DOCSLIB.ORG

UC Berkeley UC Berkeley Electronic Theses and Dissertations

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

UC Berkeley UC Berkeley Electronic Theses and Dissertations Title Renaissance Futures: Chance, Prediction, and Play in Northern European Visual Culture, c. 1480-1550 Permalink https://escholarship.org/uc/item/6r20h5s3 Author Kelly, Jessen Lee Publication Date 2011 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California Renaissance Futures: Chance, Prediction, and Play in Northern European Visual Culture, c. 1480-1550 By Jessen Lee Kelly A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in History of Art in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Elizabeth Honig, Chair Professor Whitney Davis Professor Niklaus Largier Fall 2011 © 2011, by Jessen Lee Kelly All rights reserved. Abstract Renaissance Futures: Chance, Prediction, and Play in Northern European Visual Culture, c. 1480-1550 By Jessen Lee Kelly Doctor of Philosophy in History of Art University of California, Berkeley Professor Elizabeth Honig, Chair This dissertation examines the relationships between chance and visual culture during the Northern Renaissance, focusing on the use of images in the deliberate, ritualized application of chance in games and divination. I argue that, prior to the development of probability theory in the seventeenth century, images served a critical function in encountering and negotiating uncertainties about the future. The casting of lots for prognostication and play was nothing new in the fifteenth and sixteenth centuries. Yet, aided in part by the growing print industry, the period witnessed the development of new and varied forms for these practices, forms that were increasingly pictorial in character. A series of case studies examines the popular media of chance, such as playing cards, game boards, and divinatory devices. In addition, I connect these objects to works by major artists of the period in order to assert the importance of chance for the development of early modern artistic production. Just as images helped stage a confrontation with future contingency in play and divination, artists also began to experiment with the construction of time and narrative in pictorial representation. In Northern Europe in particular, the rise of visual media for chance coincides with the emergence of artistic subjects that were not bound to pre-established or predictable narratives and, significantly, often incorporated references to games of chance and fortune’s mutability. Taken together, these phenomena not only point to the importance of chance and futurity in the development of early modern art and visuality, they also suggest crucial but neglected epistemological, social, and aesthetic aspects of image-making and use. These aspects have remained largely unexamined due to the traditional view of the Renaissance as a period defined by its relationship to the past of classical antiquity. This project thus seeks to recast our understanding of Renaissance temporality by pointing to the future as a key impetus within the visual culture of the period. 1 Table of Contents Abstract . 1 Table of Contents . i Acknowledgements . ii List of Illustrations . iii Introduction . 1 Chapter One: Imago Fortunae . 9 Chapter Two: The Illustrated Lottery Book as Prospective Form . 42 Chapter Three: The Futures of Hieronymus Bosch . 72 Chapter Four: Playing Cards, Genre Painting, and the Framing of Future Time . 102 Conclusion . .143 Bibliography . 144 i Acknowledgements I am very glad to have the opportunity to thank those whose support has aided and enriched this endeavor, and helped to make its completion possible. Research for this dissertation was conducted through grants from the Samuel H. Kress Foundation, the Deutscher-Akademischer Austausch Dienst, the Belgian American Exchange Foundation, and the University of California at Berkeley. I am grateful for the assistance and opportunities that these fellowships provided. My dissertation committee has contributed to this project in important and various ways. I am greatly indebted to my advisor, Elizabeth Honig. Her discerning comments and encouragement have been vital to this undertaking, and to my time at Berkeley in general. I have been fortunate to have had such a thoughtful interlocutor and exacting reader as a dissertation supervisor. Whitney Davis has offered useful observations and directed me to conceptual frameworks that have helped shape my inquiry. Similarly, my conversations with Niklaus Largier have illuminated new sources and areas of investigation that continue to provide food for thought. At Berkeley and beyond, I have consistently benefitted from interactions with an inspiring and supportive faculty and graduate students. Discussions with Mark Meadow, Jacqueline Jung, Beate Fricke, Walter Prevenir, Rebecca Zorach, and Reindert Falkenberg have aided my thinking on this dissertation. For sharing their insights, humor, and friendship throughout this venture, I am grateful to Nicole Archer, Britta Bode, Jessica Buskirk, Joanna Krawczyk-Coltekin, Kathryn Rudy, and Jennifer Stager. Namiko