DOCSLIB.ORG

Stoics and Neostoics

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Stoics and Neostoics STOICS AND NEOSTOICS ι. Frontispiece: P. P. Rubens, The Four Philosophers. Florence. Pitti Palace (Scala/Art Resource) /P Stoics and Neostoics RUBENS AND THE CIRCLE OF LIPSIUS BY MARK MORFORD PRINCETON UNIVERSITY PRESS PRINCETON, NEW JERSEY Copyright © 1991 by Princeton University Press Published by Princeton University Press, 41 William Street, Princeton, New Jersey 08540 In the United Kingdom: Princeton University Press, Oxford All Rights Reserved LIBRARY OF CONGRESS CATALOGING-IN-PUBLICATION DATA Morford, Mark P. O., 192.9— Stoics and neostoics : Rubens and the circle of Lipsius / Mark Morford. p. cm. Includes bibliographical references and indexes. ISBN 0-691-04081-8 1. Lipsius, Justus, 1547—1606. 2. Rubens, Peter Paul, Sir, 1577—1640—Philosophy. 3. Philosophy, Renaissance. 4. Stoics. I. Title. B785.L44M67 1991 199'.493—dczo 90-9115 This book has been composed in Linotron Sabon Princeton University Press books are printed on acid-free paper, and meet the guidelines for permanence and durability of the Committee on Production Guidelines for Book Longevity of the Council on Library Resources Printed in the United States of America by Princeton University Press, Princeton, New Jersey 13579 10 8642 FOR MARTHA My Bright Particular Star Le Bonheur de Ce Monde Sonnet Compose par Christophe Plantin A voir une maison commode, propre et belle, Un jardin tapisse d'espaliers odorans, Des fruits, d'excellent vin, peu de train, peu d'enfans, Posseder seul, sans bruit, une femme fidele. N'avoir dettes, amour, ni proces, ni querelle, Ni de partage a faire avecque ses parens, Se contenter de peu, n'esperer rien des Grands, Regler tous ses desseins sur un juste modele. Vivre avecque franchise et sans ambition, S'adonner sans scrupule a la devotion, Domter ses passions, Ies rendre obeissantes. Conserver l'esprit libre, et Ie jugement fort, Dire son Chapelet en cultivant ses entes, Cest attendre chez soi bien doucement la mort. CONTENTS ILLUSTRATIONS xi PREFACE xiii ABBREVIATIONS xvii CHAPTER I : The Four Philosophers 3 CHAPTER 2: The Friends and Pupils of Lipsius 14 CHAPTER 3 : Self-Portrait with Friends 52 CHAPTER 4: Lipsius, the Church, and Posterity 96 CHAPTER 5: Tacitus and Seneca 139 CHAPTER 6: Neostoicism and Peter Paul Rubens 181 CHAPTER 7: Omnia Vincit Amor 211 BIBLIOGRAPHY 225 INDEX 237 ILLUSTRATIONS Illustrations follow p. 246 1. Frontispiece: P. P. Rubens, The Four 12. C. Galle, title page of J. Lipsius, Philosophers. Florence, Pitti Palace Opera Omnia, vol. 2 (Antwerp, (Scala/Art Resource) 1637). Washington, Folger Shake­ 2. T. Galle, title page of J. Lipsius, L. speare Library Anrtaei Senecae Philosophi Opera 13. Medals with busts of Woverius, from Quae Exstant Omnia (Antwerp, G. van Loon, Histoire Metallique 1605). Princeton University Library des XVII Provinces des Pays-Bas 3. C. Galle, title page of J. Lipsius, L. (The Hague, 1732). Washington, Annaei Senecae Philosophi Opera Library of Congress Quae Exstant Omnia (Antwerp, 14. Title page of M. Smetius, Inscrip- 1652) (reissue of 1615 