The Art and Popular Culture Encyclopedia - New pages [en]

Porträt einer Frau mit entblößtem Busen

Jahsonic — Sun, 22 Nov 2009 01:46:33 GMT

Summary:

{{Template}}
[[Portrait of Woman Revealing her Breasts]][http://commons.wikimedia.org/wiki/File:Jacopo_Tintoretto_028.jpg] ([[1570]]) by [[Tintoretto]], [[Museo del Prado]].

The painting is with ''[[La Fornarina]]'', one of the most famous instances of [[gratuitous nudity]] -- that is, without [[mythological pretext]] -- of [[Italian Renaissance painting]].

{{GFDL}}

Venus, Vulcan and Mars

Jahsonic — Sun, 22 Nov 2009 01:31:35 GMT

Summary:

{{Template}}
:''[[Venus]], [[Vulcan]] and [[Mars]]''
[[Venus, Vulcan and Mars]] is a painting by [[Tintoretto]]. [[Venus]] was the [[consort]] of [[Vulcan (mythology)|Vulcan]]. [[Mars]] was the lover of [[Venus]].
{{GFDL}}

Matthias Stom

Jahsonic — Sun, 22 Nov 2009 01:27:45 GMT

Summary:

{{Template}}

'''Matthias Stom''' or '''Matthias Stomer''' (c. 1600, [[Amersfoort]] (?) – after 1652, (?)) was a [[Dutch golden age]] [[Painting|painter]], considered being one of the masters of the [[Utrecht Caravaggism]]. Besides Stom and Stomer he has been referred to as Matthias Stohom / Stomma, Matheo Schem and Matteo Tomar. Stom spent most of his artistic life in Italy, and 200 works have been preserved.

{{GFDL}}

Biblical story

Jahsonic — Sun, 22 Nov 2009 01:14:46 GMT

Summary:

{{Template}}
A '''List of Bible stories''' is a list usually taken as referring to [[Bible stories|stories]] or [[pericopes]] of the [[Bible]]. It may include one or more of the following lists:

*[[List of Hebrew Bible stories]] (according to [[Judaism]], also called the [[Old Testament]] by [[Christianity]].)

*[[List of New Testament stories]] ([[Christianity]] only) ''See also:''
:*[[Gospel harmony#A parallel harmony presentation]]
:*[[Acts of the Apostles#Content]]
:*[[Chronology of Revelation]]

*More stories, which various people may include in a list of Bible stories, that derive from or are found in various works:
:*Narratives are found in [[Apocrypha]] and [[Deuterocanonical books]]
:*Narratives are found in the [[Midrash]]im, of Judaism's [[Oral law#Oral law in Judaism|Oral law]]
*Narratives of the [[New Testament Apocrypha]], e.g. Apocryphal Acts and Gospels, are not [[canonical]] to any group

{{GFDL}}

Incest in the Bible

Jahsonic — Sun, 22 Nov 2009 01:10:21 GMT

Summary:

{{Template}}
'''[[Incest]] in the [[Bible]]''' does not entirely overlap with the definition of ''incest'' in many modern nations. A few [[books of the Bible]], particularly the early parts of the [[Torah]], contain [[narrative]]s in which certain individuals, from the same family as one another, engage in [[sexual intercourse]] together; while this could be construed as [[incest]], [[endogamy]] is an alternative interpretation. The Bible does not, for example, forbid [[cousin]]s from marrying, but it does prohibit sexual relations with several other close relatives.

{{GFDL}}

Quentin Metsys the Younger

Jahsonic — Sun, 22 Nov 2009 00:58:23 GMT

Summary:

{{Template}}
'''Quentin Metsys the Younger''' (rarely '''Quinten''' or '''Massys''') ([[Antwerp]], c. [[1543]] - [[Frankfurt]], [[1589]]) was a [[Flanders|Flemish]] [[Renaissance]] [[Painting|painter]], one of several of his countrymen active as [[artists of the Tudor court]] in the reign of [[Elizabeth I of England]]. He was the son of [[Flanders|Flemish]] painter [[Jan Matsys|Jan Massys, Matsys, or Metsys]] and the grandson and namesake of [[Quentin Massys|Quentin Massys or Metsys]].

{{GFDL}}

Stefano di Giovanni

Jahsonic — Sun, 22 Nov 2009 00:43:01 GMT

Summary:

{{Template}}

'''Stefano di Giovanni''', known as '''il Sassetta''', (1392 – 1450 or 1451) was an Italian painter. He was born in [[Siena]], although there is also an hypothesis that he was born in [[Cortona]]. However, the first historical record of him was in Siena in 1423. Di Giovanni was probably the apprentice of [[Paolo di Giovanni Fei]] although it is also thought that he may have studied under Benedetto di Bindo. He painted in the semi-archaic [[Sienese School]] style of painting. Francesco di Giorgio e di Lorenzo, better known as [[Vecchietta]], is said to have been his apprentice.
{{GFDL}}

James Stirling (architect)

Jahsonic — Sun, 22 Nov 2009 00:31:27 GMT

Summary:

{{Template}}

'''Sir James Frazer Stirling''' [[Royal Institute of British Architects#Designation|FRIBA]] ([[22 April]] [[1926]] in [[Glasgow]] – [[25 June]] [[1992]] in [[London]]) was a British Architect considered to be among the most important and influential architects of the second half of the 20<sup>th</sup> century. {{GFDL}}

Neue Staatsgalerie

Jahsonic — Sun, 22 Nov 2009 00:31:21 GMT

Summary:

{{Template}}

The '''Neue Staatsgalerie''' in [[Stuttgart]], [[Germany]] was designed by the British firm James Stirling, Michael Wilford and Associates, although largely accredited solely to partner [[James Stirling (architect)|James Stirling]]. It was constructed in the 1970s and opened to the public in 1984.
{{GFDL}}

Staatsgalerie, Stuttgart

Jahsonic — Sun, 22 Nov 2009 00:29:37 GMT

Summary:

{{Template}}
The '''Staatsgalerie Stuttgart''' (''State Gallery'') is an [[art gallery]] and [[art museum]] in [[Stuttgart]], [[Germany]], opened in [[1843]]. In [[1984]] the opening of the [[Neue Staatsgalerie]] (''New State Gallery'') designed by [[James Stirling (architect)|James Stirling]] transformed the once provincial gallery into one of [[Europe]]'s leading [[museum]]s.

==Alte Staatsgalerie==
Originally, the [[classicism|classicist]] building of the ''Alte Staatsgallerie'' was also the home of the royal art school. Built in 1843, it was extended by two further wings during 1881-1887. After being totally destroyed in World War II, it was rebuilt from 1946 and reopened in 1948.

It houses the following collections:
* Old German paintings 1300-1550
* Italian paintings 1300-1800
* Dutch paintings 1500-1700
* German paintings of the [[baroque]] period
* Art from 1800-1900 ([[romanticism]], [[impressionism]])

== Notable works ==

*[[Max Beckmann]]'s ''Journey on the Fish''
*[[Salvador Dalí]]'s ''The Raised Instant'' (1938)
*[[George Grosz]]'s ''[[The Funeral (Grosz)|The Funeral]]'' (1918)
*[[Franz Marc]]'s ''The Small Yellow Horses'' (1912)
*[[Henri Matisse]]'s ''With the Toilet (La Hair-style)'' (1907)
*[[Joan Miró]]'s ''The Bird with the Calm View, the Wings in Flames'' (1952)
*[[Piet Mondrian]]'s ''Composition in White, Red and Blue'' (1936)
*[[Pablo Picasso]]'s ''Tumblers (Mother and Son)'' (1905), ''Laufende Frauen am Strand'' (1922), ''The Breakfast in the Free One'' (1961)
*Works by: [[Paul Klee]], [[Marc Chagall]], [[Wassily Kandinsky]]

==Neue Staatsgalerie==

The ''Neue Staatsgalerie'', a controversial architectural design by [[James Stirling (architect)|James Stirling]], opened on [[March 9]], [[1984]] on a site right next to the old building. It houses a collection of 20th-century [[modern art]] — from [[Pablo Picasso]] to [[Oskar Schlemmer]], [[Joan Miró]] and [[Joseph Beuys]].

{{GFDL}}

Beelzebub's Tales to His Grandson

Jahsonic — Sun, 22 Nov 2009 00:13:43 GMT

Summary:

{{Template}}

'''''Beelzebub's Tales to His Grandson''''' or '''''An Objectively Impartial Criticism of the Life of Man''''' is the first volume of the [[All and Everything]] trilogy written by the [[Greeks|Greek]]-[[Armenian (people)|Armenian]] [[mysticism|mystic]] [[G. I. Gurdjieff]]. The All and Everything trilogy also includes ''[[Meetings with Remarkable Men]]'' (first published in 1963) and ''[[Life is Real Only Then, When 'I Am']]'' (first privately printed in 1974).

{{GFDL}}

Isaiah

Jahsonic — Sun, 22 Nov 2009 00:10:49 GMT

Summary:

{{Template}}

# A book of the [[Old Testament]] of [[Bible]], and of the [[Tanakh]].
# A [[prophet]], the author of the Book of Isaiah.
{{GFDL}}

Book of Isaiah

Jahsonic — Sun, 22 Nov 2009 00:09:48 GMT

Summary:

{{Template}}

The '''Book of Isaiah''' is a book of the [[Bible]] traditionally attributed to the Prophet [[Isaiah]], who lived in the second half of the [[8th century BC]].
{{GFDL}}

No rest for the wicked

Jahsonic — Sun, 22 Nov 2009 00:05:31 GMT

Summary:

{{Template}}
'''"No rest for the wicked"''', or '''"No peace for the wicked"''', is a phrase originating from the [[Book of Isaiah]] verses 48:22 and 57:20-21.

* [[Book of Isaiah]] 48:22 " 'There is no peace,' says the Lord, 'for the wicked.' " [NIV]
* [[Book of Isaiah]] 57:20 "But the wicked are like the troubled sea, when it cannot rest, whose waters cast up mire and dirt."
* [[Book of Isaiah]] 57:21 "There is no peace, saith my God, to the wicked."

Its literal meaning can be taken as: "The wicked shall be tormented."

The phrase may also refer to:

In '''music''':
* [[No Rest for the Wicked (Ozzy Osbourne album)|''No Rest for the Wicked'' (Ozzy Osbourne album)]], an album by Ozzy Osbourne
* [[No Rest for the Wicked (New Model Army album)|''No Rest for the Wicked'' (New Model Army album)]], an album by New Model Army
* [[No Rest for the Wicked (Helix album)|''No Rest for the Wicked'' (Helix album)]], an album by the band Helix
* [[No Rest for the Wicked (Godsmack song)|"No Rest for the Wicked" (Godsmack song)]], a song by Godsmack on their album ''IV''
* "[[Ain't No Rest For the Wicked]]", a 2008 song by Cage the Elephant
* "No Rest for the Wicked", a song by Cypress Hill on their album ''[[III: Temples of Boom]]''
* "No Rest for the Wicked", a song by NoMeansNo on their album ''[[Mama (NoMeansNo album)|Mama]]''
* "No Rest for the Wicked", a song by Project: Deadman on their album ''[[Project: Deadman Self Inflicted]]''
* "No Peace for the Wicked", a song by Thompson Twins on their album ''[[Into the Gap]]''

In '''other uses''':
* [[No Rest for the Wicked (webcomic)|''No Rest for the Wicked'' (webcomic)]], a webcomic by Andrea L. Peterson
* "[[Blood (video game)#Episode 2: Even Death May Die|Rest for the Wicked]]", the title of a level from the 1997 first-person shooter PC game, ''Blood''
* "No Rest for the Wicked", the finale of season 3 of the television show ''[[Supernatural (season 3)|Supernatural]]''
* No Rest for the Wicked, an achievement in the game [[Kane & Lynch: Dead Men]]

{{GFDL}}

Greek novel

Jahsonic — Sun, 22 Nov 2009 00:00:24 GMT

Summary:

{{Template}}
:''[[Latin novel]], [[Greek literature]], [[Theagenes and Chariclea]]''

Ancient Greek novels:
* [[Heliodorus of Emesa]]'s [[Theagenes and Chariclea]]
* [[Chariton]]'s [[The Loves of Chaereas and Callirhoe]]
* [[Xenophon of Ephesus]]'s The [[Ephesian Tale]]
* [[Achilles Tatius]]'s [[Leucippe and Clitophon]]
* [[Longus]]'s [[Daphnis and Chloe]]
{{GFDL}}

De architectura

Jahsonic — Sat, 21 Nov 2009 23:54:10 GMT

Summary:

{{Template}}
''De architectura'' (''On architecture'') is a treatise on [[architecture]] written by the [[Ancient Rome|Roman]] [[architect]] [[Vitruvius]] and dedicated to his patron, the emperor [[Caesar Augustus]] as a guide for [[Caesar Augustus#Building projects|building projects]]. The work is one of the most important sources of modern knowledge of Roman building methods as well as the planning and design of structures, both large (aqueducts, buildings, baths, harbours) and small (machines, measuring devices, instruments). He is also the prime source of the famous story of [[Archimedes]] and his bath-time discovery.
{{GFDL}}

Bibliotheca scriptorum Graecorum et Romanorum Teubneriana

Jahsonic — Sat, 21 Nov 2009 23:51:37 GMT

Summary:

{{Template}}

The '''Bibliotheca Teubneriana''', or '''Teubner''' editions of [[Ancient Greek literature|Greek]] and [[Latin literature|Latin]] texts, comprise the most thorough modern collection ever published of ancient (and some medieval) Greco-Roman literature. The series, whose full name is the '''''Bibliotheca Scriptorum Graecorum et Romanorum Teubneriana''''', consists of [[textual criticism|critical editions]] by leading scholars (now always with a full [[critical apparatus]] on each page, although during the nineteenth century some ''editiones minores'' were published either without critical apparatuses or with abbreviated textual appendices).

