Write to the booksellers
Hector Hugues Munro dit. SAKI
Le thé.
Couverture blanche souple et imprimée. Papier jauni. Ex-libris en relief sur la page de titre.
Reference : 61870
Non-donné. L'o&il de la lettre. 1988. 30 pp. In-12. Broché. Très bon état. 1 volume. Traduit de l'anglais par J. DEREGNAUCOURT.
Bookseller's contact details
Librairie Koegui
M. Guy Neplaz - Isabelle Bilbao
21 rue Vieille Boucherie
64100 Bayonne
France
05 59 59 78 74
Payment mode
Sale conditions
Les prix indiqués sont nets et en euros. Les frais de port sont forfaitaires. Commandez vos livres en même temps, vous économisez des frais de livraison ! Vous pouvez commander par lettre, e-mail, ou téléphone, en précisant la référence, l'auteur et le titre de chaque ouvrage. Expédition dès réception du règlement. La librairie accepte les modes de paiement suivants : chèque et mandat postal international. Important: toujours attendre la confirmation de disponibilité par mail avant l'envoi du règlement. Envoi rapide avec emballage adapté.
5 book(s) with the same title
Corpse in the Middle Ages: Embalming, Cremating, and the Cultural Construction of the Dead Body
, Brepols - Harvey Miller, 2021 Hardback, vi + 780 pages, Size:220 x 280 mm, Language(s):English, Latin. ISBN 9781909400870.
Summary To what extent are the dead truly dead? In medieval society, corpses were assigned special functions and meanings in several different ways. They were still present in the daily life of the family of the deceased, and could even play active roles in the life of the community. Taking the materiality of death as a point of departure, this book comprehensively examines the conservation, burial and destruction of the corpse in its specific historical context. A complex and ambivalent treatment of the dead body emerges, one which necessarily confronts established modern perspectives on death. New scientific methods have enabled archaeologists to understand the remains of the dead as valuable source material. This book contextualizes the resulting insights for the first time in an interdisciplinary framework, considering their place in the broader picture drawn by the written sources of this period, ranging from canon law and hagiography to medieval literature and historiography. It soon becomes obvious that the dead body is more than a physical object, since its existence only becomes relevant in the cultural setting it is perceived in. In analogy to the findings for the living body in gender studies, the corpse too, can best be understood as constructed. Ultimately, the dead body is shaped by society, i.e. the living. This book examines the mechanisms by which this cultural construction of the body took place in medieval Europe. The result is a fascinating story that leads deep into medieval theories and social practices, into the discourses of the time and the daily life experiences during this epoch. TABLE OF CONTENTS ABOUT THE TRANSLATION FOREWORD INTRODUCTION The Constructed Corpse: Methodology, Structure, and Goals Burial between Norm and Practice St Augustine and the "Constructed" Sanctity The Staged Corpse No Fear of the Dead Body Parts and the Gaze Upon the Dead Body A Topic between Popular Hype and Historical Lack of Interest: The State of Research CHAPTER I: THE BURIED CORPSE The Corpse and the Resurrection The Soul, the Corpse, and the Beyond The Eternal and the Eternally Disturbed Grave Drowning and the Element of Baptism Cremating the Dead: Between Concern and Banning The Proper Burial in the Middle Ages The Quest for the Phantom: The "Standard" Burial in the Christian Middle Ages Symbolism of Light and the Position of the Dead in the Grave Solitary Burial and Group Affiliation of the Corpse The Corpse is Coming to the Living: The Cult of the Martyrs and the Burial with Saints The Development of the Church Graveyard Interment in the Time of Crisis War Dead and Their Graves Death as a Result of Epidemics, the Black Death, and Burial The Corpse Portrayed Summary CHAPTER II: THE HOLY CORPSE Real Presence and the Cult of Relics The Holy Corpse as a Self-Determined Being Transfer of Relics and Fragmenting of the Corpse Desired Relics, Corpse Desecration, and the Dead as a Valuable Treasure The Corpse as Proof of Sanctity "Corpus Incorruptum," Mumification, and Created Sanctity The Aromatically Smelling Corpse Innocent Liquids: The Leichen l Medieval Complementary Logic: The Corpses of the "Valde Boni" and the "Valde Mali" Summary CHAPTER III: EMBALMING AND THE PRESERVATION OF