edition). tionum Antiquarum . Liber (Lei­ Rare Book Division, Special Collec­ den, 1588). Houghton Library, tions, University of Virginia Library Harvard University 4. Bust of Seneca. Antwerp, Rubens- 15. T. de Bry, portrait of J. Lipsius, from huis J. J. Boissard, Thesaurus Virtutis et 5. The African Fisherman. Paris, Gloriae (Frankfurt, 1598-1632). Louvre Washington, Folger Shakespeare 6. C. Galle, Dying Seneca, from L. An- Library naei Senecae . Opera . Omnia 16. J. Lipsius, Politiea 4.3, from Opera (Antwerp, 1652). Rare Book Divi­ Omnia (Antwerp, 1637), 4:47. sion, Special Collections, University Washington, Folger Shakespeare of Virginia Library Library 7. C. Galle, bust of Seneca, from L. An- 17. C. Galle, title page of J. Lipsius, naei Senecae . Opera . Omnia Opera Omnia (Antwerp, 1637). (Antwerp, 1652). Rare Book Divi­ Washington, Folger Shakespeare sion, Special Collections, University Library of Virginia Library 18. J. Neeffs, title page of C. Gevartius, 8. Amicitia etiam post mortem durans, Pompa Introitus . Ferdinandi from A. Alciati, Emblemata (Padua, Austriaei (Antwerp, 1642). Wash­ 1621), no. 160. RareBook Divi­ ington, Library of Congress sion, Special Collections, University 19. J. Harrewijn, Courtyard of the Ru- of Virginia Library benshuis, 1684. Antwerp, Rubens- 9. P. P. Rubens, Self-Portrait with huis Friends. Cologne, Wallraf-Richartz 20. P. P. Rubens, Portrait of J. Lipsius. Museum London, British Museum 10. Timetable for Lipsius' contubernales, 21. C. Galle, Portrait of J. Lipsius, from Arch. Plant. 1150a, fol. 22. Ant­ L. Annaei Seneeae . Opera . werp, Museum Plantin-Moretus Omnia (Antwerp, 1652). Rare Book 11. C. Galle, portrait of Philip Rubens, Division, Special Collections, Uni­ from P. Rubens, S. Asterii Episeopi versity of Virginia Library Amasiae Fiomiliae (Antwerp, 22. Virtuti Fortuna Comes, from A. Al­ 1615). University of Illinois Library ciati, Emblemata (Padua, 1621), no. Xl ILLUSTRATIONS 119. Rare Book Division, Special 33. P. P. Rubens, The Apotheosis of Collections, University of Virginia James I. Whitehall, Banqueting Library House (Royal Commission on the 23. P. P. Rubens, The Death of Seneca. Historical Monuments of England) Munich, Bayerische Staatsgemalde- 34. P. P. Rubens, The Benefits of Good sammlungen Government. Whitehall, Banqueting 24. Pompeia Paulina, Determined to Die House (Royal Commission on the with Her Husband, Seneca, with Historical Monuments of England) Him in the Bath, from A. Dufour, 35. P. P. Rubens, The Unification of En­ Les Vies des Femmes Celebres, MS gland and Scotland. Whitehall, Ban­ XVII, fol. 48. Musees Departemen- queting House (Royal Commission taux de Loire-Atlantique, Musee on the Historical Monuments of Thomas Dobree, Nantes England) 36. P. P. Rubens, Minerva Conquering 25. J. Harrewijn, after J. van Croes, The Sedition. Antwerp, Koninklijk Mu­ Pavilion, Garden, and Studio of the seum voor Schone Kunsten Rubenshuis (showing only the bases 37. P. P. Rubens, Hercules as Heroic Vir­ of the courtyard archway; below, tue Overcoming Discord. Boston, the Sculpture Gallery converted to a Museum of Fine Arts, Ernest Wads- chapel, street