The San Zeno Wheel of Verona is an exceptional, virtually unstudied fifteenth-century horological device, the only one of its type to have survived. Yet certain features of the Wheel correspond to contemporary manuscript volvelles and to the liturgical calendars of larger horological devices. The interpretation of the object presented here has two main objectives: first, to elucidate the Wheel itself; and second, to consider its role in relation to the ecclesiastical routines of the San Zeno complex. By investigating the relationship of the Wheel to fourteenth- and fifteenth-century time-reckoning instruments, notably astronomical clocks, the article shows that it is the oldest liturgical calendar disk to survive and, therefore, an invaluable testament to the original appearance of the earliest astronomical clocks. This is followed by a reconstruction of the way in which the Wheel was used in its original setting. An interpretation of its content in relation to the other horologia at San Zeno suggests that it was made to complement another time-reckoning device in the basilica. San Zeno therefore provides a unique case study regarding the ways in which multiple time systems were synchronised in the reckoning of the liturgy following the invention of the mechanical clock. The analysis of the Wheel has potentially far-reaching implications for our understanding of the ways in which the dispensation of mechanical horologia in monastic settings affected the perception of time. Such an analysis is, therefore, significant not only for the study of historical horology, but of medieval temporality more generally.
{"title":"Synchronising the Hours: A Fifteenth-Century Wooden Volvelle from the Basilica of San Zeno, Verona","authors":"S. Griffin","doi":"10.1086/JWCI26614763","DOIUrl":"https://doi.org/10.1086/JWCI26614763","url":null,"abstract":"The San Zeno Wheel of Verona is an exceptional, virtually unstudied fifteenth-century horological device, the only one of its type to have survived. Yet certain features of the Wheel correspond to contemporary manuscript volvelles and to the liturgical calendars of larger horological devices. The interpretation of the object presented here has two main objectives: first, to elucidate the Wheel itself; and second, to consider its role in relation to the ecclesiastical routines of the San Zeno complex. By investigating the relationship of the Wheel to fourteenth- and fifteenth-century time-reckoning instruments, notably astronomical clocks, the article shows that it is the oldest liturgical calendar disk to survive and, therefore, an invaluable testament to the original appearance of the earliest astronomical clocks. This is followed by a reconstruction of the way in which the Wheel was used in its original setting. An interpretation of its content in relation to the other horologia at San Zeno suggests that it was made to complement another time-reckoning device in the basilica. San Zeno therefore provides a unique case study regarding the ways in which multiple time systems were synchronised in the reckoning of the liturgy following the invention of the mechanical clock. The analysis of the Wheel has potentially far-reaching implications for our understanding of the ways in which the dispensation of mechanical horologia in monastic settings affected the perception of time. Such an analysis is, therefore, significant not only for the study of historical horology, but of medieval temporality more generally.","PeriodicalId":45703,"journal":{"name":"JOURNAL OF THE WARBURG AND COURTAULD INSTITUTES","volume":"81 1","pages":"35 - 70"},"PeriodicalIF":0.2,"publicationDate":"2018-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48765220","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This essay focuses on the drafts and discussions which went into the first (1576) edition of the Perambulation. Lambarde’s autograph drafts and letters set his work in dialogue with other contemporary efforts to study the English past, in particular Matthew parker’s De antiquitate Britannicae ecclesiae (1572). This book developed in tandem with Lambarde’s. Lambarde and parker created and shared drafts in manuscript and print as they delved into Kentish church history. Remnants of their conversations about sources like the Textus Roffensis can be found in their books and even in the manuscripts under discussion. Revision, like reading, was a particular social enterprise with its own conventions. The line between a finished, printed presentation copy and a manuscript draft was completely blurred: both constituted a ‘beare whelpe that lacketh licking’.
