A Cultural History of the Emotions in the Late Medieval, Reformation, and Renaissance Age

225 Pages·2021·3.696 MB·English

by  Susan Broomhall, Andrew Lynch

A CULTURAL HISTORY
OF THE EMOTIONS
VOLUME 3
i
A Cultural History of the Emotions
General Editors: Susan Broomhall, Jane W. Davidson, and Andrew Lynch
Volume 1
A Cultural History of the Emotions in Antiquity
Edited by Douglas Cairns
Volume 2
A Cultural History of the Emotions in the Medieval Age
Edited by Juanita Ruys and Clare Monagle
Volume 3
A Cultural History of the Emotions in the Late Medieval, Reformation, and Renaissance Age
Edited by Andrew Lynch and Susan Broomhall
Volume 4
A Cultural History of the Emotions in the Baroque and Enlightenment Age
Edited by Claire Walker, Katie Barclay, and David Lemmings
Volume 5
A Cultural History of the Emotions in the Age of Romanticism, Revolution, and Empire
Edited by Susan Matt
Volume 6
A Cultural History of the Emotions in the Modern and Post-Modern Age
Edited by Jane Davidson and Joy Damousi
ii
A CULTURAL HISTORY
OF THE EMOTIONS
IN THE LATE
MEDIEVAL,
REFORMATION,
AND
RENAIS SANCE
AGE
Edited by Andrew Lynch and Susan Broomhall
iii
BLOOMSBURY A CADEMIC
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First published in Great Britain 2019
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iv
CONTENTS
LI ST OF IL LUSTRATIONS vi
GE NERAL E DITORS ’ PR EFACE xi
Introduction: Emotional Cultures of Change and Continuity, 1300–1600 1
Andrew Lynch
1 Medical and Scientifi c Understandings 13
Susan Broomhall
2 Religion and Spirituality 31
David Lederer
3 Music and Dance 49
Denis Collins and Jennifer Nevile
4 Drama 69
Kathryn Prince
5 The Visual Arts 85
Patricia Simons and Charles Zika
6 Literature 107
Sarah McNamer
7 In Private: The Individual and the Domestic Community 123
Jeremy Goldberg and Stephanie Tarbin
8 In Public: Collectivities and Polities 141
Jelle Haemers
NO TES ON CO NTRIBUTORS 157
N OTES 161
R EFERENCES 167
IN DEX 199
v
ILLUSTRATIONS
INTRODUCTION
0.1 Madonna dell’Umilit à (Madonna of Humility) c. 1470, artist unknown,
Italy (Ferrara?), painted wood (Italian poplar), 65.5 × 47.5 × 21.0 cm,
National Gallery of Australia, Canberra. 4
0.2 Masaccio, Crucifi xion, c. 1426, panel, 83 × 63.5 cm, Ministero
per i Beni e le Attività Culturali, Museo e Real Bosco di Capodimonte,
Naples. 7
0.3 Casket (c. 1450). Workshop of the Embriachi, Florence/Venice. Wood,
iron, bone, colored woods. National Gallery of Victoria, Melbourne.
Bequest of Howard Spensley, 1939 (4120-D3). 11
CHAPTER 1
1.1 Frontispiece to Andreas Vesalius, De humani corporis fabrica (Basel, ex
Offi cina Joannis Oporini, 1543). Courtesy of Universal History
Archive/U IG via Getty Images. 17
1.2 Portrait of the author, Andreas Vesalius, De humani corporis fabrica
(Basel, ex Offi cina Joannis Oporini, 1543). Courtesy of The Print
Collector/Print Collector/Getty Images. 18
1.3 Colored portrait of the author, Konrad Kyeser, Bellifortis , before 1430,
Nieders ä chsische Staats- und Universit ä tbibliothek, G ö ttingen 2° Cod.
Ms. philos. 64. Courtesy of Paul Fearn/Alamy Stock Photo. 19
1.4 Putti dissecting a pig in a historiated woodcut letter Q in Andreas
Vesalius, De humani corporis fabrica (Basel, ex Offi cina Joannis Oporini,
1543). Courtesy of AF Fotografi e/Alamy Stock Photo. 24
1.5 A depiction of the consequences of the plague at Tournai in 1349, in
Gilles le Muisit, Annales , Brussels, Biblioth è que royale de Belgique
ms 13076–77, f. 24v. Courtesy of Photo 12/Alamy Stock Photo. 26
CHAPTER 2
2.1 The virtue Hope allegorically directed toward heaven, juxtaposed with
the sin of Despair, depicted as a suicide carried off by a demon. Giotto,
Hope, Despair, c. 1305, fresco, each 120 × 60 cm. Arena Chapel, Padua.
