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The Royal Library of Belgium intends to make its rich collections accessible to researchers and to the interested public. The Library owns a series of seventeeth-century emblem manuscripts with more than two thousand drawings and poems. In these commemorative manuscripts the College preserved its annual emblematic exhibitions for future generations. These affixiones-the phenomenon is perhaps best represented by the word 'affichages'-were one of the numerous manifestations with which the Jesuits used to commend the quality of their education system to the outside world. What is meant is the exhibiting or suspending of the work of pupils, mostly emblems or related genres. The Brussels collection (some forty volumes) is unique and special. It covers the production of a single college during a long span of time (1630-1685). For researchers of emblems, as well as for art historians it opens averitable goldmine. The high artistic as well as literary quality which the volumes so often achieve lends the collection moreover a rare distinction: wonderful gouaches (by Antoon Sallaert), no less splendid calligraphy (e.g. byG.H. Wilmart) and sophisticated, erudite Latin and Greek verses. Attention is focused on the context in which the Brussles affixiones came about and functioned: the tuition (training of the pupils' memory abd their rhetorical abilities, pastoral and social education), The Brussels festivals of the Sacrament of the Miracle, the proximity of the Court, the vicissitudes of the city, the artists. The manuscripts almost always mention the name of the Poesis and Rhetorica pupils who had designed an emblem. Their names are listed in appendix: a rich source for genealogical and prosopographical research (some 1600 names and dates). never before has a similar series been published.
"Since its founding by Ignatius of Loyola in 1540, the Society of Jesus ("The Jesuits") has been intimately involved in the unfolding of the modern world. The young Jesuit order played a crucial role in the Counter Reformation, especially in Poland, southern Germany, and several other parts of Europe. The Jesuits were also participants in the establishment and spread of European empires, engaging in missionary activity in east and south Asia in the 16th and 17th centuries, and becoming central to the spreading of Christianity in the New World. At the same time, Jesuits often tangled with the Roman curia and the Pope, leading to the suppression of the Jesuits in 1773. After the subsequent restoration of the order in 1814, the Jesuits continued to be leaders in Catholic education and theology. In 2013 Jorge Bergoglio became the first Jesuit Pope, taking the name Pope Francis I. In this book, Markus Friedrich presents the first comprehensive account of the Jesuits from a non-Catholic perspective. Drawing on his expertise as a historian of the early modern world, Friedrich situates the Jesuit order within the wider perspective of European history. In particular, he places the Jesuits in the context of social, cultural, and imperial history, showing that the Jesuits were not monolithic but rather were very sensitive to local context and that the order's core texts, especially Ignatius's Spiritual Exercises, were templates to engage with, rather than instructions manuals to be followed slavishly"--
The main aim of the work is to present emblematics in Hungary in its European context, and to show the reciprocal influence between that phenomenon and mainstream literature. The description of the theoretical and historical development in Hungary is supplemented by a series of case studies examining the effect of emblematics upon various literary genres. The final chapter analyzes the link between literary emblematics and the visual arts by looking at a specific example. As in most European countries, emblematics in Hungary is part of a complex labyrinth of literary modes of thought and expression. A relative poverty of theoretical writing went hand in hand with a considerable range of emblematic practice. The emblem proved to be a transitional form between the period when signs and motifs were regarded as having specific and fixed meanings and the modern period when we have developed a different and shifting concept of language and meaning. At the same time as emblems began to penetrate the more popular levels of national culture and literature, they also became more specialized. Hungarian emblematics used, for the most part, existing pictorial and textual combinations of pictures and texts. They employed the emblem notably in genres and texts of the genus demonstrativum, which referred to matters which were topical at the time.
In Jesuit Art, Mia Mochizuki considers the artistic production of the pre-suppression Society of Jesus (1540–1773) from a global perspective. Geographic and medial expansion of the standard corpus changes not only the objects under analysis, it also affects the kinds of queries that arise. Mochizuki draws upon masterpieces and material culture from around the world to assess the signature structural innovations pioneered by Jesuits in the history of the image. When the question of a ‘Jesuit style’ is rehabilitated as an inquiry into sources for a spectrum of works, the Society’s investment in the functional potential of illustrated books reveals the traits that would come to define the modern image as internally networked, technologically defined, and innately subjective.
Accompanying DVD includes the opera Patientis Christi memoria by Johann Bernhard Staudt, performed in the chapel of St. Mary's Hall, Boston College.
John Manning's The Emblem charts the rise and evolution of the emblem from its earliest manifestations to its emergence as a genre in its own right in the sixteenth century, and through its various reinventions to the present day.