{"title":"Licking the 'Beare Whelpe': William Lambarde and Matthew Parker Revise the Perambulation of Kent","authors":"Madeline McMahon","doi":"10.1086/jwci26614768","DOIUrl":"https://doi.org/10.1086/jwci26614768","url":null,"abstract":"This essay focuses on the drafts and discussions which went into the first (1576) edition of the Perambulation. Lambarde’s autograph drafts and letters set his work in dialogue with other contemporary efforts to study the English past, in particular Matthew parker’s De antiquitate Britannicae ecclesiae (1572). This book developed in tandem with Lambarde’s. Lambarde and parker created and shared drafts in manuscript and print as they delved into Kentish church history. Remnants of their conversations about sources like the Textus Roffensis can be found in their books and even in the manuscripts under discussion. Revision, like reading, was a particular social enterprise with its own conventions. The line between a finished, printed presentation copy and a manuscript draft was completely blurred: both constituted a ‘beare whelpe that lacketh licking’.","PeriodicalId":45703,"journal":{"name":"JOURNAL OF THE WARBURG AND COURTAULD INSTITUTES","volume":"81 1","pages":"154 - 171"},"PeriodicalIF":0.2,"publicationDate":"2018-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42898628","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Frederic Clark, A. Grafton, Madeline McMahon, Neil Weijer
{"title":"List of Manuscripts and Books Cited in These Essays Which Were Owned or Annotated by William Lambarde","authors":"Frederic Clark, A. Grafton, Madeline McMahon, Neil Weijer","doi":"10.1086/jwci26614778","DOIUrl":"https://doi.org/10.1086/jwci26614778","url":null,"abstract":"","PeriodicalId":45703,"journal":{"name":"JOURNAL OF THE WARBURG AND COURTAULD INSTITUTES","volume":"81 1","pages":"209 - 210"},"PeriodicalIF":0.2,"publicationDate":"2018-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48590557","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Introduction: The Life Cycle of the First County History: William Lambarde's Perambulation of Kent from Conception to Reception","authors":"A. Grafton","doi":"10.1086/jwci26614766","DOIUrl":"https://doi.org/10.1086/jwci26614766","url":null,"abstract":"","PeriodicalId":45703,"journal":{"name":"JOURNAL OF THE WARBURG AND COURTAULD INSTITUTES","volume":"81 1","pages":"129 - 132"},"PeriodicalIF":0.2,"publicationDate":"2018-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42298484","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The sense of wonder and admiration experienced by individuals who witness a striking sight, whether natural or man-made, has long been regarded as playing a role in the acquisition of knowledge. Both Aristotle and plato regarded wonder and admiration (θαύμα), sparked by something seen, as the origin of philosophical thinking. In the Middle Ages, theological writers considered the way in which admiration and, specifically, the state of rapture it engendered, helped the Christian experience devotion to God. What happened when a beholder was filled with admiration upon encountering a magnificent building was addressed in discussions of magnificent patronage from at least the thirteenth century. The present Note investigates how Alberti’s reflections on magnificence and admiration informed his theory of aesthetic design in De re aedificatoria, completed in the 1450s. It proposes that Alberti redefined what makes a building admirable or ‘magnificent’ and also understood ‘beholding in admiration’ to be an active mode of looking. Therefore, his views on magnificent architecture were subtly different from those of Pope Nicolas V, in particular. By considering Alberti’s theory of aesthetic design as a reflection on magnificence and admiration, additional light is also shed on his confidence in the protective power of beauty and his design recommendations for the temple.
{"title":"Beholding a Building in Admiration: Leon Battista Alberti's De re aedificatoria and the Renaissance Discourse on Magnificence","authors":"Nele de Raedt","doi":"10.1086/JWCI26614772","DOIUrl":"https://doi.org/10.1086/JWCI26614772","url":null,"abstract":"The sense of wonder and admiration experienced by individuals who witness a striking sight, whether natural or man-made, has long been regarded as playing a role in the acquisition of knowledge. Both Aristotle and plato regarded wonder and admiration (θαύμα), sparked by something seen, as the origin of philosophical thinking. In the Middle Ages, theological writers considered the way in which admiration and, specifically, the state of rapture it engendered, helped the Christian experience devotion to God. What happened when a beholder was filled with admiration upon encountering a magnificent building was addressed in discussions of magnificent patronage from at least the thirteenth century. The present Note investigates how Alberti’s reflections on magnificence and admiration informed his theory of aesthetic design in De re aedificatoria, completed in