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Carlo Gesualdo Prince of Venosa’s sixth and final book of Italian madrigals has puzzled scholars since its resurgence in the early twentieth century. Written during a transition between the Renaissance and Baroque periods, Gesualdo’s late madrigals present a musical style that seems to deny any attempt at precise classification with a stylistic movement. So where does Gesualdo’s astonishing style fit within its historical context? And what about his music has drawn the attention of so many scholars? By analyzing representative madrigals of the Mannerist style, a stylistic movement of the Late Renaissance, and the emerging Baroque style, one can understand the general attributes of the musical context in which Gesualdo lived. After identifying the defining characteristics of Gesualdo’s late madrigals, a comparison of Gesualdo’s style and the styles of other madrigalists of his time reveals both the conventional and radical elements of his music. Through this method, one finds that Gesualdo’s compositional style is derivative of the Mannerist movement but pushes the limits of this movement to new extremes, creating a style that would not be heard again for nearly three centuries.

Lire la nature dans Arcadia de Sir Philip Sidney : une esthétique du détail propose une relecture en trois parties du roman de Sidney à la lumière de trois critères : l’univers livresque, l’univers du jardin, et l’univers maniériste. L’ouvrage est accompagné de 10 pl. illustrées en noir et blanc, soulignant ainsi la place accordée au domaine visuel contemporain tout au long de la réflexion. Après une préface du Professeur Christine Sukic, une liste des sigles et abréviations, une note au lect...

The article focuses on the semantics of space within Spenser’s chivalric allegory The Faerie Queene (1590/1596). Special attention is paid to the spatial model of allegorical castle from the second book of the poem. Spenser’s artistic manner is considered; in particular, his partaking of the mannerist style. There is offered an analysis of one of the most puzzling passages of the poem, the House of Temperance. The castle’s keep (the residence of the fair soul called Alma) is shaped as a healthy human body, housing several allegorical rooms. The keep of this allegorical castle was extensively discussed in criticism, as it seems, to the detriment of its fortifications and surroundings, without which the whole allegorical picture remains rather incomplete. This article considers the castle of Temperance in its wholeness, including the allegorical topography of its landscape. The keep/body is surrounded by a system of bulwarks, forming a structure similar to a pentangle: each bastion stands for one of the five senses. On the one side of the castle, there are wild woods where monsters (sins and seductions) live; on the other side, there is a lake holding the waters of baptism. The eclectic castle of Temperance is studied against the cultural and scholarly background of Spenser’s epoch. This article is a revised version of a paper presented at the 27 th Shakespeare Readings (Moscow, 2018).

[EN] The Monastery of El Escorial is rich in architectural artifices designed to modulate light and to use the striking effects of perspective for rhetorical purposes. In the two case studies, the main target was to attract attention on the Catholic rites linked to the Holy Eucharist. They become particularly interesting because of their pioneering nature and their architectural importance. From a chronological perspective, the first example is the little known liturgical transparente designed by Juan de Herrera and the sculptors of the main altarpiece between 1577 and 1586. The second one is the ensemble comprising the retrochoir and altarpiece of the Holy Form in the sacristy, built by José del Olmo between 1677-1684, that integrates Claudio Coello’s masterpiece The Eucharistic Adoration. Our aim is to show that both architectural spaces are outstanding examples of the rhetorical ability of architecture, when it is wisely combined with sculpture and painting., [ES] El Monasterio del Escorial es rico en artificios arquitectónicos diseñados para modular la luz y utilizar los efectos perspectivos con fines retóricos, en concreto para atraer la atención sobre los rituales católicos vinculados a la Eucaristía. Dos de ellos resultan particularmente interesantes no sólo por su carácter pionero, sino por su importancia desde el punto de vista arquitectónico. Cronológicamente, el primero es el transparente litúrgico que Herrera y los artífices del retablo de la capilla mayor construyeron entre 1577 y 1586, poco conocido y escasamente estudiado; y el segundo es el trasaltar y el retablo de la Sagrada Forma en la sacristía diseñado por José del Olmo y materializado entre 1677 y 1684, con el extraordinario cuadro de Claudio Coello. Ambos son claros exponentes de la capacidad retórica de la arquitectura cuando se combina sabiamente con la escultura y la pintura, como expone el presente estudio.

