DOCSLIB.ORG

Exempla Viva. the Prelates of the Roman Catholic Church As Inspirers of Charles Borromeo’S Instructions on Shaping Sacred Art

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Exempla Viva. the Prelates of the Roman Catholic Church As Inspirers of Charles Borromeo’S Instructions on Shaping Sacred Art Folia Historiae Artium Seria Nowa, t. 15: 2017 / PL ISSN 0071-6723 PIOTR KRASNY Uniwersytet Jagielloński, Instytut Historii Sztuki EXEMPLA VIVA. THE PRELATES OF THE ROMAN CATHOLIC CHURCH AS INSPIRERS OF CHARLES BORROMEO’S INSTRUCTIONS ON SHAPING SACRED ART The decree on the cult of images promulgated by the in order that the, rather general, directives of the Coun- Council of Trent on 3 December 1563, which assigned to cil of Trent could be put into practice on a large scale, the clergy a particular responsibility for ensuring ‘that they would require a detailed elaboration in writings on there [in the church decoration] be nothing seen that art theory and in instructions issued by the Church hier- is disorderly, or that is unbecomingly or confusedly ar- archs; additionally, model examples of their implemen- ranged, nothing that is profane, nothing indecorous, see- tation in specific artistic undertakings would have been ing that holiness becometh the house of God’1, was for needed.4 The greatest credit in this regard has been given a long time believed – mainly under the influence of the to Cardinal Charles Borromeo (1538–1584; Fig. 1) who, study of Émile Mâle2 – to be the turning point in the peri- immediately after the council had ended, with zeal set odization of the history of religious art of the early mod- about to implementing its promulgations in the Archdio- ern period. cese of Milan he was in charge of, thus fashioning himself Yet, the conventional character of this date was noted consciously and very consistently as the paragon of put- already long ago by researchers who, on the one hand, re- ting the Tridentine reforms into practice within the lo- alised that a vigorous discussion on the role of art in the cal Church. He enthusiastically reformed Church law by Roman Catholic Church and its principles had started as organising metropolitan and diocesan synods; he had put early as in the 1520s3, and, on the other hand, declared that in order and consolidated the way that liturgy was cel- ebrated; finally, he instituted numerous perfectly organ- 1 ‘nihil inordinatum, aut praepostere et tumultuarie acccommoda- ised priestly seminaries and regularly carried out canoni- 5 tum, nihil profanum nihilque inhonestum appareat, cum domum cal visitations. He set much store by shaping sacred art Dei deceat sanctitudo’, see The Canons and Decrees of the Sacred and Oecumenical Council of Trent, trans. by J. Waterworth, Lon- 4 See in particular A.W.A. Boschloo, Annibale Caracci in Bologna. don, 1848 (available at: <http://www.bible-researcher.com/trent1. Visibile Reality in Art after the Council of Trent, vol. 1, Den Haag, html> [accessed on 20 Oct. 2017]). 