elevation of the Rub- worth Longfellow Fund enshuis, and bedroom) in 1692.. Ant­ 38. P. P. Rubens, The Apotheosis of werp, Rubenshuis ]ames I. London, National Gallery, 26. P. P. Rubens (?), Tbe Hero Crowned Glynde Place Collection by Victory. London, British Mu­ 39. T. van Thulden, The Arch of Saint seum Michael, from C. Gevartius, Pompa 27. T. van Thulden, Hercules Prodicius, Introitus Ferdinandi (Antwerp, from C. Gevartius, Pompa Introitus 1642). Washington, Library of Con­ Ferdinandi (Antwerp, 1642). Wash­ gress ington, Library of Congress 40. G. van Veen, Alessandro Farnese as 28. P. P. Rubens, Decius Mus Relating Hercules Guided by Religion. Am­ His Dream. Liechtenstein, Samm- sterdam, Rijksmuseum-Stichting Iungen des Regierenden Fiirsten 41. P. P. Rubens, Achilles Instructed by 29. P. P. Rubens, The Consecration of Chiron. Rotterdam, Museum Boy- Decius Mus. Liechtenstein, Samm- mans-van Beuningen Iungen des Regierenden Fiirsten 42.. Consiliarii Principum, from A. Al- 30. P. P. Rubens, The Death of Decius ciati Emblemata (Padua, 1621), no. Mus, detail. Liechtenstein, Samm- 146. Rare Book Division, Special lungen des Regierenden Fiirsten Collections, University of Virginia 31. P. P. Rubens, The Obsequies of De­ Library ems Mus. Liechtenstein, Samrn- 43. P. P. Rubens, The Death of Achilles. lungen des Regierenden Fiirsten Rotterdam, Museum Boymans-van 32. P. P. Rubens, Ceiling of the Banquet­ Beuningen ing House, Whitehall. (Royal Com­ 44. P. P. Rubens, The Apotheosis of Her­ mission on the Historical Monu­ cules. Brussels, Musees Royaux des ments of England) Beaux-Arts .
Load more

Recommended publications
  • Index I : Collections
    INDEX I : COLLECTIONS This index lilts all the extant paintings, oil sketches and drawings catalogued in both volumes of Part vm . Copies have also been included. The works are lilted alphabetically according to place. AIX-EN-PROVENCE, ST. MAGDALEN’S Head Study of St. Catherine of Alex­ CHURCH andria, Cat. 88b, I, 137, 138, fig. T. Boeyermans, painting: 153 The Martyrdom of St. Paul, Cat. 138, ANTWERP, G, FAES II, 134 -137 , fig. 92 Anonymous, painting after Rubens: ALOST, ST. MARTIN’S CHURCH Angels Transporting the Dead Body Rubens, paintings: of St. Catherine of Alexandria, Cat. The Holy Virgin Holding the Infant 79. h I2 3> fig- 13 8 Christ, Cat. 143, 11, 146, 147, fig. ANTWERP, KONINKLIJK MUSEUM 106 VOOR SCHONE KUNSTEN St. Roch Interceding for the Plague­ Rubens, paintings: Stricken, Cat. 140, I, 22, 1 12 ; il, The Lalt Communion of St. Francis of I4 2-I4 7; fig. 102 Assisi, Cat. 102, I, 156 -16 2, fig. Studio of Rubens, paintings: 178; II, 180 St. Roch Fed by a Dog, Cat. 14 1, 11, St. Teresa of Avila Interceding for Ï44-X47, fig. 104 Bernardino de Mendoza, Cat. 155, The Death of St. Roch, Cat. 142, 11, i, 92; i i , 166-168, fig. 125 144-147, fig. 105 Anonymous, painting after Rubens: ALOST, A. CHRISTIAENS St. Thomas Aquinas, Cat. 15 7 ,11, 170, Anonymous, painting after Rubens: fig. 129 St. Magdalen Repentant, Cat. 130, II, ANTWERP, PRESBYTERY OF ST. ANDREW’S 119 CHURCH ALOST, F. VAN ESSCHE Anonymous, painting after Rubens: Anonymous, painting after Rubens: St.