Contemporary notion of style as a set of rules that allows the author choose and combine the elements of content and form when producing a literary work (V.V. Vinogradov, Contemporary notion of style as a set of rules that allows the author choose and combine the elements of content and form when producing a literary work (V.V. Vinogradov, A.N. Sokolov et al.) was in many respects prefigured in “The Arte of English Poesie” (1589) attributed to G. Puttenham, and most of the principles stated in it were mirrored in Edmund’s Spenser’s Epithalamion (1595). The style of the poem is remarkable for its combination of heterogeneous elements borrowed from both the earlier epithalamic tradition and the toolbox of such arts as music, painting, and architecture. A number of papers published in recent decades have revealed the picturesqueness and musicality of the poem seeing Epithalamion as a work bearing typical characteristics of the poet’s idiostyle. This paper suggests that there is a possibility to single it out from the rest of Spenser’s work and read it as a poem which peculiar style that results from the interplay of the emergent grand styles of the time such as Mannerism and/or Baroque, on the one hand, and the elements anticipating Neo-Classicism, on the other. The elaborate Mannerist/ Baroque structure of Epithalamion is permeated with the number symbolism supporting the idea of the perfect harmony of the wedlock blessed by Holy Church in the bridal poem, while its Neo-Classical elements reveal Spenser as a successor of Sappho and Catullus. In the concluding part of the essay, we attempt to evaluate how these peculiarities of the Epithalamion style were rendered in Russian and Chinese translations of the poem.

El objetivo de esta investigación es dar a conocer las distintas iconografías y estilos pictóricos de la Santa Faz de los conventos de Toledo. Obras, en ocasiones, anónimas e inéditas. Se lleva a cabo un estudio comparativo de las distintas versiones de esta imagen devocional desde el segundo tercio del siglo XVI a la cuarta década del siglo XVII. Se analizan las diferencias del modelo iconográfico manierista de El Greco, frente a dos pintores barrocos europeos– Zurbarán, Philippe de Champaigne- y al estilo y la técnica del lienzo del convento de Madres Benitas. La indagación, en archivos y fuentes bibliográficas, aporta nuevos datos sobre el parentesco y la relación del coleccionista Andres Passano de Haro con Génova; y respalda la atribución de la Santa Faz del convento de Madres Benitas a Rubens o Van Dick. This research aims to spread knowledge about Toledo´s abbeys Santa Faz ś diferent iconographies and pictorial styles. Works, occasionally, anonymous and unpublished. A comparative analysis has been developed between the di erent versions of this devotional image, from the sixteenth century ś second term until the fourth decade of the seventeenth century. Di erences between El Greco´s mannerist iconographic model and two European baroque painters - Zurbarán, Philippe de Champaigne- as well the style and the technique of Madres Benitas Abbey ś canvas are analyzed. The inquiry done, through archives and literature sources, provides new data with regards to the relationship of the art collector Andres Passano de Haro with Geneva; and supports the attribution of the Madres Benitas ś Abbey Santa Faz ś authorship to Rubbens or Van Dick.

Giraldo Fernandes de Prado (c.1530-1592) was a treatise writer, painter of frescos and altarpieces, illuminator, calligrapher and knight serving at the Braganza Ducal court. In 1589-1591 he painted –with the collaboration of his disciple André Peres– six panels for the main altarpiece of the church of the Misericordia de Almada. This altarpiece, a major example of Portuguese Mannerist painting, has recently undergone restoration using advanced technological methods.Giraldo Fernandes de Prado (c.1530-1592) fue escritor, pintor de frescos y retablos, iluminador, calígrafo y caballero al servicio de la corte de la casa de Braganza. En 1589-1591 pintó junto con su discípulo André Peres, seis tablas para el retablo mayor de la iglesia de la Misericordia de Almada, uno de los mejores ejemplos de la pintura manierista portuguesa, que se muestra aquí tras su proceso de restauración y análisis técnico.