CORPSES Ancient Embalming in the Middle Ages Ancient Mummies and the Christian Occident "Aromatibus conditum"-The Biblical Model and Early Christian Embalming Embalming in the Time of the Merovingians Sanctity and (Repeated) Embalming Change of the Embalming Technique in the Time of the Carolingians Rotting and the Ideal of a Fast Burial Ritual of Burial and the Transport of the Corpse A New Method: Opening of the Corpse to Remove the Entrails and the Badly Smelling Corpse of Charles the Bald Embalming in the High Middle Ages Transfer of Corpses since the High Middle Ages Embalming in the Tenth Century Embalming in the Time of the Salian and the Hohenstaufen Dynasties Robert Guiscard, Sven Gabelbart, and Embalming in the Kingdom of England Embalming in the Kingdom of France The Desert and the King of Jerusalem Popes and Saints Roland, Henry the Lion, and the Deer Hide: Embalming Practice in the Literary Discourse Corpse Transport and Social Prestige: Changes in the Process of Embalming in the Course of the High Middle Ages Kitchen, Cooking, and the Treatment of the Corpse Cooking the Corpse-a "mos Teutonicus"? Boiling of Corpses in the Twelfth and Thirteenth Centuries The Bull "Detestandae feritatis" by Pope Boniface VIII from 1299 and the End of Boiling Corpses The White Bone: The Sanctity of the Boiled Body Individuals Charged with Taking Care of the Corpse and Corpse Washing Dissection of the Corpse and the Professionalization of Embalming Ar-Razi and Medicine in the High Middle Ages Henry of Mondeville, Guy de Chauliac, and the Process of Embalming in Late Medieval and Early Modern Medicine Innovations in High and Late Medieval Embalming Processes and the Anthropological and Archeological Data Opening of the Three Corporal Cavities The Application of Mercury Wax and Linen Galen and the Cold, Humid Corpse: Drying of the Corpse as a Technique in Embalming Aerial Drying of the Corpse Hygiene or the Preservation of the Corpse: Gypsum, Lime, and Hops Booming of Embalming: From the Eighteenth Century to Today Embalming, Preservation of the Body, and the Cult of Relics Summary CHAPTER IV: AUTHORITY AND THE CORPSE Visiting a Corpse-the Visit by a Corpse The Ruler's Corpse as a Sign of Victory The Specialists of Death and Their Ruler Clientele: The Location of the Grave and the Row of Corpses as a Means for Legitimization Conversion, Legitimacy, and the Beloved Bones of the Ancestors Summary CHAPTER V: THE COMMUNITY OF THE DEAD AND THE CORPSE IN THE "ORDO" Hierarchy of the Funeral Sites The Unclean Corpse and the Church as a Burial Site Old Age, Gender, and Kinship: The Hierarchy of the Burial Sites in Medieval Cemeteries Grave Donations Between Here and the Afterlife Clothing Provides Status to the Dead: Insignia of Social Class and the Identification of Corpses Pedum, Paten, Chalice, and Ring: The Burial of Priests and Bishops Crown, Scepter, Orb, and Royal Vestments: The Burial of Emperors and Kings Does God Forget the Names of the Dead? Tables with Inscriptions as Burial Objects and Inscriptions on the Sarcophagus Monastic Habit and Valuable Thread: Monks, Noblemen, Simple People, and Their Clothing for the Beyond Objects Useful for the Corpse Relics, Torture Instruments, and Hosts: Supporters for the Dead Written Documents, Indulgence Letters, and Seals as Documents of Faith Dead Pilgrims Plants and Herbs, Holy Water, Incense, and Coal: Funerary Objects Between Practice and Symbolism Shoes for the Day of Judgment Summary CHAPTER VI: THE CORPSE AND THE LAW The Corpse as the Interim Occupant of an Office The Corpse as Both Subject and Object of the Law The Corpse at Court Strikes with the Sword, Bleeding Corpses, and the Beginning of Forensics in the Middle Ages The Cemetery as a Place of Trial Marking Borders, Church Authority, and the Value of the Corpse The Funeral of the Corpse as an Economic Factor The Corpse and Marking of Borders Summary CHAPTER VII: THE LIVING CORPSE The Sleeping Dead and Its Physically Continued Life Signs of Life: Speaking, Bleeding, and Continued Growth of Nails and Hair Funeral Ritual to Prevent the Appearance of Revenants Placing Weights on the Corpse and the Separation and Breaking of the Legs Decapitation Impalement, Nailing Down, and Interment at a Crossroad Vampires in the Middle Ages? The Cremation of Revenants Obol and Payment of the Dead: Funerary Objects as a One-Way Ticket to the Afterlife? The Corpse Besieged by Demons The Active Corpse Summary CHAPTER VIII: THE DESTRUCTION AND DESECRATION OF CORPSES