{"title":"TaraAlberts, SietskeFransen, and ElaineLeong (eds.), Translating Medicine across Premodern Worlds. Osiris Series. Chicago: The University of Chicago Press, 2022. 312 pp. $35.00. ISBN: 9780226821566 (pb).","authors":"J. G. Martins","doi":"10.1111/rest.12852","DOIUrl":"https://doi.org/10.1111/rest.12852","url":null,"abstract":"","PeriodicalId":45351,"journal":{"name":"Renaissance Studies","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-03-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82595364","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":"Matteo Ricci's depictions of Alexander the Great in Late Ming China\u0000 ☆","authors":"Yaliang Fu","doi":"10.1111/rest.12863","DOIUrl":"https://doi.org/10.1111/rest.12863","url":null,"abstract":"","PeriodicalId":45351,"journal":{"name":"Renaissance Studies","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-03-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79721836","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}
Pietro Aretino was a particularly frequent commentator on the catastrophic 1527 Sack of Rome by the Spanish, German and Italian troops of Charles V. This article examines one of his most extended, and curious, responses to the Sack: the explicit parody of Virgil's Books I‐IV of The Aeneid that opens Day Two of his Dialogo. The episode features a satirical Cinquecento take on the story of Aeneas and Dido: a despicable baron who escaped Rome and a ruling lady in whom his tale of the city's fall stoked a desire that ultimately resulted in her abandonment and suicide. Commentary on these pages has centred especially on the Didonian scenes of the lady's laments and Aretino's explicit acknowledgement of his having ‘filched’ them from Virgil's Book IV. The baron's account of the Sack, in contrast, often has been summarized as a mere attempt – largely ineffective – to offer readers a conveniently contemporary equivalent to Aeneas's narration of the fall of Troy in Books II and III. This article argues instead that the baron's description is pointedly unVirgilian and draws on another body of unheroic texts: publications, including Aretino's own, on the Sack that circulated in its aftermath.
{"title":"Pietro Aretino's (un)Virgilian Sack of Rome ☆","authors":"Jessica Goethals","doi":"10.1111/rest.12857","DOIUrl":"https://doi.org/10.1111/rest.12857","url":null,"abstract":"Pietro Aretino was a particularly frequent commentator on the catastrophic 1527 Sack of Rome by the Spanish, German and Italian troops of Charles V. This article examines one of his most extended, and curious, responses to the Sack: the explicit parody of Virgil's Books I‐IV of The Aeneid that opens Day Two of his Dialogo. The episode features a satirical Cinquecento take on the story of Aeneas and Dido: a despicable baron who escaped Rome and a ruling lady in whom his tale of the city's fall stoked a desire that ultimately resulted in her abandonment and suicide. Commentary on these pages has centred especially on the Didonian scenes of the lady's laments and Aretino's explicit acknowledgement of his having ‘filched’ them from Virgil's Book IV. The baron's account of the Sack, in contrast, often has been summarized as a mere attempt – largely ineffective – to offer readers a conveniently contemporary equivalent to Aeneas's narration of the fall of Troy in Books II and III. This article argues instead that the baron's description is pointedly unVirgilian and draws on another body of unheroic texts: publications, including Aretino's own, on the Sack that circulated in its aftermath.","PeriodicalId":45351,"journal":{"name":"Renaissance Studies","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-03-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73353535","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":"Royal epistolary courtship in Latin? Arthur Tudor's “love letter” to Katherine of Aragon at the Archivo General de Simancas and Francesco Negri's\u0000 Ars Epistolandi\u0000 ☆","authors":"K. Janssen, Nadia T. van Pelt","doi":"10.1111/rest.12864","DOIUrl":"https://doi.org/10.1111/rest.12864","url":null,"abstract":"","PeriodicalId":45351,"journal":{"name":"Renaissance Studies","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-03-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87679050","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}
According to his apocrypha, Aretino was forced to flee his hometown of Arezzo after penning some anti‐papal verses. Similarly, it is claimed that he fled Perugia ten years later after painting a lute into the hands of a depiction of the Maddalena, which stood in one of the town's piazze. Neither anecdote is true, but they point to Aretino's early reputation for both poetry and painting. In 1512, the Opera nova del fecondissimo giovene Pietro pictore Arretino was published in Venice. It was the first work by Aretino to appear in print, and the fruit of the formative time he spent in Perugia, where he was part of an urban circle of poets, artists and scholars. It was a circle and a metropolitan environment he sought to recreate in Rome and Venice. This article draws together Aretino's letters to his lifelong Perugian friends and the poems in the 1512 volume in order to examine the correspondence between their rhetorical and discursive modes. This examination shows that Perugia was the crucible of Aretino's self‐fashioning. It was in Perugia that Aretino became a poet. Where also, it would appear, he almost became a painter (pictore); a training that would equip him to become one of the most significant writers on art of the sixteenth century. The Opera nova shows Aretino mastering the vernacular poetic traditions available to him before, ultimately, rejecting them all in favour of himself. Perugia was the city where, with a little help from his friends, Aretino became Aretino.
