The Will of Cardinal Giordano Orsini (ob. 1438)

Traditio ◽  
1996 ◽  
Vol 51 ◽  
pp. 257-286 ◽  
Author(s):  
Christopher S. Celenza

There are many still unstudied aspects of the cultural history of early Quattrocento Rome, especially if we consider the years before 1443, the date of the more or less permanent re-entry into the civitas aeterna of Pope Eugenius IV. The nexus between the still ephemeral papacy and the emerging intellectual movement of Italian Renaissance humanism is one of these aspects. It is hoped that this study will shed some light on this problem by presenting a document that has hitherto not been completely edited: the original will of Cardinal Giordano Orsini. As we shall see, this important witness to the fifteenth century provides valuable information on many fronts, even on the structure of the old basilica of Saint Peter. The short introduction is in three parts. The first has a discussion of the cardinal's cultural milieu with a focus on the only contemporary treatise specifically about curial culture, Lapo da Castiglionchio's De curiae commodis. The second part addresses the textual history of the will as well as some misconceptions which have surrounded it. The third part contains a discussion of the will itself, along with some preliminary observations about what can be learned from the critical edition of the text here presented for the first time.

1979 ◽  
Vol 7 (2) ◽  
pp. 155-164
Author(s):  
Rado L. Lencek

The question whether a Slovene cultural historian is warranted and justified to speak of a “Slovene Humanism period,” was in Slovene historiography seriously raised in the thirties. Asked in a dispute over a suggestion that a number of scholars, by provenience Inner Austrian Slovenes, who between 1450 and 1525 paved the way for Italian Renaissance Humanism at the University of Vienna, belong to Slovene cultural tradition, the question was answered with the proposition that in the Slovene lands of the fifteenth and sixteenth centuries an atmosphere of interests and activities existed which indeed might be understood as a “Slovene Humanism.” In the discussion which followed and which is even today far from terminated, the concept “humanism” has been, of course, understood in very loose and broad terms, so that soon even such Protestant Reformers as Primož Trubar (1508-1586) could be proclaimed “Humanist writers.” What I propose to do in this paper is to reexamine this question; in addition, I hope to be able to show that the proposition I wish to develop in relation to a period in Slovene cultural history, may be applicable to the cultural and social history of Slavic nations in general.


2014 ◽  
Vol 11 ◽  
pp. 90-100
Author(s):  
Eric Cullhed

The Background to Kellgren’s ”On a bust of Propertius”. This article examines the Swedish eighteenth-century poet Johan Henric Kellgren’s widely celebrated epigram “On a bust of Propertius” (“Öfver Propertii Buste eller Porträt”), published posthumously. An attractive but fanciful story about the poem as Kellgren’s autobiographical reflection and personal farewell on his deathbed has triggered an unwillingness among scholars to explore what the writer himself declares: that the piece is a translation of the epigram In statuam Propertii by the virtually unknown Italian Renaissance poet Guido Postumo Silvestri of Pesaro. The first section of the article surveys the intertextual field of Postumo’s poem and analyses its fusion of common tropes and motifs in the Greco-Roman and Neo-Latin ekphrastic epigram traditions. The second section traces the subsequent textual history of Postumo’s poem and the changes it underwent in reprints as well as in the eighteenth-century Danish philologist Frederik Plum’s translation into his native language. The third and final section focuses on Kellgren’s interpretation of the Danish text. It was through a process in several steps of reproductions and translations that the Neo-Latin creation was strained of its manierism, mythological references and allusions to late antique poetry, producing this pathos-driven swansong.


1998 ◽  
Vol 53 (3) ◽  
pp. 328-363
Author(s):  
Anna K. Nardo

George Eliot's novel of fifteenth-century Florence, Romola, represents her struggles with both the history of Western culture and her real and literary fathers by reimagining Milton's life and thought. As heir to both Renaissance humanism and Reformation zeal, as a central historical link between fifteenth-century Florence and Victorian England, as the patriarch of English letters, and as the father of rebellious daughters, Milton is the unacknowledged father in Romola, and the stories of his family are woven into the fabric of the novel. Recovering the cultural history of these stories-retold by biographers for two centuries and fictionalized throughout the nineteenth century-allows us to historicize and expand Sandra M. Gilbert and Susan Gubar's insight that Milton is present in Romola, but also to confute their widely accepted conclusion (quoting Harold Bloom) that Milton was for Eliot, as for other women writers, "the great Inhibitor, the Sphinx who strangles even strong imaginations in their cradles."