Kunimoto’s generosity as both a friend and colleague deserves special mention. It is difficult to imagine what graduate school would have been like without her camaraderie. I am also grateful to Jules Bogdanski, Heather Cummins, Rob Froemke, Wendel Zwaal, Max Woodworth, Anna Garner, Peggy Tran-Le and Tom Hauenstein for their encouragement and general conviviality. Carolyn Hawkshaw and Ela Harrison helped me with translations of important primary sources. While all of these individuals have had a hand in any redeeming qualities this dissertation may possess, any errors it contains are my own. I can hardly begin to express my thanks to my family, to whom this dissertation is dedicated. My parents in particular have been a steadfast source of support in so many big and small ways, as exemplified by my mother’s willingness to lend a keen editing eye to drafts of the material. Finally, for his singular kindness and wit, I am grateful to Martijn van Exel, whose acquaintance has been without doubt the most auspicious effect of this experience. ii ∗ List of Figures ∗∗ Chapter One 1.1 Albrecht Dürer. The Little Fortune . Engraving, c. 1496. 1.2. Fortuna and Virtue, c. 1523. Woodcut from Francesco Petrarch, Messire Francois Petracque des remedes de lune et lautre fortune prospere et aduerse . Translated by Jean Daudin and Nicholas Oresme. Paris: Gaillot du Pré, 1523, sig. a1r. 1.3. Fortuna Mi-Partie, from Guillaume de Mauchaut, Remède de Fortune , Paris, Bibliothèque Nationale, MS Français 1584 fol.301v, France, c. 1377. 1.4. Fortuna at her wheel, in Augustine, De Civitate Dei . Paris, Bibliothèque Nationale. MS Français 27 fol. 154, France, third quarter of the fifteenth century. 1.5. The Wheel of Fortune, in Valerius Maximus, Facta et Dicta Memorabilia . Paris, Biblothèque Nationale, MS Français 43 fol. 37r, France, fifteenth century. 1.6. Villard d’Honnecourt, geometric schema of the wheel of Fortune.Paris, Biblothèque Nationale, MS 19093 fol. 21v, France, c. 1230. 1.7. The Wheel of Fortune, in Guillaume de Lorris and Jean de Meung, La Roman de la Rose . Oxford, Bodlian Library, University of Oxford, MS Douce 332, fol. 58r, France, c. 1380- 1400. 1.8. The Wheel of Fortune, from a collection of astronomical texts from the library of King Wenceslas. Vienna, Österreichesche Nationalbibliothek, MS 2352, Prague, c. 1391-2. 1.9. Wheel of Fortune with the five estates, in John Lydgate, miscellany of poems. London, British Library, MS Royal 18D.II, fol. 30v, text and borders later fifteenth century, miniatures c. 1520. 1.10. The Wheel of Fortune, in Gregor Reisch, Magarita Philosphica (Basel, 1517), sig. 3iv. Woodcut. 1.11. Konrad Bollstadter, Lebensrad . Munich, Bayerische Statsbibliothek, MS Germ. 312 fol. 98r, 1461. 1.12. Astrological diagram with movable vellum figure for calculating illness, in Guild Book of the Barber Surgeons. London, British Library MS Egerton 2572, fol. 51. Last quarter of the fifteenth century. ∗ Please note that, due to copyright restrictions, no images are included in this copy of the dissertation. iii 1.13. King and nobles, in Les Status de l’Ordre St. Michel . Oxford, Bodelian Library MS Rawl C.888, fol. 1r, France, first quarter of the sixteenth century. 1.14. The Last Judgment, 1476. Woodcut published in Spiegel Menschlicher Behaltnis. 1.15. Master of the Banderolles, The Wheel of Fortune and the Tree of Life. London, British Museum. Woodcut, second half of the fifteenth century. 1.16. Tarocchi Master, Angel of the Primum Mobile . Washington, D.C., National Gallery of Art. Engraving, Ferrara, c. 1465. 1.17. Albrecht Dürer, copy after Tarocchi Master, Angel of the Primum Mobile . London, British Museum. Drawing with light green ink wash, c. 1494. 1.18. Albrecht Dürer, Self-Portrait . Paris, Louvre. Oil on vellum, transferred to linen, 1493. 1.19. Albrecht Dürer, Nemesis (or The Great Fortune ). Engraving, c. 1501-2. 1.20. Master of 1515, Fortuna . Engraving, c. 1515. 1.21. Heinrich Aldegever, Fortuna . Engraving, c. 1555. 1.22. Albrecht Altdorfer, Fortuna on a Globe . Engraving, 1511. 1.23. Urs Graf, Fortuna with a Phial . Basel, Kupferstichkabinett, Kunstmuseum. Pen and wash drawing, c. 1520. Chapter Two 2.1. Sphere of Cancer, from Lorenzo Spirito, Il Libro delle Sorti , 1551. 2.2. Dice and fortunes, from an anonymous Würfelbuch , 1529. 2.3. Sea-monster volvelle, from an anonymous Losbuch , 1485. 2.4. Unicorn volvelle, frontispiece from a Kartenlosbuch , 1523. 2.5. Matthew of Paris, sphere of birds, mid-thirteenth century. Oxford, Bodleian Library, Ms. Ashmole 304, fol. 35r. 2.6. Wheel of fortune, frontispiece to Spirito, Libro delle Sorti , 1551. 2.7. Kings, from Spirito, Libro delle Sorti , 1551. 2.8. Sign of the virgin, from Spirito, Libro delle Sorti , 1551. iv 2.9. Simon the prophet, from Spirito, Libro delle Sorti , 1551. 2.10. Prophet Malacias, from Paul Pambst Loo βbuch , 1546. 2.11. Konrad Bollstatter, Wheel of Fortune ( Lebensrad ), from Cgm 312. 2.13. Konrad Bollstatter, fortunes from “the four bishops” and “the four apostles,” Munich, BSB Cgm 312 (fol. 136v-137r). 2.14.
Recommended publications
  • Reviews of Recent Publications

