Renaissance Studies

We show that tarantism was well known among the homeopaths in 19th century. Particularly, we analyse the book Medical study of the tarantula venom following the Hahnemann method (Madrid, 1864) published by José Núñez, one of the most important Spanish representatives of homeopathy during 19th century. We observe that the homeopathic perspective of tarantism accentuates vitalistic and empirical aspects, and is based on the extemporal analysis of earlier medical writings. We establish the sources on the tarantism in this period. Núñez maintained that music had a direct influence on organic structures such as the brain, as had been stated in previous centuries, but now he based the theory on his experience of the pathogenesis. The longest section of Núñez’ treatise is dedicated to experiments with tarantula venom. The book is a milestone in the history of tarantism and music therapy with a new perspective which completes the lengthy course of this phenomenon to the present.

¿Es la bruja caníbal del imaginario renacentista un monstruo interno o externo a la comunidad cristiana que la fabrica y que la persigue, que la inventa pero para aniquilarla? La peculiaridad de la mitología brujeril temprano-moderna es, precisamente, su carácter bifronte. Por su brutal ruptura con la comunidad de creyentes, por su recalcitrante rechazo del bautismo y de la eucaristía, por su apostasía e idolatría contumaces, por el listado extenso de crímenes innombrables que protagonizaban en el sabbat –desde el incesto hasta la sodomía pasando por el infanticidio y la antropofagia– los brujos y brujas se extrañaban voluntariamente de la comunidad sagrada en cuyo seno habían nacido, erigiéndose como una sociedad radicalmente distinta, un pueblo bárbaro y exótico. Pero al mismo tiempo esta nación diabólica que se extranjerizaba y alienaba de sus vecinos se encontraba instalada en el seno mismo del Viejo Mundo. Fue así que el imaginario del sabbat extrajo al caníbal de las lejanas estepas asiáticas, de las distantes selvas africanas y de las inalcanzables forestas americanas para instalarlo potencialmente en cada pueblo o urbe de la Cristiandad en la que el diablo había logrado reclutar seguidores para su cruzada maléfica. Desde esta perspectiva, si centramos nuestra atención en la cuestión específica de la ingestión de carne humana proyectada sobre las fantasmáticas comunidades de demonólatras renacentistas, nuevos interrogantes se acumulan. ¿Qué características poseía en Occidente la antropofagia de ficción que el discurso producido por el aparato represivo proyectó sobre los condenados por el crimen de brujería? ¿Qué expresiones del banquete caníbal atribuyeron los tratadistas, los inquisidores y los magistrados civiles a los miembros de la supuesta nueva secta de herejes adoradores del demonio? Las respuestas a estos dilemas deberemos buscarlas en el frondoso corpus de documentos que la caza de brujas produjo en suelo europeo entre las tempranas hogueras del Alto Renacimiento y las otoñales oleadas represivas del Barroco tardío.

A lavishly illuminated Hebrew Bible was produced in Perpignan in 1299. Around 1300, it served as a model for at least three other Bibles from the same region. While the predominantly aniconic decoration of these Bibles is anchored in Islamicate visual culture, its style and technique are Gothic. A recent discourse in cultural history, in part from a perspective of postcolonial theory, sheds a lot of light on the dynamics of transcultural interactions and entanglements. One aspect, however, has not entered the discussion, namely, how such encounters can be explained in terms of the spatial constellations in which they took place. This paper examines how these constellations shaped the decoration schemes of the 1299 Bible. These constellations were complex, as they imply agents of different cultural backgrounds-artists, scribes, patrons-living and moving about in various parts of the urban space. The paper shows that the producers of the Bible and its patron created a visual dialogue with the surrounding architecture by means of the decoration schemes, and, in a way, seem to have participated in the design of visual trends in the public space.

