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The relationship between medieval animal symbolism and the iconography of animals in the Renaissance has scarcely been studied. Filling a gap in this significant field of Renaissance culture, in general, and its art, in particular, this book demonstrates the continuity and tenacity of medieval animal interpretations and symbolism, disguised under the veil of genre, religious or mythological narrative and scientific naturalism. An extensive introduction, dealing with relevant medieval and early Renaissance sources, is followed by a series of case studies that illustrate ways in which Renaissance artists revived conventional animal imagery in unprecedented contexts, investing them with new meanings, on a social, political, ethical, religious or psychological level, often by applying exegetical methodology in creating multiple semantic and iconographic levels.Brill's Studies on Art, Art History, and Intellectual History, vol. 2
Animals and their symbolism in diverse world cultures and different eras of human history are chronicled in this lovely volume.
In the centuries following his death, Jerome (c.347-420) was venerated as a saint and as one of the four Doctors of the Latin church. In his own lifetime, however, he was a severely marginalized figure whose intellectual and spiritual authority did not go unchallenged, at times even by those in his inner circle. His ascetic theology was rejected by the vast majority of Christian contemporaries, his Hebrew scholarship was called into question by the leading Biblical authorities of the day, and the reputation he cultivated as a pious monk was compromised by allegations of moral impropriety with some of his female disciples. In view of the extremely problematic nature of his profile, how did Jerome seek to bring credibility to himself and his various causes? In this book, the first of its kind in any language, Andrew Cain answers this crucial question through a systematic examination of Jerome's idealized self-presentation across the whole range of his extant epistolary corpus. Modern scholars overwhelmingly either access the letters as historical sources or appreciate their aesthetic properties. Cain offers a new approach and explores the largely neglected but nonetheless fundamental propagandistic dimension of the correspondence. In particular, he proposes theories about how, and above all why, Jerome used individual letters and letter-collections to bid for status as an expert on the Bible and ascetic spirituality.
"With the advent of the printing press in Europe, the possibility of assembling a personal library became more and more attainable for the cultural elite. In this book, Andrew Hui traces the historical development of the Renaissance studiolo, a personal study and library, from Petrarch to Montaigne, considering literary representations of the studiolo in Rabelais, Cervantes, Shakespeare, and Marlowe as well as its presence in the visual arts. He explores the ways in which Renaissance writers and scholars engaged with these personal libraries, both real and imaginary, as places for research and refuge, and the impact of their legacy on writers of our own age, such as Jorge Luis Borges and Italo Calvino. Hui is interested in how these workspaces shaped the interior lives of their occupants, and how the bookish sanctuary they offered was cast as both a remedy and a poison for the soul. Painters of the period, for example, depicted such Biblical figures as the Virgin Mary and St. Jerome in studies surrounded by books, and some writers extolled the studiolo as a space for salutary self-reflection. But other writers suggested that too much time spent reading and amassing books could lead to bibliomania: it drove Don Quixote to madness, Faustus to perdition, Prospero to exile. Individual chapters focus on the invention of the studiolo as seen through Federico da Montefeltro's Gubbio Studiolo and Raphael's School of Athens; Rabelais's parodies of erudition and classification; the transformation of private study into self-conscious spectacle in The Tempest; and more. While primarily drawing on works from Renaissance Europe, the chapters range across time and geography, incorporating a more global and comparative approach by drawing on texts from the classical tradition of China. Throughout the book, Hui weaves in accounts of his own life with books and libraries, arguing that to study the history of reading, scholars must also become aware of their own history of readings"--
Erasmus' Familiar Colloquies grew from a small collection of phrases, sentences, and snatches of dialogue written in Paris about 1497 to help his private pupils improve their command of Latin. Twenty years later the material was published by Johann Froben (Basel 1518). It was an immediate success and was reprinted thirty times in the next four years. For the edition of March 1522 Erasmus began to add fully developed dialogues, and a book designed to improve boys' use of Latin (and their deportment) soon became a work of literature for adults, although it retained traces of its original purposes. The final Froben edition (March, 1533) had about sixty parts, most of them dialogues. It was in the last form that the Colloquies were read and enjoyed for four centuries. For modern readers it is one of the best introductions to European society of the Renaissance and Reformation periods, with lively descriptions of daily life and provocative discussions of political, religious, social, and literary topics, presented with Erasmus's characteristic wit and verve. Each colloquy has its own introduction and full explanatory, historical, and biographical notes. Volumes 39 and 40 of the Collected Works of Erasmus series - Two-volume set.
Bernini at Saint Peter's may be a unique case in history: a single artist in change of a grandiose monument in a continuous state of creativity under constantly changing patrons and a variety of projects, for nearly six decades. This book argues that a continuous thread of thought may be discerned underlying and connecting the vicissitudes of this spectacular display. From first to last, Gianlorenzo Bernini conceived of Saint Peter's as a pilgrimage church, a kind of pilgrimage of human life, his own and of the believers who visited the basilica to worship and give testimony. Irving Lavin is professor emeritus in the School of Historical Studies at the Institute for Advanced Study in Princeton. He is one of the most distinguished and honoured art historians in the United States. Professor Lavin is best known for his series of fundamental publications on the Baroque artist Gianlorenzo Bernini (1598-1680). These include new discoveries and studies on the master's prodigious early life, his architecture and portraiture, his invention of caricature, his depictions of religious faith and political leadership, his work in the theatre, his attitude towards death and the role of the artist in the creation of a modem sense of social responsibility.
This refreshing re-evaluation of the so-called autobiography of Ignatius Loyola (c. 1491-1556) situates Ignatius's Acts against the backgrounds of the spiritual geography of Luke's New Testament writings and the culture of Renaissance humanism. Ignatius Loyola's So-Called Autobiography builds upon recent scholarly consensus, examines the language of the text that Ignatius Loyola dictated as his legacy to fellow Jesuits late in life, and discusses relevant elements of the social, historical, and religious contexts in which the text came to birth. Recent monographs by Marjorie O'Rourke Boyle and John W. O'Malley have characterized Ignatius's Acts as a mirror of vainglory and of apostolic religious life, respectively. In this study, John M. McManamon, S.J., persuasively argues that an appreciation of the two Lukan New Testament writings likewise helps interpret the theological perspectives of Ignatius. The geography of Luke's two writings and the theology that undergirds Luke's redactional innovation assisted Ignatius in remembering and understanding the crucial acts of God in his own life. This eloquent, lucidly written new book is essential reading for anyone interested in Ignatius, the early Jesuits, sixteenth-century religious life, and the history of early modern Europe.
The medieval bestiary, or moralized book of beasts, has enjoyed immense popularity over the centuries and it continues to influence both literature and art. This collection of essays aims to demonstrate the scope and variety of bestiary studies and the ways in which the medieval bestiary can be addressed. The contributors write about the tradition of one of the bestiary's birds, Parisian production of the manuscripts, bestiary animals in a liturgical book, theological as well as secular interpretations of beasts, bestiary creatures in literature, and new perspectives on the bestiary in other genres.
First published in 2004, Medieval Italy: An Encyclopedia provides an introduction to the many and diverse facets of Italian civilization from the late Roman empire to the end of the fourteenth century. It presents in two volumes articles on a wide range of topics including history, literature, art, music, urban development, commerce and economics, social and political institutions, religion and hagiography, philosophy and science. This illustrated, A-Z reference is a cross-disciplinary resource and will be of key interest not only to students and scholars of history but also to those studying a range of subjects, as well as the general reader.