Una de las obras escultóricas más importantes del obispado de Osma, en los años centrales del siglo XVI, es el retablo mayor de la iglesia de Santa María la Mayor de Soria. En estos años, algunas de las obras sorianas más importantes fueron reclamadas a prestigiosos talleres foráneos. Este fue el caso del retablo mayor de la iglesia de Santa María la Mayor, hasta ahora no documentado, que fue realizado por el ensamblador Juan de Losada y por el prestigioso escultor Juan de Carranza, uno de los más importantes maestros que en aquellos años trabajaban en la ciudad de Burgos. One of the most important sculptures of the Bishopric of Osma, in the middle years of the 16th century, is the altarpiece of the church of St. Mary Major in Soria. In these years, some of the most important sculptural works in Soria were requested to prestigious foreign workshops. Such was the case of the altarpiece of the church of St. Mary Major, so far not documented, which was conducted by the assembler Juan de Losada and the prestigious sculptor Juan de Carranza, one of the most important masters in those years working in the city of Burgos.

Marguerite Yourcenar’s novel The Work in Black provides descriptions of artwork. Fingerprints artistic figurations in his novel become both a text and materiality of Intermediality Ut Pictura poesis. How is formed the symbiosis of the diegesis and Ekhprasis in the novel by Marguerite Yourcenar? Mannerist processes allow the author to play on two different display modes: the text and the image called by the text. How is this transposition within the Work in Black, a novel supposed to represent social circles of the Renaissance by taking the idea to Breughel and simultaneously echo the turpitude where there the contemporary world. Communication between the image and the text does not only nesting but also a representation that is created as a space, an "inner distance" in the words of Georges Poulet, which makes the work a bet abyss in the search for the essence the art work, the philosopher's stone which is the original experience of vision. The curveball opens an "inner space" as Claude Edmonde Magny analysis allowing the novel to open and expand this optical illusion, create connections, secret architectures. We will try to develop these problems merging form of osmosis The work at Black Yourcenar, at the intersection of disciplines and critical approaches that think the work of art in its many meanings and semiotic richness.

This is the study of an important panel painted in Seville in 1604 by Vasco Pereira Lusitano for the Jesuit College of Ponta Delgada (Azores). The style of this work falls within early Sevillian Naturalism, and the author considers its possible influence on local azorean artists.Estudio de un importante panel ejecutado en Sevilla, en 1604, por Vasco Pereira Lusitano, con destino al Colegio de los jesuitas de Ponta Delgada (Azores) y caracterización estilística de la obra en el contexto del naturalismo naciente, con consideraciones sobre la posible influencia ejercida por la llegada del retablo en los medios artísticos locales.

En este artículo se da a conocer el verdadero autor de las mazas del ayuntamiento de Sevilla, Francisco de Valderrama, orfebre redescubierto del que además aportamos nuevos datos biográficos. Asimismo, hacemos un estudio pormenorizado de estas mazas capitulares, obra clave de la plástica manierista sevillana y que tradicionalmente había sido atribuida erróneamente a Francisco de Alfaro. In this article the author reveals the true creator of the maces of Seville Town Hall, Francisco de Valderrama, a rediscovered silversmith about whom new biographical data is offered. Also included is a detailed study of these civic maces (traditionally attributed erroneously to Francisco de Alfaro), key works of Sevillian Mannerism.