'''Teubneriana''' is an abbreviation used to denote mainly a single volume of the series (fully: ''editio Teubneriana''), rarely the whole collection; correspondingly, ''Oxoniensis'' is used with reference to the ''Scriptorum Classicorum Bibliotheca Oxoniensis'', mentioned above as ''Oxford Classical Texts''.

Today, the only comparable publishing ventures, producing authoritative scholarly reference editions of numerous ancient authors, are the [[Oxford Classical Texts]] and the [[Collection Budé]] (whose volumes also include facing-page French translations with notes). (The [[Loeb Classical Library]], with facing-page English translations and notes, aims at a more general audience.)

{{GFDL}}

The Summoner's Tale

Jahsonic — Sat, 21 Nov 2009 23:47:13 GMT

Summary:

{{Template}}
'''The Summoner's Tale''' is one of ''[[The Canterbury Tales]]'' by [[Geoffrey Chaucer]].

The tale is a fierce counterpunch to the preceding tale by [[The Friar's Tale|The Friar]] which had been an offensive attack on [[summons|summoners]]. Summoners were officials in [[ecclesiastical court]]s who summoned people to attend and worked in a similar way to ushers. The Friar had accused them of corruption and taking bribes and the Summoner seeks redress through his own story.

{{GFDL}}

The Parson's Tale

Jahsonic — Sat, 21 Nov 2009 23:47:06 GMT

Summary:

{{Template}}

'''The Parson's Tale''' is the final tale of [[Geoffrey Chaucer]]'s poetic cycle ''[[The Canterbury Tales]]''. The longest of all the tales, the Parson's contribution is neither a story nor a poem, but a prose [[treatise]] on virtuous living.
{{GFDL}}

The Squire's Tale

Jahsonic — Sat, 21 Nov 2009 23:47:00 GMT

Summary:

{{Template}}

'''The Squire's Tale''' is a [[tale]] in [[Geoffrey Chaucer]]'s ''[[The Canterbury Tales]]''. It is deliberately unfinished; it comes first in group F, followed by the [[The Franklin's Tale|Franklin]]'s interruption, prologue and tale. The [[Squire]] is the [[The Knight's Tale|Knight]]'s son, a novice warrior and lover with more enthusiasm than experience. His tale is an epic [[romance (genre)|romance]], which, if completed, would probably have been longer than rest of the ''Tales'' combined. It contains many literary allusions and a great deal of vivid description.
{{GFDL}}

Epilogue

Jahsonic — Sat, 21 Nov 2009 23:46:53 GMT

Summary:

{{Template}}

An '''epilogue''', or '''epilog''', is a piece of writing at the end of a work of literature or drama, usually used to bring closure to the work. The writer or the person may deliver a speech, speaking directly to the reader, when bringing the piece to a close, or the narration may continue normally to a closing scene.
==In literature==
An epilogue is a final chapter at the end of a story that often serves to reveal the fates of the characters. Some epilogues may feature scenes only tangentially related to the subject of the story. They can be used to hint at a sequel or wrap up all the loose ends. They can occur at a significant period of time after the main plot has ended. In some cases, the epilogue has been used to allow the main character a chance to 'speak freely'.
An epilogue can continue in the same narrative style and perspective as the preceding story, although the form of an epilogue can occasionally be drastically different from the overall story.
When the author steps in and speaks directly to the reader, that is more properly considered an afterword.

==In film==
In films, the final scenes may feature a montage of images or clips with a short explanation of what happens to the characters. ''[[Four Weddings and a Funeral]]'' and ''[[National Lampoon's Animal House]]'' are examples of such films.

==In television==
The US series "[[Arrested Development]]" is a good example as it has an epilogue at the end of every episode.

==See also==
*[[Prologue]]{{GFDL}}

The Man of Law's Prologue and Tale

Jahsonic — Sat, 21 Nov 2009 23:43:33 GMT

Summary: /* External links */

{{Template}}

'''The Man of Law's Tale''' (also called '''The Lawyer's Tale''') is the fifth of the ''[[Canterbury Tales]]'' by [[Geoffrey Chaucer]], written around 1387.

==The Summary==
The Man of Law tells a [[Romance (poetry)|Romance]] tale of a Christian princess named Custance (or Constance) who is betrothed to the [[Demographics of Syria|Syrian]] Sultan on condition that he convert to [[Christianity]]. The Sultan's mother connives to prevent this and has her set adrift on the sea. Her adventures and trials continue after she is shipwrecked on the [[Northumberland]] coast.

Northumberland is a pagan country where the King, Alla (based on Chaucer's understanding of the historical [[Ælla of Northumbria]]) eventually converted to Christianity. His evil mother intercepts and falsifies a letter between the couple, which results in Constance being banished. Constance is forced to go to sea again and is found by a Senator of Rome. The Senator takes both Constance and her child back to Italy to serve as a household servant. The King goes to Rome, in an effort to have a pilgrimage, and finds Constance. In the end the couple return to Northumberland. Alla dies a year later, and the baby boy becomes the King.

==Sources==
The tale is based on a story within the ''Chronicles'' of [[Nicholas Trivet]] but the major theme in the tale, of an exiled princess uncorrupted by her suffering, was common in the literature of the time. Her tale is also told in [[John Gower]]'s ''[[Confessio Amantis]]'', and both are similar to the verse [[Romance (genre)|Romance]] ''Emare''.

==Analysis==
===Saints' lives genre===
The tale is meant to be a morally uplifting story and is similar to hagiography, or stories of the saints' lives, which were common popular literature of the time. Custance as her name suggests is constant to her [[Christian]] religion despite the attacks and testing it receives from the [[paganism|pagans]] and [[heathen]]s she meets on her travels.

===Rhetoric===
The Man of Law tells his story in a pompous over-blown style as if he is defending Custance in a court of law. He also uses many [[Figure of speech|rhetorical figures]], taken straight from the manuals of rhetoric of the day, to emphasize Custance's noble character—as well as the teller's lawyerly—and state her case.

===John Gower===
Although Chaucer receives some praise and also criticism from his own character with favourable mentions of ''[[The Book of the Duchess]]'' and ''[[The Legend of Good Women]]''; in the Man of Law's prologue he seems to spare most of his opprobrium for [[John Gower]].{{Or|date=April 2009}} Two of the tales which he dislikes, [[Canace]] and [[Apollonius of Tyre]], involve [[incest]], as did the some versions of the story. Chaucer based this tale on the [[Nicholas Trivet]] story from his ''Chronicle''. Gower though had recorded all these stories. Chaucer is, perhaps, with friendly banter, trying to goad his friend and fellow writer into a storytelling challenge.

:But certeinly no word ne writeth he
:Of thilke wikke [wicked] ensample of Canacee,
:That loved hir owene brother synfully --
:Of swiche cursed stories I sey fy! --
:Or ellis of Tyro Appollonius,
:How that the cursed kyng Antiochus
:Birafte his doghter of hir maydenhede,
:That is so horrible a tale for to rede,
:Whan he hir threw upon the pavement.

===Sequence with other tales===
The various manuscripts of the tales differ on the structure of the tales with some containing the Man of Law's epilogue and others not. In the [[epilogue]], the host invites the [[The Parson's Tale|Parson]] but he is interrupted before he can begin and a different speaker tells the next tale. The [[The Summoner's Tale|Summoner]], the [[The Squire's Tale|Squire]] and the [[The Shipman's Tale|Shipman]] are listed as interrupters in the different manuscripts but it is the Shipman whose character best matches the rude remarks although the mention of his "joly body" sounds closer to something the [[The Wife of Bath's Tale|wife of Bath]] may say. What it probably shows is that Chaucer had not fixed his overall plan. There are also hints, with his claim he will talk in prose despite rhyming throughout, that the Man of Law originally told the [[The Tale of Melibee|Tale of Melibee]] before he was assigned Custance's tale late in the composition of the tales.

{{GFDL}}

Godfrey of Viterbo

Jahsonic — Sat, 21 Nov 2009 23:40:16 GMT

Summary:

{{Template}}
'''Godfrey of Viterbo''' (c. 1120 – c. 1196), was a [[Roman Catholic]] [[chronicler]], either [[Italy|Italian]] or [[Germany|German]].

{{GFDL}}

Pantheon (book)

Jahsonic — Sat, 21 Nov 2009 23:39:40 GMT

Summary:

{{Template}}
The '''''Liber universalis''''' is a work of [[Gottfried von Viterbo]] (c. 1120 – c. 1196). In this work, completed in 1185, he chronicles world history from the creation of the world to the time of [[Henry VI, Holy Roman Emperor|Heinrich VI]].
{{GFDL}}

Venantius Fortunatus

Jahsonic — Sat, 21 Nov 2009 23:39:25 GMT

Summary:

{{Template}}
'''Saint Venantius Fortunatus''' or '''Venantius Honorius Clementianus Fortunatus''' (c. 530-c. 600/609) was a [[Latin]] [[poetry|poet]] and [[hymn]]odist, and a [[Bishop]] of the [[Roman Catholic Church]].

{{GFDL}}

Rope

Jahsonic — Sat, 21 Nov 2009 23:10:05 GMT

Summary:

{{Template}}
Thick [[string]]s, [[yarn]], [[monofilaments]], metal wires, or [[strand]]s of other [[cordage]] that are twisted together to form a stronger [[line]].
{{GFDL}}

Suspension bondage

Jahsonic — Sat, 21 Nov 2009 23:10:00 GMT

Summary:

{{Template}}
'''Suspension bondage''' is a form of [[Bondage (BDSM)|sexual bondage]] where a bound person is hung from one or more overhead suspension points. Suspension bondage is considered to carry a higher risk than other forms of sexual bondage.
{{GFDL}}

Édouard Halouze

Jahsonic — Sat, 21 Nov 2009 23:00:25 GMT

Summary:

{{Template}}
'''Devambez''' is the name of a fine [[printer (publisher)|printer's firm]] in [[Paris]]. It operates under that name from 1873, when the business established by the royal engraver [[Hippolyte Brasseux]] in 1826 was acquired by Édouard Devambez. At first specialising in heraldic engraving, engraved letterheads, invitations. Devambez clients included the [[House of Orléans]], [[Victor, Prince Napoléon]] of the [[House of Bonaparte]] and the [[Élysée Palace]]. Devambez widened the scope of the business to include advertising and publicity, artists’ prints, luxurious limited edition books, and an important art gallery. The House became recognized as one of the foremost fine engraver in Paris, winning numerous medals and honours. With the artist [[Edouard Chimot]] as Editor after the [[First World War]], the series of art edition books, employing leading French artists, illustrators and affichistes, reached a high point under the imprimatur ''A l'Enseigne du Masque d'Or'' - the Sign of the Golden Mask and with PAN in collaboration with Paul Poiret.
== Devambez publishing ==
Long-established as a printer, Devambez only ventured into book publishing at the start of the twentieth century, the first being in 1908, a book by Georges Cain on ''La Place Vendôme''. The publishing business was carried out from premises at 23, rue Lavoisier. Books were published either simply under the name ''Devambez'', as ''Devambez Éditions de Luxe'', or as ''À l’Enseigne du Masque d’Or, Devambez'' ; the term ''Masque d’Or'' was also used for two beautiful Art Deco almanacks for the years 1921 and 1922, illustrated with pochoir prints by [[Édouard Halouze]].

