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This collected volume is dedicated to the role of prayer books in lay piety in medieval and early modern contexts. Instead of focusing on individual examples, it places them within the broader genre of devotional literature and considers them in connection with prevailing cultural, religious and artistic developments, taking into account the Reformation, the printing press and growing interest in lay piety, in the context of increasing individualism, developing literacy, privatization and/or personalization of religion. Contextualising devotional literature, the volume refines understandings of religious practice fostered by traditional Catholicism and early modern Protestantism and its relationship with the written word, locating the use of books within a devotional 'diet' that included oral recitation of prayers as well as contemplation of images. Stressing continuities, often against the grain of existing literature, this volume highlights differences between regional cultures of prayer in contrast to norms set by the universal Church and emphasizes the tension between public/communal and private/individual devotion.
This book presents a survey of ninety of the finest and most interesting medieval manuscripts produced in the southern Netherlands - present-day Belgium - which ended up in Dutch public collections at various points in time. This largely unknown cultural heritage is displayed here in a vast panoramic context ranging from the tenth to the mid-sixteenth century. The painted scenes in these handwritten books are not only of a high artistic quality, but also present a richly-textured picture of medieval life. The emphasis is on the role of books in the society of the Middle Ages: they served as expressions of sumptuousness on the part of the aristocracy, as richly-decorated books for church services, and as cherished objects used by affluent burghers for their private devotion. The authors also devote attention to the large-size, superbly-illustrated works of history and literature that were produced under the patronage of the dukes of Burgundy. Other subjects include the Order of the Golden Fleece, the artistic ties between the northern and southern Netherlands, pilgrim badges, and the transition from manuscripts to printed books. Exhibition: Museum Catharijneconvent, Utrecht, The Netherlands (23.02.-03.06.2018).
The seventeenth century is considered the Dutch Golden Age, a time when the Dutch were at the forefront of social change, economics, the sciences, and art. In Dutch Culture in the Golden Age, eminent historian J. L. Price goes beyond the standard descriptions of the cultural achievements of the Dutch during this time by placing these many achievements within their social context. Price’s central argument is that alongside the innovative tendencies in Dutch society and culture there were powerful conservative and reactionary forces at work—and that it was the tension between these contradictory impulses that gave the period its unique and powerful dynamic. Dutch Culture in the Golden Age is distinctive in its broad scope, examing art, literature, religion, political ideology, theology, and scientific and intellectual trends, while also attending to the high and popular culture of the times. Price’s new interpretation of Dutch history places an emphasis on the paradox of the Dutch resistance to change as well as their general acceptance of innovation. This comprehensive look at the Dutch Golden Age provides a fascinating new way to understand Dutch culture at the height of its historic and global influence.
Proximity to the monarch was a vital asset in the struggle for power and influence in medieval and early modern courts. The concept of ‘access to the ruler’ has therefore grown into a dominant theme in scholarship on pre-modern dynasties. Still, many questions remain concerning the mechanisms of access and their impact on politics. Bringing together new research on European and Asian cases, the ten chapters in this volume focus on the ways in which ‘access’ was articulated, regulated, negotiated, and performed. By taking into account the full complexity of hierarchies, ceremonial rites, spaces and artefacts that characterized the dynastic court, The Key to Power? forces us to rethink power relations in the late medieval and early modern world. Contributors are: Christina Antenhofer, Ronald G. Asch, Florence Berland, Mark Hengerer, Neil Murphy, Fabian Persson, Jonathan Spangler, Michael Talbot, Steven Thiry, and Audrey Truschke.
In The Lyon Terence Giulia Torello-Hill and Andrew J. Turner take an unprecedented interdisciplinary approach to map out the influence of late-antique and medieval commentary and iconographic traditions over this seminal edition of the plays of Terence, published in Lyon in 1493, and examine its legacy. The work had a profound impact on the way Terence’s plays were read and understood throughout the sixteenth century, but its influence has been poorly recognised in modern scholarship. The authors establish the pivotal role that this book, and its editor Badius, played in the revitalisation of the theoretical understanding of classical comedy and in the revival of the plays of Terence that foreshadowed the establishment of early modern theatre in Italy and France.
This book considers the life and legacy of Renée de France (1510–75), the youngest daughter of King Louis XII and Anne de Bretagne, exploring her cultural, spiritual, and political influence and her evolving roles and actions as fille de France, Duchess of Ferrara, and Dowager Duchess at Montargis. Drawing on a variety of often overlooked sources – poetry, theater, fine arts, landscape architecture, letters, and ambassadorial reports – contributions highlight Renée’s wide-ranging influence in sixteenth-century Europe, from the Italian Wars to the French Wars of Religion. These essays consider her cultural patronage and politico-religious advocacy, demonstrating that she expanded upon intellectual and moral values shared with her sister, Claude de France; her cousins, Marguerite de Navarre and Jeanne d’Albret; and her godmother and mother, Anne de France and Anne de Bretagne, thereby solidifying her place in a long line of powerful French royal women.
This volume is the first ever attempt to unite and translate some of the key texts which informed Johan Huizinga's famous study of the Burgundian court, The Waning of the Middle Ages, a work which has never gone out of print. It combines these texts with sources that Huizinga did not consider, those that illuminate the wider civic world that the Burgundian court inhabited and the dynamic interaction between court and city. Through these sources, and an introduction offering new perspectives on recent historiography, the book tests whether Huizinga's controversial vision of the period still stands. Covering subjects including ceremonial events, such as the spectacles and gargantuan banquets that made the Burgundian dukes the talk of Europe, the workings of the court, and jousting, archery and rhetoric competitions, the book will appeal to students of late medieval and early modern Europe and to those with wider interests in court culture, ritual and ceremony.
The nine papers collected in this publication- which comprises the third and latest edition to the symposium volumes by the Metropolitan Museum of Art - were first presented in conjunction with the Museum's exhibition of Early Netherlandish painting culled from its own holdings in 1998. The essays, by an international roster of leading specialists, together uncover the circumstances underlying the creation of works of art and shed new light on their meaning, in the context of the growing interdisciplinary activity and burgeoning scholarship in the field. The importance of archival research into the socio-economic factors that existed in the late fifteenth and early sixteenth centuries is emphasized- especially, the impact of art markets on the production of paintings as well as sculpture. Much new material has surfaced as a result of advances in the technical investigation of works of art, underscoring the premise that the clues to the meaning of a work are often found not only in its method of manufacture but also in the specific audience for which it was intended and in the function that it originally served for that audience. -- Publisher description.
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