Imprints of Devotion: Print and the Passion in the Iberian World (1472-1598)
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Imprints of Devotion: Print and the Passion in the Iberian World (1472-1598) By © 2019 Christina Elizabeth Ivers Submitted to the graduate degree program in the Department of Spanish and Portuguese and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy. ________________________________ Chair, Isidro J. Rivera ________________________________ Patricia W. Manning ________________________________ Bruce Hayes ________________________________ Robert Bayliss ________________________________ Jonathan Mayhew ________________________________ Emily C. Francomano Date Defended: May 6, 2019 ii The dissertation committee for Christina E. Ivers certifies that this is the approved version of the following dissertation: Imprints of Devotion: Print and the Passion in the Iberian World (1472-1598) ________________________________ Chair, Isidro J. Rivera Date approved: May 16, 2019 iii Abstract “Imprints of Devotion: Print and the Passion in the Iberian World (1472-1598)” takes a comparative approach to demonstrate that the printed books at the center of its chapters –La dolorosa passio del nostre redemptor Jesucrist (Barcelona: Pere Posa, 1508), Le premier livre de Amadis de Gaule (Paris: Denis Janot, 1540), and a Latin translation of the Brevísima relación de la destruyción de las Indias (Frankfurt: Theodor de Bry, 1598)– possess shared material elements that either evoke or intentionally depart from typographical conventions that characterize a corpus of late fifteenth-century Iberian devotional literature related to Christ’s Passion. Rather than dismiss such repetitions as arbitrary, I propose they are instances of material intertextuality. In this dissertation, material intertextuality accounts for previous reading, viewing, emotive, and recitative experiences related to Christ’s Passion that readers recalled while interacting with early printed books. The use and reuse of materials, decorative elements, and literary content not only within the same volume, but also across printed books, religious art, and liturgy activated memories of such experiences for readers. Reading these texts through material intertextuality reveals the networks of printers and readers who produced and consumed them. While religious practices such as devotion to a human, suffering Christ arrived later to Iberia compared to other European areas, Iberia sought and maintained vibrant connections to Europe through the cultivation of the printing industry. This dissertation employs case studies of three printed books to recover Iberian imprints’ influential role in the broader European book trade and to highlight occasions when printed books from the Iberian world prompted innovation and creativity on the part of printers in other parts of Europe. As the dissertation moves across generic, linguistic, and geographic boundaries that were more fluid in the late fifteenth and iv sixteenth centuries, it brings a previously-separated corpus of printed books back into dialogue by means of their material intertexts. In so doing, “Imprints of Devotion” provides an interdisciplinary position from which to examine late medieval and early modern literature as artifacts that teach us about their creators and users. v Acknowledgments irst and always, my thoughts and thanks belong to Ron, my true partner and the dear companion of my heart. Beside him, I learn to “live the questions.” Perhaps someday I will be the reader and the thinker that he is. My heartfelt gratitude to Isidro Rivera for reading and commenting on my work, guiding my research, and discussing with me books old and new. Through his mentorship, he has introduced me to the joy of la cultura libresca and taught me to acquire the skills to do the work I love. I admire him immensely. I express my appreciation to Patricia Manning, for her open door and her insights that have helped me to hone my ideas about literature and printed books. I thank Bruce Hayes for letting Amadís sneak in among Renaissance women writers and for making me so welcome in the Department of French, Francophone, and Italian Studies. This process has been enriched by his unfailing encouragement and enthusiasm. I appreciate Rob Bayliss’s and Jonathan Mayhew’s perspectives on the dissertation in its entirety, which helped me to step back and to see my study with fresh eyes. Emily Francomano’s work has inspired me from the start of this project. Her interest in my research humbles me and fills me with gratitude. I also thank Erik Alder, who preceded me in our dissertation journeys; I appreciate his support, both past and present. To my community of writers, Christina Lord, Sarah Bell, and Kristan Hanson, many thanks for your companionship as we wrote our dissertations together. Warm thanks are certainly due the librarians, curators, and libraries who facilitated my access to the texts that form the foundation of this project. The Biblioteca de Catalunya, the Biblioteca Nacional de España, the Biblioteca Nacional de Portugal, the Bibliothèque Nationale de France, the Boston Public Library, the British Library, and the Library of Congress granted vi permission to reproduce images from their collections. Thank you especially to the librarians of the Biblioteca de Catalunya; Jayne Ptolemy, Curatorial Assistant of the William L. Clements Library at the University of Michigan; Stephanie E. Stillo, Curator of the Lessing J. Rosenwald Collection at the Library of Congress; the Acquisitions and Resource Sharing Department of the University of Kansas Libraries; Betsaida Reyes, Librarian for Spanish, Portuguese, Latin American and Caribbean Studies at the University of Kansas Libraries; and Elspeth Healy and Karen Cook, Special Collections Librarians of the Kenneth Spencer Research Library at the University of Kansas. The Department of Spanish and Portuguese and the School of Languages, Literatures and Cultures at the University of Kansas generously supported my dissertation research under the Vicky Unruh Research Travel Award and the Exter Marguerite Memorial Prize, respectively. For Rob and Beth Ivers, who taught me to read and to love books and learning. Their confidence in me sustains me and, through their examples, they have shown me the delight and satisfaction of a task done well. vii Contents List of Figures and Illustrations ................................................................................................... viii List of Table and Appendices ........................................................................................................ ix Chapter One: Introduction .............................................................................................................. 1 Chapter Two.................................................................................................................................. 23 Chapter Three................................................................................................................................ 91 Chapter Four ............................................................................................................................... 159 Chapter Five: Conclusion ........................................................................................................... 214 Figures and Illustrations .............................................................................................................. 225 Table and Appendices ................................................................................................................. 252 Works Cited ................................................................................................................................ 261 viii List of Figures and Illustrations Figure 2-1. Pelican printer’s device, La dolorosa, 1518............................................................. 226 Figure 2-2. Crucifixion, La dolorosa, 1518 ................................................................................ 227 Figure 2-3. Deposition, Viaje dela tierra sancta, 1498 .............................................................. 228 Figure 2-4. Deposition, La dolorosa, 1518 ................................................................................. 229 Figure 2-5. “Ecce homo,” La passion del eterno principe Jhesu xpo, [1493] ............................ 230 Figure 2-6. Title page, La dolorosa, 1518 .................................................................................. 231 Figure 2-7. Christ and a penitent cleric, La dolorosa, 1518. ...................................................... 232 Figure 2-8. Christ and a penitent cleric, Thesoro dela passion, 1494 ........................................ 233 Figure 3-1. Two-folio spread, Los quatro libros de Amadís de Gaula, 1526 ............................. 234 Figure 3-2. Two-folio spread, Thesoro dela passion, 1517. ....................................................... 235 Figure 3-3. Title page, Les angoysses douloureuses, [1538] ...................................................... 236 Figure 3-4. Title page, Le premier livre de Amadis de Gaule, 1540 .......................................... 237 Figure 3-5. Venus, Les angoysses douloureuses, [1538] ............................................................ 238 Figure 3-6. Queen and ladies, Les angoysses douloureuses, [1538] .......................................... 239 Figure 3-7. Second Chapter, Le premier livre de Amadis de Gaule, 1540 ................................. 240 Figure 3-8. Dedication, Les