Seventeenth-Century News NEO-LATIN NEWS
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Read Book a History of Contemporary Italy Society and Politics
A HISTORY OF CONTEMPORARY ITALY SOCIETY AND POLITICS, 1943-1988 1ST EDITION PDF, EPUB, EBOOK Paul Ginsborg | --- | --- | --- | 9781403961532 | --- | --- Origins of the Mafia - HISTORY Antonio Beccadelli combined the comic realism of Italian popular verse with the language of Martial to explore the underside of the early Renaissance. The richly illuminated small parchment codex bears witness to the musical interests of the cardinal, himself an avid singer. Federico Borromeo founded the Ambrosiana library, art collection, and academy in Milan. Sacred Painting laid out the rules that artists should follow when creating religious art. Humanist Tragedies offers a sampling of Latin drama from the Tre- and Quattrocento. These five tragedies— Ecerinis , Achilleis , Progne , Hyempsal , and Fernandus Servatus —were nourished by a potent amalgam of classical, medieval, and pre-humanist sources. Humanist tragedy testifies to momentous changes in literary conventions during the Renaissance. It contains a famous defense of the value of studying ancient pagan poetry in a Christian world. This first English translation includes the famous letter about the discovery on the Via Appia of the perfectly preserved body of a Roman girl. Lilio Gregorio Giraldi authored many works on literary history, mythology, and antiquities. The work gives a panoramic view of European poetry in the late fifteenth and early sixteenth century, concentrating above all on Italy. Dialectical Disputations, Volume 1: Book I. Valla sought to replace the scholastic tradition of Aristotelian logic with a new logic based on the historical usage of classical Latin and on a commonsense approach. Marsilio Ficino , the Florentine scholar-philosopher-magus, was largely responsible for the Renaissance revival of Plato. -
Saturn As the “Sun of Night” in Ancient Near Eastern Tradition ∗
Saturn as the “Sun of Night” in Ancient Near Eastern Tradition ∗ Marinus Anthony van der Sluijs – Seongnam (Korea) Peter James – London [This article tackles two issues in the “proto-astronomical” conception of the planet Saturn, first attested in Mesopotamia and followed by the Greeks and Hindus: the long-standing problem of Saturn’s baffling association with the Sun; and why Saturn was deemed to be “black”. After an extensive consideration of explanations offered from the 5th century to the 21st, as well as some new “thought experiments”, we suggest that Saturn’s connection with the Sun had its roots in the observations that Saturn’s course appears to be the steadiest one among the planets and that its synodic period – of all the planets – most closely resembles the length of the solar year. For the black colour attributed to Saturn we propose a solution which is partly lexical and partly observational (due to atmospheric effects). Finally, some thoughts are offered on the question why in Hellenistic times some considered the “mock sun” Phaethon of Greek myth to have been Saturn]. Keywords: Saturn, planets, Sun, planet colour. 1. INTRODUCTION Since the late 19th century scholars have been puzzled by a conspicuous peculiarity in the Babylonian nomenclature for the planet Saturn: a number of texts refer to Saturn as the “Sun” ( dutu/20 or Šamaš ), instead of its usual astronomical names Kayam ānu and mul UDU.IDIM. 1 This curious practice was in vogue during the period c. 750-612 BC 2 and is not known from earlier periods, with a single possible exception, discussed below. -
The Medical & Scientific Library of W. Bruce