1974, p. 144; S. Kummer, ‘”Doceant Episcopi”. Auswirkungen des 2 E. Mâle, L’Art religieux de la fin du XVIe siècle, du XVIIe siècle et Trenter Bilderdekrets im römischen Kirchenraum’, Zeitschrift du XVIIIe siècle: étude sur l’iconographie après le Concile de Trente. für Kunstgeschichte, 56, 1993, no. 4, pp. 508–533; J.W. O’Malley, Italie, France, Espagne, Flandres, Paris, 1932. ‘Trent, Sacred Images and the Catholics’ Senses of the Sensuous’, 3 See especially: G. Scavizzi, Arte e architettura sacra. Crona- in The Sensuous in the Counter-Reformation Church, ed. by M.B. che e documenti sulla controversia tra riformati e cattolici (1500– Hall, E. Cooper, Cambridge, 2013, pp. 28–48. –1550), Rome, 1982, pp. 130–273; C. Metzger, ‘Die Reue nach 5 H. Jedin, Il tipo ideale di vescovo secondo la riforma cattolica, dem Sturm. Rekatolisierung durch Rekonstruktion’, in Kunst und trans. by E. Durini, Brescia, 1959, pp. 92–103; R. Mols, ‘Saint Konfession. Katholische Auftragswerke im Zeitalter der Glaubens- Charles Borromée pionier de la pastorale moderne’, Nouvelle Re- spaltung 1517–1563, ed. by A. Tacke, Regensburg, 2008, pp. 267– vue Théologique, 79, 1957, no. 8, pp. 600–622, no. 9, pp. 715–747; 294; A. Nagel, ‘Architecture as Image’, in idem, The Controversy R. Chiacchella, ‘Il tipo ideale di vescovo e l’applicazione del of Renaissance Art, Toronto, 2011, pp. 197–220. modello nelle chiese locali. Carlo Borromeo e la sua influenza Publikacja jest udostępniona na licencji Creative Commons (CC BY-NC-ND 3.0 PL). 36 his ecclesiastical province, summoned in 1565 and 15767, and then expounded on them in his extensive work en- titled Instructiones fabrice et supellectilis ecclesiastice, pub- lished in 1577.8 A year later he outlined the matter again, in the brochure Libretto dei ricordi al popolo della città e diocese di Milano, intended for the laity of his diocese.9 Borromeo also had commissioned numerous works of sa- cred art, and – as testified by his secretary and biographer, Gian Pietro Giussano (1548/1552–1623) – considered them to be exemplary solutions to which he referred readers in 7 A. Iodice, ‘Influenze del primo concilio provinciale di Milano (1565) nei primi due concili provinciali di Capua (1566–1577)’, in San Carlo Borromeo in Italia, pp. 144–147 (as in note 5); W. Gó- ralski, Reforma trydencka w diecezji i prowincji kościelnej mediolańskiej w świetle pierwszych synodów kard. Karola Boro- meusza, Lublin, 1988, pp. 351–354. 8 M.L. Gatti Perer, ‘Le “Istruzioni” di San Carlo e l’ispirazione classica nell’architettura religiosa del ’600 in Lombardia’, in Il mito di classicismo nel Seicento, ed. by L. Anceschi, S. Bottari, G. d’Anna, Florence, 1964, pp. 102–123; M.L. Gatti Perer, ‘Prospettive nuove aperte da San Carlo nelle sue norme per l’arte sacra’, Atti della Ac- cademia di San Carlo, 3, 1980, pp. 15–33; I. Grassi, ‘Prassi, socialtà e simbolo dell’architettura nelle “Instructiones” di San Carlo’, Arte Cristiana, 73, 1985, no. 706, pp. 3–16; E.C. Voelker, ‘Borromeo’s Influence on Sacred Art and Architecture’, in San Carlo Borromeo. Catholic Reform, pp. 122–187 (as in note 5); M.A. Crippa, ‘Car- lo Borromeo e l’attuazione della riforma cattolica nell’architettura 1. Charles Borromeo, copper engraving after a portrait attributed to e nell’arte per la liturgia’, in Trento. I tempi del concilio. Società, Ambrogio Figino, before 1602 religione e cultura agli inizi dell’Europa moderna, Milan, 1995, pp. 229–236; M. Vitta, ‘La questione delle immagini nelle In- structiones di San Carlo Borromeo’, in C. Borromeus, Instruc- in the ways that were appropriate to its basic functions, tionum fabricae et supellectilis ecclesiasticae libri II, ed. by S. Della namely, as the physical setting for the spiritual service to Torre, M. Marinelli, Vatican City, 2000, pp. 386–396; R. Sénécal, God, a teaching tool, and a means of stimulating prop- ‘Carlo Borromeo’s Instructiones Fabricae et Supellectilis Eccle- er piety in the faithful.6 He had already