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This award-winning book traces Saint Jerome's changing images and fortunes from 1300 to 1600 and charts how culture has celebrated his life.
The first monograph in English on Erasmus of Rotterdam as an editor of St. Jerome, this book belongs to the growing scholarship on the reception of the Church Fathers in early modern Europe. Erasmus, like other Renaissance humanists, particularly admired Jerome (d. 419 or 420), and he expressed his admiration most conspicuously in his edition of Jerome’s letters. Proclaiming his editorial Herculean labours, Erasmus energetically promoted himself and his publication. Erasmus’ self-promotion cannot be reduced to a secular appropriation of Jerome, however. A detailed examination of a variety of editorial interventions demonstrates Erasmus’ religious purpose, his debt to previous editorial traditions as well as his editorial novelty, and his influence on subsequent sixteenth-century editions of Jerome.
The Slavic Letters of St. Jerome is the first book-length study of the medieval legend that Church Father and biblical translator St. Jerome was a Slav who invented the Slavic (Glagolitic) alphabet and Roman Slavonic rite. Julia Verkholantsev locates the roots of this belief among the Latin clergy in Dalmatia in the 13th century and describes in fascinating detail how Slavic leaders subsequently appropriated it to further their own political agendas. The Slavic language, written in Jerome's alphabet and endorsed by his authority, gained the unique privilege in the Western Church of being the only language other than Latin, Greek, and Hebrew acceptable for use in the liturgy. Such privilege, confirmed repeatedly by the popes, resulted in the creation of narratives about the distinguished historical mission of the Slavs and became a possible means for bridging the divide between the Orthodox and Catholic Churches in the Slavic-speaking lands. In the fourteenth century the legend spread from Dalmatia to Bohemia and Poland, where Glagolitic monasteries were established to honor the Apostle of the Slavs Jerome and the rite and letters he created. The myth of Jerome's apostolate among the Slavs gained many supporters among the learned and spread far and wide, reaching Italy, Spain, Switzerland, and England. Grounded in extensive archival research, Verkholantsev examines the sources and trajectory of the legend of Jerome's Slavic fellowship within a wider context of European historical and theological thought. This unique volume will appeal to medievalists, Slavicists, scholars of religion, those interested in saints' cults, and specialists of philology.
Praised by Albrecht Dürer as being “the best in painting,” Giovanni Bellini (ca. 1430– 1516) is unquestionably the supreme Venetian painter of the quattrocento and one of the greatest Italian artists of all time. His landscapes assume a prominence unseen in Western art since classical antiquity. Drawing from a selection of masterpieces that span Bellini's long and successful career, this exhibition catalogue focuses on the main function of landscape in his oeuvre: to enhance the meditational nature of paintings intended for the private devotion of intellectually sophisticated, elite patrons. The subtle doctrinal content of Bellini’s work—the isolated crucifix in a landscape, the “sacred conversation,” the image of Saint Jerome in the wilderness—is always infused with his instinct for natural representation, resulting in extremely personal interpretations of religious subjects immersed in landscapes where the real and the symbolic are inextricably intertwined. This volume includes a biography of the artist, essays by leading authorities in the field explicating the themes of the J. Paul Getty Museum’s exhibition, and detailed discussions and glorious reproductions of the twelve works in the show, including their history and provenance, function, iconography, chronology, and style.
This volume is conceived as a complement to another Middle English Texts series text, Sherry Reames' Middle English Legends of Women Saints. This selection is intended to be broadly representative of saints' lives in Middle English and of the classic types of hagiographic legend as these were presented to the lay public and less-literate clergy of late medieval England.
This study of the Venetian artist Lorenzo Lotto draws on the large body of work by the artist, as well as on the 16th-century documentation on the artist's life, including letters, an account book for the years 1538-56, and will.
Test Centre is excited to announce the publication of Jerome's Study, a collaboration between prize-winning author Max Porter and artist Catrin Morgan. The third publication in our ekphrastic series, the book explores the ways in which literary and visual art forms respond to and translate other works of art. The collaboration evolved from Catrin's series of isomorphic translations of Renaissance paintings of Saint Jerome, most often depicted at work in his study. Catrin invited Max to respond to her images, and his texts became the flesh to be re-inserted into the empty architectural environments of her art-historical spaces. According to Max, 'The idea was that they would be pan-historical, somewhere between polluted wall texts, hoax footnotes and the real (bodily) contemplations of a troubled theologian in a small space, battling myth and symbols and the small array of objects - real and imaginary - before and behind him. Cat asked me to spill over her clean lines, so the work is sometimes vulgar, sometimes kitsch (he is a saint, after all), but more often than not tragic, or pitiful. Men alone in boxes telling stories usually are.' Jerome's Study explores what happens when we observe and study pieces of art; how we depict and translate our impression of something, and the stories and preoccupations that emerge when we spend time with another work of art. The book itself, beautifully designed and hand-assembled by Catrin, opens up and expands the possibilities inherent in the original collaboration, so that the radically engineered book itself is as important as the images and the text. As Max says, 'This is what makes Jerome tick.