DOCSLIB.ORG

A Music Book for Mary Tudor, Queen of France

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
A Music Book for Mary Tudor, Queen of France A MUSIC BOOK FOR MARY TUDOR, QUEEN OF FRANCE Item Type Article Authors Brobeck, John T. Citation A MUSIC BOOK FOR MARY TUDOR, QUEEN OF FRANCE 2016, 35:1 Early Music History DOI 10.1017/S0261127916000024 Publisher Cambridge University Press Journal Early Music History Rights © Cambridge University Press 2016. Download date 26/09/2021 04:46:32 Item License http://rightsstatements.org/vocab/InC/1.0/ Version Final accepted manuscript Link to Item http://hdl.handle.net/10150/621897 Brobeck - 1 <special sorts: {#} (space); flat sign ({fl} in file); sharp sign ({sh} in file); natural sign ({na} in file); double flat sign ({2fl} in file [these flats are close together, not spaced]); mensuration sign cut-C ({C/} in file; see pdf> <running heads: John T. Brobeck | A Music Book for Mary Tudor, Queen of France> Early Music History (2016) Volume 35. © Cambridge University Press doi: 10.1017/S0261127916000024 JOHN T. BROBECK Email: [email protected] _________________________________________________________________________________________ A MUSIC BOOK FOR MARY TUDOR, QUEEN OF FRANCE Frank Dobbins in memoriam In 1976 Louise Litterick proposed that Cambridge, Magdalene College, Pepys Library MS 1760 was originally prepared for Louis XII and Anne of Brittany of France but was gifted to Henry VIII of England in 1509. That the manuscript actually was prepared as a wedding gift from Louis to his third wife Mary Tudor in 1514, however, is indicated by its decorative and textual imagery, which mirrors the decoration of a book of hours given by Louis to Mary and the textual imagery used in her four royal entries. Analysis of the manuscript’s tabula and texts suggests that MS 1760 was planned by Louis’s chapelmaster Hilaire Bernonneau (d. 1524) at the king’s behest. The new theory elucidates the content and significance of Gascongne’s twelve-voice canon Ista est speciosa, which appeared beneath an original portrait of Mary Tudor and was intended to mirror the perfection of the Blessed Virgin and her ‘godchild’ Mary. Although there is general agreement within the scholarly community that the well-known music manuscript Cambridge, Magdalene College, Pepys MS 1760 was created at the French royal court during the first two decades of the sixteenth century, scholars have not been able to agree about the specific circumstances that inspired its creation.1 The manuscript (which 1 A facsimile edition of Pepys MS 1760 was published by Howard Mayer Brown in 1988 as volume 2 in his series Renaissance Music Sources in Facsimile (New York: Garland, 1988– ). Brobeck - 2 was part of the personal library of the English naval administrator, diarist, musician and bibliophile Samuel Pepys, 1633–1703, and contains his bookplates on the front and back flyleaves) gives every appearance of having been created either for the personal use of a monarch or as an expensive gift to a member of the nobility. At a mere 222 mm. by 147 mm. it is one of the smallest of the nearly 3,000 volumes in the Pepys Library.2 Because of its original gold cloth covers it is one of only twenty-two volumes for which Pepys did not provide his own full leather binding, but rather added a partial leather binding covering just the spine of the manuscript to make it resemble the other volumes in his collection. Every page of the parchment manuscript possesses illuminated majuscules or other fine artwork, most prominently on folios Iv and IIr, whose borders are completely covered in depictions of flora and fauna set against a gold background. There are no obvious cancellations or corrections in the manuscript, which appears to have been copied by one hand (unless the text and music scribes are different).3 More recently the manuscript has been published online in colour by the Digital Image Archive of Medieval Music (DIAMM), which may be seen at http://www.diamm.ac.uk/jsp/Descriptions?op=SOURCE&sourceKey=1671#imageList. The images are used here by permission of the Pepys Library, Cambridge University. Much of the relevant scholarly literature pertaining to the dating and provenance of the manuscript is identified in its entry in the Census-Catalogue of Manuscript Sources of Polyphonic Music 1400–1550, Renaissance Manuscript Studies, 1, gen. ed. C. Hamm, University of Illinois Musicological Archives for Renaissance Manuscript Studies, 5 vols. (Neuhausen-Stuttgart: American Institute of Musicology/Hänssler-Verlag, 1979–88). All music manuscripts mentioned in this article are cited according to their sigla in the Census-Catalogue. The sigla of printed books refers to the listing in Recueils imprimés XVIe–XVIIe siècles, ed. F. Lesure (Répertoire international des sources musicales; Munich-Duisberg, 1960). 