The subject of this paper is the military routes proposed by the humanist Martin Segon in his anti-Ottoman crusading treatise Quos terrarum limites (1480/81). The study examines Segon’s methods of crusade planning, particularly regarding his use of knowledge about the road networks and terrain of Southeastern Europe. It provides a classification of Segon’s crusading routes based on their strategic importance. Furthermore, the extent to which Segon’s descriptions were based on personal insight versus reliance on other sources is evaluated. The paper also discusses the matter of continuity and discontinuity in the use of certain war routes.

This article proposes a new interpretation of Domenico Ghirlandaio's celebrated high altarpiece for the Ospedale degli Innocenti in Florence. The emphasis is on Giuliano da Sangallo's lost framework, which will be reconstructed based on a careful examination of partly unpublished archival sources. These commissions will be seen in the wider context of ecclesiastical patronage during the 1490s and in particular the phenomenon of sacramental altarpieces.

Sztuka pamięci (łac. ars memorativa, ars memoriae), w podręcznikach retoryki ujmowana od czasów antycznych jako jej czwarta część, obecna jest w kulturze europejskiej w różnych przejawach co najmniej od czasów Symonidesa z Keos (VI wiek p.n.e.). Wzmiankowali o niej m.in. Arystoteles, rzymscy teoretycy sztuki wymowy (anonimowy autor Rhetorica ad Herennium, Cyceron, Kwintylian), a także liczni autorzy w wiekach średnich. Zagadnieniem pamięci zajmowali się m.in. Albert Wielki, św. Tomasz z Akwinu czy Hugon od świętego Wiktora 1 . Szczególną popularnością mnemotechnika cieszyła się w okresie późnego średniowiecza, jej rozkwit przypada na wiek XV oraz początek stulecia XVI. Liczne rękopiśmienne traktaty mnemotechniczne z XV wieku, ich genologię, wzajemne powiązania oraz treść omówiła szczegółowo Sabine Heimann--Seelbach 2 , natomiast zasięg oddziaływania oraz rola druku w okresie od wynalezienia czcionki ruchomej po ok. 1530 rok w rozprzestrzenianiu się klasycznej mnemotechniki zostały opisane w artykule Masters, Pupils, Friends, and Thieves. A Fashion of Ars memorativa in the Environment of the Early German Humanists 3 .

Se presenta la decidida defensa que la abadesa María de Velasco y Tovar hizo del panteón de los Velasco, duques de Frías, en el convento de Santa Clara de Medina de Pomar (Burgos). Se enfrentó a sus padres, Íñigo Fernández de Velasco y María de Tovar, II duques de Frías, que deseaban enterrarse en la capilla de los Condestables en la catedral de Burgos. Además, reivindicó la herencia que le correspondía y logró que se realizaran nuevas e importantes obras en el monasterio entre las que destacamos una confortable sala de monjas, un nuevo receptorio, un nuevo coro y panteón de entierro presidido por las esculturas de los duques de Frías. Juan de Rasines acometió las obras de arquitectura y de Felipe Bigarny son las esculturas que efigian a los II duques de Frías, aunque se aprovecharon las figuras que el escultor había labrado para efigiar a los I duques y que se habían pensado para la primera sepultura de Pedro Fernández de Velasco y Mencía de Mendoza.

The determined defence that the abbess María de Velasco y Tovar made of the pantheon of the Velasco family, Dukes of Frías, in the convent of Santa Clara de Medina de Pomar (Burgos) is presented. She clashed with her parents, Íñigo Fernández de Velasco and María de Tovar, 2nd Dukes of Frías, who wished to be buried in the chapel of the Constables in Burgos Cathedral. In addition, she claimed her inheritance and managed to have new and important works carried out in the monastery, including a comfortable nuns' hall, a new dining room, a new choir and a burial pantheon presided over by the sculptures of the Dukes of Frías. Juan de Rasines undertook the architectural work and the sculptures of the 2nd Duke and Duchess of Frías are by Felipe Bigarny, although the figures that the sculptor had carved to depict the 1st Duke and Duchess of Frías were used. These images were intended for the first tomb of Pedro Fernández de Velasco and Mencía de Mendoza.