    [Show full text]
  • Open Access Version Via Utrecht University Repository
    Philosopher on the throne Stanisław August’s predilection for Netherlandish art in the context of his self-fashioning as an Enlightened monarch Magdalena Grądzka Philosopher on the throne Magdalena Grądzka Philosopher on the throne Stanisław August’s predilection for Netherlandish art in the context of his self-fashioning as an Enlightened monarch Magdalena Grądzka 3930424 March 2018 Master Thesis Art History of the Low Countries in its European Context University of Utrecht Prof. dr. M.A. Weststeijn Prof. dr. E. Manikowska 1 Philosopher on the throne Magdalena Grądzka Index Introduction p. 4 Historiography and research motivation p. 4 Theoretical framework p. 12 Research question p. 15 Chapters summary and methodology p. 15 1. The collection of Stanisław August 1.1. Introduction p. 18 1.1.1. Catalogues p. 19 1.1.2. Residences p. 22 1.2. Netherlandish painting in the collection in general p. 26 1.2.1. General remarks p. 26 1.2.2. Genres p. 28 1.2.3. Netherlandish painting in the collection per stylistic schools p. 30 1.2.3.1. The circle of Rubens and Van Dyck p. 30 1.2.3.2. The circle of Rembrandt p. 33 1.2.3.3. Italianate landscapists p. 41 1.2.3.4. Fijnschilders p. 44 1.2.3.5. Other Netherlandish artists p. 47 1.3. Other painting schools in the collection p. 52 1.3.1. Paintings by court painters in Warsaw p. 52 1.3.2. Italian paintings p. 53 1.3.3. French paintings p. 54 1.3.4. German paintings p.
    [Show full text]
  • O Portretach Rembrandta Z Zamku Królewskiego W Warszawie – Analiza Przedstawienia a Zdefiniowanie Tematu I Określenie Sportretowanych Osób W Hołdzie Ś.P
    OPUSCULA MUSEALIA 25 2018 doi:10.4467/20843852.OM.17.020.9617 s. 261–285 MACIEJ DARIUSZ KOSSOWSKI https://orcid.org/0000-0002-5566-0749 Centrum Ratownictwa Zabytków, Warszawa O portretach Rembrandta z Zamku Królewskiego w Warszawie – analiza przedstawienia a zdefiniowanie tematu i określenie sportretowanych osób W hołdzie ś.p. Profesor Karolinie Lanckorońskiej ABSTRACT About portraits of Rembrandt from the Royal Castle in Warsaw analysis of the presentation, defining the subject and determining the portrayed In trubute to the blessed memory of Professor Karolina Lanckorońska The iconographic analysis of both portraits in the context of the adopted nomenclature and interpretation of the presentation, the recognition of the symbolic meaning and the anthropo- logical type of portraits give the basis for clarifying the subject. The determination of racial affiliation attests the previous provenance. The formal features of the composition and the fact of the secondary cutting of the boards do not speak in favour of the pendant of both paintings. Other properties and conditions – much more important than the format of the canvas, the scale of figures and their mutual orientation – prove the connection between both portraits from the moment of their creation. They are the typological features of portrayed persons, the symbolic meaning of images and the context of their realisation. These disqualify the assignment of the portraits to the tronie type. The portraits are, therefore, a pair, although they were created separately. In the 17th century they belonged to John III Sobieski. They were part of the royal collec- tion of paintings and decorated the king’s bedroom in Wilanów Palace.