{"title":"‘I was Born in One City, but Raised in Another’: Aretino's Perugian Apprenticeship","authors":"W. Rossiter","doi":"10.1111/rest.12861","DOIUrl":"https://doi.org/10.1111/rest.12861","url":null,"abstract":"According to his apocrypha, Aretino was forced to flee his hometown of Arezzo after penning some anti‐papal verses. Similarly, it is claimed that he fled Perugia ten years later after painting a lute into the hands of a depiction of the Maddalena, which stood in one of the town's piazze. Neither anecdote is true, but they point to Aretino's early reputation for both poetry and painting. In 1512, the Opera nova del fecondissimo giovene Pietro pictore Arretino was published in Venice. It was the first work by Aretino to appear in print, and the fruit of the formative time he spent in Perugia, where he was part of an urban circle of poets, artists and scholars. It was a circle and a metropolitan environment he sought to recreate in Rome and Venice. This article draws together Aretino's letters to his lifelong Perugian friends and the poems in the 1512 volume in order to examine the correspondence between their rhetorical and discursive modes. This examination shows that Perugia was the crucible of Aretino's self‐fashioning. It was in Perugia that Aretino became a poet. Where also, it would appear, he almost became a painter (pictore); a training that would equip him to become one of the most significant writers on art of the sixteenth century. The Opera nova shows Aretino mastering the vernacular poetic traditions available to him before, ultimately, rejecting them all in favour of himself. Perugia was the city where, with a little help from his friends, Aretino became Aretino.","PeriodicalId":45351,"journal":{"name":"Renaissance Studies","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-02-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78944336","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 Pietro Aretino's promotion and critique of the sensorial aspects of the physical, the political and the sociable city through a selection of his letters and the three comedies La Cortigiana, Il Marescalco and La Talanta. It explores the shared physical and social experiences that Aretino counts on in order for his words to resonate with his readers, especially with regard to Venice and Rome, viewed at times through the lens of Venice. Aretino lives during a time of intense sensorial concerns, from the imitation of nature promoted in works of art to the regulation of the urban sensorium through the control of speech and print, sumptuary laws and public performance. Drawing upon his own early experience of painting, writing poetry and perhaps street performance, Aretino evokes those concerns and displays a particularly urban sensibility as he seizes the opportunities offered by printing and the expansion of vernacular texts to explore what it is to inhabit the early modern Italian city in all its jumbly, chaotic and colourful sensorial ‘noise’.