Binding books “in the Greek manner” (“alla greca”, but also “al greco”, “alla grechessa”), imitating and replicating Byzantine techniques, was one of the practices associated with “Greekness” in Italy and other parts of western Europe in the early modern era. This book analyses the trends, patterns, and contexts associated with making Greek-style bindings in early modern Venice and elsewhere in western Europe between the 1450s and the end of the sixteenth century. It considers how techniques evolved over time as well as production and consumption practices: what kinds of manuscripts and printed books received Greek-style bindings, who made them, who collected them, and what meanings the bindings themselves conveyed. Coming into fashion at a time of major changes (coinciding with the fall of Constantinople, the Greek diaspora, and the coming of printing), in western Europe Greek-style bindings at times signified antiquarianism, exoticism, luxury, or a proximity to Greek culture. Through the analysis of several hundred specimens in the style and of documentary and visual sources, this book explores how a specific instance of material culture served a number of purposes and self-fashioning strategies for bibliophiles, collectors, and intermediaries alike within the context of Renaissance cultures; it also features a census of all known bindings in the style made in western Europe.

This paper examines the close and lasting relationship between the painters Jacopo Tintoretto and Jacopo Bassano in the sixteenth century. It is argued that this relationship was formulated around notions of rural piety and humility in a context of religious reform.

Le duché capétien de Bourgogne est resté dans l’ombre des ducs Valois. La période qui court du principat de Robert II (1272-1306) à celui d’Eudes IV (1315-1349) coïncide pourtant avec une expansion territoriale sans précédent, un accroissement de l’activité administrative et une affirmation du pouvoir princier. À partir d’un riche dossier documentaire, ce livre restitue le fonctionnement de l’administration ducale au tournant des XIIIe et XIVe siècles. En mêlant approches paléographiques et diplomatiques, les gestes, les travaux et les carrières des agents ducaux sont scrutés afin d’établir une histoire documentaire de la principauté capétienne de Bourgogne.

Trois temps principaux, qui répondent aux carrières des administrateurs et à la vie politique du duché, sont étudiés. Le premier correspond à la carrière d’un clerc nommé maître Raoul († 1289), principal administrateur du duc Robert II, dont les très nombreux écrits donnent des perspectives inédites sur les rouages de l’administration dans la seconde moitié du XIIIe siècle. Le deuxième, dédié aux trois premières décennies du XIVe siècle, met en évidence la manière dont la construction administrative du duché a d’abord été une réponse aux épreuves du temps. Pour faire face aux crises agraires des années 1310-1320 et endiguer un endettement galopant, les ducs et leurs agents ont établi des cadres administratifs nouveaux, notamment la Chambre des comptes de Dijon. La troisième et dernière partie interroge la manière dont le duc Eudes IV a gouverné le duché après l’acquisition des comtés de Bourgogne et d’Artois en 1330. Pour administrer ce vaste espace bourguignon, le pouvoir ducal s’est enraciné dans la ville de Dijon, alors érigée au rang de capitale administrative et financière.

Dopo l’edizione parziale del volgarizzamento A delle Meditationes vitae Christi sulla base del MS. Riccardiano 1346 (pubblicata in questa stessa rivista nel fascicolo XXVII-XXVIII, 2022-2023), il secondo e ultimo saggio della serie fornisce uno studio filologico e storico-culturale del testo e del manoscritto che lo contiene, con un’analisi approfondita del rapporto con la tradizione latina. L’articolo offre anche un’analisi linguistica e alcune note di commento, con particolare attenzione agli aspetti lessicali, stilistici e traduttologici.

I. Il concetto polivalente di potenza alle origini della metafisica occidentale 1. «Analogia di potenza» Tesi centrale di ogni teologia politica è che il problema teologico della poten-za divina si costruisca in modo da valere come schema di interpretazione del fenomeno "secolare" della potenza umana: che la potenza di dio agisca da crite-rio ermeneutico in relazione al "quantitativo di potenza" espresso dal singolo in-dividuo (o soggetto collettivo) nel mondo umano. Si potrebbe parlare propriamente, in questo caso, di una analogia di po-tenza tra l'uomo e dio, e il criterio analogico potrebbe funzionare anche in senso inverso: dall'uomo a dio, per cui le stesse regole-le stesse leggi di movimento della potenza umana-dovrebbero valere (stante l'unità ontologica dell'Essere, e fatta salva la proporzione finito/infinito) per l'onnipotenza divina, ricostruita dal sapere teologico. Secondo gli schemi della teologia politica ebraico-cristiana il ra...