    [Show full text]
  • Whereas the Objects on the Table – the Statuette, and the Paper And
    THE WEISS GALLERY THE PAINTINGS WITHIN ~ Tim Wilks hereas the objects on the table – the statuette, and the paper and pen W– were always part of both the invenzione and the disegno of the Lanier portrait, the two pictures in the upper right corner (fig. 31) are additions, though they are all but contemporary with the larger painting. One might come to this conclusion from normal viewing alone, as these pictures seem inessential to the com- position, but objective confirmation has recently been provided by the technical report, which reveals that both pictures were painted over the background. Cleaning has also made a little more distinct some ruled lines which have been over- painted, apparently marking the stone jamb and cill of a window. It appears, therefore, that a window was originally intended for the area where the pictures are now placed, though there are no traces of any other features of this window, or of a view through it. This suggests an abandonment of a design, rather than a later revision, and that at least one of the background pictures was painted immediately after the main portrait. The inclusion of such a window, often yielding a recognisable view, was a standard feature of 1. During this period, John the more intimate Venetian portraits painted around 1585-1615 and of the Tintoretto Chamberlain, Sir Dudley Carleton, Sir Henry Wotton, and Lord Roos are studio in particular, and examples brought back by diplomats and travellers during this reported as having been painted by period inevitably influenced northern portrait
    [Show full text]
  • The Religiosity of Michel De Marillac
    Vincentian Heritage Journal Volume 28 Issue 1 Article 3 Fall 2008 Power and Piety: The Religiosity of Michel de Marillac Donald A. Bailey Ph.D. Follow this and additional works at: https://via.library.depaul.edu/vhj Recommended Citation Bailey, Donald A. Ph.D. (2008) "Power and Piety: The Religiosity of Michel de Marillac," Vincentian Heritage Journal: Vol. 28 : Iss. 1 , Article 3. Available at: https://via.library.depaul.edu/vhj/vol28/iss1/3 This Articles is brought to you for free and open access by the Vincentian Journals and Publications at Via Sapientiae. It has been accepted for inclusion in Vincentian Heritage Journal by an authorized editor of Via Sapientiae. For more information, please contact [email protected]. 33 Power and Piety: The Religiosity of Michel de Marillac' B DONALD A. BAILEY, PH.D. A good devotion in great men, is to have a great and faithful feeling of the majesty of God, not serving him with exterior semblances, but sincerely, cordially, constantly, holding all the maxims of state and condition under the rules of conscience; and disposing themselves rather to hazard all than to lose God by one sole sin.... A good devotion [is] to attend public charges which you are to undergo, especially those that concern distribution of justice.... Several chapters later, Nicolas Caussin resumes this point: He "who sits in place of magistracy" should not be "contented with conscience alone, but... have science also, well to examine matters, and to observe the forms of right...." Between these exhortations concerning a true Christian statesman's practice of justice, Caussin's Holy Court asserts that "A Christian without prayer is a bee without sting, who will neither make honey nor wax."" Caussin's book of advice to statesmen and courtiers who wished to remain Originally published in the Canadian Journal of History lAnnales Canadiennes D'Histoire, Volume 42:1 (Spring-Summer 2007): pp.
    [Show full text]
  • Ground Layers in European Painting 1550–1750
    Ground Layers in European Painting 1550–1750 CATS Proceedings, V, 2019 Edited by Anne Haack Christensen, Angela Jager and Joyce H. Townsend GROUND LAYERS IN EUROPEAN PAINTING 1550–1750 GROUND LAYERS IN EUROPEAN PAINTING 1550–1750 CATS Proceedings, V, 2019 Edited by Anne Haack Christensen, Angela Jager and Joyce H. Townsend Archetype Publications www.archetype.co.uk in association with First published 2020 by Archetype Publications Ltd in association with CATS, Copenhagen Archetype Publications Ltd c/o International Academic Projects 1 Birdcage Walk London SW1H 9JJ www.archetype.co.uk © 2020 CATS, Copenhagen The Centre for Art Technological Studies and Conservation (CATS) was made possible by a substantial donation by the Villum Foundation and the Velux Foundation, and is a collabora- tive research venture between the National Gallery of Denmark (SMK), the National Museum of Denmark (NMD) and the School of Conservation (SoC) at the Royal Danish Academy of Fine Arts, Schools of Architecture, Design and Conservation. ISBN: 978-1-909492-79-0 British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the publishers. Every effort has been made to trace copyright holders and to obtain their permission for the use of copyright material. The publisher would be pleased to rectify any omissions in future reprints. Front cover illustration: Luca Giordano, The Flight into Egypt, c.1700, oil on canvas, 61.5 × 48.9 cm, The Metropolitan Museum of Art, New York City, inv.