{"title":"Aretino: Conjuring the Sensuous City","authors":"Marlene Eberhart","doi":"10.1111/rest.12859","DOIUrl":"https://doi.org/10.1111/rest.12859","url":null,"abstract":"This article examines Pietro Aretino's promotion and critique of the sensorial aspects of the physical, the political and the sociable city through a selection of his letters and the three comedies La Cortigiana, Il Marescalco and La Talanta. It explores the shared physical and social experiences that Aretino counts on in order for his words to resonate with his readers, especially with regard to Venice and Rome, viewed at times through the lens of Venice. Aretino lives during a time of intense sensorial concerns, from the imitation of nature promoted in works of art to the regulation of the urban sensorium through the control of speech and print, sumptuary laws and public performance. Drawing upon his own early experience of painting, writing poetry and perhaps street performance, Aretino evokes those concerns and displays a particularly urban sensibility as he seizes the opportunities offered by printing and the expansion of vernacular texts to explore what it is to inhabit the early modern Italian city in all its jumbly, chaotic and colourful sensorial ‘noise’.","PeriodicalId":45351,"journal":{"name":"Renaissance Studies","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-02-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"91093318","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":"JessieHock, The Erotics of Materialism: Lucretius and Early Modern Poetics. Philadelphia: University of Pennsylvania Press, 2021. 234 pp. $59.95. ISBN 9780812252729 (hb).","authors":"John S. Garrison","doi":"10.1111/rest.12862","DOIUrl":"https://doi.org/10.1111/rest.12862","url":null,"abstract":"","PeriodicalId":45351,"journal":{"name":"Renaissance Studies","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-02-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74481158","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}
Sebastiano del Piombo's heyday in Rome coincided with that of Pietro Aretino, and they benefitted there from the same patrons, first Agostino Chigi and then Cardinal Giulio de’ Medici. Both men flourished especially, in the brief 4 years of the pontificate of Giulio, between his election as Pope Clement VII and the traumatic Sack of 1527, although Aretino had already had to leave the city in 1525. Aretino is now most famous as the friend and supporter of Titian but perhaps his first close relationship with an artist had been with Sebastiano in Rome. The magnificent but damaged portrait, still in Arezzo, 20 years before that by Titian bears enduring witness to this. There has been much recent work on Aretino's relationship with the fine arts, culminating in the curtailed Uffizi exhibition in 2019/2020 and its concomitant publications, but relatively little on this relationship that was so significant for both men. This essay will consider that relationship, particularly in relation to the urban development of Rome in these years, how the careers of both men covered the rise and fall of ‘High Renaissance’ Rome and will problematize the continuing use of that term. It will also address the circles of influence that sustained both men's careers at Rome, in terms not only of their patrons but also of their contemporaries.
Sebastiano del Piombo在罗马的鼎盛时期与Pietro Aretino的鼎盛时期不谋而合，他们受益于同样的赞助人，首先是Agostino Chigi，然后是红衣主教Giulio de ' Medici。在朱利奥教皇任期的短短四年里，也就是在他被选为教皇克莱门特七世和1527年大劫掠之间，两人的事业都非常繁荣，尽管阿雷蒂诺在1525年就已经不得不离开了这座城市。阿雷蒂诺现在最出名的是作为提香的朋友和支持者，但也许他与艺术家的第一次亲密关系是在罗马与塞巴斯蒂亚诺。在此之前20年，提香在阿雷佐所画的一幅宏伟但受损的肖像，就为这一点提供了持久的证据。最近有很多关于阿雷蒂诺与美术的关系的研究，最终以2019/2020年缩减的乌菲齐展览及其伴随的出版物为高潮，但关于这种对两人都如此重要的关系的研究相对较少。这篇文章将考虑这种关系，特别是这些年来罗马的城市发展，这两个人的职业生涯是如何覆盖“文艺复兴盛期”罗马的兴衰的，并将对该术语的继续使用提出问题。它还将探讨维系两人在罗马职业生涯的影响圈子，不仅是他们的赞助人，还有他们同时代的人。
{"title":"Constructing Sebastiano del Piombo: Pietro Aretino and the Artistic Landscape of Clementine Rome ☆","authors":"P. Baker‐Bates","doi":"10.1111/rest.12860","DOIUrl":"https://doi.org/10.1111/rest.12860","url":null,"abstract":"Sebastiano del Piombo's heyday in Rome coincided with that of Pietro Aretino, and they benefitted there from the same patrons, first Agostino Chigi and then Cardinal Giulio de’ Medici. Both men flourished especially, in the brief 4 years of the pontificate of Giulio, between his election as Pope Clement VII and the traumatic Sack of 1527, although Aretino had already had to leave the city in 1525. Aretino is now most famous as the friend and supporter of Titian but perhaps his first close relationship with an artist had been with Sebastiano in Rome. The magnificent but damaged portrait, still in Arezzo, 20 years before that by Titian bears enduring witness to this. There has been much recent work on Aretino's relationship with the fine arts, culminating in the curtailed Uffizi exhibition in 2019/2020 and its concomitant publications, but relatively little on this relationship that was so significant for both men. This essay will consider that relationship, particularly in relation to the urban development of Rome in these years, how the careers of both men covered the rise and fall of ‘High Renaissance’ Rome and will problematize the continuing use of that term. It will also address the circles of influence that sustained both men's careers at Rome, in terms not only of their patrons but also of their contemporaries.","PeriodicalId":45351,"journal":{"name":"Renaissance Studies","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-02-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88949805","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}
‘Petrus Arretinus vir acerrimi iudicii’ – Pietro Aretino, a man of most acute mind – went down in history as an intimate of Agostino Chigi (1466–1520), the great banker and patron of the arts. In his letters and drama, Aretino frequently evokes the golden years he spent as a protégé and household member. He recalls his brief but formative residence at Chigi's Villa Farnesina (ca. 1516–1520) as a time of freedom and creativity, when allegedly he gained the friendship and respect of the major artists who worked there. This article will review Aretino's literary evocations of the Chigi environment, especially its green spaces and gardens. In contrast to his famous portrait of Venice, Aretino's cityscape of remembered Rome gives us an ecology of the urban garden. As well as the published letters and the Cortigiana, it will draw on the Ragionamenti, dialogues that observe Roman life through the characters of marginalized and disreputable women.