introduced these siasticae and Its Origins in Rome of His Time’, Papers of British problems into the decrees of the first and fourth synods of School of Rome, 68, 2000, pp. 241–267; J. Kofroňová, ‘Problema- tika sakrálního prostoru po Tridentském konzilu ve svĕtle názorů nella diocesi di Perugia’, in San Carlo Borromeo in Italia. Studi cirkévnich autorit’, Umĕní, 48, 2000, no. 1–2, pp. 41–54; R. Scho- offerti a Carlo Marcora dottore dell’Ambrosiana, Brindisi, 1978, field, ‘Architettura, dottrina e magnificenza nell’architettura ec- pp. 85–103; G. Alberigo, ‘Carlo Borromeo come modello di ves- clesiastica dell’età di Carlo e Federico Borromeo’, in F. Repishti, covo nella Chiesa post-tridentina’, Rivista Storica Italiana, 79, R. Schofield, Architettura e controriforma. I dibatti per la fac- 1967, pp. 1031–1052; J. Tomaro, ‘San Carlo Borromeo and Imple- ciata del Duomo di Milano 1582–1682, Milan, 2004, pp. 125–249; mentation of the Council of Trent’, in San Carlo Borromeo. Catho- P. Prodi, ‘Ricerche sulla teoria delle arti figurative nella rifor- lic Reform and Ecclesiastical Politics in the Second Half of the Six- ma cattolica’, in idem, Arte e pietà nella Chiesa tridentina, Bolo- teenth Century, ed. by J.M. Headley, J.B. Tamaro, Washington, gna, 2014, pp. 73–86; J. Mara DeSilva, “Piously Made”. Sacred 1988, pp. 67–84. Space and the Transformation of Behaviour’, in The Sacralisation 6 S. Himmelheber, Bischöfliche Kunstpolitik nach dem Triden- of Space and Behavior in Early Modern World. Studies and Sources, tinum. Der Secunda-Roma-Anspruch Carlo Borromeos und die ed. by J. Mara DeSilva, London, 2015, pp. 1–32. mailandischen Verordnungen zu Bau und Ausstattung von Kir- 9 C. Di Filippo Bareggi, ‘Libri e letture di Milano di san Carlo Bor- chen, Munich, 1984; J. Alexander, From Renaissance to Counter- romeo’, in Stampa, libri e letture a Milano nell’età di Carlo Borro- -Reformation. The Architectural Patronage of Carlo Borro meo meo, ed. N. Raponi, A. Turchini, Milan, 1992, pp. 90–95; D. Zar- during the Reign of Pius IV, Milan, 2007; P. Krasny, ‘Święty din, ‘La “perfezione” nel proprio “stato”: strategie per la riforma Karol Boromeusz a sztuka’, in Święty Karol Boromeusz a sztu- generale dei costumi nel modello borromaico di governo’, idem, ka w Kościele powszechnym, w Polsce, w Niepołomicach, ed. by Carlo Borromeo. Cultura, santità, governo, Milan, 2010, pp. 113– P. Krasny, M. Kurzej, Cracow, 2013, pp. 11–27. –122. 37 his writings.10 A carefully thought out and very consistent EXEMPLA VIVA FOR A BISHOP – course of actions taken by Borromeo to develop a com- REFORMER OF THE LOCAL CHURCH prehensive model of bishopric patronage of the arts re- sulted in the fact that adherence to his theoretical con- A severe crisis of the Church had been diagnosed very cepts and imitation of the practical solutions proposed perceptively by the learned Camaldolese monks from Ve- by him have been regarded as the key elements of post- nice, Paolo Giustiniani (1476–1528) and Pietro Querini -Tridentine art of the Roman Catholic Church.11 (1478–1514), who, in 1513, compiled a memorial to Pope While totally in agreement with such an approach, Leo X (Giovanni di Lorenzo de’ Medici, 1475–1521) in Borromeo’s achievements, in my opinion, should also which they appealed for a radical reform of the institu- be confronted with actions undertaken by the precur- tion and presented a fairly comprehensive programme 14 sors of the Tridentine ‘reform’ of the arts, and an attempt thereof.