In this capacity, between 1906 and 1932 Devambez published around 70 general books, mostly illustrated, of which a selection of key titles is listed below.

* Georges Cain, ''La Place Vendôme'', 1908
* Eugène Belville, ''Monogrammes, Cachets, Marques, Ex-Libris'', 1910
* [[Léon Bourgeois]] et. al., ''La Misère Sociale de la Femme'', 1910
* René Peter, ''La Création du Monde'', ill. René Peter, 1912
* A. Bernheim, ''Autour de la Comédie Française'', 1913
* Jacques Boulanger, ''Le plus rare Voscelett du Monde'', ill. [[Pierre Brissaud]], 1913
* Charles Fouqueray, ''Le Front de Mer'', ill. Charles Fouqueray, [1916]
* Charles Fouqueray, ''Les Fusiliers-Marins au Front de Flandres'', ill. Charles Fouqueray, [1916]
* [[René Benjamin]], ''Les Soldats de la Guerre, Gaspard'', ill. Jean Lefort, 1917
* [[Louis Raemaekers]], ''La Guerre'', ill. Louis Raemaekers, [1917]
* Roger Boutet de Monvel, ''Nos Frères d’Amérique'', ill. Guy Arnoux, 1918
* [[Lucien Lévy-Dhurmer]], ''Les Mères pendant la Guerre'', ill. Lucien Lévy-Dhurmer, 1918
* Georges-Victor Hugo, ''Sur le Front de Champagne'', ill. Georges-Victor Hugo, 1918
* Guy Arnoux, ''Histoire de la Ramée'', ill. Guy Arnoux, 1919
* Jean-Paul Alaux, ''Visions Japonaises'', ill. Jean-Paul Alaux, 1920
* ''Almanach du Masque d’Or pour l’année 1921'', ill. Édouard Halouze, 1920
* Guy Arnoux, ''Les Caractères'', ill. Guy Arnoux, [1920]
* Jacques Boulanger, ''De la Valse au Tango'', ill. Cappiello, Sem, Drian, Domergue, Guy Arnoux, De Goyon, Halouze, 1920
* Marc Elder, ''À Bord des Chalutiers Dragueurs de Mines'', ill. René Pinard, 1920
* [[Claude Farrère]], ''Vieille Marine'', ill. Guy Arnoux, 1920
* René Kerdyk, ''Les Femmes de ce Temps'', ill. Guy Arnoux, 1920
* [[Edgar Allan Poe]], ''Une Descente dans le Maelström'', ill. Marc Roux, 1920
* [[Madeleine de Scudéry]], ''La Promenade de Versailles'', ill. Robert Mahias, 1920
* [[Laurence Sterne]], ''Voyage Sentimental en France et en Italie'', ill. Édouard Halouze, 1920
* ''Almanach du Masque d’Or pour l’année 1922'', ill. Édouard Halouze, 1921
* Léon Arnoult, ''La Variabilité du Gout dans les Arts'', 1921
* [[Jean de la Fontaine]], ''Adonis'', intro. [[Paul Valéry]], 1921
* [[Prosper Mérimée]], ''La Double Méprise'', 1922
* Jean-Paul Alaux, ''L’Histoire Merveilleuse de Christophe Colomb'', ill. Gustave Alaux, 1924
* Georges-Marie Haardt and Louis Adouin-Dubreuil, ''Les Nuits du Hoggar: Poèmes Touareg'', ill. Galanis after Robert-Raphaël Hardt, 1926
* [[Adolphe Willette]], ''Les Sept Péchés Capitaux'', ill. Adolphe Willette, 1926
* ''Les Arcades des Champs-Elysées, Une Merveille du Paris Moderne'', ill. Raoul Serres and Lauro, 1927
* Guy Arnoux, ''Chansons du Marin Français'', ill. Guy Arnoux, 1928
* Cherronet, [[Jean Cocteau]], Corbière, Dekobra, Etchegouin, Fouquières, Mac Orlan, and [[Edmond Rostand]], ''Deauville, La Plage Fleurie'', ill. Angoletta, Boucher, Dubaut, Gallibert, Geo Ham, Sem, Valerio, Vertès, 1930
* [[Pierre Mac Orlan]], ''La Croix, L’Ancre et la Grenade'', ill. Lucien Boucher, 1932
== Édouard Chimot and ''Les Editions d'Art Devambez'' ==
The books listed above do not include those published from 1923 to 1931 under the name ''Éditions d’Art Devambez'', which was a separate series of artist’s books.

The appointment of [[Édouard Chimot]] in 1923 as artistic director of a fine press imprint, ''Les Éditions d’Art Devambez'', opened a new era for Devambez. Chimot was among the artists who carried the [[Symbolist]] aesthetic forward into the age of [[Art Deco]]. The 1920s were his heyday. This was when his own art was at its most powerful and original, and also when his influence throughout the Parisian art world was most strongly felt.
As artistic director of the fine press ''Les Éditions d’Art Devambez'', Édouard Chimot worked closely with artists such as [[Pierre Brissaud]], Edgar Chahine, [[Tsuguharu Foujita]], Drian, Jean Droit, Henri Farge, and Alméry Lobel-Riche. Typically, books published by André Devambez under the direction of Chimot were illustrated with original etchings, in strictly limited editions of a few hundred copies.

In 1929, Devambez published a lavish catalogue, simply entitled ''Les Éditions d’Art Devambez'', in an edition of 100, to be given to his chief collaborators and preferred clients, containing extra proofs from all the books published from 1923-1929. Each copy of this catalogue was numbered and signed by Chimot to a named recipient. As almost all the books are already listed as out-of-print and unobtainable, the catalogue is not a sales pitch, but a record of achievement. To make the 100 books, the publisher bound up existing proof pages, to distribute to those most interested:<blockquote>
'Ce n’est pas un catalogue de reproductions que nous lui offrons, mais les précieux défets des livres eux-mêmes: les eaux-fortes du tirage et les feuilles typographiques du tirage, imprimées sur les différents papiers employés pour chaque édition.'
</blockquote> In order to construct a catalogue in this way, all copies of the book must be unique in their content.

Devambez may have regretted the extra expense involved in creating this exquisite calling card, as the [[Wall Street Crash]] and subsequent [[Great Depression|Depression]] devastated his market. No one would be buying, or bankrolling, projects such as these in the 1930s. There were several books still in the pipeline, but the glory days of the Chimot/Devambez partnership were over. Some announced books seem to have been cancelled.

The artists involved in ''Les Éditions d’Art Devambez'' include Art Deco masters such as Pierre Brissaud (who illustrated three books of the 31 or 32 published) and Drian. Drian was born Adrien Desiré Étienne, into a peasant family in Lorraine. The chatelaine of the village took an interest in the talented boy, but was horrified by his desire to be an artist. So when Adrien Étienne went to Paris to study at the Académie Julian, he took the pseudonym Drian – his own first name, as his contemporaries heard it in his slurred Lorrain accent.<ref>Marcus Osterwalder, ''Dictionnaire des illustrateurs 1890-1945'', 1992, p.321.</ref> He is often listed as Adrien Drian or Étienne Drian, but both are incorrect: the name Drian stands alone, like [[Erté]].

Chimot drew from the wide range of artists from round the world who had settled in Paris in the 1920s : William Walcot was an English artist born in Odessa to a Russian mother; Edgar Chahine and Tigrat Polane were both Armenian émigrés; Tsuguharu Foujita, known to his Montmartre friends as Léonard, was the artist who more than any other infused Japanese art with a modern Western sensibility.

Édouard Chimot himself was the most prolific supplier of original prints to Les Éditions d’Art Devambez, illustrating with etchings ''Les Chansons du Bilitis'', ''Les Poésies de Méléagre'', ''Les Belles de Nuit'', ''La Femme et le Pantin'', and [[Verlaine]]’s ''Parallèlement''.

=== List of books published under the imprint ''Les Éditions d’Art Devambez'' ===
(See References for sources of this listing.)

* [[Anatole France]], ''Le Petit Pierre'', ill. Pierre Brissaud, 1923
* [[Anatole France]], ''La Vie en Fleur'', ill. Pierre Brissaud, 1924
* [[Henri de Regnier]], ''La Canne de Jaspe'', ill. Drian, 1924
* [[Pierre Louÿs]], ''Les Chansons de Bilitis'', ill, Édouard Chimot, 1925
* [[Maurice Barrès]], ''La Mort de Vénise'', ill. Edgar Chahine, 1926
* [[Claude Farrère]], ''L’Homme qui Assassina'', ill. Henri Farge, 1926
* [[Gustave Flaubert]], ''Salammbô'', ill. William Walcot, 1926
* [[Pierre Loti]], ''La Troisième Jeunesse de Madame Prune'', ill. Tsuguharu Foujita, 1926
* [[Pierre Louÿs]], ''Les Poésies de Méléagre'', ill. Édouard Chimot, 1926
* [[Alphonse Daudet]], ''Les Lettres de mon Moulin'', ill. Jean Droit, 1927
* [[Joseph Arthur]], Comte de Gobineau, ''Les Nouvelles Asiatiques'', ill. Henri Le Riche, 1927
* [[Jean Lorrain]], ''Monsieur de Bougrelon'', ill, Drian, 1927
* [[Maurice Magre]], ''Les Belles de Nuit'', ill. Édouard Chimot, 1927
* [[André Suarès]], ''Le Livre de L’Émeraude'', ill. Auguste Brouet, 1927
* [[Maurice Barrès]], ''Greco ou le secret de Tolède'', ill. Auguste Brouet, 1928
* [[Alphonse Daudet]], ''Les Contes du Lundi'', ill. Pierre Brissaud, 1928
* [[Gustave Flaubert]], ''Hérodias'', ill. William Walcot, 1928
* [[Pierre Louÿs]], ''La Femme et le Pantin'', ill. Édouard Chimot, 1928
* [[Alphonse de Chateaubriant]], ''Monsieur de Lourdines'', ill. Henri Jourdain, 1929
* [[Gustave Flaubert]], ''Novembre'', ill. Edgar Chahine, 1929
* [[Joris-Karl Huysmans]], ''Le Drageoir aux Épices'', ill. Auguste Brouet, 1929
* [[Marie-Magdelaine Pioche de la Vergne]], Comtesse de Lafayette, ''La Princesse de Clèves'', ill. Drian, 1929
* [[Alfred de Musset]], ''La Nuit Vénitienne'', ill. Jean-Gabriel Domergue, 1929
* [[Émile Verhaeren]], ''Les Villages Illusoires'', ill. J. van Santen, 1929
* [[René Boylesve]], ''Nymphes dansant avec des Satyres'', ill. Tigrane Polat, 1930
* [[Colette]], ''Mitsou'', ill. Edgar Chahine, 1930
* [[Ovide]], ''Métamorphoses'', ill. André Lambert, 1930
* [[André Suarès]], ''Le Voyage du Condottière'', ill. Louis Jou, 1930
* [[Oscar Wilde]], ''Salomé'', ill. Alméry Lobel-Riche, 1930
* [[Joris-Karl Huysmans]], ''Marthe'', ill. Auguste Brouet, 1931
* [[Paul Verlaine]], ''Parallèlement'', ill. Édouard Chimot, 1931

There appears to be one further volume published as part of the same series as those above, but not included in the published catalogue, perhaps because it was deemed too risqué:

* ''Petite Mythologie Galante à l'usage des Dames, Les Dieux Majeurs'', ill. André Lambert, 1928

Three books announced for 1930 may never have been printed. These were:

* [[Anatole France]], ''Crainquebille'', ill. Auguste Brouet
* [[Stéphane Mallarmé]], ''Poésies'', ill. Édouard Chimot
* [[Albert Samain]], ''Le Jardin de l’Infante'', ill. Édouard Chimot

{{GFDL}}

Devambez

Jahsonic — Sat, 21 Nov 2009 22:54:55 GMT

Summary:

Élisée Maclet

Jahsonic — Sat, 21 Nov 2009 22:41:50 GMT

Summary:

{{Template}}
'''Élisée Maclet''' (1881-1962) was a French impressionist painter.