the 1450s. It proposes that Alberti redefined what makes a building admirable or ‘magnificent’ and also understood ‘beholding in admiration’ to be an active mode of looking. Therefore, his views on magnificent architecture were subtly different from those of Pope Nicolas V, in particular. By considering Alberti’s theory of aesthetic design as a reflection on magnificence and admiration, additional light is also shed on his confidence in the protective power of beauty and his design recommendations for the temple.","PeriodicalId":45703,"journal":{"name":"JOURNAL OF THE WARBURG AND COURTAULD INSTITUTES","volume":"81 1","pages":"239 - 248"},"PeriodicalIF":0.2,"publicationDate":"2018-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42303022","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Discussions of William Lambarde’s interests as a reader have usually focused on his strategies of tracing place names and etymologies in the margins of his books, tying him in with a larger subsection of the Tudor reading public who annotated books in a similar fashion. This article surveys the annotations in Lambarde’s early books to trace the evolution of his reading over time and in collaboration with his contemporaries. In so doing, it explores the uses that Lambarde found for his books beyond organising information within them or excerpting material for publication. The process, as well as the products, of Lambarde’s reading, was shared among his fellow antiquarians and members of the Inns of Court, for whom reading was both a professional practice and a means to communicate privileged information. When juxtaposed with the equally collaborative drafting and reception of his published work (discussed in the articles which follow) the annotations preserved in Lambarde’s books paint a dynamic and evolving picture of his reading practices. Over the course of his lifetime, Lambarde returned to the books in his library, with new questions or acquisitions prompting the re-reading of earlier acquisitions and occasioning new discoveries in them. Lambarde’s habit of marking up and circulating copies of his own published works, as well as the books he owned, publicised both his reading practices and the knowledge they generated about the past to his scholarly and professional companions.
{"title":"Gathering Places: William Lambarde's Reading","authors":"Neil Weijer","doi":"10.1086/jwci26614767","DOIUrl":"https://doi.org/10.1086/jwci26614767","url":null,"abstract":"Discussions of William Lambarde’s interests as a reader have usually focused on his strategies of tracing place names and etymologies in the margins of his books, tying him in with a larger subsection of the Tudor reading public who annotated books in a similar fashion. This article surveys the annotations in Lambarde’s early books to trace the evolution of his reading over time and in collaboration with his contemporaries. In so doing, it explores the uses that Lambarde found for his books beyond organising information within them or excerpting material for publication. The process, as well as the products, of Lambarde’s reading, was shared among his fellow antiquarians and members of the Inns of Court, for whom reading was both a professional practice and a means to communicate privileged information. When juxtaposed with the equally collaborative drafting and reception of his published work (discussed in the articles which follow) the annotations preserved in Lambarde’s books paint a dynamic and evolving picture of his reading practices. Over the course of his lifetime, Lambarde returned to the books in his library, with new questions or acquisitions prompting the re-reading of earlier acquisitions and occasioning new discoveries in them. Lambarde’s habit of marking up and circulating copies of his own published works, as well as the books he owned, publicised both his reading practices and the knowledge they generated about the past to his scholarly and professional companions.","PeriodicalId":45703,"journal":{"name":"JOURNAL OF THE WARBURG AND COURTAULD INSTITUTES","volume":"81 1","pages":"133 - 153"},"PeriodicalIF":0.2,"publicationDate":"2018-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47134741","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This Note argues that the fourth pseudo-hieroglyph from the left in Giorgio vasari’s Chatsworth Allegory of a Dream, previously regarded as a symbol of the sin of pride or else not interpreted, is, in fact, the depiction of a castle in the air (castello in aria). I show that the rare iconography of an upside-down castle was inspired by an illustration from an Italian translation of the dialogues of Lucian of Samosata and give a brief overview of the importance of the motif of the castle in the air in sixteenth-century Italian culture. I also propose that Vasari’s drawing was a design for a ceiling panel intended for Giovanni Corner’s palace in venice and show its dependence on Francesco Primaticcio’s Allegory of the Nile for the palace of François Ier at Fontainebleau.