Load more

Recommended publications
  • Acollection of Correspondence
    © 2012 Capuchin Friars of Australia. All Rights Reserved. A COLLECTION OF CORRESPONDENCE Some Letters … and other things, from Sixteenth Century Italy in their original languages Bernardo, ben potea bastarvi averne Co’l dolce dir, ch’a voi natura infonde, Qui dove ‘l re de’ fiume ha più chiare onde, Acceso i cori a le sante opre eterne; Ché se pur sono in voi pure l’interne Voglie, e la vita al destin corrisponde, Non uom di frale carne e d’ossa immonde, Ma sète un voi de le schiere sperne. Or le finte apparenze, e ‘l ballo, e ‘l suono, Chiesti dal tempo e da l’antica usanza, A che così da voi vietate sono? Non fôra santità,capdox fôra arroganza Tôrre il libero arbitrio, il maggior dono Che Dio ne diè ne la primera stanza.1 Compiled by Paul Hanbridge Fourth edition, formerly “A Sixteenth Century Carteggio” Rome, 2007, 2008, Dec 2009 1 “Bernardo, it should be enough for you / With that sweet speech infused in you by Nature, / To light our hearts to high eternal works, / Here where the King of Rivers flows most clearly. / Since your own inner wishes are sincere, / And your own life reflects a pure intent, / You’re ra- ther an inhabitant of heaven. /As to these masquerades, dances, and music, /Sanctioned by time and by ancient custom - /Why do you now forbid them in your sermons? /Holiness it is not, but arrogance to take away free will, the highest gift/ Which God bestowed on us from the begin- ning.” Tullia d’Aragona (c.
    [Show full text]
  • VILLA I TAT TI Via Di Vincigliata 26, 50135 Florence, Italy
    The Harvard University Center for Italian Renaissance Studies VILLA I TAT TI Via di Vincigliata 26, 50135 Florence, Italy Volume 30 E-mail: [email protected] / Web: http://www.itatti.it Tel: +39 055 603 251 / Fax: +39 055 603 383 Autumn 2010 or the eighth and last time, I fi nd Letter from Florence to see art and science as sorelle gemelle. Fmyself sitting on the Berenson gar- The deepening shadows enshroud- den bench in the twilight, awaiting the ing the Berenson bench are conducive fi reworks for San Giovanni. to refl ections on eight years of custodi- In this D.O.C.G. year, the Fellows anship of this special place. Of course, bonded quickly. Three mothers and two continuities are strong. The community fathers brought eight children. The fall is still built around the twin principles trip took us to Rome to explore the scavi of liberty and lunch. The year still be- of St. Peter’s along with some medieval gins with the vendemmia and the fi ve- basilicas and baroque libraries. In the minute presentation of Fellows’ projects, spring, a group of Fellows accepted the and ends with a nostalgia-drenched invitation of Gábor Buzási (VIT’09) dinner under the Tuscan stars. It is still a and Zsombor Jékeley (VIT’10) to visit community where research and conver- Hungary, and there were numerous visits sation intertwine. to churches, museums, and archives in It is, however, a larger community. Florence and Siena. There were 19 appointees in my fi rst In October 2009, we dedicated the mastery of the issues of Mediterranean year but 39 in my last; there will be 31 Craig and Barbara Smyth wing of the encounter.
    [Show full text]
  • Parrocchia Di San Giorgio in Jerago
    Parrocchia di San Giorgio in Jerago Elenco dei Parroci A far tempo dal 1455 - Nel 1455 Macchi Dionigi Rettore - Dal 1559 al 1567 Uggeri Gerolamo - “ 1568 1587 Giussani Camillo - “ 1588 1596 Soldano Lazzaro - “ 1597 1601 Gattoni Gabriele - “ 1602 1609 Mazzucchelli Tommaso - “ 1609 1626 Curioni Antonio - “ 1626 1636 Coerezio Francesco - “ 1636 1675 Bonomi Giovanni - “ 1675 1704 Onetti Giuseppe - “ 1705 1732 Pozzi Carlo Francesco - “ 1732 1750 Mazzucchelli G. Battista - “ 1750 1784 Fontana Carlo Antonio - “ 1784 1797 Pellegatta Giuseppe Maria - “ 1797 1824 Castagnola Giovanni - “ 1824 1869 Moroni G.Battista - “ 1870 1873 Rossi Carlo - “ 1874 1881 Pessina Giuseppe - “ 1881 1916 Nebuloni Angelo - “ 1917 1945 Cervini Massimo - “ 1945 1952 Crespi Carlo - “ 1952 1987 Mauri Luigi - “ 1987 2006 Cassani Angelo - - “ dal 2007 è Parroco Ciapparella Remo Fin verso il 1800 il Parroco di Orago era vice parroco di Jerago Coadiutori o Vice-Parroci - Dal 1955 al 1962 Don Ausonio Colombo ( nato 20-11-1931) Parroco a Clivio - Dal 1962 al 1965 Don Luigi Colnaghi ( poi parroco di Cocquio Trevisago) Vicario per aiuto