== Biography ==
Emile Elisee Maclet was the son of a gardener who lived in [[Lyons-en Santerre]] in [[Picardy]]. He was born there in 1881. Since his family was poor, he began to work at an early age, as an assistant to his father. Picardy is renowned for its roses and Maclet used to say that he was born among cabbages and roses. By the mysterious alchemy of genius, the gardener’s son wielded a painter’s brush almost as soon as he swung a pick and hoe. His father was not only a gardener, but also the sexton in the village church, so the boy inevitably became a choirboy. That brought him to the attention of the local cure, Father Delval. Father Delval was both the [[parish priest]] and painter and often on fine Sundays, when Vespers were over, he and young Maclet set out to sketch and paint along the roads or the banks of ponds.

[[Pierre Puvis de Chavannes|Puvis de Chavannes]] found the same scenes a source of inspiration and on an April Sunday in 1892, he saw some the work of this twelve-year-old boy was doing beside his clerical mentor. The great artist was so impressed that he sought out the elder Maclet and asked that he allow the boy to study with him. “My son is a gardener, and he will remain a gardener,” was the father’s reply.

In spite of paternal opposition, Elysee Maclet gave up gardening for art. Going to Montmartre, however, did not mean immediate fame. He painted, of course, but earned his living by varnishing iron bedsteads at first; a few months later he got a job decorating the floats for the gala nights at the Moulin Rouge. He also washed dishes in one restaurant; opened oysters in another; served as chef on a ship sailing from Marseilles for Indochina; and when he finally returned to Paris, he painted dolls in crinolines and exhibited them at the Salon de Hurnoristes. But in spite of all these occupations, he found time to paint.

When Maclet arrived in Montmartre, much of the country charm of the area still existed and he put it on canvas, even before Utrillo did so. Biographers have rather tented to pass over in silence the services Maclet rendered to Utrillo. Maclet knew practically all the future great painters of his time, Utrillo among them and it is certain that he aided the [[star-crossed]] genius, though his own reluctance to have people write about him may account for the fact that we know of it only through oblique remarks in the records of the time. Maclet painted the “Lapin Agile” and the “Moulin de la Galette” and the ‘Maison de Mimi Pinson” several years before Utrillo did painted them. He painted most often in winter and in this period, skillfully suggesting the snow by leaving bare white spaces in his canvas or paper.
In a short time Maclet won a circle of sincere admirers. The [[art dealer]] Dosbourg bought his work, which gave him a fairy reliable source of income and enabled him to devote more time than ever to his painting. From Montmartre he launched out into the suburbs of Paris, painting them with the same indulgent tenderness with which he treated the scenes of Montmartre.

When war broke out in 1914, Maclet served as a medical attendant in a temporary hospital run by [[Little Sisters of the Poor|the Little Sisters of the Poor]]. That allowed him to spend his periods of leave back in Montmartre, where he stayed at the ‘Lapin Agile” thanks to the hospitality of his friend Frede. Maclet slept in the cabaret hall and paid for his food by [[Dishwashing|washing dishes]] and polishing the copper pots. On one of these leaves, he painted two small pictures of Sacre-Coeur and the [[Moulin de la Galette]] which he sold to a Mr. Deibler, who combined his profession of official executioner with a love of the [[fine art]]s. Mr. Deibler was not his only patron and admirer. Francis Carco, the mayor of Montmartre: the innkeeper know as ”Le pere gay”; the famous writer Colette; the American art dealer Hugo Perlsall regarded him as the equal of the other great painters of the period. Famous dealers of the time, such as Pierre Menant and Matho Kleimann-Boch hung Maclet’s work beside the paintings of [[Vincent van Gogh|Van Gogh]] and Picasso in their galleries.

When the war ended, Maclet went back to Montmartre to live. In 1918 Francis Carco felt the painter needed to widen his horizons and sent him to Dieppe to stay in a house which Carco rented on a yearly basis. Soon all the wealth of the seacoast scenes appeared on Maclet’s canvases. He spent a year in Dieppe and then returned to Montmartre and to his former subjects. Montmartre was changing, new [[apartment building]]s were going up, taking the place of the stretches of verdures; the Ourcq Canal would soon disappear, the last of the landry boats were slowly gliding down the Seine. With his palette and brush and knife, Maclet seized them all and immortalized them.

In 1923 Maclet entered into a contact with a wealthy Austrian manufacturer, Baron Von Fray. One of the conditions of his contract was that he leave Paris for the south of France. Baron Von Frey sensed that Maclet would know how to handle the brilliant light and intense colors of the Midi. The Baron’s judgment was vindicated only a few hours after Maclet’s arrival in Arles, when the son of an old and famous friend of Van Gogh’s said to him, “Not since Van Gogh have I seen a painter use color as pure as you do.” Maclet stayed in the region from 1924 to 1928. He painted in Orange, Vaison-La Romaine, [[La Ciotat]], Cassis, Golfe Juan, Antibes, Cagnes, [[Saint-Paul, Alpes-Maritimes|Saint-Paul-de-Vence]], Ville-Franche, Nice, Menton, [[Sanremo|San Remo]], sending back to Von Frey glowing landscapes and glorious floral [[still life]]s. Von Frey reserved for himself almost the total output of this period and sent most of them to America, where wealthy collectors vied to buy them at high prices.

Many magazines devoted artisted to Maclet, and an exhibition of his work was presented in Paris in 1928. Von Frey also had the satisfaction of seeing paintings by Maclet purchased by important museums. But like some years later when the museums of Lyons, Grenoble, and [[Monte Carlo]] purchased his work.

At the end of 1928, Maclet went to paint in Corsica. He spent 1929 and 1930 in Brittany and then went back to his native Picardy to paint. In the middle of 1933 he fell seriously ill and was unable to paint for long, long months. After 1935 he resumed his studies of Paris and in 1945 presented a large exhibition of his work under the title ”Around the Moulin” which elicited from [[André Warnod]] the following glowing tribute: “What a happy spectacle to see Maclet paint. He begins by covering the top of his canvas with paint, the sky, the clouds. Then he attacks the chimneys and then the roofs, and then, floor by floor, he arrives at the street level of the houses… Under his brush, all becomes miraculously organized; he places the figures where they should be, and when he has painted the last paving block at the very bottom of the canvas, then he signs it. And the painting is finished; a happy painting expressing the joy of living.”

In 1957 a Parisian gallery organized a restrospective exhibition of Maclet’s work, and the solid rise in the prices of Maclet’s paintings dates from that retrospective exhibition. When Maclet made sporadic visits to Paris during his years in the Midi, the painters of Montmartre and Montparnasse considered him a painter on the rise; the canvases he had produced while he was in the south of France showed that the peasant from Picardy had become a master. But the general public in France did not grasp his importance and value until 1957.
Five years of life remained to the painter, years beautifully described by Marcel Guicheteau and Jean Cottel in these words: “Maclet had returned to his first loves, to his first poems; but it was with all his experience, all his wisdom that the old man now bent over the familiar motifs; his minor song had become a song full of light. In the evening of his life he could repeat himself without copying himself; explain himself without humiliating himself; remember himself without destroying himself. He had brought his work to such a degree of perfection that each painting from then on justified itself by references to earlier work and conferred, in a certain sense, a retroactive value on those works of a far-off past. The artist had reached the state wherein his work soundly established, across the years, its various pictorial values like echoes answering each other at intervals of ten, fifteen, twenty years, all singing the same harmony.” The gardener from Picardy became a master painter.

^ Art32

Elisée Maclet Biography:

*1881 Born, “Jules-Emile-Elisée MACLET” in Lyons-en Santerre , (Lyon) Picardy, France
*1892 “discovered” sketching in a Picardy field by artist Puvis de Chavannes
*1906 Set-up studio in Montmartre and became friends with the writer, Collette.
*1907 - 1908 decorated floats for evening shows at the Moulin Rouge in Montmartre.
*1909 Chef on a ship from Marseilles to Indochina
*1912 Returned to Paris
*1914 Served as a medical attendant in a temporary hospital run by The Little Sisters of the Poor, when the war broke out
*1918 - 1919 painted seascapes in Dieppe,in a house loaned by Francis Carco
*1919 Returned to Montmartre
*1920 Exhibited by art dealers Dosbourg and Hugo Perlsall
*1923 - 1928 moved to Arles, the South of France, subsidized by Austrian patron, Baron Von Fray
*1928 Moved to the island of Corsica in the Mediterranean
*1929 - 1930 Lived and worked in Bretagne, France
*1930 Returned to Picardy, France
*1933 Institutionalized for several months
*1935 Returned to Paris and resumed his painting career
*1945 “Around the Mouslin”, (solo exhibition), Paris
*1957 Retrospective exhibition, Paris
*1962 Died, [[Paris|Paris, France]]

== Bibliography (incomplete) ==
* ''Élisée Maclet, le dernier Montmartrois, La vie d'artiste'' AWD, Paris 2006 (French-English bilingual edition), ISBN 2913639062.
* E. Benezit, Dictionnaire des Peintres, Sculpteurs, Dessinateurs et Graveurs, Vol. 7.Paris: Librairie Grund, 1976.p. 48.

{{GFDL}}

André Warnod

Jahsonic — Sat, 21 Nov 2009 22:41:07 GMT

Summary:

{{Template}}[[Image:Ecole de paris 001.jpg|thumb|200px|''Les Berceaux de la jeune peinture'' par André Warnod (1925).]]
'''André Warnod''', né à [[Giromagny]] le [[24 avril]] [[1885]] et mort à [[Paris]] le [[10 octobre]] [[1960]], est un écrivain, critique d'art et dessinateur français.

André Warnod fut le premier à lancer l'appellation [[École de Paris]] dans un article de ''Comoedia'' publié le 27 janvier 1925 et qu'il reprit en octobre de la même année en introduction de son livre ''Les Berceaux de la jeune peinture''.

== Principales publications ==
*''Le Vieux Montmartre'' (1913)
*''Bals, cafés et cabarets'' (1913)
*''La Brocante et les petits marchés de Paris'' (1914)
*''Prisonnier de guerre, notes et croquis rapportés d'Allemagne'' (1915)
*''Petites images du temps de guerre'' (1918)
*''Lily, modèle'', roman (1919)
*''Miquette et ses deux compagnons'', roman (1920)
*''Les Plaisirs de la rue'' (1920)
*''Les Bals de Paris'' (1922)
*''La Belle sauvage'', roman (1922)
*''Les Berceaux de la jeune peinture : Montmartre, Montparnasse'' (1925)
*''Trois Petites Filles dans la rue'' (1925)
*''Gavarni'' (1926)
*''Pépée ou la Demoiselle du Moulin-Rouge'' (1928)
*''Lina de Montparnasse'', roman (1928)
*''Les Peintres de Montmartre, Gavarni, Toulouse-Lautrec, Utrillo'' (1928)
*''Pour l'amour de Loulette'', roman (1929)
*''Visages de Paris'' (1930)
*''L'Ancien théâtre Montparnasse. Notes de petite histoire'' (1930)
*''Le Chèque volé'', roman (1934)
*''Pensions de famille et autres'' (1936)
*''Cartouche bandit parisien, suivi de Rose Blanchon convulsionnaire, deux enfants de Paris sous Louis XV'' (1944)
*''Allo, allo, ici la mort !'' (1945)
*''La Vraie Bohème de Henri Murger'' (1947)
*''Ceux de la Butte'' (1947)
*''Pascin'' (1954)
*''Fils de Montmartre'', souvenirs (1955)
*''Grau-Sala'' (1958)
*''Drôle d'époque'', souvenirs (1960)

{{GFDL}}

Jean-Baptiste Levert

Jahsonic — Sat, 21 Nov 2009 22:40:49 GMT

Summary:

{{Template}}
Jean Baptiste Levert (1839-1930)

{{GFDL}}

Alexis Mossa

Jahsonic — Sat, 21 Nov 2009 22:39:29 GMT

Summary:

{{Template}}
[[Alexis Mossa]] ([[1844]]-[[1926]]), était un peintre niçois qui fit de nombreuses affiches pour le [[Carnaval de Nice]] à la fin du {{s-|XIX|e}}.
{{GFDL}}

Secreti

Jahsonic — Sat, 21 Nov 2009 20:02:59 GMT

Summary: [[Secreti]] moved to [[De gli Secreti della Signora Isabella Cortese]]

{{Template}}
[[Books of secrets]], such as [[Isabella Cortese]]'s ''[[Secreti]]'' ([[1564]]), disseminated [[alchemical]] information to a [[wide readership]].

{{GFDL}}

Isabella Cortese

Jahsonic — Sat, 21 Nov 2009 20:02:52 GMT

Summary:

{{Template}}
[[Books of secrets]], such as [[Isabella Cortese]]'s ''[[Secreti]]'' ([[1564]]), disseminated [[alchemical]] information to a [[wide readership]].