2014 ◽  
Vol 2 (3) ◽  
Author(s):  
Redacción CEIICH

<p class="p1">The third number of <span class="s1"><strong>INTER</strong></span><span class="s2"><strong>disciplina </strong></span>underscores this generic reference of <em>Bodies </em>as an approach to a key issue in the understanding of social reality from a humanistic perspective, and to understand, from the social point of view, the contributions of the research in philosophy of the body, cultural history of the anatomy, as well as the approximations queer, feminist theories and the psychoanalytical, and literary studies.</p>


2017 ◽  
Author(s):  
Chiara E. Scappini ◽  
David Boffa

The Fonte Gaia from Renaissance to Modern Times examines the history of Siena's famous public fountain, from its fifteenth-century origins to its eventual replacement by a copy in the nineteenth century (and the modern fate of both). The book explores how both the Risorgimento and the Symbolist movements have shaped our perceptions of the Italian Renaissance, as the Quattrocento was filtered through the lens of contemporary art and politics.


Author(s):  
Michael H. Gelting

One sentence in the Prologue of the Law of Jutland (1241) has caused much scholarlydiscussion since the nineteenth century. Did it say that “the law which the king givesand the land adopts, he [i.e. the king] may not change or abolish without the consentof the land, unless he [i.e. the king] is manifestly contrary to God” – or “unless it [i.e.the law] is manifestly contrary to God”? In this article it is argued that scholarly conjectures about the original sense of the text at this point have paid insufficient attentionto the textual history of the law-book.On the basis of Per Andersen’s recent study of the early manuscripts of the Lawof Jutland, it is shown that the two earliest surviving manuscripts both have a readingthat leaves little doubt that the original text stated that the king could not change thelaw without the consent of the land unless the law was manifestly contrary to God. Theequivocal reading that has caused the scholarly controversy was introduced by a conservativerevision of the law-book (known as the AB text), which is likely to have originatedin the aftermath of the great charter of 1282, which sealed the defeat of the jurisdictionalpretensions of King Erik V. A more radical reading, leaving no doubt that the kingwould be acting contrary to God in changing the law without consent, occurs in an earlyfourteenth-century manuscript and sporadically throughout the fifteenth century, butit never became the generally accepted text. On the contrary, an official revision of thelaw-book (the I text), probably from the first decade of the fourteenth century, sought toeliminate the ambiguity by adding “and he may still not do it against the will of the land”,thus making it clear that it was the law that might be contrary to God.Due to the collapse of the Danish monarchy in the second quarter of the fourteenthcentury, the I text never superseded the AB text. The two versions coexistedthroughout the fourteenth and fifteenth centuries and soon produced a number ofhybrid versions. One of these gained particular importance, since it was the text thatwas used for the first printed editions of the Law of Jutland in 1504 and 1508. Thus itbecame the standard text of the law-book in the sixteenth century. The early printededitions also included the medieval Latin translation of the Law of Jutland and theLatin glosses to the text. The glosses are known to be the work of Knud Mikkelsen,bishop of Viborg from 1451 to 1478. Based on a close comparison of the three texts, itis argued here that Bishop Knud was also the author of the revised Danish and Latintexts of the law-book that are included in the early printed editions, and that the wholework was probably finished in or shortly after 1466. Bishop Knud included the I text’saddition to the sentence about the king’s legislative powers.An effort to distribute Bishop Knud’s work as a new authoritative text seems tohave been made in 1488, but rather than replacing the earlier versions of the Lawof Jutland, this effort appears to have triggered a spate of new versions of the medievaltext, each of them based upon critical collation of several different manuscripts.In some of these new versions, a further development in the sentence on the king’slegislative power brought the sentence in line with the political realities of the late fifteenthcentury. Instead of having “he” [i.e. the king] as the agent of legal change, theyattribute the initiative to the indefinite personal pronoun man: at the time, any suchinitiative would require the agreement of the Council of the Realm.Only the printing press brought this phase of creative confusion to an end in theearly sixteenth century.Finally, it is argued that the present article’s interpretation of the original senseof this particular passage in the Prologue is in accordance with the nature of Danishlegislation in the period from c.1170 to the 1240s, when most major legislation happenedin response to papal decretals and changes in canon law.