Deviation from the Funerary Ritual as Punishment and Exclusion Denial of Burial in Sacred Ground On Children Under the Church's Eaves and Pilgrimage Sites: The Unbaptized Dead and Children According to Archaeological Data Suicide and the Corpses of Suicide Victims Excommunicated Corpses and Death Under the Interdict The Example of Emperor Henry IV A Few Years of Eternity, or Was There a Permanent Exclusion of Those Who Had Been Excommunicated The Last of the Hohenstaufen and Their Excommunication: Conrad IV, Manfred of Sicily, and Conradin the Younger The High Medieval Debate on the Punishment of Corpses Exhumation as a Weapon in the Fight Against the Cathars The Growing Concern with the Moral Integrity of the Dead: Individuals Responsible for Church Desecration, Those Who Rejected Confession, and Those Dead Who Had Died without Their Guilt Having Been Forgiven and Atoned In the Case of Doubt Against the Dead: The Liturgists' Fear of the Unknown and the Foreign Death with the Lance in Hand: The Burial of Those Who Had Died in a Tournament The Burial of the Executed Being a Warrior and a Christian: The Exclusion from Burial in Light of Discourse Theory Corpse Desecration The Case of Pope Formosus Corpse Desecration as a Punishment The Ruler's Corpse and the Use of Scalps: Corpse Desecration as a Sign of Physical Superiority Burning and Physical Annihilation The Symbolism of Fire Death by Fire in the Early Middle Ages: Arsonists, Sodomites, Poisoners, Magicians, and Unusual Women The Burning of Heretics and Witches in the High and Late Middle Ages The Destruction of Corpses in the Early Modern Time The Humble Corpse Burial in Simple Clothing The Corpse Placed on Ash Paradise and the Naked Earth: The Burial Site as a Sign of Christian Humility The Penitent Approaching the Day of Judgment: Pippin the Short and Prone Burial Humility of the Medieval Corpse Summary CHAPTER IX: THE CORPSE AS MEDICINE AND MIRACLE CURE The Corpse as Royal Blessing? The Corpse as a Medium to Create Miracles and Magic Charges Against Heretics, Witches, and Jews: Ritual Murder and Mirroring the Eucharist The Corpses of Executed People as Medicine "Mumia vera"-Mummies as a Medical Drug Building Sacrifice and the Corpse as a Weapon Summary CHAPTER X: HEART, HEAD, AND HAND-THE BODY PARTS OF CORPSES FROM AN ANTHROPOLOGICAL AND ANATOMICAL PERSPECTIVE The Practice of Multiple Burials in the High and Late Middle Ages Heart Head Hand Summary EPILOGUE BIBLIOGRAPHY List of Abbreviations Sources Research Literature INDICES Index of Bible passages Index of Names Index of Places
Rhetorica Christiana ad concionandi, et orandi vsvm acj commodata, vtrivsq[ue] facvltatis exemplis svo loco insertis ; qvae qvidem, ex Indorvm maxime de prompta svnt historiis. Vnde praeter doctrinam, svmâ qvo qve delectatio comparabitur. Avctore Rdo. admodvm P. F. Didaco Valades totivs ordinis fratrvm minorvm | regvlaris observantiae olï procvratore generali in Romana Curia. “The Rhetorica Christiana is an extraordinary combination of Old World erudition and New World anthropoloy (…) his Rhetorica Christiana is almost certainly the first book written by a native of Mexico to be published in Europe” (Don Paul Abbott, Rhetoric in the New World, 1996, pp. 41 et suivantes).
Très curieuse illustration dessinée et gravée sur cuivre par l’auteur lui-même, comprenant 26 gravures dont 12 hors texte, mêlant figures, mnémoniques ou bien relatives aux mœurs et usages des Indiens du Mexique. Parmi celles-ci, signalons une remarquable planche dépliante montrant une vue de Mexico avec au centre un rituel de sacrifice humain. An°. Dni. M. D. LXXVIIII. Cvm licentia svperiorvm Sanctissimo. D. nô. D. Papa Gregorio XIII dicata Ano Dni. 1579. [Colophon:] Perusia. Apud Petrumiacobum Petrutium. 1579. In-4 de (10) ff. (titre gravé, avec les armes de Grégoire XIII à qui le livre est dédié et la date de 1579, dédicace, préface, index), 378 pp. dont 7 planches à pleine page, (8) ff., (1) f.bl., 9 planches hors texte dont 1 dépliante (placée entre les pages 168 et 169, elle représente le sacrifice humain des anciens Mexicains), chaque page avec encadrements de deux filets, 26 figures gravées sur cuivre par l’auteur, entre les pages 298 et 299 il y a un tableau plié qui n’a pas été conservé. Vélin souple, traces d'attaches, mention Double écrite à l'encre sur le premier plat, dos lisse portant le titre calligraphié au dos en long, début du titre inscrit à l'encre sur la tranche supérieure. Reliure de l’époque. 242 x 174 mm.