2 The Pepys Library at Magdalene College, Cambridge is of considerable importance for scholars in many disciplines, and has been widely discussed in the scholarly literature. The entire contents of the library are exhaustively catalogued and described in Pepys Library, Catalogue of the Pepys Library at Magdalene College, Cambridge, gen. ed. R. Latham, 7 vols. (Cambridge, 1978–92). The principal description of MS 1760 is in volume 4 of this series. An earlier published catalogue of the portion of the collection including Pepys 1760 appears in M. R. James, Bibliotheca Pepysiana: A Descriptive Catalogue of the Library of Samuel Pepys, Part 3, Mediaeval Manuscripts (London, 1923). A pictorial introduction to the Pepys Library and a useful discussion of its history appears in A. Hobson, Great Libraries (New York, 1970), pp. 213–21. 3 It is not clear if the music and text were written by the same or different scribes. All the music appears to have been copied by a single hand, and all the texts appear to have been copied by a single hand, but the music clefs clearly were written with a pen having a wider nib than the pen used for the texts (my thanks to Bonnie Blackburn for pointing this out). The text hand used throughout the MS includes elements found in both bâtarde handwriting and humanistic book script. Humanistic elements include, among others, straight-backed d; use of tall s; roundness of aspect, well separated letters; use of two compartment g; and the use of the ct ligature. For examples of batârde and humanistic book scripts, see M. P. Brown, A Guide to Western Historical Scripts from Antiquity to 1600 (London, 1990), pp. 108-11, 126-7, and 130–1. Iain Brobeck - 3 COMPOSERS REPRESENTED IN THE MS That MS 1760 originated at the French royal court is strongly suggested by its musical content, since the great majority of its fifty-seven chansons and motets can be attributed to musicians who worked for one or more of three royal patrons, King Louis XII of France (r. 1498–1515), his queen Anne of Brittany (r. 1491–1514) and King Francis I of France (r. 1515–47) (see Table 1 and the complete concordance for MS 1760 in Appendix I). Over half the compositions in the manuscript can be assigned to either Antoine de Févin or Mathieu Gascongne. Févin served as a priest and singer for King Louis XII from at least 1506 until his death in late 1511 or early 1512. That he was a particular favourite of the king is suggested by a letter written by Louis on 18 April 1507 from Asti, Italy to his friend Guillaume de Montmorency in France to request that a chanson of Févin’s and a portrait painted by the court painter Jean Perréal (c. 1450–c. 1530) be sent to him.4 Gascongne’s only documented professional affiliation was with the French royal court, and several of his motets published in Pierre Attaingnant’s 1534–5 series of motet prints contain textual references suggesting that he was an intimate of the court during the second decade of the century, after Févin’s death.5 Curiously, however, he was not one of the thirty singers in Louis XII’s or Anne of Brittany’s chapels who were named in papal supplications between Fenlon stated that MS 1760 was written by a single hand throughout in his description of the manuscript in Cambridge Music Manuscripts, 900–1700 (Cambridge, 1982), pp. 123–6. He described the script as ‘a finely formed bâtarde hand’. 4 The most thorough analysis in print of the meagre evidence pertaining to Févin’s biography and the de Févin family of Arras remains E. Clinkscale, ‘The Complete Works of Antoine de Févin’ (Ph.D. diss., New York University, 1965), pp. 1–25. Archival evidence placing Févin in Blois in 1506 appeared in T. Dumitrescu, ‘The Chapel Musicians of Louis XII and Anne de Bretagne at Blois: New Documents, New Singers, and a Prioris Problem’, paper presented at the Annual Meeting of the American Musicological Society, Québec City (Nov. 2007). 5 For example, his motet Caro mea vero est cibus appears to have been composed in 1512–13 as a royal response to Louis XII’s excommunication by Pope Julius II; Christus vincit Christus regnat sets a version of the Laudes regiae, a text recited at Francis I’s coronation in Jan. 1515; and the militaristic text of Deus regnorum, which begs God to give peace and ‘da servo tuo Francisco regi nostro de hoste triumphum’ may well have been inspired by Francis’s victorious Italian campaign of 1515–16. Concerning Caro mea see J. T. Brobeck, ‘Style and Authenticity in the Motets of Claudin de Sermisy’, Journal of Musicology, 16 (1998), pp. 26-90. For discussion of the style of Gascongne’s motets and an alphabetical list of concordant sources by piece see Brobeck, ‘The Motet at the Court of Francis I’ (Ph.D. diss., University of Pennsylvania, 1991), pp. 467–91. M.- A. Colin, ‘The Motets of Mathieu Gascongne: A Preliminary Report’, in T.