{"title":"Vasari's Castle in the Air","authors":"David Zagoury","doi":"10.1086/JWCI26614773","DOIUrl":"https://doi.org/10.1086/JWCI26614773","url":null,"abstract":"This Note argues that the fourth pseudo-hieroglyph from the left in Giorgio vasari’s Chatsworth Allegory of a Dream, previously regarded as a symbol of the sin of pride or else not interpreted, is, in fact, the depiction of a castle in the air (castello in aria). I show that the rare iconography of an upside-down castle was inspired by an illustration from an Italian translation of the dialogues of Lucian of Samosata and give a brief overview of the importance of the motif of the castle in the air in sixteenth-century Italian culture. I also propose that Vasari’s drawing was a design for a ceiling panel intended for Giovanni Corner’s palace in venice and show its dependence on Francesco Primaticcio’s Allegory of the Nile for the palace of François Ier at Fontainebleau.","PeriodicalId":45703,"journal":{"name":"JOURNAL OF THE WARBURG AND COURTAULD INSTITUTES","volume":"81 1","pages":"249 - 268"},"PeriodicalIF":0.2,"publicationDate":"2018-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44476618","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In 1661, Samuel pepys arranged for his portrait to be painted for the first time. In his diary pepys refers to the painter only as ‘Mr Savill’. Using a range of archival sources, this Note conclusively identifies him as Daniel Savile, a successful City of London artist whose career has not previously been recognised. Savile catered to those men and women who (like pepys in the early 1660s) could not afford the services of a ‘great’ painter such as peter Lely or Samuel Cooper. Savile’s interactions with pepys offer insights into the pleasures and challenges of portrait commissioning in the Restoration. The records of Savile’s business also reveal that that he was responsible for training a significant proportion of the young women apprenticed to the painter-Stainers’ Company—an area of female employment about which little is known. The evidence about Savile’s studio allows us to deduce the potential benefits of such apprenticeship arrangements for the young women, for their employers, and for sitters. Together pepys’s diary and the records of Savile’s life illuminate the ways that painters and sitters from the middling sort negotiated the artistic culture of seventeenth-century London.
{"title":"Samuel Pepys's First Portrait Painter: Daniel Savile and Portraiture for the Middling Sort in Restoration London","authors":"Kjf Loveman","doi":"10.1086/jwci26614774","DOIUrl":"https://doi.org/10.1086/jwci26614774","url":null,"abstract":"In 1661, Samuel pepys arranged for his portrait to be painted for the first time. In his diary pepys refers to the painter only as ‘Mr Savill’. Using a range of archival sources, this Note conclusively identifies him as Daniel Savile, a successful City of London artist whose career has not previously been recognised. Savile catered to those men and women who (like pepys in the early 1660s) could not afford the services of a ‘great’ painter such as peter Lely or Samuel Cooper. Savile’s interactions with pepys offer insights into the pleasures and challenges of portrait commissioning in the Restoration. The records of Savile’s business also reveal that that he was responsible for training a significant proportion of the young women apprenticed to the painter-Stainers’ Company—an area of female employment about which little is known. The evidence about Savile’s studio allows us to deduce the potential benefits of such apprenticeship arrangements for the young women, for their employers, and for sitters. Together pepys’s diary and the records of Savile’s life illuminate the ways that painters and sitters from the middling sort negotiated the artistic culture of seventeenth-century London.","PeriodicalId":45703,"journal":{"name":"JOURNAL OF THE WARBURG AND COURTAULD INSTITUTES","volume":"81 1","pages":"269 - 280"},"PeriodicalIF":0.2,"publicationDate":"2018-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41898634","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The Reliquary of the Manger (Relicário do Presépio) in the Church of São Roque in Lisbon was created in the early seventeenth century to house supposed fragments of the crib in Bethlehem, given to the Jesuits in Lisbon by Pope Clement VIII. The gilded and silvered bronze reliquary was paid for in part by a donation of c. 1615 from Donna Maria Rolim de Moura, wife of Luís da Gama, a great-grandson of Vasco da Gama. The size of the donation—specifically, the coin involved--has been variously reported and this investigation argues for a correct value, as well as presenting its equivalence in modern currency. The argument is backed up by the discovery in Lisbon of an early seventeenth-century inventory which records the donation.