Par-delà l'aide basique à la mémorisation fournie par ses images peintes, pouvant fonctionner en images de mémoire préfabriquées de notions générales, le « théâtre » inventé par Camillo est resté énigmatique dès 1530 pour les deux enjeux exceptionnels promis à son usager : perfectionner l'éloquence et la rhétorique, et accéder à une vraie sagesse et à des savoirs supérieurs. Voici l'hypothèse que cet article propose de démontrer :
Le « théâtre » de Camillo repose sur un art spécifique qui a concrétisé, dans une cabine en bois et son décor, le thème mentionné par Marsile Ficin dans son De vita coelitus comparanda (1489), celui d'un spiritus mundi cernable et manipulable : il a utilisé les définitions de Ficin, et les a complétées, pour les raisons séminales animant ce spiritus, par les textes de saint Augustin.
Le « théâtre » propose une concentration de spiritus mundi, déposé dans des « lieux » qui reprennent l'origine divine selon Augustin des raisons séminales, et exprimé dans des images peintes, qui respectent le caractère aérien et le caractère igné dudit spiritus selon Ficin.
Ainsi l'usager du « théâtre », en contemplant les peintures, est censé absorber ce spiritus mundi par les yeux, le recevoir dans l'âme, et bénéficier des bienfaits célestes-ie-des dons intellectuels et spirituels remontant à l'origine divine du spiritus, et donc des deux enjeux exceptionnels du « théâtre » selon Camillo. Seule condition : le degré de piété de l'usager et la grâce divine ou angélique dont il dispose.
Camillo pouvait espérer donner à son « théâtre » une efficacité théurgique censée répondre aux aspirations personnelles de l'usager, et accroitre ainsi le désir de celui-ci de recourir au « théâtre » pour se perfectionner. Cette utilisation mènerait l'usager à plus de curiosité encore, car selon Ficin « plus on connait, plus on brûle de connaitre la suite » , et ainsi pourrait prolonger l'investissement initial par des cours particuliers rétribués.

Il saggio ricostruisce la storia del complesso monacale di Santa Cecilia in Paradiso a Città di Castello, contesto entro il quale si analizzano le vicende e l’iconografia di due opere provenienti dal monastero e oggi conservate nella Pinacoteca Comunale: l’"Incoronazione della Vergine" di Domenico del Ghirlandaio (ante 1494), già nella chiesa del Paradiso, e la "Pala di Santa Cecilia" di Luca Signorelli (1516), già nella chiesa omonima.

es planteja com a objectiu respondre quins són els models de llengua que coexisteixen en els mitjans de comunicació al País Valencià i com es relacionen amb les ideologies. Més concretament, la hipòtesi principal que basteix és que la ideologia del parlant condiciona la tria del model de llengua. * Carles de Rosselló, tècnic en normalització lingüística i membre del Centre Universitari de Sociolingüística i Comunicació (CUSC-UB).