    [Show full text]
  • Corpus Rubenianum Ludwig Burchard Part Xix
    CORPUS RUBENIANUM MC / f / i LUDWIG BURCHARD PART XIX PORTRAITS II. ANTWERP - IDENTIFIED SITTERS BY HANS VLIEGHE CORPUS RUBENIANUM LUDWIG BURCHARD AN ILLUSTRATED CATALOGUE RAISONNÉ OF THE WORK OF PETER PAUL RUBENS BASED ON THE MATERIAL ASSEMBLED BY THE LATE DR LUDWIG BURCHARD IN TWENTY-SIX PARTS TRANSLATED FROM THE DUTCH BY P. S. FALLA SPONSORED BY THE CITY OF ANTWERP AND EDITED BY THE ‘NATIONAAL CENTRUM VOOR DE PLASTISCHE KUNSTEN VAN DE XVIde EN DE XVIUe EEUW’ R.-A. d ’h u ls t, President ■ f. Baudouin, Secretary • r. pandelaers, Treasurer N. DE POORTER • A. STUBBE • H. L1EBAERS • J. K. STEPPE • C. VAN DE VELDE • H. VLIEGHE RESEARCH ASSISTANTS! A. BALIS • H. DEVISSCHER • P. HUVENNE • M. VANDENVEN RUBENS PORTRAITS OF IDENTIFIED SITTERS PAINTED IN ANTWERP BY HANS VLIEGHE HARVEY MILLER PUBLISHERS Originating Publisher h a r vey m iller ltd • 20 Marryat Road • London sw 19 5BD Published in the United States by o x f o r d u n iv e r s it y press • New York © 1987 N ationaal C en trum voor de Plastische Kunsten van de i6dc en de 17de Eeuw British Library Cataloguing in Publication Data Vlieghe, Hans Rubens portraits of identified sitters painted at Antwerp.— (Corpus Rubenianum Lu d w ig Burchard; part 19, v. 2). i. Rubens, Peter Paul “Catalogs I. T itle II. Rubens, P eter Paul III. D e schilder Rubens. E n g lish 759.9493 ND673.R9 ISBN 0-9052.03-57-7 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of Harvey Miller Ltd.
    [Show full text]
  • Rembrandt and Comenius Against Rubens: the LIGHT of AGAPE by Karel Vereycken, June 2001
    1 To the editor: footnotes 2,3 and 12 can be expanded to become boxes Rembrandt and Comenius against Rubens: THE LIGHT OF AGAPE by Karel Vereycken, june 2001 To Torbjorn: Know that your fertile research irrigated mine! Prologue: Rembrandt Harmenszoon van Rijn. Don't count on me here to tell his story in a few lines! (FN1) In any case, since the romantics, all, and nearly to much has been said and written about the rediscovered Dutch master of light inelegantly thrown into darkness by the barbarians of neo-classicism. The uneasy task that imparts me here is like that of Apelles of Cos, the Greek painter who, when challenged, painted a line evermore thinner than the abysmal line painted by his rival. In order to draw that line, tracing the horizons of the political and philosophical battles who raged that epoch will unveil new and surprising angles throwing unusual light on the genius of our painter-philosopher. First, we will show that Rembrandt (1606-1669) is "the painter of the Thirty years War" (1618-1648), a terrible continental conflict unfolding during a major part of his life, challenging his philosophical, religious and political commitment in favor of peace and unity of mankind. Secondly, we will inquire into the origin of that commitment and worldview. Did Rembrandt met the person and ideas of the Czech humanist Jan Amos Komensky ("Comenius") (1592-1670), one of the organizers of the revolt of Bohemia? This militant for peace, predecessor of Leibniz in some respect, traveled regularly to the Netherlands where he settled definitively in 1656.
