Florilegium

Jeremias Falck (c. 1605/09–1677) is considered to be the greatest engraver of early modern times working in the Polish-Lithuanian Commonwealth. Graphical representa- tions of  ower forms constitute a signi cant part of his oeuvre. So far they have not been of special interest to researchers, therefore it is worth giving them more attention now. It seems necessary to look at the existing attributions to estimate the real number of Falck’s works on this subject, and to formally analyse various prints. It is also necessary to critically approach the questions of the original prints, later editions, and copies.
Up to date researchers have recorded selected  ower representations, without referring to the information in the only catalogue raisonné of Falck’s works by Block, who attributed to him up to 98 compositions on the subject. Only by compar- ing prints from the Polish museums with various collections abroad the answer to the question how many  ower arrangements were actually created by Jeremias Falck can be provided.
Falck’s authorship of the series Novae et exquisitae FLORUM ICONES has been con rmed. It is also highly likely that he elaborated most of the plates of the series Verscheyde Nieuwe TULPEN.
From the frontispiece of the series Novae et exquisitae FLORUM ICONES we can
conclude that Falck was not only the engraver, but also the author of the composition (inventor). Flowers in his works do not map a particular set of a botanical collection, but are a recommendation for an artistic representation of the plant.  ey could have been a kind of a template for painters, and at the same time objects d’art for collectors.  anks to their artistic qualities, perfect workmanship, and attention to the highest editorial standards, Falck’s  ower engravings became desirable works in the art mar- ket, copied by other designers and reprinted by other publishers.
e analysis of the preserved prints linked to Falck can also lead to a number of general conclusions on the functioning of the market for graphic art in the 17th cen- tury. Florilegia were usually formed in series containing a few to a dozen composi- tions. Herbaria’s cards could circulate in the form of a compact collection of a few series together, but also in smaller folders or even as loose cards.  e study shows that they were particularly popular in 17th-century France and the Netherlands.  e increase in production, mainly of the copies of previous cycles, occurred in the 1670s and lasted until the early 18th century. Falck and Vauquer were copied by Gerard Valck, Nicolaes Visscher and many others.

The commentary to follow was originally published by Figure/Ground (2014) in magazine format, as it appears here. It concerns a pseudonymously published poem entitled Serial Kitsch (Austin and New York: Hworde, 2014). This commentary was subsequently published in academic format in Edia Connole and Gary J. Shipley, eds., Serial Killing: A Philosophical Anthology (London: Schism Press, 2015), 95–103. Shipley has since come forward as the author of this poem. It is currently available as Serial Kitsch (an epic poem) by Gary J. Shipley from Schism2 Press (London, 2017). Georges Bataille, whose work this commentary makes use of, also published pseudonymously. Unless otherwise indicated, all quotations herein are from Serial Kitsch (2014).

The introduction of printing to England at the beginning of the early modern period intersected with an ongoing interest in matters concerning the querelle des femmes. One result was the production of fourteen translations from Latin and French, twelve of medieval and two of humanist origin. Discussing all fourteen translations, this article proposes an overview of the varying ways in which translation, publishing, and gender were closely intertwined. The source texts, spanning almost four hundred years, varied in provenance, style, and genre and appealed to different audiences. The translating methods used are equally varied, but all owe something to what Sheila Delany calls "the literature of sexual politics."

The Regensburg Rhetorical Letters are fictional letters composed in the 1080s at the Regensburg cathedral school. They imitate Ciceronian texts to fashion a valorized masculine identity based in learning, eloquence, and public service for secular clerics in civil administration who were attacked for idleness and effeminacy by reformers like Peter Damian. Centering textual and rhetorical expertise, the Letters reveal the heterogeneity of clerical society and an early development of a professional rather than spiritual role for the clergy.

This article analyses the florilegium Flores Lucii Annei Senecae Cordubensis summo labore selecti ex omnibus illius operibus attributed to Erasmus of Rotterdam and inserted in an opuscule published for the first time in 1528, including also passages taken from Cicero's works.