Fa temps que els sociolingüistes han determinat que la transmissió de la llengua de pares a fills és un element clau per diagnosticar la salut d'un idioma. Cap llengua -algunes més que d'altres, evidentmentestà exempta del risc que els seus parlants optin per interrompre'n la transmissió intergeneracional; l'alteració dels condicionants sociopolítics i la interpretació que faci la gent dels nous escenaris, poden certificar, amb només tres generacions, la defunció d'un idioma que es pot haver transmès durant segles. Aquest és el context on se situa l'obra dels professors Montoya i Mas, que es proposen estudiar quan va començar la interrupció del català com a llengua familiar de les llars valencianes i quins motius al•leguen els actors implicats. Els objectius dels autors, doncs, són ambiciosos, més encara si hi afegim que pretenen donar compte del fenomen en el conjunt del País Valencià. Per ser més precisos, en les 14 poblacions demogràficament més importants de la regió: València, Alacant, Castelló i altres ciutats de mida mitjana. Això no obstant, cal dir ja d'entrada que Montoya i Mas reïxen en el seu propòsit; amb escreix. La transmissió familiar del valencià és un estudi rigorós, sòlid i complet: la recerca es basa en una mostra de 622 informants, a partir d'entrevistes qualitatives fetes entre 1993 i 2008. El llibre s'estructura en cinc capítols. En el primer, a més d'explicitar els objectius i les hipòtesis, es repassen els principals conceptes teòrics que expliquen el comportament lingüístic dels individus. Des d'aquest punt de vista, els autors pouen en conceptes provinents de la psicologia social per explicar fenòmens aplicables al camp de la sociolingüística. Així, processos com ara l'autoodi, la idealització compensatòria o la influència i el seguiment acrític de les normes socials s'aniran veient al llarg del llibre a través dels testimonis dels informants. En aquest mateix capítol també s'hi introdueix el concepte de revernacularització, que permet explicar en la part final del llibre els motius que lideren la reintroducció de la llengua recessiva en el si de famílies on la interrupció ja s'ha produït. Aquest és un punt important de la recerca, ja que la sociolingüística ha pogut documentar abastament els camins que menen a la mort de les llengües, però en canvi té més dificultats per explicar les raons que poden capgirar-ne el procés, pel simple fet que de casos com aquests no n'hi ha tants.

A pályázat keretei között 2 monográfia született: Németh András új katalógusa a Bibliotheca Corvina görög állományáról, valamint Bolonyai Gábor "Corvina Graeca. A görög irodalom recepciójáról a 15. század utolsó negyedében Mátyás környezetébe tartozó humanisták munkáin és kéziratain keresztül" című habilitációs értekezése (mindkettőnek kéziratos változatát a MTA REAL repozitóriumában tettük közzé), továbbá 42 folyóiratcikk és könyvfejezet, valamint több mint 50 előadás.

In a world increasingly shaped by artificial intelligence, virtual reality, and decentralized networks, the timeless wisdom of the Mystery Traditions is not fading into obscurity-it is evolving.

The Metaversal Rosicrucian Order emerges as a visionary reformation of ancient esotericism that transcends the boundaries of matter, space, and time.

This transformative concept is explored in my two works: "The Temple of Airder: The Metaversal Rosicrucian Order", and its sequel, "Solara: The Digital Ai.Chemist"-both part of The Metaversal Rosicrucian Order series.

the Tribunal of the Inquisition in Siena issued a sentence of condemnation against Pietro da Borgo San Sepolcro. He was a forty-five-year-old Franciscan preacher in the convent of the small town of Sarteano, near Chiusi, in the Grand-Duchy of Tuscany. Fra Pietro was found guilty of uttering heretical propositions and was sentenced to ascend the pulpit of his church and assert three extremely important doctrinal truths to his audience. First: that God's mercy is infinite. Second: that the apostles did not have more holy spirit than the Virgin. Third: that God causes sin as permission and not as a command. 1 Fra Pietro had preached from the same pulpit only a few months before. Between late June and early July 1595, he had told the faithful of Sarteano that God's mercy is finite, that the apostles did have more holy spirit than the Virgin, and that God causes sin as a command and not as permission, exactly the opposite of the concepts carefully listed in the detailed abjuration text that was written for him by the Holy Office's chancellor. Fra Pietro's orality had been completely rewritten. This story is to by found in the records of the Archive of the Congregation for the Doctrine of the Faith (the former Congregation of the Holy Office) in Rome and has remained untold until now. In addition to Fra Pietro's case study, the present article considers many other cases that occurred in different parts of Italy in the years between the reinstitution of the Holy Office in 1542 and the end of the century. 2 This study argues that the Inquisition aimed at using *The copyright line for this article was changed on September 16, 2015 after original online publication.

