111/rest.12928","url":null,"abstract":"","PeriodicalId":45351,"journal":{"name":"Renaissance Studies","volume":"19 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2024-02-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140019418","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":"DanielGehrt, MarkusMatthias, and SaschaSalatowsky (eds), Reforming Church History: The Impact of the Reformation on Early Modern European Historiography. Stuttgart: Franz Steiner Verlag, 2023. 317 pp. €64.00. ISBN 978‐3‐515‐13424‐8 (hb).","authors":"Christian Thorsten Callisen","doi":"10.1111/rest.12929","DOIUrl":"https://doi.org/10.1111/rest.12929","url":null,"abstract":"","PeriodicalId":45351,"journal":{"name":"Renaissance Studies","volume":"11 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2024-02-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139956776","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 examines the history of the concept of the soul as a harmony—as opposed to merely being like a harmony—in sixteenth‐century England, demonstrating how debates over music's morality in sixteenth‐century England were a catalyst for theorising an increasing affinity between music and the soul. At the beginning of the sixteenth century, English writers valued music primarily for its restorative qualities or its potential to instil virtue, akin to arguments in Aristotle's Politics. As attacks on music intensified mid‐century, defenders turned to more Platonic views of music, gradually going as far as arguing that the soul itself was a harmony. As I demonstrate, however, music's defenders trod a fine line in using this concept, which had been challenged since classical times and caused problems for Christian theology and the notion of the immortal soul. Nevertheless, by the seventeenth century, the pervasiveness of the language of soul‐harmony was such that it continued to be influential in the seventeenth century as a tool for conveying the emerging new medical and cognitive theories.
{"title":"The harmonious soul and the defence of music in sixteenth‐century England","authors":"Katherine Butler","doi":"10.1111/rest.12926","DOIUrl":"https://doi.org/10.1111/rest.12926","url":null,"abstract":"This article examines the history of the concept of the soul as a harmony—as opposed to merely being <jats:italic>like</jats:italic> a harmony—in sixteenth‐century England, demonstrating how debates over music's morality in sixteenth‐century England were a catalyst for theorising an increasing affinity between music and the soul. At the beginning of the sixteenth century, English writers valued music primarily for its restorative qualities or its potential to instil virtue, akin to arguments in Aristotle's <jats:italic>Politics</jats:italic>. As attacks on music intensified mid‐century, defenders turned to more Platonic views of music, gradually going as far as arguing that the soul itself was a harmony. As I demonstrate, however, music's defenders trod a fine line in using this concept, which had been challenged since classical times and caused problems for Christian theology and the notion of the immortal soul. Nevertheless, by the seventeenth century, the pervasiveness of the language of soul‐harmony was such that it continued to be influential in the seventeenth century as a tool for conveying the emerging new medical and cognitive theories.","PeriodicalId":45351,"journal":{"name":"Renaissance Studies","volume":"79 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2024-02-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139952462","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}
<p>The early Netherlandish painter Hugo van der Goes (c.1440-1482/83) is not as well-known as he should be. He has a renown—although largely for his biographical peculiarities. In c.1475-7, at the height of a successful career in Ghent (about which we know little excepting decorative commissions, notably for Charles the Bold), Hugo became a lay brother at an Augustinian foundation known as the Roode Kloster. Shortly before his death, as related by the monastery's carer, Gaspar Ofhuys, Hugo suffered ‘frenesis magne’ (a serious mental illness) (cat. 44 for Ofhuys' c.1509/13 text and a translation). Ever since Hugo has been made to embody—<i>avant la lettre</i>—the mad artist-genius sacred to Romanticism. For Rudolf and Margaret Wittkower, Hugo's life was one of the earliest ‘reliable records of a mentally ill artist’.1</p> <p>Beside these biographical dramas, Hugo's artworks risk fading into the background. But visitors to The Uffizi will recall the sudden apparition of his gigantic <i>Portinari Altarpiece</i>, commissioned by the Italian banker Tommaso Portinari. The Scottish National Gallery boasts another marvel: Hugo's tall and enigmatic <i>Trinity Panels</i> (a Royal Collection loan), needing conservation treatment.2 His few other surviving works are spread throughout Europe and North America. Before the Gemäldegalerie's display, they had never been gathered together.