{{GFDL}}

Natural magic

Jahsonic — Sat, 21 Nov 2009 20:02:27 GMT

Summary:

{{Template}}
'''Natural magic''' in the context of [[Renaissance magic]] is that part of the [[occult]] which deals with [[natural forces]] directly, as opposed to [[ceremonial magic]] , in particular [[goety]] and [[theurgy]], which deals with the summoning of [[spirit]]s. [[Heinrich Cornelius Agrippa]] so uses the term in his 1526 ''de vanitate''.
Natural magic so defined thus includes [[astrology]], [[alchemy]], and disciplines that we would today consider fields of [[natural science]], such as [[astronomy]] and [[chemistry]] (at the time not conceptually separated from astrology and alchemy) or [[botany]] ([[herbology]]).

{{GFDL}}

Alessio Piemontese

Jahsonic — Sat, 21 Nov 2009 20:02:15 GMT

Summary:

{{Template}}
'''Alessio Piemontese''', also known under his [[Latin]]ized name of '''Alexius Pedemontanus''', was the pseudonym of a 16th century [[Italy|Italian]] [[physician]], [[Alchemy|alchemist]], and author of the immensely popular book, ''The Secrets of Alexis of Piedmont''. His book was published in more than a hundred editions and was still being reprinted in the 1790s. The work was translated into Latin, German, English, Spanish, French, and Polish. The work unleashed a torrent of '[[books of secrets]]' that continued to be published down through the eighteenth century.

Alessio was the prototypical ‘professor of secrets.’ His description of his hunt for secrets in the preface to the ''Secreti'' helped to give rise to a legend of the wandering empiric who dedicated his life to the search for natural and technological secrets. The book contributed to the emergence of the concept of science as a hunt for the secrets of nature, which pervaded experimental science during the period of the [[Scientific Revolution]].

It is generally assumed that Alessio Piemontese was a [[pseudonym]] of '''Girolamo Ruscelli''' (Viterbo 1500 — Venice 1566), [[Humanism|humanist]] and [[cartographer]]. In a later work, Ruscelli reported that the ''Secreti'' contained the experimental results of an ‘Academy of Secrets’ that he and a group of humanists and noblemen founded in Naples in the 1540s. The academy was later imitated by [[Giambattista Della Porta]], who founded an ‘Accademia dei Secreti’ in Naples in the 1560s.

==Publications==
*''De secretis libri sex mira quadam rerum varietate referti ex Italico in Latinum sermonem nunc primum translati...'', Venice, 1550
*Girolamo Ruscelli, Translation of [[Ptolemy]]'s ''Geography''.

{{GFDL}}

Books of secrets

Jahsonic — Sat, 21 Nov 2009 20:01:33 GMT

Summary:

{{Template}}
'''Books of secrets''' were compilations of technical and medicinal recipes and magic formulae that began to be [[printed in the sixteenth century]] and were published continuously down to the eighteenth century. They constituted one of the most popular genres in early modern scientific publishing. The books of secrets contained hundreds of medical recipes, household hints, and technical recipes on metallurgy, alchemy, dyeing, making perfume, oil, incense, and cosmetics. The books of secrets supplied a great deal of practical information to an emerging new, middle-class readership, leading some historians to link them with the emerging secularistic values of the [[early modern period]] and to see them as contributing to the making of an ‘age of how-to.’

Some books of secrets, such as [[Alessio Piemontese]]'s famous ''Secreti'' (1555), contained mainly practical and technological information in the form of useful recipes. Others, such as [[Giambattista Della Porta]]'s ''Magia naturalis'' (''Natural Magic'', 1558) deployed practical recipes in an effort to demonstrate the principles of [[natural magic]]. Other books of secrets, such as [[Isabella Cortese]]'s ''[[Secreti]]'' (1564), disseminated alchemical information to a wide readership. Recent research has suggested that the books of secrets may have played an important role in the emergence of experimental science by bringing practical technical information to the attention of experimental scientists.

==Publications==

*William Eamon, ''Science and the Secrets of Nature: Books of Secrets in Medieval and Early Modern Culture'' (Princeton: Princeton University Press, 1994).
*John K. Ferguson, ''Bibliographical Notes on Histories of Inventions and Books of Secrets''. 2 vols. London: Holland Press, 1959.

{{GFDL}}

Gabriele Falloppio

Jahsonic — Sat, 21 Nov 2009 19:57:50 GMT

Summary:

{{Template}}

'''Gabriele Falloppio''' (1523 - October 9, 1562), often known by his [[Latin]] name '''Fallopius''', was one of the most important [[human anatomy|anatomists]] and [[physician]]s of the sixteenth century.

He was born at [[Modena]] and died at [[Padua]]. His family was noble but very poor and it was only by a hard struggle he succeeded in obtaining an education. Financial difficulties led him to join the [[clergy]], and in 1542, he became a [[Canon (priest)|canon]] at Modena's [[cathedral]]. He studied medicine at [[University of Ferrara|Ferrara]], at that time one of the best medical schools in Europe. He received his MD in 1548 under the guidance of [[Antonio Musa Brassavola]]. After taking his degree he worked at various medical schools and then became professor of anatomy at Ferrara, in 1548. [[Girolamo Fabrici]] was one of his famous students. He was called the next year to [[University of Pisa|Pisa]], then the most important university in Italy. In 1551 Falloppio was invited by [[Cosimo I de' Medici, Grand Duke of Tuscany|Cosimo I, Grand Duke of Tuscany]], to occupy the chair of anatomy and surgery at the [[University of Padua]]. He also held the professorship of [[botany]] and was superintendent of the botanical gardens. Though he died when less than forty, he had made his mark on anatomy for all time.

This was the golden age of anatomy and Falloppio's contemporaries included such great anatomists as [[Vesalius]], [[Bartolomeo Eustachi|Eustachius]], and [[Realdo Colombo]] (whom he succeeded at Padua). It has sometimes been asserted that he was jealous of certain of the great discoverers in anatomy and that this is the reason for his frequent criticisms and corrections of their work. However, [[Heinrich Haeser]], an authority in [[History of medicine|medical history]], declared that Falloppio was noted for his modesty and deference to his fellow workers and especially to Vesalius. His purpose in suggesting corrections, therefore, was the advance of the science of anatomy.

Falloppio's own work dealt mainly with the anatomy of the head. He added much to what was known before about the internal ear and described in detail the [[eardrum|tympanum]] and its relations to the [[osseous ring]] in which it is situated. He also described minutely the [[round window|circular]] and [[oval window]]s (fenestræ) and their communication with the [[vestibule of the ear|vestibule]] and [[cochlea]]. He was the first to point out the connection between the [[mastoid cells]] and the [[middle ear]]. His description of the [[lacrimal canaliculi|lacrimal ducts]] in the [[eye]] was a marked advance on those of his predecessors and he also gave a detailed account of the [[ethmoid bone]] and its cells in the nose. His contributions to the anatomy of the [[bone]]s and [[muscle]]s were very valuable. It was in [[myology]] particularly that he corrected Vesalius. He studied the [[reproductive organ]]s in both sexes, and described the [[Fallopian tube]], which leads from the [[ovary]] to the [[uterus]] and now bears his name. The [[facial canal|aquæductus Fallopii]], the canal through which the [[facial nerve]] passes after leaving the [[auditory nerve]], is also named after him.

His contributions to practical medicine were also important. He was the first to use an aural [[speculum]] for the diagnosis and treatment of diseases of the ear, and his writings on surgical subjects are still of interest. He published two treatises on [[peptic ulcer|ulcer]]s and [[tumor]]s, a treatise on surgery, and a commentary on [[Hippocrates]]'s book on wounds of the head. In his own time he was regarded as somewhat of an authority in the field of sexuality. His treatise on [[syphilis]] advocated the use of [[condom]]s, and he initiated what may have been the first [[clinical trial]] of the device. Falloppio was also interested in every form of therapeutics. He wrote a treatise on baths and thermal waters, another on simple [[Laxative|purgatives]], and a third on the composition of [[Medication|drugs]]. None of these works, except his ''Anatomy'' ([[Venice]], 1561), were published during his lifetime. As we have them, they consist of manuscripts of his lectures and notes of his students. They were published by [[Volcher Coiter]] ([[Nuremberg]], 1575).

{{GFDL}}

Piers Plowman

Jahsonic — Sat, 21 Nov 2009 19:49:08 GMT

Summary:

{{Template}}

'''''Piers Plowman''''' (written ca. 1360–1387) or ''Visio Willelmi de Petro Ploughman'' (''William's Vision of Piers Plowman'') is the title of a [[Middle English]] [[allegorical]] [[narrative poem]] by [[William Langland]]. It is written in unrhymed [[alliterative verse]] divided into sections called "passus" ([[Latin]] for "step"). ''Piers'' is considered by many critics to be one of the early great works of [[English literature]] along with [[Geoffrey Chaucer|Chaucer's]] ''[[Canterbury Tales]]'' and [[Sir Gawain and the Green Knight]] during the Middle Ages.
{{GFDL}}

Prudentius

Jahsonic — Sat, 21 Nov 2009 19:48:56 GMT

Summary:

{{Template}}

'''Aurelius Prudentius Clemens''' was a [[Roman citizen|Roman]] [[Christian]] [[poet]], born in the [[Roman Empire|Roman]] province of [[Tarraconensis]] (now Northern [[Spain]]) in 348. He probably died in Spain, as well, some time after 405, possibly around 413. The place of his birth is uncertain, but it may have been Caesaraugusta [[Saragossa]], Tarraco [[Tarragona]], or Calagurris [[Calahorra]].

Prudentius practised law with some success, and was twice provincial governor, perhaps in his native country, before the emperor [[Theodosius I]] summoned him to court. Towards the end of his life (possibly around 392) Prudentius retired from public life to become an ascetic, fasting until evening and abstaining entirely from animal food. Prudentius later collected the Christian poems written during this period and added a preface, which he himself dated 405.

The poetry of Prudentius is influenced by early Christian authors, such as [[Tertullian]] and [[St. Ambrose]], as well as the [[Bible]] and the acts of the [[martyr]]s. His [[hymn]] ''Da, puer, plectrum'' (including "Corde natus ex parentis": "[[Of the Father's Love Begotten]]") and the hymn for [[Epiphany (feast)|Epiphany]] ''O sola magnarum urbium'' ("Earth Has Many a Noble City"), both from the ''Cathemerinon'', are still in use today. The allegorical ''Psychomachia'', however, is his most influential work and became the inspiration and wellspring of medieval allegorical literature.

The works of Prudentius include:

* ''Liber Cathemerinon'' -- ("Book in Accordance with the Hours") comprises 12 lyric poems on various times of the day and on church festivals.
* ''[[:la:Prudentii Peristephanon|Liber Peristephanon]]'' -- ("Crowns of Martyrdom") contains 14 lyric poems on Spanish and Roman martyrs.
* ''Apotheosis'' -- ("Deification") attacks disclaimers of the [[Trinity]] and the [[divinity]] of [[Jesus]].
* ''Hamartigenia'' -- ("The Origin of Sin") attacks the [[Gnostic]] [[dualism]] of [[Marcion]] and his followers.
* ''[[Psychomachia]]'' -- ("Battle of Souls") describes the struggle of [[faith]], supported by the [[virtue|cardinal virtues]], against [[idolatry]] and the corresponding [[vice]]s.
* ''Libri contra Symmachum'' -- ("Books Against [[Symmachus]]") oppose the [[Paganism|pagan]] [[Roman Senate|senator]] Symmachus's requests that the altar of [[Victoria (mythology)|Victory]] be restored to the Senate house.
* ''Dittochæon'' -- ("The Double Testament") contains 49 [[quatrain]]s intended as [[caption]]s for the [[mural]]s of a [[basilica]] in Rome.

==See also==
*[[Allegory in the Middle Ages]]
{{GFDL}}

Psychomachia

Jahsonic — Sat, 21 Nov 2009 19:48:28 GMT

Summary:

{{Template}}
The '''''Psychomachia''''' (''Battle for Mansoul'') by the [[Late Antiquity|Late Antique]] [[Latin]] [[poet]] [[Prudentius]] is probably the first and most influential "pure" [[medieval allegory]], the first in a long tradition of works as diverse as the ''[[Roman de la Rose|Romance of the Rose]],'' ''[[Everyman (play)|Everyman]],'' and ''[[Piers Plowman]].''