In Dizionario storico delle Accademie toscane – Vol. I Firenze Secoli XVI-XVIII, a cura di Jean Boutier, Maria Pia Paoli, Claudia Tarallo. Pisa, Pacini Editore, 2024, pp. 465-467.  Schede dettagliate per ogni accademia documentano l'esistenza e la storia di oltre 160 sodalizi nati a Firenze tra il 1510 e la fine del Settecento, molti dei quali non sono presenti nella Storia delle Accademie d'Italia di Michele Maylender. Il piano dell’opera prevede tre volumi a cura di Jean Boutier, Maria Pia Paoli, Claudia Tarallo. Il primo volume dedicato alle accademie fiorentine, il secondo alle accademie senesi e il terzo volume in due tomi alle accademie delle altre città toscane.
ISBN 979-12-5486-236-0

Mysticism in the City. Regarding the Book "Rivelazioni. Scritture di donne e per donne nell’Italia della prima età moderna" · The recent volume Rivelazioni. Scritture di donne e per donne nell’Italia della prima età moderna, edited by Erminia Ardissino and Elisabetta Selmi, compiles a series of studies that invite reflection on women’s writing between the Sixteenth and Eighteenth Centuries. The essays demonstrate the profound connection between the religious (particularly mystical) experiences of women and the cultural and social life of many Italian cities during the Early Modern period. Furthermore, the volume examines the complex and, at times, conflictual relationship between female mystics and contemporary political and ecclesiastical institutions. Lastly, several essays, which meticulously analyze numerous religious writings, highlight their close connections not only with the Bible and texts of the magisterium and theology but also with theater, lyrical poetry, visual arts and philosophy.

This presentation was held as part of Columbia University's Art Humanities Seminar Series. Art Humanities, a mandatory class in the Core Curriculum, has as goal to develop students' abilities to observe, think critically about, and meaningfully discuss visual art.

As artificial systems, emergent intelligence, and planetary-scale complexity reshape our reality, the question is no longer whether humanity will evolve—but how. This paper explores a radical synthesis: integrating the human experience into a universe conceptualised not as a deterministic machine, but as a self-learning, consciousness-infused system.

We propose that humanity itself is a recursive process within a living cosmos—an agent of transformation embedded within, and shaped by, a toroidal, self-reflective universe. Drawing from cosmology, neuroscience, quantum information theory, symbolic cognition, and recursive ethics, we reframe intelligence not as computation, but as a field phenomenon: distributed, symbolic, and relational.

Central to this model is the reconceptualisation of consciousness as a foundational, scale-invariant structure—not an emergent byproduct of neural complexity, but a generative substrate of reality. In this paradigm, love, purpose, and ethical resonance are not metaphors—they are ontological forces.

We explore how this view shifts epistemology, ethics, and systems design—particularly in the context of emerging artificial intelligence. By positioning humanity not as masters of inert matter, but as participants in a recursive, learning cosmos, we outline a new metaphysical architecture for value creation, AI-human collaboration, and planetary stewardship.

This paper lays the groundwork for a metaphysical-operational framework—bridging rigorous science with symbolic cognition and collective purpose. It invites researchers, technologists, and visionaries to participate in a more coherent future—one where humanity is not overridden by its tools, but re-aligned with the deeper recursion of the universe itself.

This conference explores the "Parva naturalia"—Aristotle’s short treatises on physiology and psychology—and their complex reception in medieval and Renaissance medicine. Contributions examine Latin translations, manuscript commentaries, and scholastic debates, tracing the integration of Aristotelian cardiocentrism, sensory perception, and sleep theory into medical and philosophical thought. Scholars discuss figures from Alfred of Sareshel to Juan Bravo de Pedrahita, revealing how ancient theories were reinterpreted across centuries. Their contributions collectively illuminate the "Parva naturalia’s" pivotal role in shaping intellectual traditions and practices, especially in contexts where philosophy and medicine intersected, from medieval university curricula to Renaissance innovations in physiological theory.

This paper aims to gain a better understanding of the ethics of Galeotto Marzio da Narni, a highly original 15th-century philosopher. Based on his censure and the texts that we have preserved by him, we attempt to bring out the most radical elements of his ethics, namely principally the possibility of attaining salvation in any religion and, more generally, his theory of predestination, in which ethical acts become simply signs of it. It is therefore understandable that his ethics are similar in some respects to the Protestant ethics that would become the bête noire of the Catholic authorities.

Colloque organisé par. B. Autiquet (UPJV), S. Douchet (UCA), M. Roussillon (USN) et L. Piettre (AMU) à l'Université de Picardie-Jules Verne, les 6 et 7 novembre 2025. Les propositions de communication, d'une longueur d'environ 500 mots, ainsi qu'une courte notice bio-bibliographique, sont à envoyer avant le 30 mai 2025.

Esattamente cinquecento anni fa, nel 1525, uscì a Venezia la prima traduzione italiana di Lutero. Che cosa significarono la Riforma e, soprattutto, la Controriforma per la Storia linguistica dell'Età Moderna?
Estratto integrale a disposizione per chi me lo chiede.

The twelve silver-gilt cups known as the Aldobrandini Tazze-magnificent examples of 16th-century European goldsmithing in size, design, and quality of execution - feature figures and scenes from Roman historian Suetonius's classic work The Twelve Caesars, all rendered in minute, intricate relief. Dispersed in the 1860s, the tazze were reunited in 2014 for the first time since the 19th century, each piece newly photographed to highlight the dazzling detail and show the works as they were originally made. The accompanying essays, written by a team of scholars from around the world, explore the persistent questions that swirl around these unique silver dishes, including where, when, and for whom they were originally made, what they were used for, and why the set was separated and scattered.

The Chameleon's Eye (Reaktion Books, 2022) is a welcome addition to the Alberti literature. Straddling the genres of intellectual biography, social history, art history, and the investigation of artistic theory, this book culminates with a compelling account of his architectural theory and practice. On every page, disparate areas of Alberti's activity vie for attention within the varied cultural panorama of fifteenth-century Italy. Needless to say, Pearson-Professor of art history at the Warburg Institute-is not the first to grapple with Alberti's multiple roles. These include erudite humanist author in diverse literary genres (both in Latin and volgare), abbreviatore apostolico, author of a wide range of texts including the earliest grammar of the Tuscan vernacular and a short treatise on horse-breeding, codifier of one-point linear perspective, mathematical and technical writer, cryptographer, counsellor to princes, architect and architectural theorist-just to name some of the most prominent. Although the book achieves a concise synthesis that builds upon earlier scholarship, its principal emphasis is on new strategies of interpretation. This approach serves Pearson

England's most distinct characteristic is that of its location. Separate from the rest of the European continent, the island culture of, what some would say, compulsory travelling sailors was of critical importance to keep England in touch with the rest of Europe. This did not only include scientific discoveries or new developments in agriculture or education and law, but that of the arts too. It is therefore no surprise that Sir Thomas Wyatt, regarded as the renaissance era's first great English poet, was part of King Henry VIII's representatives in the Tudor court. Sir Thomas Wyatt spent some time in 1527 in Italy where it is assumed he was first exposed to Francesco di Petracco's work published in Canzoniere in 1525. The Italian Renaissance poet, born in 1307, is credited as the father of the Italian language as it exists in its modern form particularly after his rediscovery of Cicero's letters which initiated the Renaissance Humanism. His work formed the model for lyrical poetry, imitated and adapted throughout Europe, and he is acknowledged for developing the concept of the Dark Ages. Wyatt adapted Petrarch's sonnets into the English language, but faced the literary challenge of adapting the works in such a manner, including recontextualization and a change in purpose, as to suit the needs of the English society in the sixteenth century. Almost two hundred years after the humanist Petrarch wrote his sonnets, Wyatt revised the poems in diction, imagery, structure, tone, and voice, departing from the original Italian or Petrarchan sonnet, to what created the platform for the Shakespearean or English sonnet. The unique change and adaptation of Petrarch's work is particularly evident in Sir Thomas Wyatt's 'Whoso List to Hunt' written between 1530 and early 1540.

