Pub Date : 2015-03-16DOI: 10.1163/23526963-04101004
Doot Bokelman
The Art Institute of Chicago’s St. Augustine (oil on panel) is a universally accepted work by the Spanish artist Bartolome Bermejo. Painted around 1475, the writing saint has been identified as various Benedictine saints and St. Augustine, but these proposals are problematic because they do not take into account all of the iconographic elements within the panel or early Renaissance liturgical practices.This essay will examine the many iconographic details of the panel and consider the surviving archival materials, including an original contract for an ecclesiastically similar figure, Sto. Domingo de Silos by Bermejo. Uncommon ecclesiastical circumstances of Sto. Domingo de Silos in Daraco found in a papal document mirror those found in St. Benedict’s foundation in Monte Cassino. These iconogaphic and textual studies in coordination with an understanding of contemporary liturgical and Benedictine practices will reveal that St. Benedict is the single figure whose personal and ecclesiastical life most closely corresponds to the evidence in the Chicago panel.
芝加哥艺术学院的圣奥古斯丁(板面油画)是西班牙艺术家巴托洛梅·贝尔梅霍(Bartolome Bermejo)公认的作品。这幅画创作于1475年左右，被认为是不同的本笃会圣徒和圣奥古斯丁，但这些建议是有问题的，因为他们没有考虑到面板内所有的图像元素或早期文艺复兴时期的礼仪实践。本文将研究面板的许多图像细节，并考虑幸存的档案材料，包括一个与教会相似的人物的原始合同，Sto。Bermejo的《Domingo de Silos》。Sto的不寻常的教会环境。多明戈·德·西洛斯在一份教皇文件中发现了在卡西诺山圣本笃基金会发现的文件。这些肖像学和文本研究配合对当代礼仪和本笃会实践的理解，将揭示圣本笃是唯一一个个人和教会生活与芝加哥小组证据最密切相关的人物。
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Pub Date : 2015-03-16DOI: 10.1163/23526963-04101003
J. Graham
Although female figures from the Bible are largely absent from the poetry of George Herbert, Henry Vaughan, and Thomas Traherne, a few poems treat female biblical characters in a substantive way. Yet even in these poems, biblical women are more passive and more silent than in the Bible, and each of these poems must be considered in the context of a poetic corpus which reinforces female passivity and silence. Overall, in drawing from the biblical narrative the poets follow two patterns: the omission of biblical women, leaving the corresponding male figures; and a treatment of the remaining female figures in which they are usually rendered passive, sometimes objectified, and always silenced.
{"title":"Who “laid him in a manger”?: Biblical Women in Herbert, Vaughan and Traherne","authors":"J. Graham","doi":"10.1163/23526963-04101003","DOIUrl":"https://doi.org/10.1163/23526963-04101003","url":null,"abstract":"Although female figures from the Bible are largely absent from the poetry of George Herbert, Henry Vaughan, and Thomas Traherne, a few poems treat female biblical characters in a substantive way. Yet even in these poems, biblical women are more passive and more silent than in the Bible, and each of these poems must be considered in the context of a poetic corpus which reinforces female passivity and silence. Overall, in drawing from the biblical narrative the poets follow two patterns: the omission of biblical women, leaving the corresponding male figures; and a treatment of the remaining female figures in which they are usually rendered passive, sometimes objectified, and always silenced.","PeriodicalId":55910,"journal":{"name":"Explorations in Renaissance Culture","volume":"41 1","pages":"56-74"},"PeriodicalIF":0.0,"publicationDate":"2015-03-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1163/23526963-04101003","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"64619056","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2014-04-20DOI: 10.1163/23526963-90000468
F. Ardolino
{"title":"The Induction of Sly: The Influence of the Spanish Tragedy on the Two Shrews","authors":"F. Ardolino","doi":"10.1163/23526963-90000468","DOIUrl":"https://doi.org/10.1163/23526963-90000468","url":null,"abstract":"","PeriodicalId":55910,"journal":{"name":"Explorations in Renaissance Culture","volume":"40 1","pages":"164-181"},"PeriodicalIF":0.0,"publicationDate":"2014-04-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1163/23526963-90000468","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"64623203","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2014-04-20DOI: 10.1163/23526963-90000458