Edition originale d’une insigne rareté de ce précieux Americana qui constitue à la fois un manuel remarquable à l’usage des missionnaires de la Nouvelle-Espagne et une description de la culture des anciens mexicains. Harvard/Mortimer Italian 510; Medina BHA 259; Sabin 98300; Palau 346897 ; Adams V-18; Esteban J. Palomera, Fray Diego Valadés, o.f.m., Evangelizador Humanista de la Nueva España (repr. 1988), passim; Chiappelli et al., First Images of America; Catholic Encyclopedia, s.v. Valadés; Leclerc n°1513. Scarce first edition of one of the most interesting documents for the evangelization of colonial Mexico and the region’s literary and graphic culture, of special interest for its conflation of the Renaissance memory treatise and Native American picture scripts. The son of a conquistador and a Tlaxaca Indian (thus making him one of the first mestizos), Valades is the first Mexican to be published in Europe. « The Rhetorica Christiana is an extraordinary combination of Old World erudition and New World anthropology (…) His Rhetorica Christiana is almost certainly the first book written by a native of Mexico to be published in Europe (Don Paul Abbott, Rhetoric in the New World, 1996, pp. 41 et suivantes ). “The most elaborate theoretical attempt to exploit the indigenous mnemonic systems was Diego de Valadés's Rhetorica christiana, an exhaustive manual on Indian, or more precisely Mexican, culture and on the ways it could be exploited by the missionary in his constant struggle to establish communication with his charges. Most Indian groups, argued Valadés, although ‘rude and uncultured (crassi et inculti)’ had nevertheless contrived a means of conveying messages through ‘arcane modes’, using what he calls ‘figures of the sense of the mind’. These functioned, or so he thought, as the Egyptian hieroglyphs (which until the late eighteenth century were believed to be purely symbolic)” (Anthony Pagden, The fall of natural man, p. 189). A number of the chapters relate to America and to Native Americans. Ce volume est le témoin des relations directes qui unissaient Rome et le Nouveau Monde. Très curieuse illustration dessinée et gravée sur cuivre par l’auteur lui-même, comprenant 26 gravures dont 12 hors texte mêlant figures, mnémoniques ou bien relatives aux mœurs et usages des Indiens du Mexique. Parmi celles-ci, signalons une remarquable planche dépliante montrant une vue de Mexico avec au centre un rituel de sacrifice humain (cette planche est placée à l’envers dans notre exemplaire). The plates afford a rich example of the strange admixture of colonial culture in which the oddly familiar mnemonic alphabets from contemporary editions of Dolce are filled with Indian motifs, or the Crucifixion of Dürer is transplanted to Mexican soil. Né en 1533 à Tlaxcala à l’est de Tenochtitlan, d’un père-conquistador, Diego de Valadés appartient à la deuxième génération de missionnaires au Mexique. Frère de l'ordre des Franciscains, il passa plus de vingt ans à prêcher et écouter les confessions des Indiens. De 1558 à 1562, il participa à la mission d'évangélisation des Chichimèques, peuple semi-nomade vivant au nord du pays. Après avoir enseigné dans diverses écoles franciscaines, il fut appelé à Rome où il occupa la charge de procureur général de son ordre monastique. En 1579, il alla à Pérouse afin de superviser la publication de son livre, puis mourut quelques années plus tard vers 1582. « La Rhetorica Christiana est un ouvrage fort bien écrit et rempli de notions intéressantes sur les indigènes du Mexique. Les pages qu’il consacre à l’examen de leurs arts et de leurs sciences et ce qu’il dit (le P. Valades) de la variété de leur système graphique, prouve qu’il les connaissait bien et qu’il avait su les apprécier.» Brasseur de Bourbourg. Valadès a édité l’important ouvrage Rhetorica Christiana à Pérouse en 1579 dans lequel il résumait les arguments théologiques sur la nature des indigènes et leur capacité à apprendre et à pratiquer le christianisme. Il y abonde dans les méthodes missionnaires des ordres mendiants et les méthodes qu'ils utilisent pour évangéliser, ce qui constitue l'objet principal de plusieurs de ses gravures, destinées à illustrer des aspects de cette manière de prêcher, comme les gravures 9 et 10, dans lesquelles il reproduisait l'alphabet mnémotechnique de Ludovico Dolce, et le onzième, dans lequel il présentait celui que les missionnaires espagnols avaient élaboré pour enseigner l’alphabet latin aux indigènes, ou 19, intitulé Enseignement religieux aux Indiens à travers des images, peut-être la plus célèbre d'entre elles, qui montre le prédicateur en chaire expliquant à un groupe d'indigènes une série d'images avec des scènes de la Passion du Christ qu'il désigne avec un bâton ou un pointeur. Valadès était le fils du conquistador homonyme Diego de Valadés – originaire d’Estrémadure en Espagne et qui faisait partie de l’expédition Panfilo de Narvaez – et d’une femme indigène de Tlaxcala. Eduqué à Mexiso, il fut disciple et secrétaire de Fray Pedro de Gante, auprès de qui il apprit l’art de la gravure et du dessin à l’école qu’il dirigea au couvent de San Francisco de México. «A partir de 1568 s'installe à Rome un intérêt particulier pour le Nouveau Monde, qui peine à s'organiser en structures et en réseaux, mais qui profite du caractère fondamentalement centripète de la ville de Rome pour reconstituer des milieux tournés vers l'Amérique, à la faveur de l'activité particulière à Rome d'un visiteur disposant d’une expérience américaine, comme ce fut le cas avant Valadés pour Alonso Maldonado de Buendia, franciscain, et après Valadés pour José de Acosta, jésuite. Il était donc possible pour le Saint-Siège de s'informer directement sur le Nouveau Monde grâce à une série de personnages dont une typologie est dressée. Cet intérêt romain pour le Nouveau Monde était un prélude à une action diplomatique directe, toujours mise en échec par Philippe II, ainsi que le prouve la longue affaire de la nonciature apostolique de Mexico, finalement avortée et remplacée d'abord par l'entrée des diocèses américains dans le cycle des visites Ad Limina en 1594, puis par la création de la congrégation De Propaganda Fide. Cette curiosité avait donc une traduction politique et institutionnelle, au-delà de la seule histoire culturelle des relations entre l'Europe et l'Amérique, d'autant que les cardinaux eux-mêmes faisaient entrer ces questions dans une perspective d'histoire globale en liant l'argent des Amériques avec la guerre des Flandres, et en prolongeant leur horizon vers l'Asie des Indes orientales, où les Ibériques étaient également présents. Quant à la reconstitution de la trajectoire intégrale de Diego Valadés depuis sa naissance à Tlaxcala jusqu'à sa mort encore indéterminée (à Rome ou à Anvers, mais certainement pas en Nouvelle- Espagne), si elle a d'abord permis de visiter et d'animer les milieux américanistes de Rome, elle a aussi voulu faire avancer l'histoire des mobilités au sein des mondes ibériques. En effet, à peine arrivé à Seville depuis Mexico, Valadés se précipite à Paris en 1572 ; une fois arrivé à Rome, en 1575, il semble ne plus vouloir en partir, puisque, même expulsé en 1577 il se met à la controverse antiprotestante pour répondre à une commande du cardinal Sirleto qui le protège » (Boris Jeanne). «The plates and illustrations were drawn and engraved by the author. Some of them represent in their backgrounds Mexican scenes with which the artist was familiar. That there were two or more issues is shown by the plates. The NYP. copy has 8 plates on 7 leaves. In the H. and JCB. copies the plate with the heading "Hierarchia Ecclesiastica" has on its verso another symbolical engraving with the word "Meritorum" inscribed in one of the blank spaces. In the NYP. copy the verso is blank. The allegorical engraving, which in the list of plates on the last printed page is called "figura Matrimonij& Mechorum," in the JCB.copy is on the verso of the leaf, and in the H. copy on the recto, both copies having on the back another symbolical engraving with a scroll at the top and the inscription "EGo sum Alpha et 0 " The recto of the "fIgura Matrimonij & Mechorum" in the NYP. copy is blank. The leaf, which together with this forms a signature, in the H. and JCB. copies is another plate, with inscription beginning "Vulnificum fuso ...," while in the NYP. copy it is blank. Medina's Bib. hisp. amer., no. 259, describes two variant issues of the folded table. In one there is a vignette in the lower left corner. In the other there is the following imprint in this corner: Perusia, Apud Petrumiacobum Petrutium, MDLXXIX Permiss Superiorum F. Duidaco Valades. Fratrum Minorum regularis observantia Auctore. The H, JCB, and NYP copies have the vignette. For a list of chapters relating to America and the American Indians, see Medina. Graesse’s «Trésor de livres rares et précieux», volume 6, 1867, p. 235, notes a second edition with additions, printed in 1583. Appleton mentions a Rome, 1587, edition» Sabin, vol 26, page 201. Précieux exemplaire conservé dans son vélin souple de l’époque portant le titre manuscrit à l’encre sur la tranche supérieure et calligraphié au dos en long. Il porte la mention manuscrite Ex libris Oratorii Dei Jesu Domus Avenion en début de volume.
Ghent Altarpiece, Research and Conservation of the Exterior
, Brepols - Harvey Miller, 2020 Hardcover, X+430 pages ., 220 x 280 mm,. English. *new. ISBN 9782930054384.