The Medical & Scientific Library of W. Bruce Fye New York I March 11, 2019 The Medical & Scientific Library of W. Bruce Fye New York | Monday March 11, 2019, at 10am and 2pm BONHAMS LIVE ONLINE BIDDING IS INQUIRIES CLIENT SERVICES 580 Madison Avenue AVAILABLE FOR THIS SALE New York Monday – Friday 9am-5pm New York, New York 10022 Please email bids.us@bonhams. Ian Ehling +1 (212) 644 9001 www.bonhams.com com with “Live bidding” in Director +1 (212) 644 9009 fax the subject line 48 hrs before +1 (212) 644 9094 PREVIEW the auction to register for this [email protected] ILLUSTRATIONS Thursday, March 7, service. Front cover: Lot 188 10am to 5pm Tom Lamb, Director Inside front cover: Lot 53 Friday, March 8, Bidding by telephone will only be Business Development Inside back cover: Lot 261 10am to 5pm accepted on a lot with a lower +1 (917) 921 7342 Back cover: Lot 361 Saturday, March 9, estimate in excess of $1000 [email protected] 12pm to 5pm REGISTRATION Please see pages 228 to 231 Sunday, March 10, Darren Sutherland, Specialist IMPORTANT NOTICE for bidder information including +1 (212) 461 6531 12pm to 5pm Please note that all customers, Conditions of Sale, after-sale [email protected] collection and shipment. All irrespective of any previous activity SALE NUMBER: 25418 with Bonhams, are required to items listed on page 231, will be Tim Tezer, Junior Specialist complete the Bidder Registration transferred to off-site storage +1 (917) 206 1647 CATALOG: $35 Form in advance of the sale. -
Florence & the Arts
F L O R E N C E & THE ARTS From Botticelli ’s Dante to the Uffizi Gallery CALIFORNIA INTERNATIONAL ANTIQUARIAN BOOK FAIR February 10th-12th, 2017 Oakland Marriott City Center - 1001 Broadway Oakland, CA Booth 101 F L O R E N C E & THE ARTS From Botticelli ’s Dante to the Uffizi Gallery cahier n° 9 CALIFORNIA INTERNATIONAL ANTIQUARIAN BOOK FAIR February 10th-12th, 2017 Oakland Marriott City Center 1001 Broadway Oakland, CA Booth 101 21, rue Fresnel. 75116 Paris M. + 33 (0)6 80 15 34 45 - T. +33 (0)1 47 23 41 18 - F. + 33 (0)1 47 23 58 65 [email protected] Conditions de vente conformes aux usages du Syndicat de la Librairie Ancienne et Moderne et aux règlements de la Ligue Internationale de la Librairie Ancienne N° de TVA.: FR21 478 71 326 “I was in a sort of ecstasy, from the idea of being in Florence, close to the great men whose tombs I had seen. Absorbed in the contemplation of sublime beauty... I reached the point where one encounters celestial sensations... Everything spoke so vividly to my soul. Ah, if I could only forget. I had palpitations of the heart, what in Berlin they call 'nerves.' Life was drained from me. I walked with the fear of falling.” Stendhal, Rome, Naples et Florence, 1826 4 n° 2 : Sermartelli 5 [1] DANTE ALIGHIERI La Commedia Florence, Nicolaus Laurentii Alamanus, August 30 1481. FINE COPY OF Botticelli ’S DANTE. WITH FOUR ENGRAVINGS (ONE REPEATED) AND SOME PRESTIGIOUS ENGLISH PROVENANCES : MARK MASTERMAN SYKES (1824) AND JOHN THOROLD (1833). -
Epigraphical Research and Historical Scholarship, 1530-1603
Epigraphical Research and Historical Scholarship, 1530-1603 William Stenhouse University College London A thesis submitted in fulfilment of the requirements of the Ph.D degree, December 2001 ProQuest Number: 10014364 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest. ProQuest 10014364 Published by ProQuest LLC(2016). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. Microform Edition © ProQuest LLC. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 Abstract This thesis explores the transmission of information about classical inscriptions and their use in historical scholarship between 1530 and 1603. It aims to demonstrate that antiquarians' approach to one form of material non-narrative evidence for the ancient world reveals a developed sense of history, and that this approach can be seen as part of a more general interest in expanding the subject matter of history and the range of sources with which it was examined. It examines the milieu of the men who studied inscriptions, arguing that the training and intellectual networks of these men, as well as the need to secure patronage and the constraints of printing, were determining factors in the scholarship they undertook. It then considers the first collections of inscriptions that aimed at a comprehensive survey, and the systems of classification within these collections, to show that these allowed scholars to produce lists and series of features in the ancient world; the conventions used to record inscriptions and what scholars meant by an accurate transcription; and how these conclusions can influence our attitude to men who reconstructed or forged classical material in this period. -