    [Show full text]
  • Wisdom, Knowledge &Magic
    Wisdom, Knowledge & Magic The Image of the Scholar inScven ‘V olker CM ‘Dianna ‘Beaufort Jonathan Bikker ‘David de ‘Witt Jillian Harrold S a n d ra ‘TJchards Lsdxel Bfger Jan e ‘Bussell-Corbett with contributions by J . Douglas Stewart 25 O ctober 1996 -13 A pril 1997 A gnes E th erington A rt C entre Q u een ’s U niversity K ing sto n , C anada L e n d e r s t o t h e E x h i b i t i o n T h e E x h i b i t i o n w a s m a d e p o s s i b l e b y THE GENEROUS FINANCIAL SUPPORT OF Agnes Etherington Art Centre, Queen’s University, Kingston Anonymous Lenders Drs Alfred and Isabel Bader Art Gallery of Ontario, Toronto Queen’s University, Kingston Drs Alfred and Isabel Bader, Milwaukee Royal Netherlands Embassy, Ottawa Daniel and Linda Bader, Milwaukee Jack Kilgore and Co., Inc., New York Jack Kilgore and Co., Inc., New York Otto Naumann, Ltd, New York Metropolitan Museum of Art, New York Ontario Arts Council National Gallery of Canada, Ottawa City of Kingston Pittsburgh Township P h o t o c r e d i t s © Agnes Etherington Art Centre Queen’s University, Kingston Gene Albert, Ken Brown Studio: cat. nos. 8, 37 ISBN 0-88911-738-1 Agnes Etherington Art Centre: cat. nos. 7, 22, 29, 30 Art Gallery of Ontario (Carlo Catenazzi): cat. nos. 2, 3,11, 25, 32 Graphic Design: Peter Dorn, RCA, FGDC Courtesy of Drs Alfred and Isabel Bader: cat.
    [Show full text]
  • Hale Hall : with Notes on the Family of Ireland Blackburne
    E. K. W "^J^r^rrnuSE. : HALE HALL WITH NOTES ON THE FAMILY OF IRELAND BLACKBURNE. : HALE HALL: WITH NOTES ON THE FAMILY OF IRELAND BLACKBURNE. LIVERPOOL PRINTED FOR PRIVATE CIRCULATION. 1881. LIVERPOOL: ADAM HOLDEN, 48, CHUKCH STREHT. DEDICATED TO THOSE OF THE Descendants of a Time-Honoured Race WHO WILL DERIVE FROM THE PAST, PROMISE FOR THE PRESENT, AND HOPE FOR THE FUTURE. Digitized by the Internet Archive in 2015 https://archive.org/details/halehallwithnoteOOunse CONTENTS. The Village of Hale i Hale Hall 3 Possessors of Hale ... ... 5 The Old Hutt... ... 7 The Irelands of Hutt ... ... ... 10 Genealogy of the Ireland Family . 12 Collateral Families ... ... ... ... 22 Record of the Blackburnes ... .... 32 Description of the Principal Pictures AT Hale Hall ... ... 34 Account of the Sabal Blackbumia (Hale Palm Tree) ... ... 43 Hale Church 45 The Village School ... ... 50 The Childe of Hale 51 Ireland Manuscripts and other Curiosities 53 Hale Manor ... ... 71 The Shields in the Panelled Room ... 91 The Blackburne Pedigree 96 Blackburnes of Sandholme ... 97 Parish of Blackburne ... ... ... 99 Descent of the Blackburnes of Blackburn 103 Notes on the Pedigree of Blackburne 113 THE VILLAGE OF HALE. FORTY YEARS AGO. The Village of Hale, in the vicinity of which is situated the Hall, the subject of our notes, is one of the very few now left to us which, having escaped the intrusive hand of the modern builder, retain their primitive pastoral beauty and neatness. Being at a distance from any public road, and destitute of any manufactory, it is sequestered and peaceful. The cottages are healthy, thatched, and whitewashed, and the venerable mansion, formerly the parsonage- house, though at present nothing more than a farm- house, adorns the village green.