</p> <p>The exhibition's original motivation was a desire for completion: the latest of a decades-long succession of museum projects on canonical early Netherlandish painters. As divulged by Kemperdick and Till–Holger Borchert in a 2018 preview talk, Hugo was the only significant early Netherlander without an extensive monographic show. One might speculate as to why. Two of Hugo's most celebrated works, the <i>Portinari Altarpiece</i> and <i>Trinity Panels</i> mentioned already, are unlikely ever to travel (represented in Berlin by to-scale reproductions—useful but ghostly—and in the catalogue by Emma Capron's and Lorne Campbell's essays). Perhaps, however, other factors made Hugo less attractive: his name's unfamiliarity to non-art historians, the issues surrounding his oeuvre, and the sheer visual strangeness of his work.</p> <p>The organisers had a difficult task. The exhibition subtitle was <i>Schmerz und Seligkeit</i>, for which the English catalogue (the version reviewed here) uses ‘pain and bliss’. ‘Bliss’, however, falls short of <i>Seligkeit</i>'s theological and beatific connotations. These same spiritual reverberations distinguishing Hugo's aesthetic are foreign to modern viewers. Many of us lack the deep religious sentiment—the <i>Schmerz und Seligkeit</i>—the works demand.</p> <p>Furthermore, sources linking Hugo's name to surviving paintings are almost non-existent; the <i>Portinari Altarpiece</i> is the closest thing to a documented work. Kemperdick remarked before the exhibition opening, parodying the art world's attributional terminology, that ‘every Hugo van der
{"title":"Hugo van der Goes. Between Pain and Bliss (Gemäldegalerie—Staatliche Museen zu Berlin, March 31–July 16, 2023). Catalogue by Stephan Kemperdick and Erik Eising with the collaboration of Till-Holger Borchert (ed.), Hugo van der Goes. Between Pain and Bliss, exh. cat., trans. Bram Opstelten and Joshua Waterman. Munich: Hirmer Verlag for Staatliche Museen zu Berlin, 2023. 304 pp. col. ill. ISBN 9783777438481.","authors":"Niko Munz","doi":"10.1111/rest.12920","DOIUrl":"https://doi.org/10.1111/rest.12920","url":null,"abstract":"<p>The early Netherlandish painter Hugo van der Goes (c.1440-1482/83) is not as well-known as he should be. He has a renown—although largely for his biographical peculiarities. In c.1475-7, at the height of a successful career in Ghent (about which we know little excepting decorative commissions, notably for Charles the Bold), Hugo became a lay brother at an Augustinian foundation known as the Roode Kloster. Shortly before his death, as related by the monastery's carer, Gaspar Ofhuys, Hugo suffered ‘frenesis magne’ (a serious mental illness) (cat. 44 for Ofhuys' c.1509/13 text and a translation). Ever since Hugo has been made to embody—<i>avant la lettre</i>—the mad artist-genius sacred to Romanticism. For Rudolf and Margaret Wittkower, Hugo's life was one of the earliest ‘reliable records of a mentally ill artist’.1</p>\u0000<p>Beside these biographical dramas, Hugo's artworks risk fading into the background. But visitors to The Uffizi will recall the sudden apparition of his gigantic <i>Portinari Altarpiece</i>, commissioned by the Italian banker Tommaso Portinari. The Scottish National Gallery boasts another marvel: Hugo's tall and enigmatic <i>Trinity Panels</i> (a Royal Collection loan), needing conservation treatment.2 His few other surviving works are spread throughout Europe and North America. Before the Gemäldegalerie's display, they had never been gathered together.</p>\u0000<p>The exhibition's original motivation was a desire for completion: the latest of a decades-long succession of museum projects on canonical early Netherlandish painters. As divulged by Kemperdick and Till–Holger Borchert in a 2018 preview talk, Hugo was the only significant early Netherlander without an extensive monographic show. One might speculate as to why. Two of Hugo's most celebrated works, the <i>Portinari Altarpiece</i> and <i>Trinity Panels</i> mentioned already, are unlikely ever to travel (represented in Berlin by to-scale reproductions—useful but ghostly—and in the catalogue by Emma Capron's and Lorne Campbell's essays). Perhaps, however, other factors made Hugo less attractive: his name's unfamiliarity to non-art historians, the issues surrounding his oeuvre, and the sheer visual strangeness of his work.</p>\u0000<p>The organisers had a difficult task. The exhibition subtitle was <i>Schmerz und Seligkeit</i>, for which the English catalogue (the version reviewed here) uses ‘pain and bliss’. ‘Bliss’, however, falls short of <i>Seligkeit</i>'s theological and beatific connotations. These same spiritual reverberations distinguishing Hugo's aesthetic are foreign to modern viewers. Many of us lack the deep religious sentiment—the <i>Schmerz und Seligkeit</i>—the works demand.