    Reviews of Recent Publications

    Studies in 20th Century Literature Volume 19 Issue 2 Article 10 6-1-1995 Reviews of recent publications Follow this and additional works at: https://newprairiepress.org/sttcl Part of the French and Francophone Literature Commons, German Language and Literature Commons, Modern Literature Commons, and the Spanish and Portuguese Language and Literature Commons This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. Recommended Citation (1995) "Reviews of recent publications," Studies in 20th Century Literature: Vol. 19: Iss. 2, Article 10. https://doi.org/10.4148/2334-4415.1376 This Book Review is brought to you for free and open access by New Prairie Press. It has been accepted for inclusion in Studies in 20th Century Literature by an authorized administrator of New Prairie Press. For more information, please contact [email protected]. Reviews of recent publications Abstract Adelson, Leslie A. Making Bodies Making History: Feminism and German Identity by Sander L. Gilman Barrat, Barnaby B. Psychoanalysis and the Post-Modern Impulse: Knowing and Being Since Freud's Psychology by Mitchell Greenberg Calinescu, Matei. Rereading by Laurence M. Porter Donahue, Neil H. Forms of Disruption: Abstraction in Modern German Prose by Burton Pike Feminisms of the Belle Epoque, A Historical and Literary Anthology. Jennifer Waelti-Walters and Steven C. Hause, Eds. (Translated by Jette Kjaer, Lydia Willis, and Jennifer Waelti-Walters by Christiane J.P. Makward Hutchinson, Peter. Stefan Heym: The Perpetual Dissident by Susan M. Johnson Julien, Eileen. African Novels and the Question of Orality by Lifongo Vetinde Kristof, Agota. Le Troisième Mensonge by Jane Riles Laronde, Michel.
  • Ass Spielkarten

    Ass Spielkarten

    Werbemittelkatalog www.werbespielkarten.com Spielkarten können das ASS im Ärmel sein ... Spielkarten als Werbemittel bleiben in Erinnerung – als kommunikatives Spielzeug werden sie entspannt in der Freizeit genutzt und eignen sich daher hervorragend als Werbe- und Informationsträger. Die Mischung macht‘s – ein beliebtes Spiel, qualitativ hochwertige Karten und Ihre Botschaft – eine vielversprechende Kombination! Inhalt Inhalt ........................................................................ 2 Unsere grüne Mission ............................... 2 Wo wird welches Blatt gespielt? ..... 3 Rückseiten ........................................................... 3 Brandneu bei ASS Altenburger ........ 4 Standardformate ........................................... 5 Kinderspiele ........................................................ 6 Verpackungen .................................................. 7 Quiz & Memo ................................................... 8 Puzzles & Würfelbecher ....................... 10 Komplettspiele .............................................. 11 Ideen ...................................................................... 12 Referenzen ....................................................... 14 Unsere grüne Mission Weil wir Kunden und Umwelt gleichermaßen verpflichtet sind ASS Altenburger will mehr erreichen, als nur seine geschäftlichen Ziele. Als Teil eines globalen Unternehmens sind wir davon überzeugt, eine gesellschaftliche Verantwortung für Erde, Umwelt und Menschen zu haben. Wir entscheiden uns bewusst
  • The Woman-Slave Analogy: Rhetorical Foundations in American