The outer panels of the Ghent Altarpiece had been overpainted to a considerable extent. The virtuosity of the Eyckian technique and aesthetics remained hardly visible. And yet, this had never been observed before the start of the conservation treatment. By removing the overpaint, the tonal richness and the coherent rendering of light and space once again came to the fore. Especially the suggestion of volumes and the spaciousness of the ensemble gained strength because of the virtuoso play of deep shadows and bright light accents, and not in the least because of the surprising trompe-l'oeil effect of the frames conceived as a stone framework. Or to put it in the words of the comments of one of the experts, dr. Maryan Ainsworth: The paintings live and breathe again in the time of the Van Eyck brothers. The sharp observation skills, the quick, accurate execution, the knowledge, curiosity and ingenuity about all the things that are depicted, are now unveiled after centuries. The profit for the knowledge of and further research into the essence of Eyckian aesthetics is considerable. And finally there is the discovery that the much-discussed quatrain was applied simultaneously with the polychromy of the frames: a real 'coup de foudre' in the discourse of the current art-historical research! The subtleties of the Eyckian technique could also be mapped out in more detail. How the Van Eycks managed to keep the final result and the desired effect in mind during every phase of the execution, from imprimatura to finishing touch. The artists made a statement about the art of painting, giving ?technique? as such a new prominence. The Ghent Altarpiece may be understood at some point as a major showpiece for a highly sophisticated pictorial technique. We hope that this publication of the results of the research and conservation campaign on the exterior of the altarpiece can help future researchers to ask better questions. Questions, and answers, that may produce a more balanced picture of Van Eyck's techniques, methods and materials. Table of Contents Foreword Ludo Collin Preface Hilde De Clercq, Christina Ceulemans Introduction Maximiliaan Martens, Christina Ceulemans, Ron Spronk, Anne van Grevenstein-Kruse Transformations in the Sixteenth and Seventeenth Centuries H l ne Dubois Frames and Support: Technique and Structural Treatment Jochen Ketels, Jean-Albert Glatigny, Anne-Sophie Augustyniak Paint and Polychromy: Chemical Investigation of the Overpaints Jana Sanyova, Geert Van der Snickt, H Koen Janssens, Peter Vandenabeele Conservation and Restoration Treatment The Painted Surface Livia Depuydt-Elbaum, Fran The Frames: In Search of Lost Unity Anne-Sophie Augustyniak, Laure Mortiaux The Van Eycks' Creative Process The Paintings: from (Under)drawing to the Final Touch in Paint Marie Postec, Griet Steyaert The Frames: an Exceptional Polychromy Anne-Sophie Augustyniak, Laure Mortiaux, Jana Sanyova The Authenticity of the Quatrain and the other Frame Inscriptions Susan Frances Jones, Anne-Sophie Augustyniak, H l ne Dubois Imagining the Original Display Bart Fransen, Jean-Albert Glatigny Restoring in the Public Eye Bart Devolder Epilogue: Implications and Perspectives Cyriel Stroo, Maximiliaan Martens Documentation Photography before and after Treatment St phane Bazzo, Jean-Luc Elias, Katrien Van Acker Inscriptions on the Exterior Susan Frances Jones, Marc H. Smith The Quatrain: a New Reconstruction Marc H. Smith, Susan Frances Jones, Anne-Sophie Augustyniak Dimensions of Frames and Supports Jochen Ketels, Jean-Albert Glatigny, Anne-Sophie Augustyniak The Ghent Altarpiece: a Bibliography Dominique Deneffe, Jeroen Reyniers Bibliography Project Participants Photographic Acknowledgements Abbreviations Index of Names Index of Works of Art
Visualizing Justice in Burgundian Prose Romance. Text and Image in Manuscripts of the Wavrin Master (1450s-1460s)
, Brepols, 2020 Hardback, 389 pages, Size:178 x 254 mm, Illustrations:140 col., Language: English. ISBN 9782503586335.
Summary This is the first monograph devoted to manuscripts illuminated by the mid-fifteenth-century artist known as the Wavrin Master, so-called after his chief patron, Jean de Wavrin, chronicler and councillor at the court of Philip the Good of Burgundy. Specializing in the production of pseudo-historical prose romances featuring the putative ancestors of actual Burgundian families, the artist was an attentive interpreter of these texts which were designed to commemorate the chivalric feats of past heroes and to foster their emulation by noble readers of the day. Integral to these heroes' deeds is the notion of justice, their worth being measured by their ability to remedy criminal acts such as adultery, murder, rape, and usurpation. In a corpus of 10 paper manuscripts containing the texts of 15 romances and over 650 watercolour miniatures, the stylized, expressive images of the Wavrin Master bring out with particular clarity the lessons in justice which these works offered their contemporary audience, many of whom, from the Burgundian dukes downwards, would have been responsible for upholding the law in their territories. Chapters are devoted to issues such as the nature of just war and how it is linked to good rulership; what forms of legal redress the heroines of these tales are able to obtain with or without the help of a male champion; and what responses are available in law to a spouse betrayed by an adulterous partner. The book will be of interest to scholars of medieval art, literature, legal and cultural history, and gender studies. TABLE OF CONTENTS List of figures Foreword and acknowledgements Introduction This chapter sets out the rationale for the monograph. First, it situates its approach to study of the works of the Wavrin Master in relation to past and current scholarship in the field of Burgundian manuscript illlumination. Second, it explains and briefly illustrates the methodology it adopts, this being the analysis of the interplay between text and image in manuscripts of these prose romances, from the particular perspective of how this interplay inflects the issues of justice that are raised in the narrative. Third, it outlines in detail the precise research questions that will be addressed in the monograph and explicates the order of the chapters, justifying which texts have been selected from the corpus for detailed treatment. Chapter 