domenicale - Dal 1965 al 1974 Don Mario Panizza ( dott. Prof. Presso il Seminario Maggiore) 1 Visite pastorali - Mons Gabriele Sforza, 3-5 agosto 1455 - Card. Carlo Borromeo, 2 luglio 1570 - Mons Gaspare Visconti , 12 agosto 1586 - Card Federico Borromeo, 18 novembre 1606 - Card Federico Borromeo ottobre 1620 - Card Cesare Monti 21 settembre 1646 - Card Federico Visconti 29 giugno 1684 - Card Giuseppe Pozzobonelli 18 maggio 1750 - Card Andrea Carlo Ferrari 18-19 gennaio 1899 - Card Andrea Carlo Ferrari 18-19 ottobre 1903 - Card Andrea Carlo Ferrari 24-25 ottobre 1911 - Card Andrea Carlo Ferrari 26-27 luglio 1917 - Card Eugenio Tosi 20-21 agosto 1927 - Card Ildefonso Schuster 13-14 sett.1932 - Card Ildefonso Schuster 26-27 ottobre 1938 - Card Ildefonso Schuster 10-11 ottobre 1948 - Card Ildefonso Schuster 13-14 ottobre 1953 - Card.
    [Show full text]
  • Expo in Città Events Calendar Read Our Top Picks
    Maps Events Restaurants Cafés Nightlife Sightseeing Shopping Hotels Milan SSummerummer 22015015 Expo in città events calendar Read our top picks inyourpocket.com Contents Arriving & Transport 8 City basics 13 History 17 Culture & Events 18 Restaurants 23 Cafés 27 Nightlife 28 Sightseeing 30 Shopping 39 Directory 42 Where to sleep 44 Maps & Index Public transport maps 47 City centre map 50 © Oskar Dariz Expo 2015 map 52 MUDEC Index 54 Publisher IYP Italia S.r.l. Via San Vincenzo 2 - XI piano 16121 Genoa, Italy Head offi ce Via Benigno Crespi 19 - MAC4 - IV piano 20159 Milan, Italy Tel. +39 02 00 69 71 41 Fax +39 02 00 69 71 01 [email protected] www.inyourpocket.com Printed by Graphicscalve S.p.A., Vilminore di Scalve, Italy Editor-in-Chief: Lorenzo Marsano Contributor: Adrienne Baumann Layout: Tomáš Haman Maps: Courtesy of Regione Lombardia, Touring Editore, Expo 2015 Cover photo © TownHouse Hotels Sales & Circulation Manager: Roberta Greco (mob. +39 344 082 93 44, [email protected]) Naviglio Grande © Comune di Milano Special Thanks Mariasole and Valentina IN YOUR POCKET TV Copyright Notice & Editor’s Note In Your Pocket goes into the movie business... Kind of... Text and photos (unless otherwise stated) © IYP Italia S.r.l. 2015. All rights reserved. No part of this publication may be Over the past few months we have gradually been reproduced in any form without written permission from the putting together some extensive video guides to In Your Pocket In Your Pocket copyright owner. The brand name is used under various cities, using our own editors, license from UAB In Your Pocket (Bernardinu 9-4, Vilnius, writers and local researchers as presenters.
    [Show full text]
  • Downloaded from Brill.Com09/26/2021 09:24:42AM Via Free Access Chapter 5 Parish Liturgy
    Ruben Suykerbuyk - 9789004433106 Downloaded from Brill.com09/26/2021 09:24:42AM via free access Chapter 5 Parish Liturgy Before it became a pilgrimage destination, Saint Leonard’s church was first and foremost the seat of the parish of Zoutleeuw. As the smallest unit in the ecclesiastical hierarchy, the parish was the level on which Christians practiced and experienced religion on a daily basis. From an administrative point of view, parishes were defined as territorial entities, but they were in fact constituted by the com- munity of its inhabitants, especially in smaller towns or rural areas. Parishioners – the churchwardens among them – had the respon- sibility to care for their weakest neighbors and contribute to the maintenance of the religious infrastructure. Such commitments often ‘fostered a sense of belonging and ownership in the parish community’.1 Its material exponent was the parish church, often the largest stone building, and both literally and figuratively the center of the town. The church was the framework for the proper adminis- tration of the sacraments. Key moments in parishioners’ lives were ritually celebrated here (fig. 80), from baptism of new-born children and their subsequent confirmation and participation in commu- nion at Mass, over marriage, to funeral rites and burial after having received the last rites by the parish priest.2 The stories chaplain Munters recorded in his diary show that, during the sixteenth century, many of these communal rites of pas- sage were subjected to great pressure. Protestants started question- ing and taunting not just religious images, pilgrimages and miracles, but also the core elements of the parish liturgy.