Load more

Recommended publications
  • The Dredgings August 2021
    August,2021 Volume 32,Issue 10AS LVI Being the Voiceofthe Barony ofLochmere in the KingdomofAtlantia, SCA,Inc. Inside thisissue ArtsandSciences .........................3 Foodfor Thought.........................5 Composerʼs Corner.....................7 HistoryHighlights.........................9 Table of Contents Their Excellencies..............................2 Lochmere Calendar of Events........2 Atlantia Calendar of Events ............2 Information on the Dredgings.......2 Attention Lochmere Officers..........2 This Month in History .......................3 Arts and Sciences...............................3 Their Excellencies Populace Meeting Minutes..............3 New Member Information ...............4 Baronial Reoccurring Activities ....4 Food for Thought...............................5 Greetings Lochmere, Composersʼ Corner...........................7 History Highlights..............................9 Lochmere Officers Listing............10 Lochmere Baronial Champions ..10 We are pleased to start seeing people in person again at practices, although summer is truly here and in full swing of hot! We urge Information of the Dredgings The Dredgings is a publication of everyone to stay hydrated! the Barony of Lochmere of the Society of Creative Anachronism, Inc. The Dredgings is a free Tuesdays Armor, Fencing, Art days have turned into quite the place publication and is available electronically. You may request a to be! copy from the Barony of Lochmere Chronicler at lochmere.chronicler @gmail.com This newsletter is not a corporate We also hear that archery practice is happening although it seems that publication of the Society of a bout of poorly timed rain has dampened that a few times. Creative Anachronism, Inc., and does not delineate SCA policies. ©2021, Society of Creative Anachronism, Inc We joined in on Eilionora’s online scriptorium, which is happening . every other week and were delighted to see faces from other kingdoms. For information on reprinting letter and artwork from this We were very impressed with everyone's talents and had a great time.
    [Show full text]
  • Charles V, Monarchia Universalis and the Law of Nations (1515-1530)
    +(,121/,1( Citation: 71 Tijdschrift voor Rechtsgeschiedenis 79 2003 Content downloaded/printed from HeinOnline Mon Jan 30 03:58:51 2017 -- Your use of this HeinOnline PDF indicates your acceptance of HeinOnline's Terms and Conditions of the license agreement available at http://heinonline.org/HOL/License -- The search text of this PDF is generated from uncorrected OCR text. -- To obtain permission to use this article beyond the scope of your HeinOnline license, please use: Copyright Information CHARLES V, MONARCHIA UNIVERSALIS AND THE LAW OF NATIONS (1515-1530) by RANDALL LESAFFER (Tilburg and Leuven)* Introduction Nowadays most international legal historians agree that the first half of the sixteenth century - coinciding with the life of the emperor Charles V (1500- 1558) - marked the collapse of the medieval European order and the very first origins of the modem state system'. Though it took to the end of the seven- teenth century for the modem law of nations, based on the idea of state sover- eignty, to be formed, the roots of many of its concepts and institutions can be situated in this period2 . While all this might be true in retrospect, it would be by far overstretching the point to state that the victory of the emerging sovereign state over the medieval system was a foregone conclusion for the politicians and lawyers of * I am greatly indebted to professor James Crawford (Cambridge), professor Karl- Heinz Ziegler (Hamburg) and Mrs. Norah Engmann-Gallagher for their comments and suggestions, as well as to the board and staff of the Lauterpacht Research Centre for Inter- national Law at the University of Cambridge for their hospitality during the period I worked there on this article.