    [Show full text]
  • Hurst Patrick 1979 Sec.Pdf (1.800Mb)
    SELF-PORTRAITURE - A/VEHICLE 1'0 DISCLOSURE AND DISGUISE A Paper Submitted to the Faculty of Graduate Studies and Research in Partial Fulfilment of the Requirements for the Degree of Master of Arts in the Department of Art by Patrick Hurst Saskatoon, Saskatchewan c 1979. P. Hurst I The author has agreed that the Library, University of Saskatchewan, may make this thesis freely available for inspection. Moreover, the author has agreed that permission for extensive copying of this thesis for scholarly purposes may be granted by the professor or professors who supervised the thesis work recorded herein or, in their absence, by the Head of the Department or the Dean of the College in which the thesis work was done. It is understood that due recognition will be given to the author of this thesis and to the University of Saskatchewan in any use of the material in this thesis. Copying or publication or any other use of the thesis for financial gain without approval by the University of Sask­ atchewan and the author's written permission is prohibited. Request for permission to copy or to make any other use of material in this thesis in whole or in part should be adressed to: Head of the Department of Art University of Saskatchewan SASKATOON, Saskatchewan II ACKNOWLEDGEMENTS I would like to thank C. Ringness, W. Peterson, and J. Craig for their support. I would also like to thank the Department of Graduate Studies of the University of Saskatchewan, the Saskatchewan Arts Board, and the Canada Council for their financial support.
    [Show full text]
  • Peter Bruegel and Esoteric Tradition
    PETER BRUEGEL AND ESOTERIC TRADITION Contents i Summary vii Declaration and Statements ix Foreword 1 Introduction 1. Bruegel in the view of art historians 7 Introduction 2. The Numbering at Bethlehem 29 Part I: The Perennial Philosophy Chapter 1. Theory of the Perennial Philosophy and Esotericism Modern Writers on the Perennial Philosophy 72 Esotericism 82 Chapter 2. Lineaments of the Perennial Philosophy in the Hellenistic World Hellenic and Hellenistic Origins 87 Plotinus 90 Plotinian Psychology 92 Plotinian Cosmology 97 Man the Microsom 105 Iamblichus 109 i Chapter 3. Lineaments of the Perennial Philosophy in the Christian World The Primitive Church 111 Origen 113 Symbol of the Seed in John’s Gospel 116 Spiritual Freedom and the Church as Institution 119 Early Appearance of ‘Heresy’ 122 Pagan Traditions in Christianity 122 Esoteric Symbolism in the New Testament 126 The Church Institutionalised 129 Gnostics 130 Chapter 4. Lineaments of the Perennial Philosophy: Gnosticism and Christian Platonism Montanism 132 Gnosticism: The Way of Self Knowledge 138 Spiritual Exercises 141 The Tradition in the West: Dionysius the Areopagite 145 Origins of the Cathars: Paulicians, Montanists and Bogomils 148 ii Chapter 5. Lineaments of the Perennial Philosophy: Mysticism in the Late Middle Ages 13th century Followers of Erigena 153 The Brethren of the Free Spirit 155 Devotio Moderna 157 [08] Meister Eckhart and the Rhineland Mystics 158 The Friends of God 163 Meditation 164 John Tauler, 1300-1360 166 Henry Suso, 1296-1366 157 Theologica and Imitatio Christi 167 The Brotherhood of the Common Life 181 Chapter 6. Lineaments of the Perennial Philosophy: Renaissance Mysticism Italy and Renaissance Mysticism 184 Solario’s portrait of Longoni 185 Renaissance Esotericism 189 Perennial Philosophy and Renaissance Mysticism 193 Hermeticism 196 Recapitulation: The Esoteric Way of Self-Knowledge 200 Application of Sacred Tradition in Practice 201 iii Chapter 7.
    [Show full text]