The Lyon Terence: Its Tradition and Legacy

312 Pages·2020·15.341 MB·English

by  Giulia Torello-Hill, Andrew J. Turner

The Lyon Terence
Drama and Theatre in Early

Modern Europe
Editor-i n- Chief
Jan Bloemendal (Royal Netherlands Academy of Arts and Sciences and
Ruhr-U niversität Bochum)
Editorial Board
Peter G.F. Eversmann (University of Amsterdam)
Jelle Koopmans (University of Amsterdam)
Joachim Küpper (Freie Universität Berlin)
Russell J. Leo (Princeton University)
volume 11
The titles published in this series are listed at brill.com/d tem
The Lyon Terence

Its Tradition and Legacy
By
Giulia Torello- Hill and Andrew J. Turner
LEIDEN | BOSTON
Cover illustration: a depiction of a theatre and performance of Roman comedy from the Lyon Terence
(Terentius, Comoediae 1493, a4v). Courtesy of the Bayerische Staatsbibliothek, München.
Library of Congress Cataloging-in-Publication Data
Names: Torello-Hill, Giulia, author. | Turner, Andrew J., author.
Title: The Lyon Terence : its tradition and legacy / by Giulia Torello-Hill and
Andrew J. Turner.
Description: Leiden ; Boston : Brill, [2020] | Series: Drama and theatre in early
modern Europe, 2211-341X ; volume 11 | Includes bibliographical references and
index. | Summary: “The authors take an unprecedented interdisciplinary
approach to map out the influence of Late-Antique and Medieval commentary
and iconographic traditions over this seminal edition of the plays of Terence,
published in Lyon in 1493. This book establishes the pivotal role that the
Lyon Terence played in humanist understanding of Classical theatre practices
that foreshadowed the establishment of early modern theatre in Italy and
France.”– Provided by publisher.
Identifiers: LCCN 2020019151 (print) | LCCN 2020019152 (ebook) |
ISBN 9789004362451 (hardback) | ISBN 9789004432406 (ebook ; acid-free paper)
Subjects: LCSH: Terence. Works. | Terence–Criticism and interpretation–History–
To 1500. | Badius, Josse, 1462-1535. | Terence–Appreciation–History. | Incunabula–
France–Lyon.
Classification: LCC PA6767 .T67 2020 (print) | LCC PA6767 (ebook) |
DDC 872/.01–dc23
LC record available at https://lccn.loc.gov/2020019151
LC ebook record available at https://lccn.loc.gov/2020019152
Typeface for the Latin, Greek, and Cyrillic scripts: “Brill.” See and download: brill.com/b rill- typeface.
issn 2211- 341X
isbn 978- 90- 04- 36245- 1 (hardback)
isbn 978- 90- 04- 43240- 6 (e- book)
Copyright 2020 by Koninklijke Brill NV, Leiden, The Netherlands.
Koninklijke Brill NV incorporates the imprints Brill, Brill Hes & De Graaf, Brill Nijhoff, Brill Rodopi,
Brill Sense, Hotei Publishing, mentis Verlag, Verlag Ferdinand Schöningh and Wilhelm Fink Verlag.
All rights reserved. No part of this publication may be reproduced, translated, stored in a retrieval system,
or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise,
without prior written permission from the publisher. Requests for re-use and/or translations must be
addressed to Koninklijke Brill NV via brill.com or copyright.com.
This book is printed on acid- free paper and produced in a sustainable manner.
A Valentina e Sofia, il mio squarcio di luce anche nei giorni più bui.
GTH
and
in memoriam Peter Brown, a true Terentian scholar and gracious host.
AT
∵