Shaping the Soul from Birth in Early Modern Italy
chapter 13 Delight in Painted Companions: Shaping the Soul from Birth in Early Modern Italy Maya Corry Just over ten years ago, a curious sixteenth-century picture was sold by Christie’s in New York for the relatively small sum of 3840 dollars, a little under its lower estimate [Fig. 13.1]. It is not the sort of work that much troubles art historians. We do not know who painted it, and it is not of high quality. The anatomy of the figures is chunky and clumsy, they are unconvincingly superimposed onto the landscape, and the handling of light and shade is crude. A note accompa- nying the painting’s sale stated that ‘The present composition is based on The Virgin of the Rocks by Leonardo in the Musée du Louvre, Paris. The figure of the Virgin has been replaced here by the Christ Child and another male child has been introduced to the composition’.1 Cheap, small-scale religious works on panel such as this were produced in enormous numbers throughout the sixteenth century. The dimensions of this particular picture (42.5 × 35.6 cm) are typical of those made for domestic contexts. For the first time, ordinary homes around Italy were adorned with paintings – commissioned from artists, bought directly from workshops, or purchased from mercantile middle-men. Their primary function was to in- voke divine blessings and protection on the home, and provide a focus for the prayers of members of the household. Why then, in this case, has the Madonna been removed from the composition? Faith in her intercessory power and ma- ternal love for mankind meant that she was by far and away the most popular subject for domestic works of art. -
The Humanist Movement in Quattrocento Naples
From Lost Laughter to Latin Philosophy: The Humanist Movement in Quattrocento Naples Matthias Roick1 The humanist movement had a major impact on early modern culture. Humanists introduced new languages, literary canons, and styles of inquiry to the arts and sciences, and shifted their coordinates within society and politics. In the case of Naples, humanism arrived in two different moments in the kingdom, the first embodied in the figure of Petrarch, who entered into an intellectual exchange with King Robert of Anjou and his court in the early 1340s, the other by a coterie of humanists who became part of the Aragonese court after Alfonso the Magnanimous’s conquest of the kingdom in 1442. As regards Petrarch’s pioneering engagement, it certainly had a “galvanising character” and marked the inception of “royal humanism,” as Peter Stacey has argued.2 Nonetheless, it seems to have elicited a rather limited reaction within the Neapolitan setting itself. Falling into an early stage of the humanist movement, Petrarch’s “conquest” of Naples hinged more on his personal authority than on any institutionalized structures.3 The Quattrocento phase of Neapolitan humanism differed significantly from this episode. The humanist culture at the Aragonese court did not depend on a single, emblematic figure like Petrarch, but on a group of humanists who put down roots at court and in the royal administration. Moreover, the second “conquest” of Naples could rely on a new humanist culture that had formed in the first decades of the century. At the same time, the arrival of this humanist culture in Naples contributed to its transformation. -
Curriculum Vitae: John Patrick Considine June 2021