    The Woman-Slave Analogy: Rhetorical Foundations in American

    The Woman-Slave Analogy: Rhetorical Foundations in American Culture, 1830-1900 Ana Lucette Stevenson BComm (dist.), BA (HonsI) A thesis submitted for the degree of Doctor of Philosophy at The University of Queensland in 2014 School of History, Philosophy, Religion and Classics I Abstract During the 1830s, Sarah Grimké, the abolitionist and women’s rights reformer from South Carolina, stated: “It was when my soul was deeply moved at the wrongs of the slave that I first perceived distinctly the subject condition of women.” This rhetorical comparison between women and slaves – the woman-slave analogy – emerged in Europe during the seventeenth century, but gained peculiar significance in the United States during the nineteenth century. This rhetoric was inspired by the Revolutionary Era language of liberty versus tyranny, and discourses of slavery gained prominence in the reform culture that was dominated by the American antislavery movement and shared among the sisterhood of reforms. The woman-slave analogy functioned on the idea that the position of women was no better – nor any freer – than slaves. It was used to critique the exclusion of women from a national body politic based on the concept that “all men are created equal.” From the 1830s onwards, this analogy came to permeate the rhetorical practices of social reformers, especially those involved in the antislavery, women’s rights, dress reform, suffrage and labour movements. Sarah’s sister, Angelina, asked: “Can you not see that women could do, and would do a hundred times more for the slave if she were not fettered?” My thesis explores manifestations of the woman-slave analogy through the themes of marriage, fashion, politics, labour, and sex.
  • British Art Studies September 2020 Elizabethan and Jacobean

    British Art Studies September 2020 Elizabethan and Jacobean

    British Art Studies September 2020 Elizabethan and Jacobean Miniature Paintings in Context Edited by Catharine MacLeod and Alexander Marr British Art Studies Issue 17, published 30 September 2020 Elizabethan and Jacobean Miniature Paintings in Context Edited by Catharine MacLeod and Alexander Marr Cover image: Left portrait: Isaac Oliver, Ludovick Stuart, 2nd Duke of Lennox, later Duke of Richmond, ca. 1605, watercolour on vellum, laid onto table-book leaf, 5.7 x 4.4 cm. Collection of National Portrait Gallery, London (NPG 3063); Right portrait: Isaac Oliver, Ludovick Stuart, 2nd Duke of Lennox, later Duke of Richmond, ca. 1603, watercolour on vellum, laid on card, 4.9 x 4 cm. Collection of Fitzwilliam Museum, Cambridge (FM 3869). Digital image courtesy of National Portrait Gallery, London (All rights reserved); Fitzwilliam Museum, Cambridge (All rights reserved). PDF generated on 21 July 2021 Note: British Art Studies is a digital publication and intended to be experienced online and referenced digitally. PDFs are provided for ease of reading offline. Please do not reference the PDF in academic citations: we recommend the use of DOIs (digital object identifiers) provided within the online article. Theseunique alphanumeric strings identify content and provide a persistent link to a location on the internet. A DOI is guaranteed never to change, so you can use it to link permanently to electronic documents with confidence. Published by: Paul Mellon Centre 16 Bedford Square London, WC1B 3JA https://www.paul-mellon-centre.ac.uk In partnership with: Yale Center for British Art 1080 Chapel Street New Haven, Connecticut https://britishart.yale.edu ISSN: 2058-5462 DOI: 10.17658/issn.2058-5462 URL: https://www.britishartstudies.ac.uk Editorial team: https://www.britishartstudies.ac.uk/about/editorial-team Advisory board: https://www.britishartstudies.ac.uk/about/advisory-board Produced in the United Kingdom.
  • 2.) COMMUNITY COLLEGE: Maricopa Co