    [Show full text]
  • John Skelton: Courtly Maker/Popular Poet
    Quidditas Volume 4 Article 6 1983 John Skelton: Courtly Maker/Popular Poet Nancy A. Gutierrez University of Texas, San Antonio Follow this and additional works at: https://scholarsarchive.byu.edu/rmmra Part of the Comparative Literature Commons, History Commons, Philosophy Commons, and the Renaissance Studies Commons Recommended Citation Gutierrez, Nancy A. (1983) "John Skelton: Courtly Maker/Popular Poet," Quidditas: Vol. 4 , Article 6. Available at: https://scholarsarchive.byu.edu/rmmra/vol4/iss1/6 This Article is brought to you for free and open access by the Journals at BYU ScholarsArchive. It has been accepted for inclusion in Quidditas by an authorized editor of BYU ScholarsArchive. For more information, please contact [email protected], [email protected]. John Skelton: Courtly Maker/Popular Poet by ancy A. Gutierrez Uruversity of Texas. San Antonio The eight poems in Latin and English written at the time of the English victory at Flodden Field in 1513 are various combinations of praise, vitu­ peration, satire, and polemic, reB.ecting the attitudes of their authors, John Skelton, Thomas More, Peter Cannelianus, and Bernard Andre.' Th so courtly makers, homogeneous in both their humanist background and court employment, see the battle essentially the same way-as an occasion to celebrate their royal employer and to abus his enemy-thus the differ­ ing verse forms and slanted treatments are grounded in a common point of view. However, John Skelton, as author of three of the eight poems, adds another dimension to his office. ln one of the poems he seems to be speaking the king's man to the king's court; however, in another poem, hls office is more generalized: h is a popular poet addressing the people of England as their teacher, but also, peculiarly, expressing their own views in his single voice.
    [Show full text]
  • Who Is the Heir of the Duchy of Brittany? Author(S): Henry Jenner Source: the Celtic Review, Vol
    Who Is the Heir of the Duchy of Brittany? Author(s): Henry Jenner Source: The Celtic Review, Vol. 6, No. 21 (Jul., 1909), pp. 47-55 Stable URL: http://www.jstor.org/stable/30070199 Accessed: 21-06-2016 18:03 UTC Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://about.jstor.org/terms JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. is collaborating with JSTOR to digitize, preserve and extend access to The Celtic Review This content downloaded from 165.193.178.102 on Tue, 21 Jun 2016 18:03:57 UTC All use subject to http://about.jstor.org/terms THE HEIR OF THE DUCHY OF BRITTANY 47 WHO IS THE HEIR OF THE DUCHY OF BRITTANY ? HENRY JENNER N'oun na da Vleiz na da Vontfort, n'oun nemet servicher d'an Itroun Vari.-SALAUN FOLGOAT.1 IT is with much diffidence and with many apologies to the Bretons that I, though I only belong by birth to the nation which is more nearly related to them than any other, presume to attempt an answer to this question. Possibly my conclusions are not new to them, though to me they undoubtedly are new. Certainly much that is contained in this paper can only be mere commonplace to them.