Contents

Preface ix
List of Figures xi
Abbreviations xiii
Note on Illustrations and the Use of Electronic Resources xiv
Introduction 1
1 The Lyon Terence and Its Initial Impact 10
1.1 Contents and mise- en- page 10
1.2 Publishing in Lyon 14
1.3 Composition, Printing, and Distribution 16
2 Terence’s Plays: Commentary and Illustration from Manuscript to
Print 24
2.1 Terence as an Educational Classic: Text and Commentary from
Antiquity to Medieval and Renaissance Europe 24
2.2 The Development of Manuscript Illustrations of Terence 39
2.3 The Impact of New Learning and Technologies: Donatus and the
Advent of Printing 51
3 The Editor of the Lyon Terence: Jodocus Badius Ascensius 67
3.1 Badius 67
3.2 Early Life and Literary Career to 1493 68
3.2.1 Flanders and Brabant 68
3.2.2 Italy 73
3.2.3 Lyon 83
3.3 Later Career to 1502 93
4 Text and Commentary in Badius’ Three Editions of Terence 102
4.1 The 1491 Edition and Donatus 102
4.2 The Lyon Terence: The Commentary of Guy Jouenneaux and Badius’
Revisions 120
4.2.1 The Commentary Edition of Guy Jouenneaux 120
4.2.2 Badius’ Re- edition of Guy 125
4.3 The 1502 Terence and Its Sources 135
5 The Illustrative Programme of the 1493 Edition 141
5.1 Badius’ Appropriation of the Carolingian Tradition 141
viii Contents
5.2 Gestures in Medieval and Early Modern Culture 144
5.3 Carolingian Gestures 146
5.4 Non- Carolingian Gestures 149
5.4.1 Manly Gestures 149
5.4.2 Female Gestures 150
5.4.3 Affective Gestures 152
5.5 Characterisation through Costuming 154
5.6 Gestures, Illustrations and Commentary Derivative of Donatus in the
Lyon Terence 158
5.7 The Illustrator of the Lyon Terence 160
Appendix: A Catalogue of Gestures 164
6 The Theatricality of the Lyon Terence 172
6.1 The Lyon Terence and Performance 172
6.2 Stage Design: The Lyon Terence and the Representation of Theatre
Buildings 173
6.3 The Stage 177
6.4 Stage Conventions 183
6.4.1 Entrances and Exits 183
6.4.2 Asides, Eavesdropping, and Off- Stage Scenes 186
6.5 Terence on Stage in Renaissance Italy and France 189
7 The Legacy of the Lyon Terence in the Sixteenth Century 196
7.1 Terence in Print in the Late Fifteenth and Sixteenth Century 196
7.2 The Venetian Illustrated Editions of Terence of Lazzaro de’
Soardi 196
7.3 The Italian Illustrated Editions of the Sixteenth Century 206
7.4 The Influence of the Lyon Terence in Germany: The Illustrated
Terence of Johann Grüninger and Its Tradition 211
7.5 The French Tradition of Terence after 1493 216
7.6 Conclusion 220
Conclusion 222
Bibliography 229
Index Locorum 254
Index of Manuscripts 256
Index of Subjects 258
Concordance of Images in the Lyon Terence 266
Illustrations 271
Preface