In slightly less than a thousand lines, the poem describes the conflict of [[vice]]s and [[virtue]]s as a battle in the style of [[Virgil]]'s ''[[Aeneid]].'' [[Christianity|Christian]] [[faith]] is attacked by and defeats [[Paganism|pagan]] [[idolatry]] to be cheered by a thousand Christian [[martyr]]s.

==Characters==
*[[Chastity]] is assaulted by [[Lust]], but cuts down her enemy with a sword.
*[[Anger]] attacks [[Patience]], is unable to defeat her and destroys herself instead.
*[[Greed]] is portrayed.
*In a similar manner, various vices fight corresponding virtues and are always defeated. Biblical figures that exemplify these virtues also appear (e.g. [[Job (person)|Job]] as an example of [[patience]]).

Despite the fact that seven virtues defeat seven vices, these are not the canonical [[seven deadly sins]], nor the [[three theological virtues|three theological]] and [[Virtue|four cardinal virtues]].

{{GFDL}}

Mycenae

Jahsonic — Sat, 21 Nov 2009 19:31:46 GMT

Summary:

{{Template}}
'''Mycenae''' ([[Ancient language|Greek]] is an [[archaeology|archaeological site]] in [[Greece]], located about 90 km south-west of [[Athens]], in the north-eastern [[Peloponnese]]. [[Argos]] is 6 km to the south; [[Corinth]], 48 km to the north. From the hill on which the palace was located one can see across the [[Argolid]] to the [[Saronic Gulf]].

{{GFDL}}

Italian Renaissance poet

Jahsonic — Sat, 21 Nov 2009 19:12:45 GMT

Summary:

{{Template}}
:''[[Italian literature]], [[Italian Renaissance]]''

In the year 1282 a period of new literature began, developing from the Tuscan beginnings. With the school of [[Lapo Gianni]], [[Guido Cavalcanti]], [[Cino da Pistoia]] and [[Dante Alighieri]], lyric poetry became exclusively Tuscan. The whole novelty and poetic power of this school, consisted in, according to Dante, ''Quando Amore spira, noto, ed a quel niodo Ch'ei detta dentro, vo significando'': that is, in a power of expressing the feelings of the soul in the way in which love inspires them, in an appropriate and graceful manner, fitting form to matter, and by art fusing one with the other. Love is a divine gift that redeems man in the eyes of God, and the poet's mistress is the angel sent from heaven to show the way to salvation. This a neo-platonic approach widely endorsed by ''Dolce Stil Novo'', and although in Cavalcanti's case it can be upsetting and even destructive, it is nonetheless a metaphysical experience able to lift man onto a higher, spiritual dimension. Gianni's new style was still influenced by the Siculo-Provencal school.

Cavalcanti's poems may be divided into two classes: those which portray the philosopher, (''il sottilissimo dialettico'', as [[Lorenzo the Magnificent]] called him) and those which are more directly the product of his poetic nature imbued with [[mysticism]] and [[metaphysics]]. To the first set belongs the famous poem ''Sulla natura d'amore'', which in fact is a treatise on amorous [[metaphysics]], and was annotated later in a learned way by renowned Platonic philosophers of the 15th century, such as [[Marsilius Ficinus]] and others. In other poems, Cavalcanti tends to stifle poetic imagery under a dead weight of philosophy. On the other hand, in his ''Ballate'', he pours himself out ingenuously, but with a consciousness of his art. The greatest of these is considered to be the ''ballata'' composed by Cavalcanti when he was banished from Florence with the party of the [[Bianchi]] in 1300, and took refuge at [[Sarzana]].

The third poet among the followers of the new school was Cino da Pistoia, of the family of the [[Sinibuldi]]. His love poems are sweet, mellow and musical.

===Dante===

Dante, the greatest of Italian poets, also shows these lyrical tendencies. In 1293 he wrote ''[[La Vita Nuova]]'' ("new life" in English, so called to indicate that his first meeting with [[Beatrice]] was the beginning of a new life), in which he idealizes love. It is a collection of poems to which Dante added narration and explication. Everything is supersensual, aerial, heavenly, and the real Beatrice is supplanted by an idealized vision of her, losing her human nature and becoming a representation of the divine.
Dante is the main character of the work, and the narration purports to be autobiographical, though historical information about Dante's life proves this to be poetic license.

Several of the lyrics of the ''Canzoniere'' deal with the theme of the new life. Not all the love poems refer to Beatrice, however—other pieces are philosophical and bridge over to the ''Convito''.

====''The Divine Comedy''====
The work which made Dante immortal, and raised him above all other men of genius in Italy, was his ''[[The Divine Comedy|Divina Commedia]]'', which tells of the poet's travels through the three realms of the dead—[[Hell]], [[Purgatory]], and [[Paradise]]—accompanied by the Latin poet [[Virgil]]. An allegorical meaning is hidden under the literal one of this great epic. Dante, travelling through Hell, Purgatory and Paradise, is a symbol of mankind aiming at the double object of temporal and eternal happiness. The forest in which the poet loses himself symbolizes the civil and religious confusion of society, deprived of its two guides, the emperor and the pope. The mountain illuminated by the sun is universal monarchy. The three beasts are the three vices and the three powers which offered the greatest obstacles to Dante's designs: envy is Florence, light, fickle and divided by the [[Guelphs and Ghibellines|Black Guelphs and the White Guelphs]]; pride is the house of France; avarice is the papal court. Virgil represents reason and the empire. Beatrice is the symbol of the supernatural aid without which man cannot attain the supreme end, which is God.

The merit of the poem does not lie in the allegory, which still connects it with [[medieval literature]]. What is new is the individual art of the poet, the classic art transfused for the first time into a Romance form. Whether he describes nature, analyses passions, curses the vices or sings hymns to the virtues, Dante is notable for the grandeur and delicacy of his art. He took the materials for his poem from [[theology]], philosophy, history, and mythology, but especially from his own passions, from hatred and love. Under the pen of the poet, the dead come to life again; they become men again, and speak the language of their time, of their passions. [[Farinata degli Uberti]], [[Boniface VIII]], [[Count Ugolino]], [[Manfred]], [[Sordello]], [[Hugh Capet]], St. [[Thomas Aquinas]], [[Cacciaguida]], [[St. Benedict]], and [[St. Peter]], are all so many objective creations; they stand before us in all the life of their characters, their feelings, and their habits.

The real chastizer of the sins and rewarder of virtues is Dante himself. The personal interest he brings to bear on the historical representation of the three worlds is what most interests us and stirs us. Dante remakes history after his own passions. Thus the ''Divina Commedia'' is not only a life-like drama of contemporary thoughts and feelings, but also a clear and spontaneous reflection of the individual feelings of the poet, from the indignation of the citizen and the exile to the faith of the believer and the ardour of the philosopher. The ''Divina Commedia'' defined the destiny of Italian literature, giving artistic lustre to all forms of literature the [[Middle Ages]] had produced. Dante, some scholars say, began the Renaissance.

===Petrarch===
Two facts characterize the literary life of [[Petrarch]]: classical research and the new human feeling introduced into his lyric poetry. The facts are not separate; rather, the former caused the latter. The Petrarch who unearthed the works of the great Latin writers helps us understand the Petrarch who loved a real woman, named Laura, and celebrated her in her life and after her death in poems full of studied elegance. Petrarch was the first [[Humanism|humanist]], and he was at the same time the first modern lyric poet. His career was long and tempestuous. He lived for many years at [[Avignon]], cursing the corruption of the papal court; he travelled through nearly the whole of Europe; he corresponded with emperors and popes, and he was considered the most important writer of his time.

His ''Canzoniere'' is divided into three parts: the first containing the poems written during Laura's lifetime, the second the poems written after her death, the third the ''Trionfi''. The one and only subject of these poems is love; but the treatment is full of variety in conception, in imagery and in sentiment, derived from the most varied impressions of nature. Petrarch's lyric verse is quite different, not only from that of the Provencal [[troubadour]]s and the Italian poets before him, but also from the lyrics of Dante. Petrarch is a psychological poet, who examines all his feelings and renders them with an art of exquisite sweetness. The lyrics of Petrarch are no longer transcendental like Dante's, but keep entirely within human limits. The second part of the ''Canzoniere'' is the more passionate. The ''Trionfi'' are inferior; in them Petrarch tried to imitate the ''Divina Commedia'', but failed. The ''Canzoniere'' includes also a few political poems, one supposed to be addressed to [[Cola di Rienzi]] and several sonnets against the court of Avignon. These are remarkable for their vigour of feeling, and also for showing that, compared to Dante, Petrarch had a sense of a broader Italian consciousness. The Italy which he wooed was different from any conceived by the men of the Middle Ages, and in this also he was a precursor of modern times and of modern aspirations. Petrarch had no decided political idea. He exalted Cola di Rienzi, invoked the emperor [[Charles IV, Holy Roman Emperor|Charles IV]], and praised the [[house of Visconti|Visconti]]; in fact, his politics were affected more by impressions than by principles. Above all this was his love of Italy, which in his mind is reunited with Rome, the great city of his heroes [[Cicero]] and [[Scipio]].

===Boccaccio===
Boccaccio had the same enthusiastic love of antiquity and the same worship for the new Italian literature as Petrarch. He was the first to put together a Latin translation of the ''[[Iliad]]'' and, in 1375, the ''[[Odyssey]]''. His classical learning was shown in the work ''De genealogia deorum'', in which he enumerates the gods according to genealogical trees from the various authors who wrote about the pagan divinities. The ''Genealogia deorum'' is, as [[A. H. Heeren]] said, an encyclopaedia of mythological knowledge; and it was the precursor of the [[humanism|humanist]] movement of the 15th century. Boccaccio was also the first historian of women in his ''[[De mulieribus claris]]'', and the first to tell the story of the great unfortunates in his ''De casibus virorum illustrium''. He continued and perfected former geographical investigations in his interesting book ''De montibus, silvis, fontibus, lacubus, fluminibus, stagnis, et paludibus, et de nominibus maris'', for which he made use of [[Vibius Sequester]]. Of his Italian works, his lyrics do not come anywhere near to the perfection of Petrarch's. His narrative poetry is better. He did not invent the [[octave stanza]], but was the first to use it in a work of length and artistic merit, his ''[[Teseide]]'', the oldest Italian romantic poem. The ''[[Filostrato]]'' relates the loves of Troiolo and Griseida ([[Troilus and Cressida]]). It may be that Boccaccio knew the French poem of the Trojan war by [[Benoit de Sainte-More]]; but the interest of his poem lies in the analysis of the passion of love. The ''[[Ninfale fiesolano]]'' tells the love story of the nymph Mesola and the shepherd Africo. The ''[[Amorosa Visione]]'', a poem in triplets, doubtless owed its origin to the ''Divina Commedia''. The ''[[Ameto]]'' is a mixture of prose and poetry, and is the first Italian pastoral romance.

The ''Filocopo'' takes the earliest place among [[romance (genre)|prose romance]]s. In it Boccaccio tells the loves of Florio and Biancafiore. Probably for this work he drew materials from a popular source or from a [[Byzantine Empire|Byzantine]] romance, which [[Leonzio Pilato]] may have mentioned to him. In the ''Filocopo'' there is a remarkable exuberance in the mythological part, which damages the romance as an artistic work, but which contributes to the history of Boccaccio's mind. The ''Fiammetta'' is another romance, about the loves of Boccaccio and Maria d'Aquino, a supposed natural daughter of King Robert, whom he always called by this name of Fiammetta.

The Italian work which principally made Boccaccio famous was the ''[[Decameron]]e'', a collection of a hundred novels, related by a party of men and women, who had retired to a villa near Florence to escape from the [[Black Death|plague]] in 1348. Novel-writing, so abundant in the preceding centuries, especially in France, now for the first time assumed an artistic shape. The style of Boccaccio tends to the imitation of Latin, but in him prose first took the form of elaborated art. The rudeness of the old ''[[fabliau]]x'' gives place to the careful and conscientious work of a mind that has a feeling for what is beautiful, that has studied the classic authors, and that strives to imitate them as much as possible. Over and above this, in the ''Decamerone'', Boccaccio is a delineator of character and an observer of passions. In this lies his novelty. Much has been written about the sources of the novels of the ''Decamerone''. Probably Boccaccio made use both of written and of oral sources. Popular tradition must have furnished him with the materials of many stories, as, for example, that of Griselda.