{"title":"Aretino's Urban Gardens","authors":"J. Turner","doi":"10.1111/rest.12856","DOIUrl":"https://doi.org/10.1111/rest.12856","url":null,"abstract":"‘Petrus Arretinus vir acerrimi iudicii’ – Pietro Aretino, a man of most acute mind – went down in history as an intimate of Agostino Chigi (1466–1520), the great banker and patron of the arts. In his letters and drama, Aretino frequently evokes the golden years he spent as a protégé and household member. He recalls his brief but formative residence at Chigi's Villa Farnesina (ca. 1516–1520) as a time of freedom and creativity, when allegedly he gained the friendship and respect of the major artists who worked there. This article will review Aretino's literary evocations of the Chigi environment, especially its green spaces and gardens. In contrast to his famous portrait of Venice, Aretino's cityscape of remembered Rome gives us an ecology of the urban garden. As well as the published letters and the Cortigiana, it will draw on the Ragionamenti, dialogues that observe Roman life through the characters of marginalized and disreputable women.","PeriodicalId":45351,"journal":{"name":"Renaissance Studies","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-02-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83932764","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 explores the theme of ‘cityscapes’, and Aretino as a writer of the urban experience, by focussing on the city as an unknowable and anonymous space, especially to social outsiders. It will first examine how Aretino portrays Rome in his early comedy Cortigiana (1525) as a confusing and socially stratified space when experienced from its peripheries. A key factor in achieving this is in his mapping of the imagined spaces of the city (the ‘locus’) onto the theatrical stage‐space (the ‘platea’) so that the stage represents the street and the back‐stage represents a hidden world from which both Cortigiana's main characters and indeed the audience are locked out. Those desired spaces of the city are often coded in sexual terms, and so the second half of this article will explore the way in which i modi (the ephemeral erotic images which would shape Aretino's posthumous reputation as a pornographer) would become a visual trope used by seventeenth‐century English writers to conjure up the unseen and imagined interiors of London's suburban brothels and aristocratic boudoirs.
{"title":"Staging the Imagined City: Aretino in Rome and London","authors":"Kate De Rycker","doi":"10.1111/rest.12858","DOIUrl":"https://doi.org/10.1111/rest.12858","url":null,"abstract":"This article explores the theme of ‘cityscapes’, and Aretino as a writer of the urban experience, by focussing on the city as an unknowable and anonymous space, especially to social outsiders. It will first examine how Aretino portrays Rome in his early comedy Cortigiana (1525) as a confusing and socially stratified space when experienced from its peripheries. A key factor in achieving this is in his mapping of the imagined spaces of the city (the ‘locus’) onto the theatrical stage‐space (the ‘platea’) so that the stage represents the street and the back‐stage represents a hidden world from which both Cortigiana's main characters and indeed the audience are locked out. Those desired spaces of the city are often coded in sexual terms, and so the second half of this article will explore the way in which i modi (the ephemeral erotic images which would shape Aretino's posthumous reputation as a pornographer) would become a visual trope used by seventeenth‐century English writers to conjure up the unseen and imagined interiors of London's suburban brothels and aristocratic boudoirs.","PeriodicalId":45351,"journal":{"name":"Renaissance Studies","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-02-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75719581","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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