    [Show full text]
  • Christian Allies of the Ottoman Empire by Emrah Safa Gürkan
    Christian Allies of the Ottoman Empire by Emrah Safa Gürkan The relationship between the Ottomans and the Christians did not evolve around continuous hostility and conflict, as is generally assumed. The Ottomans employed Christians extensively, used Western know-how and technology, and en- couraged European merchants to trade in the Levant. On the state level, too, what dictated international diplomacy was not the religious factors, but rather rational strategies that were the results of carefully calculated priorities, for in- stance, several alliances between the Ottomans and the Christian states. All this cooperation blurred the cultural bound- aries and facilitated the flow of people, ideas, technologies and goods from one civilization to another. TABLE OF CONTENTS 1. Introduction 2. Christians in the Service of the Ottomans 3. Ottoman Alliances with the Christian States 4. Conclusion 5. Appendix 1. Sources 2. Bibliography 3. Notes Citation Introduction Cooperation between the Ottomans and various Christian groups and individuals started as early as the beginning of the 14th century, when the Ottoman state itself emerged. The Ottomans, although a Muslim polity, did not hesitate to cooperate with Christians for practical reasons. Nevertheless, the misreading of the Ghaza (Holy War) literature1 and the consequent romanticization of the Ottomans' struggle in carrying the banner of Islam conceal the true nature of rela- tions between Muslims and Christians. Rather than an inevitable conflict, what prevailed was cooperation in which cul- tural, ethnic, and religious boundaries seemed to disappear. Ÿ1 The Ottomans came into contact and allied themselves with Christians on two levels. Firstly, Christian allies of the Ot- tomans were individuals; the Ottomans employed a number of Christians in their service, mostly, but not always, after they had converted.
    [Show full text]
  • St. Peter's Basilica
    UF “ROME PROJECT” LESSON 1 Reading and comprehension COLOSSEUM The Colosseum, or the Coliseum, originally the Flavian Amphitheatre (Anfiteatro Flavio or Colosseo), is an amphitheatre in the centre of the city of Rome. It’s the largest amphitheatre ever built in the Roman Empire. It is elliptical in plan and it’s 188 metres long. Inside the Colosseum there were about 50,000 seats for the spectators. The height of the outer wall is 48 meters. The Colosseum was used for gladiatorial contests and public spectacles such as mock sea battles, animal hunts, executions and dramas based on Classical mythology. The Colosseum is one of the symbols of Imperial Rome. ST. PETER’S BASILICA The Papal Basilica of Saint Peter is commonly known as Saint Peter's Basilica and it is a Late Renaissance church located within the Vatican City. In Roman Catholic tradition, the basilica is the burial site of its namesake Saint Peter, who was one of the twelve apostles of Jesus. The basilica is within a forecourt in two sections, both surrounded by tall colonnades. The basilica is cruciform in shape, with an elongated nave in the Latin cross form. The basilica contains a large number of tombs of popes considered outstanding artworks. There are also a number of sculptures in niches and chapels, including Michelangelo’s “Pieta”. The central feature is a baldachin over the Papal Altar designed by Lorenzo Bernini. The Basilica of St. Peter is one of four papal basilicas (Major Basilicas) of Rome: the other basilicas are The Basilica of St. John Lateran, Santa Maria Maggiore and St.
    [Show full text]
  • (Thalamus) in Images of the Annunciation of the 14Th-15Th Centuries in the Light of Latin Patristics
    International Journal of History and Cultural Studies (IJHCS) Volume 5, Issue 4, 2019, PP 49-70 ISSN 2454-7646 (Print) & ISSN 2454-7654 (Online) DOI: http://dx.doi.org/10.20431/2454-7654.0504005 www.arcjournals.org The Symbol of Bed (Thalamus) in Images of the Annunciation of the 14th-15th Centuries in the Light of Latin Patristics José María Salvador-González* Professor of Art History, Faculty of Geography and History, Complutense University of Madrid, Spain *Corresponding Author: José María Salvador-González, Professor of Art History, Faculty of Geography and History, Complutense University of Madrid, Spain Abstract: This article attempts to interpret the doctrinal meanings hidden under the bed symbol in some images of the Annunciation of the 14th and 15th centuries. For this purpose, thirteen Annunciations of this period which include that piece of furniture are analyzed, and in passing some inadequate interpretations that have been given about any of these pictorial images are evidenced. To justify our interpretations, we rely on an abundant corpus of texts through which many Fathers and theologians of the Latin Church consider the thalamus concept as an eloquent metaphor for the incarnation of the Son of God as a man in the Virgin Mary’s womb, as well as for her virginal divine maternity. Keywords: Christian Iconography – Medieval Art – Annunciation – Christ’s Incarnation. The increasingly complex and detailed images of the Annunciation of the 14th and 15th centuries include almost always some narrative details –such as a stem of lilies,1 a book of prayers, a house in the form of a temple,2 the divine ray of light descending, with the dove of the Holy Spirit, towards the Mary‘s ear,3 or the submissive and demure attitude of the Virgin Mary4—, whose respective symbolism has been highlighted, with greater or lesser success, by numerous experts.