Images courtesy of Wikimedia Commons and Getty Images respectively. 34
vi
LIST OF ILLUSTRATIONS vii
2.2 The tortures of the damned in hell. Giotto, The Last Judgment , c. 1305,
detail, fresco, 1000 × 840 cm, Arena Chapel, Padua. Image courtesy of
Wikimedia Commons. 35
2.3 Deathbed temptations: pride staved off through faith. Ars Moriendi ,
Netherlands, c. 1460, woodcut. Image courtesy of Wikimedia Commons. 38
2.4 Neither pope, nor king, nor queen, nor cardinal, nor prince sits out the
Dance of Death. Bernt Notke, D anse Macabre , St. Nicholas’ Church,
Tallinn, end of the 15th century. Image courtesy of Wikimedia
Commons. 38
2.5 “All Aboard”: rejoicing fools set sail for the New World under the fl ag of
Dr Greed. Title page to Sebastian Brandt, S hip of Fools (Basel, 1494).
Collection of the State A. Pushkin Museum of Fine Arts, Moscow.
Courtesy of DeAgostini/Getty Images. 44
CHAPTER 3
3.1 Martin Luther playing the lute. Imagined scenario in an engraving by
Gustav Adolf Closs (1864–1938). Courtesy of Prisma/UIG/Getty Images. 51
3.2 Anonymous, seated crowned fi gure surrounded by musicians playing the
lute, bagpipes, triangle, horn, viola, and drums. Private Collection via
Getty Images. 56
3.3 Amico Aspertini, T ransportation of the Holy Face , detail, 1507–9,
fresco, Basilica of San Frediano, Lucca. Courtesy of Dea Picture Library
via Getty Images. 56
3.4 First page of the dance Amor Costante from Fabritio Caroso,
Il ballarino (Venice, 1581). Courtesy of the Library of Congress,
Washington, D.C. 59
3.5 An illustration of how a student can learn to perform virtuosic jumps
such as the different types of capriole , from Cesare Negri, Nuove
inventioni di balli (Milan, 1604. A re- edition of L e gratie d’amore ).
Courtesy of the Library of Congress, Washington, D.C. 63
CHAPTER 4
4.1 Scant visual evidence of English mystery play staging survives. David
Sharp’s copper engraving, “Representation of a Pageant Vehicle at the
time of Performance,” imagines a fi fteenth-century performance. From
Thomas Sharp, A Dissertation on the Pageants or Dramatic Mysteries
Anciently Performed at Coventry (Coventry, 1825). Image courtesy of
Wikimedia Commons. 71
4.2 Pacino di Bonaguida, The Crucifi xion, detail, c. 1315–20, tempera and
gold leaf on panel, 32 × 17 1/2 in. Fondazione di Studi di Storia
dell'Arte Roberto Longhi di Firenze. Courtesy of Getty Images. 72
viii LIST OF ILLUSTRATIONS
4.3 Phillippe de Champaigne, Still Life with a Skull , 1644, oil on panel, 28
× 37 cm, Musée de Tessé, Le Mans. The painting combines symbols used
in memento mori painting and in Hamlet . Image courtesy of Wikimedia
Commons. 80
CHAPTER 5
5.1 Albrecht D ü rer, M elencolia I , 1514, engraving, 23.9 × 18.7 cm (image),
24.1 × 18.7 cm (sheet). National Gallery of Victoria, Melbourne Felton
Bequest, 1956 (3486–4). 87
5.2 Rogier van der Weyden, Deposition , c. 1436, oil on wood, 204.5 ×
261.5 cm. Museo del Prado, Madrid (P02835). Image courtesy of
Getty Images. 89
5.3 Giotto, L amentation , c. 1305, fresco, 200 × 185 cm. Arena Chapel,
Padua. Image courtesy of Getty Images. 91
5.4 Niccolò dell’Arca, Piet à , c. 1485–90, painted terracotta. Santa Maria
della Vita, Bologna. © 2017. Photo Scala, Florence. 92
5.5 Mathias Gr ü newald , Crucifi xion, with Lamentation , oil and tempera on
limewood; central panels of the closed state of The Isenheim Altarpiece ,
by Mathias Gr ü newald (painted panels) and Niclaus of Hagenau
(wooden sculpture of the open state), 1512–16, 376 × 668 cm. Mus é e
d’Unterlinden, Colmar. Image courtesy of Getty Images. 93
5.6 German (Ulm), Man of Sorrows , c. 1465/70, hand- colored woodcut
(mounted to detached cover of a lost book), 39.7 × 26.2 cm (image),
40.5 × 26.9 cm (sheet). The Art Institute of Chicago, Waller Fund; gifts
of Mrs. Tiffany Blake, Thomas E. Donnelley, Emil Eitel, Carolyn Morse
Ely, Alfred E. Hamill, Frank B. Hubachek, Monarch Leather, and Mrs.