Among the several works in Italian vernacular that Giordano Bruno surreptitiously printed during his stay in London in1583-85, De gli eroici furori is the work that exerted the greatest impact on Elizabethan contemporary poets and dramatists. Ideas and emblems presented in the works of “the mad priest of the sun” (in Robert Greene’s phrase) crop up in the plays and poetry of Christopher Marlowe, William Shakespeare, and Andrew Marvell in particular. In Love’s Labour’s Lost Shakespeare seizes on Bruno’s extreme anti-Petrarchism and mannerist techniques in his critique of the little academe of courtiers who reject love and break their vows. He playfully reworks Bruno’s use of the Neo-Platonist principle of infolding in the moral dialogue, which the philosopher-poet had already successfully adapted in a dramatic form in Il Candelaio, one of the best examples of Italian commedia erudita (1583). When Shakespeare creates his own version of this critique in a comic setting, he transforms the philosopher-poet’s procession of lovers under the influence of heroic frenzy (furore eroico) and provides one of the earliest examples of an active use of emblems on the Elizabethan stage. In Shakespeare’s unconventional and melancholy comedy, the main butt of this tongue-in-cheek treatment is Giordano Bruno’s namesake, Berowne. Parmi les œuvres de Giordano Bruno qui furent publiées en italien à Londres lors de son séjour entre 1583 et 1585, De gli eroici furori est celle qui a le plus profondément influencé les poètes et dramaturges élisabéthains. Les idées et emblèmes présentés dans les textes de « ce fou, prêtre du soleil » (selon l’expression de Robert Greene) se retrouvent dans les pièces et la poésie de Christopher Marlowe, William Shakespeare et Andrew Marvell. Dans Peines d’amour perdues, l’anti-pétrarquisme de Shakespeare, manifeste dans la critique de l’Académie et de ses gentilshommes ascétiques, n’est pas sans rappeler celui de De gli eroici furore. Shakespeare reprend le principe néo-platonicien de l’enchâssement déployé dans le dialogue de Bruno et repris avec succès sous une forme dramatique dans Il Candelaio, l’un des meilleurs exemples italiens de commedia erudita (1583). Quand Shakespeare reprend cette critique à son compte dans un mode comique, il transforme la procession des amoureux en proie à une fureur héroïque (furore eroico), adaptant ainsi la forme emblématique sur la scène élisabéthaine. Dans cette comédie mélancolique qui revisite le genre de la comédie, Berowne, dont le nom fait écho à celui du philosophe et poète italien, est le personnage central de la réécriture ironique de Shakespeare.

En este artículo se da a conocer el autor de una pieza manierista de calidad, la cruz alzada de la Hermandad Sacramental de la parroquia de san Juan Bautista de Marchena, obra de Antón del Castillo labrada en 1602. This paper discloses the author of a mannerist quality piece, the cross in the sacramental brotherhood of the parish of St. John Baptist of Marchena, a work by Anton del Castillo done in 1602.

Only in recent years have the works of Lourenço de Salzedo, a quite interesting painter from Seville who worked at the Portuguese court for queen Catherine of Austria (widow of king Joao III), from approximately 1564 to 1577 (year of his death), begun to be regarded in a new light. The recently restored panels that he painted between 1570 and 1572 for the main altarpiece of the Jeronymite Monastery of Lisbon display a profound knowledge of Italian culture, possible only for one who had studied in Rome. In effect, Salzedo was in the city of the Popes toward the middle of the sixteenth century - as were Gaspar Becerra, Pedro Roviale or the Portuguese artist Antonio Campelo - assimilating echos of Roman Bella Maniera painting in the works of the followers of Michelangelo - Girolamo Siciolante da Sermoneta, Daniele da Volterra, Francesco Salviati and Pellegrino Tibaldi.Sólo en fecha reciente la Historia del Arte evaluó desde otro punto de vista la obra de Lourenço de Salzedo, un pintor bastante interesante de origen sevillano que pasó a la corte portuguesa, donde, desde 1564, por lo menos, hasta 1577, fecha de su muerte, será pintor de la Reina Catarina de Austria, viuda de D. Joao III. Las recién restauradas tablas que pinta entre 1570-1572 para el retablo mayor del Monasterio de los Jerónimos en Lisboa, después de frustradas diligencias junto a Felipe II para que otros viniesen a pintarlas (Gaspar Becerra, Franz Floris y Francisco de Urbina fueron algunos de los nombres propuestos) muestran una profunda cultura italianizante sólo posible de adquirir con una práctica artística en Roma. Testimoniamos que, de hecho, Salzedo pasó por la ciudad papal en los años centrales del siglo XVI —tal como Gaspar Becerra, Pedro Roviale o el portugués Antonio Campelo—, asimilando ahí los ecos de la Bella Maniera romana junto a las obras miguelangelescas tanto de Girolamo Siciolante da Sermoneta como de Daniele da Volterra, Francesco Salviati y Fellegrino Tibaldi.