    [Show full text]
  • PIOTR KRASNY Cultural and National Identity in 18Th-Century Lwow: Three
    Originalveröffentlichung in: Kwilecka, Anna u.a. (Hrsg.): Art and national identity in Poland and England, London 1996, S. 41-50 PIOTR KRASNY Cultural and national identity in 18th-century Lwow: three nations - three religions - one art In many ethnically heterogeneous regions of Europe (in the Netherlands, for instance; in Northern Ireland and in the Balkans) national identity was and still is tantamount to religious identity. This has produced specific effects in religious art in these regions. Differences resulting from religious traditions have been doubled by differences in distinct national art traditions. On the other hand, the traditions would often blend, especially after years of coexistence, leading to a certain unification of religious art forms. An interesting example of this process can be seen in the art of Lwow and its region in the 18th century. National and religious identity in Lwow and its region In the Middle Ages Lwow was one of the most important towns in the small Ruthenian D"chy with Halicz as its capital. In the 13th century and at the beginning of the 14th century the duchy was ravaged by Tatars which resulted in its depopulation. When the '°cal dynasty died out in the 1340s, the Polish king Casimir the Great annexed the duchy. new ruler decided to establish Polish settlements and brought in settlers mainly from central Poland. They found their homes mostly in towns, though sometimes they would Set up new villages. Casimir the Great turned the duchy into the Ruthenian province of toe Polish Kingdom and moved its capital to Lwow. Besides being the seat of the Orthodox bishop it soon became also the seat of the Roman Catholic archbishop.
    [Show full text]
  • BCA Schedule
    S Legal profession S37WR S Law Law S Legal profession S34 S2 . Primary materials Study in law S34 G * This class is used only under particular jurisdictions; . Student bar associations S34 GGD e.g. English law - Primary materials - Statutes SN2 G. S34 GGM . Moots * See Auxiliary Schedule S2 for instructions. GTC . Law schools (general) H Research in law * For research in the narrow sense of searching the legal . Common subdivisions literature, see S3R D. * These conform to the order of classes 2/9 in Auxiliary * See also Jurisprudence S5A Schedule 1 but with substantial modifications of * Add to S34 H numbers 3/9 following K in K3/K9. notation. H6 . Methodology * Add to S3 numbers 2/3 in Auxiliary Schedule 1 with the additions shown at S33 Y. H6M . Models S3 . General works on the law J Lawyers, attorneys, advocates, practitioners * For works on the formal status, etc. of particular parties S33 B . Dictionaries, encyclopedias or persons in the legal profession. For works on their G . Journals, periodicals, serials practical functioning, see Practice of law S6A. * For indexing & abstracting journals, see S3WH. * Theoretically, BC2 subordinates personnel to their H . Yearbooks specific function (e.g. advocacy). But the varied nature J . Directories, law lists of the tasks undertaken & the possibilities of * Primarily for use in qualifying persons, reorganization which may alter the degree of organizations, etc. specialization of particular personnel make this hard & LR . Conference proceedings fast distinction impracticable. Most of the literature RA . Literature & the law refers to types of personnel, but this should be * Imaginative literature, etc. interpreted as covering their duties as well as their office.