1: Artist, Corpus, Patrons, Court This chapter provides a detailed context for analysis of the manuscripts in the Wavrin Master corpus by outlining who the artist was, what his body of work consisted of, who his chief patrons were, what books they held in their libraries, and how these texts contributed to the wider ideological project of legitimising the Burgundian polity as a personal union between the lord and his subjects, particularly during the reigns of the third and fourth dukes, Philip the Good and Charles the Bold. It thus sees these romances as forming part of a "literature of statecraft" teaching princely virtues, especially on matters of justice, alongside moralising works such as mirrors for princes, military treatises, and the many different types of historiographical texts that found favour at the Burgundian court. Chapter 2: Justice, Warfare, and Rulership in Florimont, the Seigneurs de Gavre and Saladin This chapter focuses on three texts whose presentation of the hero's military exploits can be read as a demonstration of medieval just war theory in action and of the link between just war and just rulership. It argues that the first two tales, Florimont and the Seigneurs de Gavre, can be seen as paradigmatic of the Wavrin Master's corpus in depicting an unequivocally exemplary hero as a just warrior and later ruler pitted against a series of antagonists whose illegitimate wars destroy their credibility as governors of their lands. By contrast, the third text, Saladin, is much more ambivalent in its portrayal of a hero whose undoubted status as a model of just conduct in war is fatally undermined by his reasons for going to war in the first place, being chiefly motivated by an insatiable desire for conquest, a lesson which may well have had a particular pertinence for Charles the Bold whose territorial ambitions far outstripped those of all three of his ducal predecessors. Translating these texts' often abstract ideas about just war and just rulership into the realm of the visual, the Wavrin Master plays with the extent to which the hero as a chivalric leader can be contrasted with his opponents in terms of both his appearance and his physical domination of space as a way of underlining the rightfulness or wrongfulness of the military causes he espouses. Chapter 3: Poor Judgements: Righting Wrongs against Women in G rard de Nevers, the Fille du comte de Pontieu, and Florence de Rome This chapter examines three romances that deal with the righting of wrongs perpetrated by men against women and the ways in which these female victims of injustice find legal redress. In the first of these texts, G rard de Nevers, justice for the wronged heroine is obtained by the male figure who had endangered her in the first place, as he fights a series of judicial duels to clear her name. Nevertheless, the heroine herself is not simply a passive receiver of this justice but herself has to use the workings of the law in order to regain her rightful place in society, in particular through her eloquence in pleading in court. The doubly wronged heroine of the second text, the Fille du comte de Pontieu, victim of a gang-rape and of her own father's punishment of her for having supposedly dishonoured her family, gains legal redress through her own efforts, pardoning the father who had wronged her but also making him swear a solemn oath never to reproach her again for her misfortune. Finally, in Florence de Rome, the heroine is abducted by her brother-in-law and subjected to multiple attempts at rape but eventually attains justice through herself exercising judgement over her transgressors. In his treatment of these women in relation to justice, the Wavrin Master places particular emphasis on representing scenes of crimes so as to establish the heroine's innocence and the different forms of judicial process by which she regains her honour and status. Valorising women in relation to justice through their demonstration of eloquence as well as through their capacity to make just judgements, these romances play their part in legitimising the role that high-status women such as the duchesses in particular were playing de facto in the good governance of the Burgundian polity. Chapter 4: Domestic Betrayals: Adultery and the Problem of Lawful Response in the Chastellain de Coucy and the Comte d'Artois This chapter, which deals with two romances that focus on the question of adultery, seeks to correct a scholarly misconception about the prevalence of extramarital relationships in Burgundian chivalric literature being a reflection of the licence that members of the male elite, particularly Philip the Good himself, allowed themselves in their own adulterous relations. It argues that, in fact, rather than celebrating extramarital love, the Chastellain de Coucy and the Comte d'Artois are concerned to teach their noble readers, both male and female, about the dangers of adultery. In particular, the way in which the domestic betrayals within these romances are treated textually and visually rejects the idea of adultery as an ennobling passion (as found in the Tristan legend, for example) and instead examines the lawful or unlawful response on the part of the betrayed spouse to the fact of their betrayal, thus addressing the wider social and legal repercussions of such extramarital passions. In his treatment of these two texts, the Wavrin Master draws on multiple pictorial traditions and runs a gamut of emotions from the courtly to the bathetic and from the erotic to the tragic in order to show that adultery, as an act of private domestic betrayal, can only lead to further forms of injustice. Conclusion: Text, Image, Ideology, Justice This chapter summarises the case made for seeing the Wavrin Master as a highly original interpreter of an unusually homogeneous body of works, ones in which the interplay of text and image is integral to the way that its lessons in statecraft, particularly on the issue of justice, would have been received at the court of Burgundy by both a male and a female audience. Appendix 1: Corpus of manuscripts Bibliography Index
Music and the Identity Process: The National Churches of Rome and their Networks in the Early Modern Period
, Brepols, 2020 Paperback, 436 pages, Size:190 x 290 mm, Illustrations:67 b/w, 75 col., 10 tables b/w., 1 maps b/w, Languages: English, German. ISBN 9782503588384.