We first conceived of this study in March 2016 when Giu lia, then Hanna Kiel
Fellow at Villa I Tatti The Harvard University Center for Italian Renaissance
Studies, proposed a jointly written, comprehensive monograph on it; as is
argued in the introduction, despite the significance of this incunabulum for
European intellectual history, hardly anything substantial has so far appeared
on it in modern scholarship. Nevertheless, our engagement with this seminal
book goes back several years before this. In 2010 Andrew assisted in identifying
a single leaf of the Lyon Terence possessed by the Christchurch Art Gallery Te
Puna o Waiwhetu in New Zealand, and drafted an online catalogue description
for it, and subsequently the Gallery kindly gave us permission to use an image
of this leaf on the cover of our jointly edited collection of studies Terence be-
tween Late Antiquity and the Age of Printing (Brill, 2015), in which we and our
contributors referred to this work at several junctures.
Research for this present book was supported under the Australian Research
Council’s Discovery Projects funding scheme for a project (ARC DP150100974)
entitled ‘Scripts without a stage: Reception of Roman comedy in the early
Italian Renaissance.’ Funding was awarded for the years 2015–2 016 to the au-
thors and to our colleague James H.K.O. Chong- Gossard of the University of
Melbourne, and we gratefully acknowledge his participation in this project, in
particular his research into Guy Jouenneaux, which set the ground for part of
our investigation in our own book. The funding from the ARC was especially
useful in that in 2016 it allowed Andrew to examine manuscripts of Donatus
in the British Library, the Bodleian Library, and in various libraries in Italy, that
formed the basis of parts of Chapters 2 and 4, and Giulia to perform a textual
and iconographical analysis of key manuscripts and Early Modern printed edi-
tions at the Biblioteca Universitaria in Genoa, the Biblioteca Nazionale Cen-
trale in Florence, the British Library, the Bibliothèque nationale de France, and
the Library of the École des Beaux- Arts in Paris in 2017, and make an initial pre-
sentation on her findings to the Renaissance Society of America Conference
in New Orleans in 2018. It also allowed us to employ two outstanding post-
doctoral researchers at Melbourne, Sonya Wurster and Leanne McNamara,
and our own work builds in many key places on their meticulous and pains-
taking collation of minutiae in this volume and its little- known predecessor, a
1491 edition of Terence and Donatus edited by Badius.
The support of Renaissance Society of America and Kress Foundation short-
term fellowship (October- November 2018) allowed Giulia to research the im-
pressive collection of incunables and sixteenth- century editions of Terence at
x Preface
the Newberry Library in Chicago and to draft Chapter 7 of this book. Giulia
wishes to thank Paul Gehl for his generosity and willingness to share his knowl-
edge of the Newberry collection and provide invaluable advice, Lia Markey
and Suzanne Karr- Schmidt for their support and encouragement, as well as all
Newberry Library staff and resident fellows.
We would like to express our thanks to Brill and the series editors of Drama
and Theatre in Early Modern Europe for agreeing in the first place to publish our
work, and then for granting us a timely extension when we felt overwhelmed
by new material; in this context, we also have to thank our dedicated editor, Ivo
Romein. Particular mention must be made of the three anonymous readers ap-
pointed by Brill to assess our work, who were both highly encouraging and also
contributed substantially to the final form and content of the book, bringing our
attention to several key works we had missed. Our study has benefitted greatly
from their critical insight. Any further mistakes are of course entirely our own.
We have many people and institutions to thank for their assistance along the
way. The libraries and administrative departments of our respective universities
have very often helped enormously with the mechanics of this project. We also
wish to thank the Biblioteca Universitaria in Genoa and its dedicated librarian
Claudio Risso, and the Carmelite Library in Middle Park, Victoria, for giving
Andrew access to its extensive collections. Other libraries which were extreme-
ly helpful besides the Newberry Library in Chicago, especially in providing us
with suitable images at low or no cost, were the Bayerische Staatsbibliothek in
Munich, the Bibliothèque nationale de France in Paris, the Library of Congress
in Washington DC, and the Thomas Fisher Rare Book Library in Toronto.
Scholars were generous with their time and freely gave us copies of their
own work, and we have in particular to thank Carmela Cioffi and Louise Katz.
Finally, we would like to thank Peter Bruun Hansen, Marc Carnier, Scot McK-
endrick, Bernard Muir, Monica Azzolini, Danila Parodi and David Pritchard,
amongst many others, for generously assisting us over this long process with
both practical help and erudition.
Lastly, we thank our friends and families for providing both practical and
emotional support. Giulia would like to thank in particular her husband Mi-
chael and her sisters-i n- law Vikki and Trina for minding her children on nu-
merous occasions during the writing of this book and her parents Franco and
Cleta Torello for providing constant support even though from afar. She also
thanks wholeheartedly her children Valentina and Sofia who for years have
had to share their mum’s attention and time with her obscure interests.
GTH
AT