位于里斯本奥罗克教堂的马槽圣物箱(Relicário do pressampio)建于17世纪初，用来存放伯利恒婴儿床的碎片，这些碎片是教皇克莱门特八世送给里斯本耶稣会士的。这个镀金和镀银的青铜圣物柜的部分费用是约1615年唐娜·玛丽亚·罗林·德莫拉的捐赠，她是瓦斯科·达·伽马的曾孙子Luís达·伽马的妻子。捐赠的规模，特别是所涉及的硬币，已经有各种各样的报道，这次调查主张一个正确的价值，并展示其在现代货币中的等价性。这一观点得到了在里斯本发现的一份17世纪早期的清单的支持，该清单记录了这笔捐赠。
{"title":"The Reliquary of the Manger, Church of São Roque, Lisbon","authors":"R. B. Thomson","doi":"10.1086/jwci44841051","DOIUrl":"https://doi.org/10.1086/jwci44841051","url":null,"abstract":"The Reliquary of the Manger (Relicário do Presépio) in the Church of São Roque in Lisbon was created in the early seventeenth century to house supposed fragments of the crib in Bethlehem, given to the Jesuits in Lisbon by Pope Clement VIII. The gilded and silvered bronze reliquary was paid for in part by a donation of c. 1615 from Donna Maria Rolim de Moura, wife of Luís da Gama, a great-grandson of Vasco da Gama. The size of the donation—specifically, the coin involved--has been variously reported and this investigation argues for a correct value, as well as presenting its equivalence in modern currency. The argument is backed up by the discovery in Lisbon of an early seventeenth-century inventory which records the donation.","PeriodicalId":45703,"journal":{"name":"JOURNAL OF THE WARBURG AND COURTAULD INSTITUTES","volume":"80 1","pages":"243 - 248"},"PeriodicalIF":0.2,"publicationDate":"2017-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46938333","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article offers a close analysis of three neo-Latin poems from a larger cycle of verse dedicated in 1511 to the Spanish cardinal Bernardino de Carvajal (1456-1523) by the Italian humanist Giambattista Cantalicio (1445-1515). Reviewing the poet's flattering descriptions of lavish banquets, the daily routine of the cardinal's court and a tapestry cycle which once adorned Carvajal's residence, it further analyses the contemporary aesthetics which underlie Cantalicio's praise of the cardinal's lost palace in Rome. In the process, the article also reviews the social dynamic which prompted the display of magnificence as well as the problematic issues raised by the flagrant display of such splendour within an ecclesiastical context. Exploring social practice, artworks and intellectual treatises, the article outlines the process by which the concept of magnificence, which forms the basis of Cantalicio's praise of the cardinal, was rehabilitated in the decades preceding the Reformation. Placing the poet's encomium not only in the light of Giovanni Pontano's so-called social treatises and Paolo Cortese's De cardinalatu (1510), but also within the context of the contemporary iconographic programme at Carvajal's titular church of S. Croce in Gerusalemme, the article embeds these neo-Latin poems within the wider social, historical and cultural context of Renaissance Rome.
{"title":"Cortese's Ideal Cardinal? Praising Art, Spendour and Magnificence in Bernardino de Carvajal's Roman Residence","authors":"B. Schirg","doi":"10.1086/JWCI44841044","DOIUrl":"https://doi.org/10.1086/JWCI44841044","url":null,"abstract":"This article offers a close analysis of three neo-Latin poems from a larger cycle of verse dedicated in 1511 to the Spanish cardinal Bernardino de Carvajal (1456-1523) by the Italian humanist Giambattista Cantalicio (1445-1515). Reviewing the poet's flattering descriptions of lavish banquets, the daily routine of the cardinal's court and a tapestry cycle which once adorned Carvajal's residence, it further analyses the contemporary aesthetics which underlie Cantalicio's praise of the cardinal's lost palace in Rome. In the process, the article also reviews the social dynamic which prompted the display of magnificence as well as the problematic issues raised by the flagrant display of such splendour within an ecclesiastical context. Exploring social practice, artworks and intellectual treatises, the article outlines the process by which the concept of magnificence, which forms the basis of Cantalicio's praise of the cardinal, was rehabilitated in the decades preceding the Reformation. Placing the poet's encomium not only in the light of Giovanni Pontano's so-called social treatises and Paolo Cortese's De cardinalatu (1510), but also within the context of the contemporary iconographic programme at Carvajal's titular church of S. Croce in Gerusalemme, the article embeds these neo-Latin poems within the wider social, historical and cultural context of Renaissance Rome.","PeriodicalId":45703,"journal":{"name":"JOURNAL OF THE WARBURG AND COURTAULD INSTITUTES","volume":"80 1","pages":"61 - 82"},"PeriodicalIF":0.2,"publicationDate":"2017-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46118325","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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