Como criar textos advindos de pesquisas entre a Arte e a Educação? Desesperos aparecem quando precisamos expressar os movimentos de uma pesquisa na escrita. Para tanto, o maneirismo, estilo descrito na historiografia da arte mostrando tendências não ortodoxas de criação, inspira um percurso de aprendizagens distinto do estabelecimento de passos metodológicos. Métodos e maneiras aqui são diferenciados a fim de que possamos pensar a textualização de uma pesquisa por outra via que não as dos textos científicos e técnicos. Com o legado de Nietzsche, referenda-se o pensamento de Deleuze e a esquizoanálise que esse desenvolveu com Guattari. Os conceitos de rizoma, linha de fuga e máquina de guerra são apresentados para tratarmos o problema de “como” fazer um trabalho acadêmico que não seja mera reprodução do que já foi escrito. How to create a text from research between Art and Education? Much despairs come when we need to express moviments of search in writing. Here, the mannerism, style described in art’s historiography, inspire a course of learning distinct from established methodological steps. Methods are distinguished of ways, mores and manners for to think about research’s textualisation by another route than the scientific and technical texts. With Nietzsche’s legacy, concerns Deleuze’s thought and schizoanalyses that him developed with Guattari. Concepts of rizhome, line of fugue and war machine are presentes for treat the problem of “how” to make an academical work that no is a reproduction what has been written.

http://www.tandfonline.com/doi/full/10.1080/14601176.2013.874216#.Uv3joLTWDsQ; International audience; Recent scientific events and publications have enabled us to improve our knowledge of the life and works of Jacques Androuet du Cerceau (1511-1586), a Huguenot architect to the Duchess of Este, well known for his architecture, ornament, furniture, metalwork and other decorative design prints and the founder of the Androuet Du Cerceau dynasty. His eclectic and profuse body of work, clearly influenced by the mannerisms of the School of Fontainebleau, but also by the works of an unknown Flemish artist from the 1530s, includes explicit plans and aerial views of the gardens in Les plus excellents bastiments de France (The Most Excellent Buildings of France) (1576-1579). In a 1979 article entitled 'Rise and decline of the garden knot' Kenneth Woodbridge has revealed that a series of interlacing compositions from Du Cerceau contains knot gardens in square compartments. In The French Renaissance in Prints from the Bibliotèque nationale de France (1994) Peter Fuhring supposed that these strapworks were models of 'Parterres'. But the recent Works catalog of this 'engraver by far the most productive of the XVI century' does not associate this series of knots with the art of gardening. This essay will attempt to demonstrate, using new data, that this series, less noticed by the specialists, is surely a capital example of the rebirth of French Garden Art initiated circa 1550, and developed between 1570 and 1610. The aim will be also to highlight the learning process of the invention of these models, and to assess their feasibility in situ by comparison with other early modern prototypes of knot gardens.

Le théâtre de Shakespeare et de ses contemporains « regorge » de séquences où la gastronomie est mise en scène. Pourquoi ? L’une des raisons est que ces dramaturges écrivent à une période où le style culinaire à la mode arrive à son apogée et entame son déclin, c’est-à-dire que le moment est propice aux rapprochements entre excès culinaires et corruption morale. Cette étude aborde le style culinaire de la période tel que le révèlent les livres de cuisine. Par les méthodes quantitative et qualitative, l’analyse définit ce style et démontre les liens étroits entre le domaine culinaire et les autres arts, notamment la peinture, l’art des jardins et l’architecture. S’il est vrai que le style maniériste en Angleterre — aussi bien pour ce qui est des arts décoratifs que pour la cuisine — diffère quelque peu du maniérisme continental, il reste néanmoins une variante reconnaissable du modèle européen. Plays by Shakespeare and his contemporaries “teem” with episodes which place gastronomy centre-stage. Why? One of the reasons is that these playwrights were writing at a period when the fashionable culinary style reached its climax and began its decline, and was thus peculiarly appropriate as a vehicle for a simultaneous critique of culinary excess and moral turpitude. This paper looks at the culinary style as revealed in the cookbooks of the period, using quantitative and qualitative methods, in order to define that style and to show its close links with the other arts, most notably painting, gardens and architecture. While the Mannerist style in England was somewhat apart from its Continental counterparts — and this is true of all the arts mentioned as well as the culinary — it was recognizably a part of the same movement.

Ensaia-se a análise de uma importante pintura portuguesa, maneirista, exposta no Museu Nacional de Arte Antiga, nomeadamente sob o ponto de vista da atribuição da autoria e leitura iconográfica. Abstract - It is proposed the analysis of an important Portuguese painting, Mannerist, exhibited at the National Museum of Ancient Art, particularly from the point of view of attribution of authorship and iconographic reading.