    2.) COMMUNITY COLLEGE: Maricopa Co

    GENERAL STUDIES COURSE PROPOSAL COVER FORM (ONE COURSE PER FORM) 1.) DATE: 3/26/19 2.) COMMUNITY COLLEGE: Maricopa Co. Comm. College District 3.) PROPOSED COURSE: Prefix: GST Number: 202 Title: Games, Culture, and Aesthetics Credits: 3 CROSS LISTED WITH: Prefix: Number: ; Prefix: Number: ; Prefix: Number: ; Prefix: Number: ; Prefix: Number: ; Prefix: Number: . 4.) COMMUNITY COLLEGE INITIATOR: KEITH ANDERSON PHONE: 480-654-7300 EMAIL: [email protected] ELIGIBILITY: Courses must have a current Course Equivalency Guide (CEG) evaluation. Courses evaluated as NT (non- transferable are not eligible for the General Studies Program. MANDATORY REVIEW: The above specified course is undergoing Mandatory Review for the following Core or Awareness Area (only one area is permitted; if a course meets more than one Core or Awareness Area, please submit a separate Mandatory Review Cover Form for each Area). POLICY: The General Studies Council (GSC) Policies and Procedures requires the review of previously approved community college courses every five years, to verify that they continue to meet the requirements of Core or Awareness Areas already assigned to these courses. This review is also necessary as the General Studies program evolves. AREA(S) PROPOSED COURSE WILL SERVE: A course may be proposed for more than one core or awareness area. Although a course may satisfy a core area requirement and an awareness area requirement concurrently, a course may not be used to satisfy requirements in two core or awareness areas simultaneously, even if approved for those areas. With departmental consent, an approved General Studies course may be counted toward both the General Studies requirements and the major program of study.
  • Lucas Van Leyden: Prints from the Testaments La Salle University Art Museum

    Lucas Van Leyden: Prints from the Testaments La Salle University Art Museum

    La Salle University La Salle University Digital Commons Art Museum Exhibition Catalogues La Salle University Art Museum 3-1984 Lucas Van Leyden: Prints from the Testaments La Salle University Art Museum Brother Daniel Burke FSC Follow this and additional works at: http://digitalcommons.lasalle.edu/exhibition_catalogues Part of the Fine Arts Commons, and the History of Art, Architecture, and Archaeology Commons Recommended Citation La Salle University Art Museum and Burke, Brother Daniel FSC, "Lucas Van Leyden: Prints from the Testaments" (1984). Art Museum Exhibition Catalogues. 74. http://digitalcommons.lasalle.edu/exhibition_catalogues/74 This Book is brought to you for free and open access by the La Salle University Art Museum at La Salle University Digital Commons. It has been accepted for inclusion in Art Museum Exhibition Catalogues by an authorized administrator of La Salle University Digital Commons. For more information, please contact [email protected]. Lucas van Leyden Prints Frcm The Testaments LaSalle College Art Museum March 1 - April 30, 1984 For many years, students of In. Salle College had the privilege of pursuing a course in the history of graphic art at the Alverthorpe Gallery in nearby Jenkintown. Lessing Rosenwald himself would on occasion join our Professor Ihomas Ridington or Herman Gundersheimer and the students for an afternoon with Rerrbrandt, Durer, or Lucas van Leyden. After Mr. Rosenwald's death and the transfer of his collection to the National Gallery of Art in Washington, the course had to be pursued, it need hardly be said, in much reduced circunstances. But the present exhibition, which returns many of Mr. Rosenwald's Lucas van Leyden prints from the National Gallery to the Rosenwald Roc*n in the La Salle Museum, recreates briefly for us the happy circumstances of earlier, halcyon days.
  • WRAP THESIS Shilliam 1986.Pdf