    [Show full text]
  • Europa Regina. 16Th Century Maps of Europe in the Form of a Queen Europa Regina
    Belgeo Revue belge de géographie 3-4 | 2008 Formatting Europe – Mapping a Continent Europa Regina. 16th century maps of Europe in the form of a queen Europa Regina. Cartes d’Europe du XVIe siècle en forme de reine Peter Meurer Electronic version URL: http://journals.openedition.org/belgeo/7711 DOI: 10.4000/belgeo.7711 ISSN: 2294-9135 Publisher: National Committee of Geography of Belgium, Société Royale Belge de Géographie Printed version Date of publication: 31 December 2008 Number of pages: 355-370 ISSN: 1377-2368 Electronic reference Peter Meurer, “Europa Regina. 16th century maps of Europe in the form of a queen”, Belgeo [Online], 3-4 | 2008, Online since 22 May 2013, connection on 05 February 2021. URL: http:// journals.openedition.org/belgeo/7711 ; DOI: https://doi.org/10.4000/belgeo.7711 This text was automatically generated on 5 February 2021. Belgeo est mis à disposition selon les termes de la licence Creative Commons Attribution 4.0 International. Europa Regina. 16th century maps of Europe in the form of a queen 1 Europa Regina. 16th century maps of Europe in the form of a queen Europa Regina. Cartes d’Europe du XVIe siècle en forme de reine Peter Meurer 1 The most common version of the antique myth around the female figure Europa is that which is told in book II of the Metamorphoses (“Transformations”, written around 8 BC) by the Roman poet Ovid : Europa was a Phoenician princess who was abducted by the enamoured Zeus in the form of a white bull and carried away to Crete, where she became the first queen of that island and the mother of the legendary king Minos.
    [Show full text]
  • April 1911) James Francis Cooke
    Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 4-1-1911 Volume 29, Number 04 (April 1911) James Francis Cooke Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Ethnomusicology Commons, Fine Arts Commons, History Commons, Liturgy and Worship Commons, Music Education Commons, Musicology Commons, Music Pedagogy Commons, Music Performance Commons, Music Practice Commons, and the Music Theory Commons Recommended Citation Cooke, James Francis. "Volume 29, Number 04 (April 1911)." , (1911). https://digitalcommons.gardner-webb.edu/etude/568 This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. TWO PIANOS THE ETUDE FOUR HANDS New Publications The following ensemble pieces in- S^s?^yssL*aa.‘Sffi- Anthems of Prayer and Life Stories of Great nai editions, and some of the latest UP-TO-DATE PREMIUMS Sacred Duets novelties are inueamong to addthe WOnumberrks of For All Voices &nd General Use Praise Composers OF STANDARD QUALITY A MONTHLY JOURNAL FOR THE MUSICIAN, THE MUSIC STUDENT, AND ALL MUSIC LOVERS. sis Edited by JAMES FRANCIS COOKE Subscription Price, $1.60 per jeer In United States Alaska, Cuba, Po Mexico, Hawaii, Pb’”—1— "-“-“* *k- "•* 5 In Canada, »1.7t STYLISH PARASOLS FOUR DISTINCT ADVANCE STYLES REMITTANCES should be made by post-offlee t No.