Unlike Petrarch, who was always discontented, preoccupied, wearied with life, disturbed by disappointments, we find Boccaccio calm, serene, satisfied with himself and with his surroundings. Notwithstanding these fundamental differences in their characters, the two great authors were old and warm friends. But their affection for Dante was not equal. Petrarch, who says that he saw him once in his childhood, did not preserve a pleasant recollection of him, and it would be useless to deny that he was jealous of his renown. The ''Divina Commedia'' was sent him by Boccaccio, when he was an old man, and he confessed that he never read it. On the other hand, Boccaccio felt for Dante something more than love—enthusiasm. He wrote a biography of him, of which the accuracy is now depreciated by some critics, and he gave public critical lectures on the poem in [[Santa Maria del Fiore]] at Florence.

===Others===
====Imitators====
[[Fazio degli Uberti]] and [[Federigo Frezzi]] were imitators of the ''Divina Commedia'', but only in its external form. The former wrote the ''Dittamondo'', a long poem, in which the author supposes that he was taken by the geographer [[Solinus]] into different parts of the world, and that his ''Commedia'' guide related the history of them. The legends of the rise of the different Italian cities have some importance historically. Frezzi, bishop of his native town [[Foligno]], wrote the ''Quadriregio'', a poem of the four kingdoms Love, Satan, the Vices, and the Virtues. This poem has many points of resemblance with the ''Divina Commedia''. Frezzi pictures the condition of man who rises from a state of vice to one of virtue, and describes hell, limbo, purgatory and heaven. The poet has [[Pallas]] for a companion.

Ser [[Giovanni Fiorentino]] wrote, under the title of ''Pecorone'', a collection of tales, which are supposed to have been related by a monk and a nun in the parlour of the monastery Novelists of Forli. He closely imitated Boccaccio, and drew on Villani's chronicle for his historical stories. [[Franco Sacchetti]] wrote tales too, for the most part on subjects taken from Florentine history. His book gives a life-like picture of Florentine society at the end of the 14th century. The subjects are almost always improper; but it is evident that Sacchetti collected all these anecdotes in order to draw from them his own conclusions and moral reflections, which are to be found at the end of every story. From this point of view Sacchetti's work comes near to the Monalisaliones of the Middle Ages. A third novelist was [[Giovanni Sercambi]] of Lucca, who after 1374 wrote a book, in imitation of Boccaccio, about a party of people who were supposed to fly from a plague and to go travelling about in different Italian cities, stopping here and there telling stories. Later, but important, names are those of [[Masuccio Salernitano]] (Tommaso Guardato), who wrote the ''Novellino'', and [[Antonio Cornazzano]] whose ''Proverbii'' became extremely popular.

====Chronicles====
Chronicles formerly believed to have been of the 13th century are now mainly regarded as forgeries. At the end of the 13th century there is a chronicle by [[Dino Compagni]], probably authentic.

[[Giovanni Villani]], born in 1300, was more of a chronicler than an historian. He relates the events up to 1347. The journeys that he made in Italy and France, and the information thus acquired, mean that his chronicle, the ''Historie Fiorentine'', covers events all over Europe. He speaks at length, not only of events in politics and war, but also of the stipends of public officials, of the sums of money used for paying soldiers and for public festivals, and of many other things of which the knowledge is very valuable. Villani's narrative is often encumbered with fables and errors, particularly when he speaks of things that happened before his own time.

Matteo was the brother of Giovanni Villani, and continued the chronicle up to 1363. It was again continued by Filippo Villani.

[[Piero Capponi]], author of the ''Commentari deli acquisto di Pisa'' and of the narration of the ''Tumulto dei Ciompi'', belonged to both the 14th and the 15th centuries.

====Ascetics====
The ''Divine Commedia'' is ascetic in its conception, and in a good many points of its execution. Petrarch's work has similar qualities; yet neither Petrarch nor Dante could be classified among the pure ascetics of their time. But many other writers come under this head. St [[Catherine of Siena]]'s mysticism was political. This extraordinary woman aspired to bring back the Church of Rome to evangelical virtue, and left a collection of letters written in a high and lofty tone to all kinds of people, including popes. Hers is the clearest religious utterance to have made itself heard in 14th century Italy. Although precise ideas of reformation did not enter her head, the want of a great moral reform was felt in her heart. She must take her place among those who prepared the way for the religious movement of the 16th century.

Another Sienese, [[Giovanni Colombini]], founder of the order of [[Jesuati]], preached poverty by precept and example, going back to the religious idea of St Francis of Assisi. His letters are among the most remarkable in the category of ascetic works in the 14th century. [[Jacopo Passavanti]], in his ''Specchio della vera penitenza'', attached instruction to narrative. [[Cavalca]] translated from the Latin the ''Vite dei santi padri''. [[Rivalta]] left behind him many sermons, and [[Franco Sacchetti]] (the famous novelist) many discourses. On the whole, there is no doubt that one of the most important productions of the Italian spirit of the 14th century was religious literature.

====Popular works====
Humorous poetry, largely developed in the 13th century, was carried on in the 14th by [[Bindo Bonichi]], [[Arrigo di Castruccio]], [[Cecco Nuccoli]], [[Andrea Orgagna]], [[Filippo de Bardi]], [[Adriano de Rossi]], [[Antonio Pucci (poet)|Antonio Pucci]] and other lesser writers. Orgagna was specially comic; Bonichi was comic with a satirical and moral purpose.

Pucci was superior to all of them for the variety of his production. He put into triplets the chronicle of Giovanni Villani (''Centiloquio''), and wrote many historical poems called ''Serventesi'', many comic poems, and not a few epico-popular compositions on various subjects. A little poem of his in seven cantos treats of the war between the Florentines and the [[Pisa]]ns from 1362 to 1365.

Other poems drawn from a legendary source celebrate the Reina d'Oriente, Apollonio di Tiro, the Bel Gherardino, etc. These poems, meant to be recited, are the ancestors of the romantic epic.

====Political works====
Many poets of the 14th century produced political works. [[Fazio degli Uberti]], the author of ''Dittamondo'', who wrote a ''Serventese'' to the lords and people of Italy, a poem on Rome, and a fierce invective against Charles IV, deserves notice, as do [[Francesco di Vannozzo]], [[Frate Stoppa]] and [[Matteo Frescobaldi]]. It may be said in general that following the example of Petrarch many writers devoted themselves to patriotic poetry. From this period also dates that literary phenomenon known under the name of Petrarchism. The Petrarchists, or those who sang of love, imitating Petrarch's manner, were found already in the 14th century. But others treated the same subject with more originality, in a manner that might be called semi-popular. Such were the ''Ballate'' of Ser Giovanni Fiorentino, of Franco Sacchetti, of [[Niccolo Soldanieri]], and of [[Guido Donati|Guido]] and [[Bindo Donati]]. ''Ballate'' were poems sung to dancing, and we have very many songs for music of the 14th century. We have already stated that Antonio Pucci versified Villani's ''Chronicle''. It is enough to notice a chronicle of [[Arezzo]] in ''[[terza rima]]'' by [[Gorello de Sinigardi]], and the history, also in ''terza rima'', of the journey of Pope Alexander III to Venice, by [[Pier de Natali]]. Besides this, every kind of subject, whether history, tragedy or husbandry, was treated in verse. [[Neri di Landocio]] wrote a life of St Catherine; [[Jacopo Gradenigo]] put the Gospels into triplets; [[Paganino Bonafede]] in the ''Tesoro de rustici'' gave many precepts in agriculture, beginning that kind of georgic poetry which was fully developed later by [[Alamanni]] in his ''Coltivazione'', by [[Girolamo Baruffaldi]] in the ''Canapajo'', by [[Rucellai]] in ''Le api'', by [[Bartolomeo Lorenzi]] in the ''Coltivazione de' monti'', and by [[Giambattista Spolverini]] in the ''Coltivazione del riso''.

====Drama====
[[Albertino Mussato]] of [[Padua]] wrote in Latin a history of [[Emperor Henry VII]]. He then produced a Latin tragedy on [[Ezzelino da Romano]], Henry's imperial vicar in northern Italy, the ''Eccerinus'', which was probably not represented on the stage. This remained an isolated work.

At Florence the most celebrated humanists wrote also in the vulgar tongue, and commented on Dante and Petrarch, and defended them from their enemies. [[Leone Battista Alberti]], the learned Greek and Latin scholar, wrote in the vernacular, and [[Vespasiano da Bisticci]], while he was constantly absorbed in Greek and Latin manuscripts, wrote the ''Vite di uomini illustri'', valuable for their historical contents, and rivalling the best works of the 14th century in their candour and simplicity. [[Andrea da Barberino]] wrote the beautiful prose of the ''Reali di Francia'', giving a coloring of ''romanità'' to the chivalrous romances. [[Belcari]] and [[Girolamo Benivieni]] returned to the mystic idealism of earlier times.

But it is in [[Lorenzo de Medici]] that the influence of Florence on the Renaissance is particularly seen. His mind was formed by the ancients: he attended the class of the Greek [[John Argyropulos]], sat at Platonic banquets, took pains to collect codices, sculptures, vases, pictures, gems and drawings to ornament the gardens of San Marco and to form the library later named after him. In the saloons of his Florentine palace, in his villas at [[Careggi]], [[Fiesole]] and [[Anibra]], stood the wonderful chests painted by [[Dello di Niccolò Delli]] with stories from [[Ovid]], the ''[[Hercules]]'' of [[Pollaiuolo]], the ''Pallas'' of [[Sandro Botticelli|Botticelli]], the works of [[Filippino]] and [[Verrocchio]]. De Medici lived entirely in the classical world; and yet if we read his poems we only see the man of his time, the admirer of Dante and of the old Tuscan poets, who takes inspiration from the popular muse, and who succeeds in giving to his poetry the colors of the most pronounced realism as well as of the loftiest idealism, who passes from the Platonic [[sonnet]] to the impassioned triplets of the ''Amori di Venere'', from the grandiosity of the ''Salve to Nencia'' and to Beoni, from the ''[[Canto carnascialesco]]'' to the ''lauda''. The feeling of nature is strong in him; at one time sweet and melancholy, at another vigorous and deep, as if an echo of the feelings, the sorrows, the ambitions of that deeply agitated life. He liked to look into his own heart with a severe eye, but he was also able to pour himself out with tumultuous fulness. He described with the art of a sculptor; he satirized, laughed, prayed, sighed, always elegant, always a Florentine, but a Florentine who read [[Anacreon]], Ovid and [[Tibullus]], who wished to enjoy life, but also to taste of the refinements of art.

Next to Lorenzo comes [[Poliziano]], who also united, and with greater art, the ancient and the modern, the popular and the classical style. In his ''Rispetti'' and in his ''Ballate'' the freshness of imagery and the plasticity of form are inimitable. A great Greek scholar, Piliziano wrote Italian verses with dazzling colors; the purest elegance of the Greek sources pervaded his art in all its varieties, in the ''Orfeo'' as well as the ''Stanze per la giostra''.

====Epic====
Italy never had true [[epic poetry]]; but had, however, many poems called ''[[cantari]]'', because they contained stories that were sung to the people; and besides there were romantic poems, such as the ''[[Buovo d'Antona]]'', the ''[[Regina Ancroja]]'' and others. But the first to introduce life into this style was [[Luigi Pulci]], who grew up in the house of the Medici, and who wrote the ''[[Morgante Maggiore]]'' at the request of [[Lucrezia Tornabuoni]], mother of [[Lorenzo the Magnificent]]. The material of the ''Morgante'' is almost completely taken from an obscure chivalrous poem of the 15th century, rediscovered by [[Pio Rajna]]. Pulci erected a structure of his own, often turning the subject into ridicule, burlesquing the characters, introducing many digressions, now capricious, now scientific, now theological. Pulci raised the romantic epic into a work of art, and united the serious and the comic.

With a more serious intention [[Matteo Boiardo]], count of [[Scandiano]], wrote his ''[[Orlando innamorato]]'', in which he seems to have aspired to embrace the whole range of [[Carolingian]] legends; but he did not complete his task. We find here too a large vein of humour and burlesque. Still Boiardo was drawn to the world of romance by a profound sympathy for chivalrous manners and feelings; that is to say, for love, courtesy, valour and generosity. A third romantic poem of the 15th century was the ''Mambriano'' by [[Francesco Bello]] (Cieco of Ferrara). He drew from the [[Carolingian cycle]], from the romances of the [[Round Table]], and from classical antiquity. He was a poet of no common genius, and of ready imagination. He showed the influence of Boiardo, especially in something of the fantastic which he introduced into his work.