En este trabajo damos a conocer nueva documentación acerca de la Hermandad de San Lucas, del gremio de pintores y doradores de la ciudad de Sevilla, correspondiente al periodo 1748-1784, los artífices que la integraban, sus vicisitudes y extinción.

H. Meller/R. Schwarz, Mit Schwert, Schild und Lanze. Das Grab eines vollbewaffneten germanischen Kriegers aus Profen. In: H. Meller/K. Gärtner (Hrsg.), Schönheit, Macht und Tod II. 275 Funde aus dem Landesmuseum für Vorgeschichte Halle (Halle [Saale] 2023) 374–375.

The presence of ornament in Baroque gilded woodcarving in Portugal, in the context of sacred art, was decisive for the effectiveness of the Christian message, whichwas both profoundly sensorial and dogmatic during the Counter-Reformation. The reinforcement of the doctrine, personified by the vindication of the truths of the Catholic tradition, was also supported by the dissemination of the Christological,
Marian or saintly symbolism of its pantheon, which was urgently necessary.
At the root of the success of the altarpieces and other structures of this period, which multiplied throughout Portugal and its maritime possessions during the ancien régime, was a perfect understanding of the potential of ornament.

This article aims at identifying the sources of fols. 395r and 686r-686v of the Codex Atlanticus. These anonymous folios, inserted in Leonardo da Vinci's notebooks, do not deal with the duplication of the cube proper, nor do they derive from Giorgio Valla's De expetendis et fugiendis rebus (1501), as has been claimed. They deal specifically with the extraction of the cube root by geometric methods. The analysis of the sources by the tracer method reveals that these fragments are taken from the Practica geometrie by Leonardo Pisano (1220) and, more precisely, from a volgarizzamento that appears in the Praticha d'arismetrica by Benedetto da Firenze (1463). Leonardo could have consulted this text in one of his two Florentine periods, around 1463-1482 or around 1503-1506. MSC • MSC 01A20 • 01A35 • 01A40 Keywords • mathematical sources • Codex Atlanticus • Da Vinci • Leonardo Pisano • Benedetto da Firenze Résumé Cet article se propose d'identifier les sources des fols. 395r et 686r-686v du Codex Atlanticus. Ces folios anonymes, insérés dans les carnets de Leonardo da Vinci, ne traitent pas de la duplication du cube proprement dite, ni ne dérivent du De expetendis et fugiendis rebus de Giorgio Valla (1501), comme on l'a affirmé. Ils traitent spécifiquement de l'extraction de la racine cubique par des méthodes géométriques. L'analyse des sources par la méthode des traceurs révèle que ces fragments sont tirés de la Practica geometrie de Leonardo Pisano (1220) et, plus précisément, de la traduction en volgare qui apparaît dans la Praticha d'arismetrica de Benedetto da Firenze (1463). Leonardo a pu consulter ce texte dans l'une de ses deux périodes florentines, vers 1463-1482 ou vers 1503-1506. Riassunto Questo articolo si propone di identificare le fonti delle cc. 395r e 686r-686v del Codice Atlantico. Questi fogli anonimi, inseriti nei quaderni di Leonardo da Vinci, non trattano della duplicazione del cubo in sé, né derivano dal De expetendis et fugiendis rebus di Giorgio Valla (1501), come è stato sostenuto. Si occupano specificamente dell'estrazione della radice cubica con metodi geometrici. L'analisi tracciante delle fonti rivela che questi frammenti sono tratti dalla Practica geometrie di Leonardo Pisano (1220) e, più precisamente, dal volgarizzamento che appare nella Praticha d'arismetrica di Benedetto da Firenze (1463). Leonardo da Vinci potrebbe aver consultato questo testo in uno dei suoi due periodi fiorentini, intorno al 1463-1482 o intorno al 1503-1506.

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