    [Show full text]
  • A Magnificent Draughtsman
    Jan Brueghel a magnificent draughtsman Contents 7 50 Foreword III. Study Sheets - by Mr. Leysen and Hildegard van de Velde - introduction by LWR - Cats. 30 –39 by LWR 8 Jan Brueghel in his Age, a Chronology 60 - by Bernadett Tóth IV. On the Road - introduction by TG - Cats. 40 –47 by TG INTRODUCTORY ESSAYS 70 12 V. Life at the Seaside Jan Brueghel the Elder a Magnificent Master - introduction by LWR - by Louisa Wood Ruby - Cats. 48–52 by LWR 15 80 Jan Brueghel’s Draughtsmanship VI. Travel Impressions - by Teréz Gerszi - introduction by TG - Cats. 53–55 by TG - Cats. 56–61 by LWR CATALOGUE 22 104 I. Italian Sojourn Bibliography - introduction by LWR - Cats. 1, 3, 5, 8, 10, 14 by TG 108 - Cats. 2, 4, 6, 7, 9, 11–13 by LWR Short Biographies of the Authors 40 110 II. River- and Village-Scenes Photograph Credits - introduction by TG - Cats. 15 –29 by TG Acknowledgements Lenders to the Exhibition ‒ 6 ‒ Foreword Thomas Leysen, Chairman of the Board of Directors, KBC Group and Hildegard Van de Velde, Curator of the Snijders&Rockox House We are exceptionally pleased to be able to present at the Antwerp, Jan focused on river and village scenes. He excelled Snijders&Rockox House in Antwerp the first ever survey of in deep panoramas, in which he referred to the landscapes Jan Brueghel’s drawings. Those of his father, Pieter Bruegel of his father, Pieter. His work also offers a glimpse into the the Elder, are well known, but it has taken until now for the everyday life of rural people at the time.
    [Show full text]
  • Printers and Power in Early Sixteenth-Century Rome
    chapter 8 The Rise of the Stampatore Camerale: Printers and Power in Early Sixteenth-Century Rome Paolo Sachet More than any other early modern power, the sixteenth-century Catholic Church is generally identified with a strict, if not reactionary policy towards printing. As part of its struggle against the Reformation, the papacy developed a vast and centralised system of ecclesiastical censorship. While it failed to be as universal as originally envisaged, it had serious ramifications on the culture of Catholic countries, beginning with Italy. An ever-growing number of studies is devoted to this subject, benefiting from the opening of the archive of the Roman Inquisition in 1998 and from the ground-breaking critical edition of the Indexes of Forbidden Books.1 By contrast, almost all of the Church’s attempts to harness printing as a means of communication in support of its own cause have been largely overlooked. This observation is especially true for the very heart of Catholicism, the city of Rome. In the capital of the Papal States, how- ever, cardinals and popes did employ local publishers to print an array of scholarly books to challenge Protestantism mostly in the patristic and histo- riographical fields. As I have illustrated elsewhere, these innovative attempts took place long before the establishment of the Typographia Vaticana in 1587.2 1 To cite only the most relevant contributions, see Gigliola Fragnito, La Bibbia al rogo: la cen­ sura ecclesiastica e i volgarizzamenti della Scrittura (1471–1605) (Bologna: Il Mulino, 1997), as well as her Proibito capire: la Chiesa e il volgare nella prima età moderna (Bologna: Il Mulino, 2005); Vittorio Frajese, Nascita dell’Indice: la censura ecclesiastica dal Rinascimento alla Controriforma (Brescia: Morcelliana, 2006); Peter Godman, The Saint as Censor: Robert Bellarmine between Inquisition and Index (Leiden/Boston: Brill, 2000); Ugo Rozzo, La lette­ ratura italiana negli Indici del Cinquecento (Udine: Forum, 2005).
    [Show full text]
  • Geese Book Text English.Indd
    Who Made the Geese Book? Volker Schier and Corine Schleif 1 Introduction Speaker 1 Who Made the Geese Book? Each volume of the Geese Book contains a colophon – a closing remark that was written after each was completed. Through these very self-conscious messages, one or more makers of a book communicated directly with the readers of that book. Through this convention, consumers, even those of future times, were informed of the producers’ respon- sibilities in bringing the book into existence and in creating it in a particular way. Colophons in liturgical books could incorporate references to those offi cials who fi nanced the project or raised the money, those clerics who initiated or commissioned it, as well as those authors and artists, craftsmen and craftswomen, who actually fashioned the manuscript. Included were writers who planned, compiled, or copied both music and text, as well as painters who ornamented or illus- trated that notation and those words with decorative foliage or narrative illuminations. Colophons functioned like the credits that appear today at the end of fi lms and television productions. The intentions of the colophons, however, exceeded those of present-day credits. Not wishing merely to be among the names connected with a project or to be remembered for work well done, medi- eval sponsors and artisans wanted to further their souls’ salvation. In sacred manuscripts of the Middle Ages, these messages usually included explicit or implicit requests that the books’ read- ers pray for the souls of those responsible for the work. In fact, from the vantage point of those who are mentioned in colophons, raising the visibility of one’s work as an artist or obtaining social recognition as a donor or commissioner was to be perceived as an incidental byproduct, occurring in the course of pursuing more pious goals.