====Carnival songs====
A completely new style of poetry arose, the ''Canto carnascialesco''. These were a kind of choral songs, which were accompanied with symbolic masquerades, common in Florence at the carnival. They were written in a metre like that of the ''ballate''; and for the most part they were put into the mouth of a party of workmen and tradesmen, who, with not very chaste allusions, sang the praises of their art. These triumphs and masquerades were directed by Lorenzo himself. In the evening, there set out into the city large companies on horseback, playing and singing these songs. There are some by Lorenzo himself, which surpass all the others in their mastery of art. That entitled ''Bacco ed Arianna'' is the most famous.

===Drama===
The development of the drama in the 15th century was very great. This kind of semi-popular literature was born in Florence, and attached itself to certain popular festivities that were usually held in honor of St [[John the Baptist]], patron saint of the city. The ''[[Sacra Rappresentazione]]'' is the development of the medieval ''Mistero'' ([[mystery play]]). Although it belonged to popular poetry, some of its authors were literary men of much renown: Lorenzo de Medici, for example, wrote ''San Giovanni e Paolo'', and [[Feo Belcari]] wrote ''San Panunzio'', ''Abramo ed Isaac'', and more. From the 15th century, some element of the comic-profane found its way into the Sacra Rappresentazione. From its Biblical and legendary conventionalism Poliziano emancipated himself in his ''Orfeo'', which, although in its exterior form belonging to the sacred representations, yet substantially detaches itself from them in its contents and in the artistic element introduced.

===Other===
History had neither many nor very good students in the 15th century. Its revival belonged to the following age. It was mostly written in Latin. [[Leonardo Bruni]] of Arezzo wrote the history of Florence, [[Gioviano Pontano]] that of Naples, in Latin. [[Bernardino Corio]] wrote the history of [[Milan]] in Italian, but in a rude way.

[[Leonardo da Vinci]] wrote a treatise on painting, [[Leone Battista Alberti]] one on sculpture and architecture. But the names of these two men are important, not so much as authors of these treatises, but as being embodiments of another characteristic of the age of the Renaissance; versatility of genius, power of application along many and varied lines, and of being excellent in all. Leonardo was an architect, a poet, a painter, an hydraulic engineer and a distinguished mathematician. Alberti was a musician, studied jurisprudence, was an architect and a draughtsman, and had great fame in literature. He had a deep feeling for nature, and an almost unique faculty of assimilating all that he saw and heard. Leonardo and Alberti are representatives and almost a compendium in themselves of all that intellectual vigour of the Renaissance age, which in the 16th century took to developing itself in its individual parts, making way for what has by some been called the golden age of Italian literature.

{{GFDL}}

Matteo Maria Boiardo

Jahsonic — Sat, 21 Nov 2009 19:08:46 GMT

Summary:

{{Template}}

'''Matteo Maria Boiardo''' (1441 – December 20, 1494), was an [[Italian Renaissance poet]].

Boiardo was born at, or near, [[Scandiano]] (today's province of [[Reggio Emilia]]); the son of Giovanni di Feltrino and Lucia Strozzi, he was of noble lineage, ranking as Count of Scandiano, with seignorial power over [[Arceto]], [[Casalgrande]], [[Gesso]], and [[Torricella]]. Boiardo was an ideal example of a gifted and accomplished courtier, possessing at the same time a manly heart and deep humanistic learning.

Up to the year of his marriage to Taddea Gonzaga, the daughter of the Count of Novellara (1472), he had received many marks of favour from [[Borso d'Este]], duke of Ferrara, having been sent to meet [[Frederick III, Holy Roman Emperor|Frederick III]] (1469), and afterwards visiting [[Pope Paul II]] (1471) in the train of Borso. In 1473 he joined the retinue which escorted [[Eleonora of Aragon]], the daughter of [[Ferdinand I of Naples|Ferdinand I]], to meet her spouse, Ercole, at [[Ferrara]]. Five years later Boiardo was invested with the governorship of Reggio, an office which he filled with noted success till his death, except for a brief interval (1481-86) when he was governor of [[Modena]].

In his youth Boiardo had been a successful imitator of [[Petrarch|Petrarca]]'s love poems. More serious attempts followed with the ''Istoria Imperiale'', some adaptations of [[Cornelius Nepos|Nepos]], [[Apuleius]], [[Herodotus]], [[Xenophon]], etc., and his ''Eclogues''. These were followed by a comedy, ''Il Timone'' (1487?).

He is best remembered, however, for his grandiose poem of [[chivalry]] and romance ''[[Orlando Innamorato]]''.

''Rime'', another work from 1499, was largely forgotten until the English-Italian librarian [[Antonio Panizzi]] published it in 1835.

It is uncertain when Boiardo wrote a poem about a selfcomposed, unusual [[Tarot]] game, which is of relevance to Tarot research of 15th century and the question of when Tarot developed. A deck, which was produced according the poem (probably shortly after Boiardo's death) has partially survived.

{{GFDL}}

Orlando innamorato

Jahsonic — Sat, 21 Nov 2009 19:08:32 GMT

Summary:

{{Template}}
'''''Orlando Innamorato''''' (''Orlando in Love'') is an [[epic poem]] written by the [[Italian language|Italian]] [[Renaissance]] author [[Matteo Maria Boiardo]]. The poem, written in the ''[[ottava rima]]'' stanza rhythm, consists of 68 [[canto]]s and a half. Boiardo began the poem when he was about 38 years old, but interrupted it for a time because of the [[Republic of Venice|Venetian]] war. He is believed to have continued till 1486, but then left the poem unfinished. The last verses say:

:"Mentre ch'io canto, Iddio Redentore<br>vedo l'Italia tutta a fiamma e foco.|[[Matteo Maria Boiardo]], ''Orlando innamorato''}}meaning that during his work at the poem Boiardo could see all Italy in war. In [[1494]] [[Charles VIII of France]] had entered Italy to extend his power over its various states."

Boiardo's ''Orlando'' was first published in 1495. The poem, after sixteen editions, was not to be republished for nearly three centuries. [[Francesco Berni]]'s ''[[rifacimento]]'', or recasting of ''L'Orlando'' appeared in 1542, and from that date till 1830, when [[Anthony Panizzi|Panizzi]] revived it, Boiardo's name was all but forgotten.

''Orlando Innamorato'' is a [[romance (genre)|romance]] concerning the travels of the [[hero]]ic [[knight]] [[Orlando (character)|Orlando]] ([[Roland]]). To material largely quarried from the [[Matter of France|Carolingian]] and [[Matter of Britain|Arthurian]] cycles Boiardo added a superstructure of his own making. As the plot is not woven around a single pivotal action, the inextricable maze of most cunningly contrived episodes are seen to be linked, first, with the quest of beautiful [[Angelica (character)|Angelica]] by love-smitten Orlando and the other enamoured knights, then with the defence of [[Albracca]] by Angelica's father, the King of [[Cathay]], against the beleaguering [[Tartars]], and, finally, with the [[Moors]]' siege of [[Paris]] and their struggle with [[Charlemagne]]'s army.

In spite of its unfinished state and some deficiencies in rhythm, Boiardo's ''Orlando'' is considered a magnificent work of art, echoing throughout the poet's ardent devotion to Love and Loyalty, shedding warmth and sunshine wherever the lapse of ages had rendered the legends colourless and cold. Orlando's exploits were continued in the ''[[Orlando Furioso]]'' by [[Ludovico Ariosto]] in 1516. Also another Renaissance poet, [[Torquato Tasso]] also borrowed on many of Boiardo's epic conventions, although his ''[[Jerusalem Delivered]]'' does not use the Orlando frame.

==See also==
*[[Ruggiero (character)|Ruggiero]]
*[[Rodomonte]]
*[[Sacripante]]
*[[Brunello (character)|Brunello]]
*[[Marfisa]]
* [[1490s in poetry]]

{{GFDL}}

Seven Brides for Seven Brothers (film)

Jahsonic — Sat, 21 Nov 2009 18:35:37 GMT

Summary:

{{Template}}

'''''Seven Brides for Seven Brothers''''' is a [[musical film]] released in [[1954 in film|1954]]. It was directed by [[Stanley Donen]], with music by [[Saul Chaplin]] and [[Gene de Paul]], and lyrics by [[Johnny Mercer]]. The script (by [[Albert Hackett]], [[Frances Goodrich]], and [[Dorothy Kingsley]]) is based on the short story ''The Sobbin' Women'', by [[Stephen Vincent Benét]], which was based in turn on the [[Ancient Roman]] legend of [[The Rape of the Sabine Women]]. The film was a 1954 [[Academy Award|Oscar]] nominee for [[Academy Award for Best Picture#1950s|Best Picture]].

The film is particularly known for the unusual choreography by [[Michael Kidd]], which makes dance numbers out of such mundane [[frontier]] pursuits as chopping wood and (most famously) [[barn raising|raising a barn]].

{{GFDL}}

Neptune (mythology)

Jahsonic — Sat, 21 Nov 2009 18:35:31 GMT

Summary:

{{Template}}

'''Neptune''' ({{lang-la|Neptūnus}}) is the [[Water deity|god of water and the sea]] in [[Roman mythology]], a brother of [[Jupiter (mythology)|Jupiter]] and [[Pluto (mythology)|Pluto]]. He is analogous with but not identical to the god [[Poseidon]] of [[Greek mythology]].
{{GFDL}}

Laisse tomber les filles

Jahsonic — Sat, 21 Nov 2009 15:28:54 GMT

Summary:

{{Template}}
"'''Laisse tomber les filles'''" (English: Forget The Girls) is a French song composed by [[Serge Gainsbourg]] and originally performed by [[France Gall]] in 1964.

The song's lyrics describe future disenchantment predicted by one possessed of "an innocent heart" (the vocalist), which was regarded as being completely at odds with the concerns expressed lyrically by other teenagers singing at the time. The lyrical complexity of the song, particularly when considered in light of its young performer, was not universally well-received. [[Gilles Verland]] wrote regarding this situation that
:Gainsbourg's lyrics obviously have nothing to do with the worldview expressed by other teenage vocalists of the time; of course their world has its charms, but it has not a single atom of depth. In the lyrics of Gainsbourg's songs in general, and ''Laisse tomber les filles'' in particular, there is a startling lucidity coupled with a refusal to be taken in by "the great farce of love", defined in terms of "never" and "always". But, with ''Laisse tomber les filles'', we are not presented with a male narrator of thirty or thirty-five years, but rather a teenager.

France Gall's [[vindictive]] lyrics are supported by the well-known jazz band led by [[Alain Goraguer|Gogo]] (the same group with whom Gainsbourg was recording at the time). The song's emphasis on brass and percussion is regarded as being integral to its success. Fondness within the English-speaking world for the "French pop sound" makes the song continue to be popular to this day.
It was also recently covered by the French singer [[Mareva Galanter]] in an explicit reference to the [[Yé-yé]] style. The song is also covered by Fabienne Delsol on her first solo album, ''No Time For Sorrows'' (2004).

==English language version==
[[April March]] recorded two covers of the song in 1995: one with the original French lyrics, and the other as "Chick Habit" with English lyrics written by March.

"Chick Habit" is played during the opening credits of the [[1999]] campy teen comedy ''[[But I'm a Cheerleader]]'' by [[Jamie Babbit]]. Both versions of the song, first English and then French, are played during the end credits of the movie ''[[Death Proof]]'' (2007) by [[Quentin Tarantino]]. It was also used as the backing music to television advertisements for the [[Renault Twingo]] in the UK and in France in 2008.

American [[electronica]] [[musician]] [[Benn Jordan]] recorded a cover of the 1995 English version of the song for his album [[Flexing Habitual]] under the name [[The Flashbulb]] in 2006.

{{GFDL}}
[[category:WMC]]

Renaissance popular culture

Jahsonic — Sat, 21 Nov 2009 15:11:18 GMT

Summary:

{{Template}}
:''[[Renaissance culture]], [[history of popular culture]]''
By the time of the [[Renaissance]], the [[narrative culture|narrative]] and [[visual culture]] (in short [[popular culture]]) at hand to the Renaissance [[everyman]] encompassed [[European folklore]], [[biblical history]], [[classical mythology]], the [[Founding of Rome|founding myth of Rome]]. All of these were used to explore [[prurient interests]] and to establish a form of [[proto-psychology]]. Like in current times, these interests were in [[sensationalist]] subjects such as [[pretexts for nudity in art|nudity]] and [[pretexts for violence in art|violence]].

{{GFDL}}