    WRAP THESIS Shilliam 1986.Pdf

    University of Warwick institutional repository: http://go.warwick.ac.uk/wrap A Thesis Submitted for the Degree of PhD at the University of Warwick http://go.warwick.ac.uk/wrap/34806 This thesis is made available online and is protected by original copyright. Please scroll down to view the document itself. Please refer to the repository record for this item for information to help you to cite it. Our policy information is available from the repository home page. FOREIGN INFLUENCES ON AND INNOVATION IN ENGLISH TOMB SCULPTURE IN THE FIRST HALF OF THE SIXTEENTH CENTURY by Nicola Jane Shilliam B.A. (Warwick) Ph.D. dissertation Warwick University History of Art September 1986 SUMMARY This study is an investigation of stylistic and iconographic innovation in English tomb sculpture from the accession of King Henry VIII through the first half of the sixteenth century, a period during which Tudor society and Tudor art were in transition as a result of greater interaction with continental Europe. The form of the tomb was moulded by contemporary cultural, temporal and spiritual innovations, as well as by the force of artistic personalities and the directives of patrons. Conversely, tomb sculpture is an inherently conservative art, and old traditions and practices were resistant to innovation. The early chapters examine different means of change as illustrated by a particular group of tombs. The most direct innovations were introduced by the royal tombs by Pietro Torrigiano in Westminster Abbey. The function of Italian merchants in England as intermediaries between Italian artists and English patrons is considered. Italian artists also introduced terracotta to England.
  • American Skat : Or, the Game of Skat Defined : a Descriptive and Comprehensive Guide on the Rules and Plays of This Interesting

    American Skat : Or, the Game of Skat Defined : a Descriptive and Comprehensive Guide on the Rules and Plays of This Interesting

    'JTV American Skat, OR, THE GAME OF SKAT DEFINED. BY J. CHARLES EICHHORN A descriptive and comprehensive Guide on the Rules and Plays of if. is interesting game, including table, definition of phrases, finesses, and a full treatise on Skat as played to-day. CHICAGO BREWER. BARSE & CO. Copyrighted, January 21, 1898 EICHHORN By J. CHARLES SKAT, with its many interesting features and plays, has now gained such a firm foothold in America, that my present edition in the English language on this great game of cards, will not alone serve as a guide for beginners, but will be a complete compendium on this absorbing game. It is just a decade since my first book was pub- lished. During the past 10 years, the writer has visited, and been in personal touch with almost all the leading authorities on the game of Skat in Amer- ica as well as in Europe, besides having been contin- uously a director of the National Skat League, as well as a committeeman on rules. In pointing out the features of the game, in giving the rules, defining the plays, tables etc., I shall be as concise as possible, using no complicated or lengthy remarks, but in short and comprehensive manner, give all the points and information required. The game of Skat as played today according to the National Skat League values and rulings, with the addition of Grand Guckser and Passt Nicht as variations, is as well balanced a game, as the leading authorities who have given the same both thorough study and consideration, can make.
  • The Government of the Tongue

    The Government of the Tongue

    The Government of the Tongue Author(s): Allestree, Richard (1619-1681) Publisher: Grand Rapids: Christian Classics Ethereal Library Description: Allestree meant The Government of the Tongue to serve as a partner to his treatise on biblical interpretation, The Lively Oracles Given to Us. While the latter deals with the proper use and application of the received Word, The Government of the Tongue deals with that of the spoken word. He draws primarily from the book of Proverbs and the general letter of James. First, he discusses why God gifted humankind with speech, then how humankind has since abused it. Serving for many years as provost of a boys' boarding school, Al- lestree writes practically and instructively. Kathleen O'Bannon CCEL Staff Subjects: Ethics Individual ethics. Character. Virtue (Including practical and applied ethics...) i Contents Title Page 1 Preface 2 Section 1: Of the Use of Speech 4 Section 2: Of the Manifold Abuse of Speech 6 Section 3: Of Atheistical Discourse 8 Section 4: Of Detraction 17 Section 5: Of Lying Defamation 21 Section 6: Of Uncharitable Truth 26 Section 7: Of Scoffing and Derision 43 Section 8: Of Flattery 50 Section 9: Of Boasting 57 Section 10: Of Querulousness 64 Section 11: Of Positiveness 69 Section 12: Of Obscene Talk 75 The Close 76 Indexes 83 Index of Scripture References 84 ii This PDF file is from the Christian Classics Ethereal Library, www.ccel.org. The mission of the CCEL is to make classic Christian books available to the world. • This book is available in PDF, HTML, ePub, and other formats.
  • Unequal Lovers: a Study of Unequal Couples in Northern Art