    [Show full text]
  • Virtue and Diligence Jan Brueghel Land Federico Borromeo
    2°3 Virtue and Diligence Jan Brueghel land Federico Borromeo L.c. Cuder 'What little virtue that Almighty God has given me will always be in the ser­ vice of your Excellency', Jan Brueghel (1568-1625 fig. I) assured his patron Federico Borromeo, Archbishop ofMilan, (1564-1631 fig. 2) in a letter dated 12 March 1610.' This article will examine how virtue and diligent service are entwined in Brueghel's relationship with and work for his patron. The first half of the paper will consider how Brueghel's relationship with his patron is based on the mutual acknowledgement of virtue through friendship, and how Brueghel's role in this virtuous exchange is to offer diligence or loving service. Brueghel, I shall argue, adopts a mode of courdy behaviour that emulated van Eyck and Apelles, both models of the diligent court artist. The second half of this article will focus on the paintings, examining how Brueghel's style was understood as an emulation of Apelles' virtuosity. It will then consider how diligence was understood by both men to be manifest and visible in Brueghel's paintings. Finally, it will look at how the virtue of the paintings lay in their constituting a diligent mode of address by the artist both to his patron and to God. Jan Brueghel, following in his father Peter Bruegel 1's footsteps, made the journey to haly in the early 1590S. By 1595 he was in Rome where he met Federico Borromeo. 2 The young Cardinal Borromeo, cousin to San Carlo Borromeo, and protege of San Filippo Neri and Gabriele Paleotti was at the centre of a group of clerics for whom the regeneration and defence of Catholic art against Protestant attack was a central concern.J Borromeo through his writing, collecting and patronage adopted the cause of counter­ reformation art.
    [Show full text]
  • Charles Borromeo
    Charles Borromeo For the Indian sprinter, see Charles Borromeo (athlete). not be applied to secular use. The young man attended the University of Pavia, where he applied himself to the study of civil and canon law. Due to a slight impediment Charles Borromeo (Italian: Carlo Borromeo, Latin: of speech, he was regarded as slow; yet his thoroughness Carolus Borromeus, 1538–1584) was the cardinal and industry more than compensated for the handicap.[2] archbishop of Milan from 1564 to 1584. Among the great reformers of the troubled sixteenth century, Borromeo, In 1554 his father died, and although he had an elder with St. Ignatius of Loyola, St. Philip Neri, and others, brother, Count Federico, he was requested by the family led the movement to combat the inroads of the Protes- to take the management of their domestic affairs. After tant Reformation. He was a leading figure during the a time, he resumed his studies, and on December 6, 1559 Counter-Reformation and was responsible for significant he earned a doctorate in utroque iure (Canon and Civil reforms in the Catholic Church, including the founding of Law). seminaries for the education of priests. He is honoured as a saint in the Catholic Church and his feast day is 4 November. 3 Rome period 1 Sources On December 25, 1559, his uncle, Cardinal Giovanni Angelo Medici, was raised to the pontificate as Pope Pius IV. The new elected pope required his nephew Charles Borromeo’s biography was originally written by three of Borromeo to come to Rome, and on January 13, 1560 ap- his contemporaries: Agostino Valerio (afterwards Cardi- pointed him protonotary apostolic.[3] Shortly thereafter, nal and Bishop of Verona) and Carlo Bascape (General on January 31, 1560, the Pope created him Cardinal, of the Barnabites, afterwards Bishop of Novara), who and thus Charles Borromeo as Cardinal-nephew was en- wrote their contributions in Latin, and Pietro Giussanno trusted with both the public and the privy seal of the ec- (a priest), who wrote his in Italian.
    [Show full text]