Curriculum Vitae: John Patrick Considine June 2021 Current personal details Current Position Professor, Department of English, University of Alberta E-mail [email protected] Previous positions held 2004–2010 Associate Professor, Department of English, University of Alberta 2000–2004 Assistant Professor, Department of English, University of Alberta. 1996–2000 Adjunct Professor and Lecturer, Department of English, University of Alberta. 1995–1996 Assistant Editor, Oxford English Dictionary. Degrees granted 1995 D.Phil. in English Language and Literature, Oxford University: ‘The Humanistic Antecedents of the Early Seventeenth-Century English Character-Books.’ 1993 M.A. in English Language and Literature, Oxford University. 1989 B. A. in English Language and Literature, Oxford University. Awards and honours 2017 J. Gordin Kaplan Award for Excellence in Research, University of Alberta 2015 Killam Annual Professorship, University of Alberta 2015– Fellow of the Society of Antiquaries of London 2012 Faculty of Arts Undergraduate Teaching Award, University of Alberta. 2000 Faculty of Arts Sessional Instructor Teaching Award, University of Alberta Other Academic Activities 2020– Editorial board, International Journal of Lexicography 2018–20 Associate Editor, International Journal of Lexicography 2015– Editorial board, Language and History 2013–20 Editorial board, Renaissance and Reformation 2011–14 Editorial board, Studies in the History of the Language Sciences (John Benjamins book series) 2010–14 Associate Editor, Historiographia Linguistica. 2005–2009 English-language book review editor (jointly with Sylvia Brown) of Renaissance and Reformation. 1996– Consultant in early modern English and Latin to the Oxford English Dictionary. Publications Monographs Sixteenth-century English dictionaries: vol. 1 of Dictionaries in the English-speaking world, 1500-1800. -
Claudius Salmasius and the Deadness of Neo-Latin
CLAUDIUS SALMASIUS AND THE DEADNESS OF NEO-LATIN John Considine 1. “Eratosthenes seculi nostri”: Salmasius’ reputation Claudius Salmasius (1588–1653) is one of those neo-Latin authors whom hardly anybody seems to read: in the two volumes of IJsewijn and Sacré’s Companion to Neo-Latin Studies, he is mentioned only once, in passing.1 No full-scale biography of him has ever been published.2 This is strange when one considers how highly he was praised in his own century. To Hugo Grotius, he was “Vir infinitae lectionis”; to Johannes Fredericus Gronovius, “Varro et Eratosthenes seculi nostri.”3 Salmasius’ reputation has declined: the afterlife of Gronovius’ comparison makes the point. “He certainly deserved his reputation for learning as the Eratosthenes of his time,” remarks Rudolf Pfeiffer, directing the reader in a footnote to the final page of his own earlier account of Eratosthenes.4 There, Eratosthenes is called “one of the greatest scholars of all times,” but his nicknames “beta” (implying “second-best at everything”) and “the pentathlete” (implying “jack of all trades”) are also quoted.5 The paradox by which scholars of exceptionally broad learning are less celebrated than their more limited contemporaries has affected the repu- tations of other philologists. Modern studies of Salmasius concentrate on one aspect or another of his intellectual life, such as his work on language or on classical philology.6 But there are other factors at work in the case of 1 Jozef IJsewijn, Companion to Neo-Latin Studies ed. 2 (second volume with Dirk Sacré) (Leuven, 1990–1998), 2: 286. 2 The fullest biographical treatment in English appears to be Kathryn A. -
Oral Poetry and Performance
Dickinson College Dickinson Scholar Faculty and Staff Publications By Year Faculty and Staff Publications 2015 Canterino and Improvvisatore: Oral Poetry and Performance Blake McDowell Wilson Dickinson College Follow this and additional works at: https://scholar.dickinson.edu/faculty_publications Part of the Music Commons Recommended Citation Wilson, Blake. "Canterino and Improvvisatore: Oral Poetry and Performance." In The Cambridge History of Fifteenth-Century Music, edited by Anna Maria Busse Berger and Jesse Rodin, 292-310. Cambridge, UK: Cambridge University Press, 2015. This article is brought to you for free and open access by Dickinson Scholar. It has been accepted for inclusion by an authorized administrator. For more information, please contact [email protected]. 