James S. Baumlin, T. Baumlin, Frances M. Malpezzi
{"title":"Editors’ Notes and Acknowledgments","authors":"James S. Baumlin, T. Baumlin, Frances M. Malpezzi","doi":"10.1163/23526963-90000458","DOIUrl":"https://doi.org/10.1163/23526963-90000458","url":null,"abstract":"","PeriodicalId":55910,"journal":{"name":"Explorations in Renaissance Culture","volume":"40 1","pages":"5-6"},"PeriodicalIF":0.0,"publicationDate":"2014-04-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1163/23526963-90000458","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"64623132","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2013-12-02DOI: 10.1163/23526963-90000438
S. Nocentini
{"title":"Architectural Painting: Giorgio Vasari's Altarpiece for the Monastery of Santa Maria Novella in Arezzo","authors":"S. Nocentini","doi":"10.1163/23526963-90000438","DOIUrl":"https://doi.org/10.1163/23526963-90000438","url":null,"abstract":"","PeriodicalId":55910,"journal":{"name":"Explorations in Renaissance Culture","volume":"39 1","pages":"49-58"},"PeriodicalIF":0.0,"publicationDate":"2013-12-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1163/23526963-90000438","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"64622805","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2013-12-02DOI: 10.1163/23526963-90000441
Émilie Passignat
For most critics, now and in the past, Giorgio Vasari is-first and foremost-the author of Le vite de' piu eccellenti pittori, scultori e architettori. Vasari's artistic work-in particular, his paintinghas instead remained rather at the edge of the attention of scholars, when compared to the immense literature that continues to fuel the bibliography of his Le Vite, undoubtedly a work of undeniable and fundamental importance. Vasari's long and ambiguous fate among critics is marked by some bias: on the one hand, it stems from his parochialism in Le Vite, in favor of the Tuscans; on the other hand, it originates in the unanimous condemnation of Mannerism during past centuries, reevaluated only during the twentieth century. Yet Vasari's work has never remained unnoticed through the years; it has always become a fundamental point of reference. In 2011 on the occasion of the five hundreth anniversary of his birth, Vasari was heavily discussed with an approach much less bound and conditioned by the ideas of the critics in the past. There were so many celebrations organized in his honor that we can call it a pure and true consecration. Almost as it were a myth, and a myth is not born by itself Much of this success should primarily be attributed to the artist himself Vasari was an incomparable artisan of his own image, in passing it on to posterity, supported in this effort by his acquaintances he chose accurately, and later because of the work and contributions of his heirs, which are still unappreciated to this day.! In light of these observations, the scope of this essay is to highlight the fact that Vasari might not have entrusted the task of the artists' posthumous fame, and the claim of their new social status obtained in the sixteenth century, only to his Le Vite, but also how, through his entire artistic career and under different forms of communication, he was deeply committed and dedicated to achieving these goals. Indeed, this essay is about investigating Vasari's self-portrayal: how he describes himself in relation to his own art, thus proposing an interpretation more cross-sectional of the style in which Vasari builds his own image through the years; observing more attentively his portraits, self-portraits, and some of his works painted in residences in Arezzo and Florence; and finally, by considering the important work the Ragionamenti.