Summary Important centres of charity, hospitality and representation, the national churches of Rome were also major hubs of musical production. This collective work is the fruit of several years of largely unpublished research on the musical life of these institutions, considered for the first time as a whole. What it primarily brings to light is the common model which emerged from the interactions between the national churches, as well as between these and other Roman churches, in musical matters - eloquent example of a unifying cultural paradigm. The repertories used by these churches, the ceremonies and celebrations they orchestrated in the teatro del mondo which Rome constituted at the time, their role in the placing of musicians within the city's professional networks are just some of the themes explored in this work. The cultural exchanges between the national churches and the "nations" that they represented in the pontifical city form another important area of investigation: whether musical or devotional, connecting places of worship and private palaces or extending from one side of the Alps to the other, these exchanges reveal the permeability that characterised many national traditions. At the heart of this richly illustrated study are two fundamental lines of inquiry: the first concerns the processes of identity construction developed by communities installed in foreign lands, the second line of inquiry is cultural hybridity. In pursuing these, we aim to further understanding of the dialectics of exchange at work in Rome during the modern period. * The preparation of this publication has benefitted greatly from the collaboration of Jorge Morales. TABLE OF CONTENTS Foreword by Bernard Ardura Introduction by Michela Berti and milie Corswarem I. The Musical Model of National Churches in Rome ? 2. NOEL O'REGAN Cappella fissa-Cappella mobile: the Organisation of Musicians for Major Feastdays at Rome's National Churches ? 3. CRISTINA FERNANDES A Close Look at S. Antonio dei Portoghesi and Roman Life: The Testimony of Father Manuel de Campos ? 4. KLAUS PIETSCHMANN Music Cultivation in Roman National Churches before the Council of Trent ? 5. TOBIAS DANIELS A New Organ for the Anima. The Notarial Contract of 1546 and the History of the "German National Church" in Rome in the Middle of the Sixteenth Century ? 6. FRANCESCA FANTAPPI -JOS MAR A DOM NGUEZ Alessandro Scarlatti and the Spanish National Church of S. Giacomo degli Spagnoli ? 7. ESTEBAN HERN NDEZ CASTELL The Musical Archive of the Spanish National Church of S. Maria in Monserrato in Rome II. Music and the Identity Process Identity and Repertory ? 8. BERNARD DOMPNIER Identity Affirmation and Roman Conformity: the Festive Calendars of the National Churches ? 9. CRISTINA FERNANDES Daily Liturgy and 'Internal' Musical Practices in S. Antonio dei Portoghesi ? 10. GALLIANO CILIBERTI S. Luigi dei Francesi in the Seventeenth Century: a Laboratory for Music, Liturgy and Identity ? 11. ESTEBAN HERN NDEZ CASTELL : Evidence of a 'More Hispano' Polyphonic Passion at the Spanish National Church of S. Maria in Monserrato in Rome ? 12. MILIE CORSWAREM S. Luigi dei Francesci's Volume of Masses dating from 1557: an Example of French Polyphony ? 13. MICHELA BERTI The musical collection of San Luigi dei Francesi: on the trail of national character The Construction of National Identity from Self-Representation and Conflict ? 14. JOS MAR A DOM NGUEZ To Obey the Pope and to Serve the King: Cardinals, Identity and Ceremony in the National Churches c. 1700 ? 15. BRUNO BOUTE Liturgy and Bureaucracy-Bureaucracy as Liturgy ? 16. DIANA CARRI -INVERNIZZI Political Images and the National Churches of Rome c. 1640 ? 17. JORGE MORALES Musical Practices and Identity. The Story of the Roman Sojourn (1623-27) of Maurice of Savoy, Crown-Cardinal of France ? 18. ANNE-MADELEINE GOULET Self-Fashioning a French Cultural Persona in Rome: Marie-Anne de la Tr moille (1683-1686) ? 14. CRISTINA FERNANDES : Portuguese Celebrations in Rome, between the Embassy and the National Church: Sacred and Secular Music for the Glory of the King III. National Churches : Network in Rome and Cultural Transfer ? 20. DOMENICO ROCCIOLO 'Inhabitants of Various Nations' in Rome from the Sixteenth to the Eighteenth Century ? 21. ANNE PI JUS Foreign Musicians and Musical Networks in Late Sixteenth-Century Rome: Spanish Composers between the Oratory and the National Churches ? 22. CRISTINA FERNANDES Oratorio Musical Traditions in Rome: Portuguese connections ? 23. FRANCESCO PEZZI The Musical Patronage of a Cardinal Protector: Otto Truchsess von Waldburg in Rome ? 24. CRISTINA FERNANDES Portuguese Young Musicians under Royal Patronage in Rome and their Relations with the National Church: some Pieces of the Puzzle ? 25. CRISTINA FERNANDES The Role of the National Church of S. Antonio dei Portoghesi in the 'Romanisation' of the Lisbon Royal and Patriarchal Chapel Afterword by Kate van Orden Illustration Credits Translators Index of Persons Index of Places