2021 ◽  
Vol 68 (1) ◽  
pp. 52-60
Author(s):  
Dieter T. Roth

AbstractScholarly work on Luke has often noted the significance of Marcion's Gospel for understanding the textual history of the third canonical Gospel. It is not surprising, therefore, that in the past new insights into Marcion's Gospel have led to revisions in the apparatus of the highly influential Nestle-Aland Novum Testamentum Graece, now in its 28th edition. In view of the precedent for continually updating the Nestle-Aland text and apparatus, this article revisits the apparatus to Luke in the light of recent research on Marcion's Gospel in order to highlight problematic references that should be changed or removed in the apparatus of future Nestle-Aland editions.


2021 ◽  
Vol 7 ◽  
pp. 316-326
Author(s):  
Лідія Лазурко ◽  

The purpose of the research – is to demonstrate how the historiographic image of Wilhelm von Habsburg, known as Colonel Vasyl Vyshyvanyi, was constructed on the basis of sources of personal origin and historiography materials that were deposited during the XX century. In the first time in historiography shown as the as the story of the Austrian archduke, who decided to change his national identity and chose for himself the image of a fighter for the will of Ukraine, unfolded and mythologized. The history of the life of the Austrian Archduke Wilhelm von Habsburg-Lötringen has in recent years been enriched by a number of thorough studies. The main issue of this research was the question of choosing a Ukrainian national identity. The construction of the Ukrainian legend Vasyl Vyshyvany in the historiography began, based on his own autobiography. As the accumulation of source and scientific material, the question of the vision of the hero evolved: from explaining the circumstances of change of national self-identification to exploring the motives of this step. Changes in the interpretation of this issue were also outlined and brought to the cultural and philosophical research field.


1991 ◽  
Vol 10 ◽  
pp. 235-303 ◽  
Author(s):  
Rob C. Wegman

In 1449, the records of the church of Our Lady at Antwerp mention a new singer, Petrus de Domaro (see Figure 1). He does not reappear in the accounts of 1450, and those of the subsequent years are all lost. Musical sources and treatises from the 1460s to 80s call him, with remarkable consistency, P[etrus] de Domarto, and reveal that he was an internationally famous composer in the third quarter of the fifteenth century.


2014 ◽  
Vol 12 (1) ◽  
pp. 219-233 ◽  
Author(s):  
ISAAC NAKHIMOVSKY

The history of Swiss republicanism was memorably summed up by Orson Welles in the classic filmThe Third Man(1949): whereas the tumultuous and tyrannical politics of the Italian Renaissance produced a great cultural flourishing, Welles observed, “In Switzerland, they had brotherly love, they had five hundred years of democracy and peace, and what did that produce? The cuckoo clock.” Suggestive as it may be, Welles's contrast is as misleading as it is memorable. The Swiss were a fearsome military power at the beginning of the sixteenth century, admired by no less a Florentine than Niccolò Machiavelli, but by the eighteenth century they were no longer capable of defending themselves, and they were summarily occupied by the armies of revolutionary France in 1798. The nature of Swiss democracy was long contested, and in 1847 the Swiss fought a civil war over it. Finally, it must be said, cuckoo clocks were invented in the Black Forest region, on the other side of the Alps. As we shall see, the success of the Swiss watchmaking industry does in fact deserve a place in the history of liberty, but Jean-Jacques Rousseau turns out to be a more helpful guide for understanding its significance.


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