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Pub Date : 2013-12-02DOI: 10.1163/23526963-90000442
L. Cheney
~ fter his election as pope in 1566, Pius V (Antonio Ghislieri, 150472, reigned 1566-72 (Fig. 1)1 began a filial artistic connection with Giorgio Vasari (1511-74). His first commission for Vasari was to decorate the pope's burial chapel at the church of Santa Croce in Bosco Marengo, his natal place. The chapel decoration consists of an Adoration if the Magi and several other paintings, including New and Old Testament scenes as well as Dominican saints and martyrdoms, reflecting the pope's affiliation with this religious order (Corti 130).2 His other major papal commissions for Vasari were to decorate his apartment and three chapels in the Vatican in 1571-72 (Vasari 102-3).3 The result of these commissions prompted Pope Pius V to grant Vasari the highest honors in the Cavalierato di San Pietro e Cavalier dello Speron d'Oro (Knight if the Golden Spur) a gold chain on top of remunerations totaling over a thousand scudi.4 In a letter from his friend Monsignor Guglielmo Sangalletti, Secret Treasurer to Pope Pius V, dated December 5, 1569, Vasari describes these commissions: an apartment with a gallery, two small rooms, and a chapel (Frey 471-73, 475-76, 485, 527, 547, and 882). Vasari and Federico Zuccaro (1540-1609) embellished the apartment with fresco decorations during the reign of the pope.5 An additional commission from the pope to decorate three chapels, which are located in the so-called Borgia's Tower (Torre Borgia or Torre Pia, Fig. 2); they are architecturally designed in three levels, one above the other. Vasari's ricordi, or entries to his commissions-along with the writings of Paola Barocchi followed by the studies of Julian Kliemann and Laura Corti, which are based on the collected letters documented in Karl Frey's epistolary and Alessandro del Vita's inventories-explain the commissions. These accounts and historical notations assist in visualizing Vasari's original design of these chapels, since they have been subject to many transformations and renovations through the years (Vasari 102-3; Frey 471-73, 475-76 and 882; Barocchi 68-70; Kleimann 96-7; Corti 138-40).6 The themes of chapels honor the triumphs of Saint Michael, Saint Peter Martyr, and Saint Stephen Martyr. The subject in each chapel expresses the spiritual Dominican affirmations of Pope Pius V in support of the Council of Trent's edicts and his moral fortitude, on the renewal of the church's pastoral mission, and the condemnation ofheresy.7
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Pub Date : 2013-12-02DOI: 10.1163/23526963-90000451
Daisy Delogu
pluseurs regions sunt divisees ou separees par mers ou par grans fleuves ou pal us, par forests, par desers, par montaignes, par lieuz inaccessibles ou inhabitables pourquoi les uns ne pevent converser avec les autres de tele conversation comme requise est entre gens d'un royal me ou d'une policie. Item ... nature a donne a hom me parole pour entendre I'un I'autre afin de communication civile. Et donques la division et diversite des langages repugne a conversation civile et a vivre de policie. Et a cest propos dit Saint Augustin ou xix livre de la Cite de Dieu que ii bestes mues de diverses especes s'acompaignent plus legierement ensemble que ne funt ii hommes dont l'un ne congnoist Ie langage de I'autre. Et di asses tost apres que un hom me est plus volentiers ovec son chien qu'ovecques un hom me de estrange langue.
{"title":"“Aucuns de ma langue”: Language and Political Identity in Late-Medieval France","authors":"Daisy Delogu","doi":"10.1163/23526963-90000451","DOIUrl":"https://doi.org/10.1163/23526963-90000451","url":null,"abstract":"pluseurs regions sunt divisees ou separees par mers ou par grans fleuves ou pal us, par forests, par desers, par montaignes, par lieuz inaccessibles ou inhabitables pourquoi les uns ne pevent converser avec les autres de tele conversation comme requise est entre gens d'un royal me ou d'une policie. Item ... nature a donne a hom me parole pour entendre I'un I'autre afin de communication civile. Et donques la division et diversite des langages repugne a conversation civile et a vivre de policie. Et a cest propos dit Saint Augustin ou xix livre de la Cite de Dieu que ii bestes mues de diverses especes s'acompaignent plus legierement ensemble que ne funt ii hommes dont l'un ne congnoist Ie langage de I'autre. Et di asses tost apres que un hom me est plus volentiers ovec son chien qu'ovecques un hom me de estrange langue.","PeriodicalId":55910,"journal":{"name":"Explorations in Renaissance Culture","volume":"39 1","pages":"97-112"},"PeriodicalIF":0.0,"publicationDate":"2013-12-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1163/23526963-90000451","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"64623075","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2013-12-02DOI: 10.1163/23526963-90000447
Michael L. Hays
{"title":"What Kind of Play Is Troilus and Cressida","authors":"Michael L. Hays","doi":"10.1163/23526963-90000447","DOIUrl":"https://doi.org/10.1163/23526963-90000447","url":null,"abstract":"","PeriodicalId":55910,"journal":{"name":"Explorations in Renaissance Culture","volume":"39 1","pages":"41-52"},"PeriodicalIF":0.0,"publicationDate":"2013-12-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1163/23526963-90000447","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"64623013","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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