    Unequal Lovers: a Study of Unequal Couples in Northern Art

    University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Faculty Publications and Creative Activity, School of Art, Art History and Design Art, Art History and Design, School of 1978 Unequal Lovers: A Study of Unequal Couples in Northern Art Alison G. Stewart University of Nebraska-Lincoln, [email protected] Follow this and additional works at: https://digitalcommons.unl.edu/artfacpub Part of the History of Art, Architecture, and Archaeology Commons Stewart, Alison G., "Unequal Lovers: A Study of Unequal Couples in Northern Art" (1978). Faculty Publications and Creative Activity, School of Art, Art History and Design. 19. https://digitalcommons.unl.edu/artfacpub/19 This Article is brought to you for free and open access by the Art, Art History and Design, School of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Faculty Publications and Creative Activity, School of Art, Art History and Design by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. Unequal Lovers Unequal Lovers A Study of Unequal Couples in Northern Art A1ison G. Stewart ABARIS BOOKS- NEW YORK Copyright 1977 by Walter L. Strauss International Standard Book Number 0-913870-44-7 Library of Congress Card Number 77-086221 First published 1978 by Abaris Books, Inc. 24 West 40th Street, New York, New York 10018 Printed in the United States of America This book is sold subject to the condition that no portion shall be reproduced in any form or by any means, and that it shall not, by way of trade, be lent, resold, hired out, or otherwise disposed of without the publisher's consent, in any form of binding or cover other than that in which it is published.
  • 2011 Shelf-Registration Document

    2011 Shelf-Registration Document

    welcome ! Shelf-Registration Document 2011 Mercialys – 2011 Shelf-Registration Document 10, rue Cimarosa - 75016 Paris Tél. : +33 01 53 70 23 20 E-mail : [email protected] www.mercialys.com www.mercialys.com Shelf-Registration Document 2011 summary Summary 1. Business review (Financial statements for the year ended December 31, 2011) An excellent year in 2011: robust performance and growth throughout the year . 4 A year during which Mercialys stepped up its value creation strategy further . 4 A year confirming the solidity of Mercialys’s business model . 5 2. Financial report Financial statements . 7 Review of activity in 2011 and lease portfolio structure . 10 Review of consolidated results . 12 Subsequent events . 19 Outlook . 19 Review of the results of the parent Company, Mercialys SA . 20 Subsequent events following the Board of Directors meeting of February 9, 2012 that approved 2011 financial statement . 21 3. Portfolio and Valuation Portfolio valued at Euro 2,640 million at December 31, 2011 . 22 A diversified portfolio of retail assets . 24 Presence in areas with strong growth potential . 25 4. Stock market information Trading volume and share price over the last 18 months (source: Euronext Paris) . 31 Breakdown of share capital and voting rights at January 31, 2012 . 32 Crossing of share ownership thresholds . 32 Share buy‑back program . 33 Shareholders’ agreement . 35 Dividend policy . 36 Communication policy . 37 5. Corporate Governance Board of Directors and Executive Management . 38 Statutory Auditors . 56 Chairman’s Report . 58 Statutory Auditors’ report prepared in accordance with Article L 225. ‑235 of the French Commercial Code (“Code de commerce”), on the report prepared by the Chairman of the Board of Directors of Mercialys .
  • Jheronimus Bosch-His Sources

    Jheronimus Bosch-His Sources

    In the concluding review of his 1987 monograph on Jheronimus Bosch, Roger Marijnissen wrote: ‘In essays and studies on Bosch, too little attention has been paid to the people who Jheronimus Bosch: his Patrons and actually ordered paintings from him’. 1 And in L’ABCdaire de Jérôme Bosch , a French book published in 2001, the same author warned: ‘Ignoring the original destination and function his Public of a painting, one is bound to lose the right path. The function remains a basic element, and What we know and would like to know even the starting point of all research. In Bosch’s day, it was the main reason for a painting to exist’. 2 The third International Bosch Conference focuses precisely on this aspect, as we can read from the official announcement (’s-Hertogenbosch, September 2012): ‘New information Eric De Bruyn about the patrons of Bosch is of extraordinary importance, since such data will allow for a much better understanding of the original function of these paintings’. Gathering further information about the initial reception of Bosch’s works is indeed one of the urgent desiderata of Bosch research for the years to come. The objective of this introductory paper is to offer a state of affairs (up to September 2012) concerning the research on Bosch’s patronage and on the original function of his paintings. I will focus on those things that can be considered proven facts but I will also briefly mention what seem to be the most interesting hypotheses and signal a number of desiderata for future research.