</p>\u0000<p>Furthermore, sources linking Hugo's name to surviving paintings are almost non-existent; the <i>Portinari Altarpiece</i> is the closest thing to a documented work. Kemperdick remarked before the exhibition opening, parodying the art world's attributional terminology, that ‘every Hugo van der ","PeriodicalId":45351,"journal":{"name":"Renaissance Studies","volume":"36 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-12-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138566557","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":"Albrecht Dürer's Material World (Manchester, Whitworth Art Gallery, 30 June 2023–10 March 2024). Catalogue by Edward H.Wouk and JenniferSpinks (eds.). Manchester: Manchester University Press, 2023. 224 pp., illus. col., ISBN 978‐1‐5261‐6760‐6 (pb).","authors":"Róisín Watson","doi":"10.1111/rest.12917","DOIUrl":"https://doi.org/10.1111/rest.12917","url":null,"abstract":"","PeriodicalId":45351,"journal":{"name":"Renaissance Studies","volume":"16 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-11-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139211162","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 examines a neglected context for understanding the ontology and epistemology of race in Shakespeare's drama: the role of the midwife. Early modern midwives performed an important cultural function by not only assisting women in labour, but also pronouncing the sex and paternity of a newborn. As Caroline Bicks has shown, this was a time when a midwife was thought to have significant influence over how a body was literally shaped and interpreted at the moment of its birth, thereby determining its reception in the community. Nowhere in Shakespeare's canon is the midwife's authority more manifest – and threatening – than in Titus Andronicus, where the midwife's role includes establishing an infant's race. After Tamora, Empress of Rome, delivers a baby fathered by her lover, Aaron ‘the Moor’, he asks: ‘How many saw the child?’ By subsequently killing the birth attendants, Aaron calls attention to how controlling the destiny of his son will depend upon rewriting the script of his nativity. Merging critical interest in early modern childbirth with Shakespeare scholarship on race and performance, I show how newly born bodies are midwived into racialized subjects, illuminating how midwifery discourses can broaden our understanding of early modern racecraft. My specific claim is that the statements made by Tamora's nurse concerning Aaron's ‘black’ son can be read as a performative utterance that confers, constitutes and attempts to naturalize the newborn's raced identity.
{"title":"‘Send the midwife’: The Birth of Blackness in Titus Andronicus","authors":"Hanh Bui","doi":"10.1111/rest.12919","DOIUrl":"https://doi.org/10.1111/rest.12919","url":null,"abstract":"This article examines a neglected context for understanding the ontology and epistemology of race in Shakespeare's drama: the role of the midwife. Early modern midwives performed an important cultural function by not only assisting women in labour, but also pronouncing the sex and paternity of a newborn. As Caroline Bicks has shown, this was a time when a midwife was thought to have significant influence over how a body was literally shaped and interpreted at the moment of its birth, thereby determining its reception in the community. Nowhere in Shakespeare's canon is the midwife's authority more manifest – and threatening – than in <i>Titus Andronicus</i>, where the midwife's role includes establishing an infant's race. After Tamora, Empress of Rome, delivers a baby fathered by her lover, Aaron ‘the Moor’, he asks: ‘How many saw the child?’ By subsequently killing the birth attendants, Aaron calls attention to how controlling the destiny of his son will depend upon rewriting the script of his nativity. Merging critical interest in early modern childbirth with Shakespeare scholarship on race and performance, I show how newly born bodies are <i>midwived</i> into racialized subjects, illuminating how midwifery discourses can broaden our understanding of early modern racecraft. My specific claim is that the statements made by Tamora's nurse concerning Aaron's ‘black’ son can be read as a performative utterance that confers, constitutes and attempts to naturalize the newborn's raced identity.","PeriodicalId":45351,"journal":{"name":"Renaissance Studies","volume":"22 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-11-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138537335","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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