The impression given by art history surveys and civilisation courses can often be that Byzantine art is 'flat, flat figures on gold, gold ground.' Take, for instance, the ninth-century mosaic over the imperial door in the narthex of that quintessential Byzantine monument, Hagia Sophia, in Istanbul: Christ is seated on a lyre-backed throne, blessing with his right hand and holding a book open with his left. To either side are roundels containing bust portraits of two members of his celestial court, the Virgin Mary (or the Theotokos, or the Bearer of God, to use proper Orthodox designation) and an angel (Gabriel? Michael?); while the angel gazes sternly out at the viewer, the Virgin turns to the figure of Christ with hands outstretched in a gesture of supplication. Set off in their roundels, these two figures belong to a different field of activity from the fourth participant in this image, the figure of an emperor (identifiable through dress and headgear) kneeling abjectly to...

Les médiévistes savent bien qu'avec la Dame des troubadours, librement redessinée par les premiers romanciers du Nord de la France, l'écriture médiévale a réinventé la femme en élaborant une figure de mots capable de rivaliser dans l'imaginaire érotique avec la place occupée ailleurs par Dieu lui-même. Pour autant, dans la perception commune, les pouvoirs prêtés à la femme médiévale pencheraient plutôt du côté du diable et de la magie noire, les «siècles obscurs» constituant aux yeux de plusieurs de nos contemporains, un temps béni (si l'on peut dire) pour les sorcières de tout acabit, si ce n'était qu'il fut quelque peu troublé par les flammes des bûchers. Si les historiens ont établi, depuis longtemps déjà, que la chasse aux sorcières touche bien moins le Moyen Âge que la Renaissance, la vision d'un Âge d'Or de la sorcellerie avant le XV siècle persiste, alimentée il est vrai par l'apologie romantique de la sorcière médiévale, figure de liberté ...

Digital manuscript and text representation provides such a wealth of information that it is now possible to see the incessant versioning of works like the Roman de la Rose. Using the Rose manuscript of the Bibliothèque municipale de Lyon (MS 763) as an example and drawing on Aristotelian concepts such as energeia, dynamis, and entelecheia, the article discusses this pluripotent circulation and proposes a ‘dynamic reading’ of such manuscript texts, which takes into consideration the interplay between image, text, and the context of other texts transmitted in the same manuscript.

The subject of this paper is the female of the species opifiaes and tabemarii, "craftsmen and shopkeepers and all that scum of the cities," as Cicero once indiscreetly called them. We need not believe him when he claims that they were always and everywhere ready for riot or revolution because they were so wretchedly poor, but for many of these workers it may have been hard to make ends meet, so that we should not be surprised to find wives or children gainfully employed. However, the range of jobs and the range of prosperity is wide, for we shall deal with a broad stratum of urban workers which includes importers of manufactured articles or raw materials, skilled craftsmen producing and selling luxury goods, humbler dealers, shopkeepers and pedlars of cheap objects, people who offered services.

The article is devoted to the role of quotations as a tool to measure the impact of humanism on the example of letters of Piotr Wolfram – a Polish lawyer educated in Italy, participant of the Council of Constance, and ambitious official of the curia. Wolfram’s borrowings from Petrarch, Cicero, Quintilian, and Ovid have been analysed and it has been indicated for the last three that they did not have to be borrowed directly from their
authors’ writings but could have been taken from medieval anthologies

Those who have disputed Shakespeare's authorship of the plays and poems usually attributed to him have been inclined to name the eminent Shakespeare scholars who have vilified the anti-Stratfordian cause. In the Preface to his 1908 book The Shakes-peare Problem Restated, the urbane Sir Granville George Greenwood quoted Sidney Lee, then chair of Shakespeare's Birthplace Trust, mocking the Baconian theory as "foolish craze,' morbid psychology,' madhouse chatter" (vii) and John Churton Collins, chair of English Literature at the University of Birmingham, denouncing it as "ignorance and vanity" (viii). More recently, Charlton Ogburn has listed among the detractors of the Oxfordian theory Louis B. Wright, former director of the Folger Shakespeare Library (154, 161, 168); S. Schoenbaum, author of Shakespeare's Lives, which devotes one hundred pages "to denigration of...anti-Stratfordian articles and books" (152); and Harvard Shakespeare pr...