    [Show full text]
  • Calvinism and the Arts: a Re-Assessment
    Durham E-Theses Calvinism and the arts: A re-assessment Joby, Christopher Richard How to cite: Joby, Christopher Richard (2005) Calvinism and the arts: A re-assessment, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/2873/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk Abstract Calvinism and the arts: A re-assessment Although many believe John Calvin had a negative attitude towards the arts, particularly visual art, my contention is that we find within his writings and the development of the Reformed tradition a more positive attitude to the arts than has hitherto been recognized. In chapters one and two, I look in detail at Calvin's own writings. I begin by examining exactly what type of visual art he rejected and what type he affirmed. I then look at how his eschatology and epistemology, particularly his use of the metaphor of mirror, allow us to argue for the placing of certain types of art within Reformed churches, notably history and landscape paintings.
    [Show full text]
  • The Choir Books of Santa Maria in Aracoeli and Patronage Strategies of Pope Alexander VI
    University of South Florida Scholar Commons Graduate Theses and Dissertations Graduate School January 2013 The hoirC Books of Santa Maria in Aracoeli and Patronage Strategies of Pope Alexander VI Maureen Elizabeth Cox University of South Florida, [email protected] Follow this and additional works at: http://scholarcommons.usf.edu/etd Part of the History of Art, Architecture, and Archaeology Commons, and the History of Religion Commons Scholar Commons Citation Cox, Maureen Elizabeth, "The hoC ir Books of Santa Maria in Aracoeli and Patronage Strategies of Pope Alexander VI" (2013). Graduate Theses and Dissertations. http://scholarcommons.usf.edu/etd/4657 This Thesis is brought to you for free and open access by the Graduate School at Scholar Commons. It has been accepted for inclusion in Graduate Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. The Choir Books of Santa Maria in Aracoeli and Patronage Strategies of Pope Alexander VI by Maureen Cox-Brown A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts School of Art and Art History College of The Arts University of South Florida Major Professor: Helena K. Szépe Ph.D. Elisabeth Fraser Ph.D. Mary Fournier Ph.D. Date of Approval: June 28, 2013 Keywords: Humanism, Antonio da Monza, illuminated manuscripts, numismatics, Aesculapius, Pinturicchio, Borgia Copyright © 2013, Maureen Cox-Brown DEDICATION This is lovingly dedicated to the memory of my mother and her parents. Et benedictio Dei omnipotentis, Patris et Filii et Spiritus Sancti descendat super vos et maneat semper ACKNOWLEDGMENTS I would like to thank Dr.
    [Show full text]
  • England's Armor
    ENGLAND’S ARMOR: HENRY VIII’S ARMOR AND HIS WARS by James Nobukichi Ito A thesis submitted in partial fulfillment of the requirements for the degree of Master of Art in Art History MONTANA STATE UNIVERSITY Bozeman, Montana April 2014 ©COPYRIGHT by James Nobukichi Ito 2014 All Rights Reserved ii DEDICATION I dedicate this Master’s Thesis to Donald La Rocca, Dr. Todd Larkin, and to Vaughan Judge for their support and guidance in helping me achieve my graduate goals. To Dede Taylor who gave me the Metropolitan Museum of Art Bulletin Of Arms and Men, which got me seriously interested in the topic of arms and armor as a Master’s Thesis. To my fellow graduate students; Kate Cottingham, Chelsea Higgins, Jackie Meade, and Jesine Munson. To the School of Art office staff. I dedicate the success of graduate school to my wife Stephanie, who tolerated me being away from home for these last two years researching and writing my thesis and for bringing our son Jefferson into this world while I was in graduate school. You are my greatest supporter, Stephanie. iii ACKNOWLEDGMENTS I have grown as a scholar and as a person in these last two years of graduate school and I have the art history faculty to thank for that. Todd Larkin was my committee chair and he has been my most involved mentor who pushed me to conduct active research and question all evidence of my findings to weave out any doubt that what I discovered was reliable information. He has also been an example to me as a scholar who is enthusiastic about his work and teaches in a way that keeps the class attentive and alive.
    [Show full text]