Potter Palmer, 1947.731. ©2017. The Art Institute of Chicago/Art
Resource, NY /Scala, Florence. 96
5.7 Agnolo Bronzino, An Allegory with Venus and Cupid , c. 1545, oil on
wood, 146.1 × 116.2 cm. National Gallery, London (N G6 51). Image
courtesy of Getty Images. 98
5.8 Albrecht Altdorfer, Christ on the Mount of Olives , 1509, pen and white
heightening on red- brown grounded paper, 21 × 15.7 cm. Staatliche
Museen zu Berlin, Kupferstichkabinett. ©bpk/Kupferstichkabinett, S MB /
J ö rg P. Anders, No: 00048735. 99
5.9 Hans Rudolf Manuel Deutsch, The Changing Faces of the Catholic
Church , trick woodcut, 1556. Left, View 1: A Prelate as a Fool with a
Goiter. Right, View 8: A Prelate as the Devil, Graphische Sammlung
Albertina, Vienna, Inv. DG 2002/209. 102
5.10 Pieter van der Heyden, engraving after Pieter Bruegel the Elder, The
Peasant Wedding Dance, after 1570, 38 × 43.3 cm. Metropolitan
Museum of Art, New York, Harris Brisbane Dick Fund (33.52.29). 103
LIST OF ILLUSTRATIONS ix
5.11 Titian, V enus, Cupid and an Organist , c. 1555, oil on canvas, 150.2 ×
218.2 cm. Museo del Prado, Madrid (P00421). Image courtesy of Getty
Images. 106
CHAPTER 6
6.1 Giotto, Wrath, c. 1305, fresco, 120 × 55 cm. Arena Chapel, Padua.
Image courtesy of Wikimedia Commons. 111
6.2 Lute tablature, “Greensleeves.” The Board of Trinity College, Dublin,
MS 408, p. 104. 113
6.3 Cologne, R eliquary bust of a young martyr, artist unknown, c. 1310–25,
polychromed wood, 27.4 × 23.4 × 11.6 cm. Yale Gallery of Art
1985.42.l. 115
6.4 Lancelot and Guinevere’s fi rst kiss, Lancelot-Graal , Northeastern
France, 1310–15, New York, Pierpont Morgan Library MS M. 805.6,
fol. 67r. 119
CHAPTER 7
7.1 The Virgin sits in a comfortably appointed chamber which features
an image of St Christopher on paper pinned above the fi replace. Maître
de Flémalle (Robert Campin?), A nnunciation , c. 1415–25, Inv. 3937,
Royal Museum of Fine Arts, Belgium. Image courtesy of Wikimedia
Commons. 131
7.2 Chambers functioned as spaces for entertaining and for displaying
emblems of family pride and personal identity, as shown in this miniature
of Queen Isabella of Bavaria in her chamber receiving a manuscript from
Christine de Pizan. From the poems of Christine de Pizan, c. 1410–15.
Harl 4431 fol. 3, British Library, London, U K /© British Library Board.
All Rights Reserved/Bridgeman Images. 133
7.3 The central panel of the M é rode Altarpiece (c. 1427–32) by the Master of
Flémalle (Robert Campin?) mirrors the sorts of hall furnishings found in
urban homes of merchants and prosperous craftsmen. © The Cloisters
Collection (1956), The Metropolitan Museum of Art. 135
7.4 Peasant festivities took place inside barns or in the open air, as with this
decorous feast depicted in an engraving from the mid- sixteenth century.
The Peasants’ Feast or the Twelve Months , 1546–7, by Sebald Beham.
Gift of J. Rockman, 1942 © The Metropolitan Museum of Art. 136
CHAPTER 8
8.1 In 1379, two urban functionaries are killed during a violent revolt in
Montpellier, in Chroniques de France, dites de Saint-Denis , Paris, after
1380. British Library, MS Roy. 20 CVII , f. 212r. 142