This article aims to complete and correct the existing analyses of the unpublished Expositum in Heptateuchum of John the Deacon (mid-sixth century) by studying sixteen fragments of patristic works that have not or not properly been identified. A new critical examination of nine fragments edited by Jean-Baptiste Pitra in 1852 makes it possible to specify their nature and to propose a better founded localization in various works of Origen (Stromata, Peri physeon, Letter to Gobarus), of Didymus of Alexandria (De fide) and of Augustine (Sermo Delmulle 1). Seven other fragments, not previously identified, are published here for the first time: a new passage from a Latin translation of Justinian’s Edictum aduersus Origenem, a tractatus on Joshua attributable to Gregory of Elvira, four pieces on Genesis probably from Augustine’s preaching, and a sentence by Victor of Capua. Each of these fragments is the subject of a critical edition and attribution criticism.

While illustrations for many Holy Books are created especially for the rel­ evant texts, the iconography of the Psalms has mostly been borrowed.1 In early manuscripts the rich imagery of the visual scenes occupied large por­ tions of the page, but this changed as artists became increasingly involved with historiated initials. These, marking the liturgical division, were dec­ orated with sequences borrowed from the New and Old Testaments, with the literal illustrations being confined to the opening verses.2 In contrast to the diversity th a t had characterized earlier endeavours, the picture cycles became static from the thirteenth century onward, with each production centre and its zone of influence embracing repetitive themes. Psalm 52 was most frequently used in the liturgy. Its historiated initial “D” in the opening sentence “Dixit insipiens in corde suo non est Deus” was elaborately illuminated. Unlike the unvarying illustrations for other chap­ ters, the “D” in Psalm 52 boasts ...

In recent Scottish historical research on issues of ecclesiastical renewal and reform, the chief academic focus has rested on three strands: the radical restructuring of the twelfth century, popular devotion in the immediate pre-Reformation period, and the dramatic events of the sixteenth-century Reformation. This does not mean that other aspects of medieval Church history have been neglected, for there has been much new research into its institutions, personnel, and properties. Access to papal records, published as the Calendars of Papal Letters and the Calendars of Scottish Supplications to Rome, has not only shed light on issues of papal provision to benefices, clerical celibacy, illegitimacy and education, and the continuing role and nature of lay patronage and benefaction of the secular and regular Church but has transformed scholarly understanding of the operation of the secular Church in Scotland, the organization and functioning of its governmental structures, and the exerci...

the chief academic focus has rested on three strands: the radical restructuring of the twelfth century, popular devotion in the immediate pre-Reformation period, and the dramatic events of the sixteenth-century Reformation. This does not mean that other aspects of medieval Church history have been neglected, for there has been much new research into its institutions, personnel, and properties. Access to papal records, published as the Calendars of Papal Letters and the Calendars of Scottish Supplications to Rome, has not only shed light on issues of papal provision to benefices, clerical celibacy, illegitimacy and education, and the continuing role and nature of lay patronage and benefaction of the secular and regular Church but has transformed scholarly understanding of the operation of the secular Church in Scotland, the organization and functioning of its governmental structures, and the exercise of canon law, and has given fresh insight into the influence which the clergy wielde...

As Edward Said, Norman Daniel, and Dorothee Metlitzki have pointed out, the purportedly Muslim figures who appear in medieval western literature usually bear little or no resemblance to historical Muslims of the period. Said states, "we need not look for correspondence between the language used to depict the Orient and the Orient itself, not so much because the language is inaccurate but because it is not even trying to be accurate" (71). Similarly, Daniel and Metlitzki identify repeated stereotypical misrepresentations of Islam in medieval literary texts, such as the depiction of Islam as a polytheistic religion or the depiction of alcohol-drinking Muslims (Daniel 3-4, 49-51, 72-73, 81, 133-54; Metlitzki 209-10). It is certainly true that there is little or no mimetic relationship between literary Saracens and historical Muslims, but it should be noted that literary Saracens, despite their inaccuracies, did connote for the West an extremely powerful, technologically advan...

The introduction of printing to England at the beginning of the early modern period intersected with an ongoing interest in matters concerning the querelle des femmes . One result was the production of fourteen translations from Latin and French, twelve of medieval and two of humanist origin. Discussing all fourteen translations, this article proposes an overview of the varying ways in which translation, publishing, and gender were closely intertwined. The source texts, spanning almost four hundred years, varied in provenance, style, and genre and appealed to different audiences. The translating methods used are equally varied, but all owe something to what Sheila Delany calls "the literature of sexual politics."