16 . Canterino and improvvisatore. oral poetry and performance BLAKE WILSON Fifteenth-century Italy witnessed a distinctive chapter in the ancient and global history of oral poetry. Aspects of Renaissance Italian poetic performance are clearly linked with oral practices of all times and places: the conception of poetry as a multivalent and nearly universal form of human discourse, a tendency for poetic voice to culminate in song (often instrumentally accom• panied), and the inseparability of oral poetry from the agonistic environment of performance.1 The interrelated operations of memory and improvisation, too, played essential roles: music was never notated and always improvised, while the poetry was sometimes improvised but may have been conditioned by writing. The capacity of a well-trained memory to engage in both recall and combinatorial invention meant that while "improvisation" of text or music almost always involved some element of composition in performance, it was rarely ex nihilo, but involved the refashioning (rifacimento) of preexistent materials. -
The Printing Revolution in Europe, 1455-1500 Author Index 1
Incunabula: The Printing Revolution in Europe, 1455-1500 Author Index Aaron Hakohen. Abraham ibn Ezra. Orhot Hayyim. Perush ha-Torah. [Spain or Portugal: Printer of Alfasi's Halakhot. [before Naples: Joseph ben Jacob Ashkenazi Gunzenhauser and his 1492?] son [Azriel]. 2 May 1488 ia00000500: GW 486; Offenberg 2; Thesaurus Tipog. ia00009300: H 23; Fava & Bresciano 262; Sander 4; IGI 6 = Hebraicae B37. VI E2; IDL 2448; Sajó-Soltész 1; Voulliéme, Berlin 3178; Fiche: IH 52 Ohly-Sack 4; Madsen 2; Proctor 6729; Cowley p.14; De Rossi (p.58) 21; Encyclopaedia Judaica 122; Freimann p.115; Abbey of the Holy Ghost. Freimann, Frankfurt 1; Goldstein 52; HSTC 73; Jacobs 53; Westminster: Wynkyn de Worde. [about 1497] Marx 1; Offenberg 56; Offenberg, Rosenthal 13; Schwab 46; ia00001500: Duff 1; H 19; STC 13609; Oates 4142; Proctor Steinschneider, Bodley 4221(1); Thesaurus Tipog. Hebraicae 9721; GW 1; Fac: ed. F. Jenkinson, Cambridge, 1907. A60; Wach II 158; Zedner p.22; GW 114. Fiche: EN 129 Fiche: IH 1 Abiosus, Johannes Baptista. Abrégé de la destruction de Troie. Dialogus in astrologiae defensionem cum vaticinio a Paris: Michel Le Noir. 1500 diluvio ad annos 1702. With additions by Domicus Palladius ia00009700: CIBN A-4, GW 119. Soranus. Fiche: RM 78 Venice: Franciscus Lapicida. 20 Oct. 1494 ia00008000: H 24*; GfT 2207; Klebs 1.1; Pellechet 17; CIBN Abstemius, Laurentius. A-2; IGI 2; IBP 1; IBE 2; Essling 756; Sander 1; Walsh Fabulae (Ed: Domicus Palladius Soranus). Aded: Aesopus: 2626A; Sheppard 4581; Proctor 5543; BSB-Ink A-2; GW 6. Fabulae (Tr: Laurentius Valla). -
Italians and the New Byzantium: Lombard and Venetian Architects in Muscovy, 1472-1539
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 2-2014 Italians and the New Byzantium: Lombard and Venetian Architects in Muscovy, 1472-1539 Ellen A. Hurst Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/51 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] ITALIANS AND THE NEW BYZANTIUM: LOMBARD AND VENETIAN ARCHITECTS IN MUSCOVY, 1472-1539 by ELLEN A. HURST A dissertation submitted to the Graduate Faculty in Art History in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2014 © 2014 ELLEN A. HURST All Rights Reserved This manuscript has been read and accepted for the Graduate Faculty in Art History in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy. Professor James M. Saslow Date Chair of Examining Committee Professor Claire Bisop Date Executive Officer Professor James M. Saslow Professor Jennifer Ball Professor Warren Woodfin Supervision Committee THE CITY UNIVERSITY OF NEW YORK iii Abstract Italians and the New Byzantium: Lombard and Venetian Architects in Muscovy, 1472-1539 by Ellen A. Hurst Advisor: Professor James M. Saslow This dissertation explores how early modern Russian identity was shaped by the built environment and, likewise, how the built environment was a result of an emerging Russian identity.