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The research project we are presenting focuses on the study and the reconstruction of the personality and artworks of Giulio Benso, a Genoese painter, draftsman and architect between Mannerism and Baroque, a specialist in illusionist decoration. The dispersion of a third of his works, in particular altar paintings and some fresco decorations, combined with the large number of graphic projects of different quality which have been attributed to him in recent decades have generated a bad reputation for his work, too often considered as a second-rate one compared to his contemporaries. In this study, his artistic activity will therefore be analyzed and contextualized using archival documents and ancient sources, from his training at the Academy of Giovanni Battista Paggi, a Genoese cultural environment, to the numerous Ligurian and foreign orders - German and French - assigned to him during his life, in order to highlight the contacts, the relationships with certain artists such as Giovanni Andrea Ansaldo and Giovanni Battista Carlone, the inspirations according to the Lombard, Venetian, Bolognese and Roman schools. The experiences he had and that allowed him to evolve in his work and to communicate his style to the successive generations of painters will also be taken into account. This analysis has been conducted in a precise and rigorous manner, by highlighting the existing documents on the artist, on his life and his works. The in-depth study of all the modern contributions published so far on him, on Genoa and on the Genoese school of the 16th and 17th centuries, has been enriched by documentary research in the various archives establishments of the Liguria region and by the examination of ancient sources, such as guides and manuscripts on the artistic production of the territory, with the aim of establishing the complete artistic activity of the painter, including destroyed paintings and frescoes, in order to highlight its evolution and the relationships with its contemporaries. This work thus presents an introductory part concerning the critical fortune lived by the painter during his life and after his death. This is followed by the second, which is focused on the study of his training at the Paggi Academy and on commissions for paintings and trompe l'oeil decorations received in Liguria. Then, a third chapter is devoted to missions abroad: in Germany, in Weingarten, described through the epistolary relationship between the artist and the sponsor Gabriele Bucellino, thanks to the old documents that were found and the letters transcribed by the heir of Benso, father Lorenzo Sertorio, and in France, in Cagnes-sur-Mer, in Provence, for which the vast iconographic and iconological program of the decor, chosen by the family, with a strong political reference has been studied. This study then presents two catalogs. One devoted to painting and the other to graphic production. The first follows a chronological order by mission, including lost or destroyed orders, thereby seeking to offer a reading of the painter’s artistic investment in the social and cultural framework of Liguria, Germany and France. Long-term orders such as those from the Annunziata del Guastato in Genoa from 1638 to 1647 or those for Weingarten from 1627 to 1667 are processed in their unit to facilitate the analysis of their development. This is followed by the catalog of drawings presented chronologically. The study of Giulio Benso's graphic production requires a rigorous and scientific analysis based on stylistic as well as technical and documentary checks. Studies conducted in the past on the artist's drawings have revealed many attribution problems, which involve reordering. It is therefore proposed to try to establish the complete corpus of his graphic work by re-examining all the sheets attributed to him and those of the Genoese school kept in public and private collections., Le projet de recherche que nous présentons porte sur l'étude et la reconstruction de la personnalité et de l’œuvre de Giulio Benso, peintre, dessinateur et architecte génois entre le maniérisme et baroque, spécialiste dans le décor à trompe l’œil. La dispersion d’un tiers de ses œuvres, en particulier de retables et des quelques décors à fresque, unie au grand nombre de projets graphiques de diverses qualités qui lui ont été attribués dans les dernières décennies ont engendré une mauvaise réputation de son travail, trop souvent considéré de second ordre par rapport à ses contemporains. Dans le cadre de cette thèse, son activité artistique sera donc analysée et contextualisée à l’aide de documents d’archives et des sources anciennes, à partir de sa formation auprès de l’Académie de Giovanni Battista Paggi, dans un environnement culturel génois, en passant par les nombreuses commandes liguriennes et étrangères –allemandes et françaises– lui assignées au cours de la vie. Cela nous permettra de mettre en évidence les contacts, les relations avec certains artistes tels que Giovanni Andrea Ansaldo et Giovanni Battista Carlone, les inspirations d’après les écoles lombardes, vénitiennes, bolonaises et romaines et les expériences qu’il vécut et qui lui ont permis de faire évoluer son travail ainsi que de diffuser son style aux générations suivantes de peintres. Notre analyse sera conduite d’une manière rigoureuse, en mettant en avant les documents existants sur l’artiste, sur Gênes et sur l'École génoise du XVIe et XVIIe siècles. Par ailleurs, notre étude sera enrichie par les recherches documentaires dans les différents établissements d’archives et par le dépouillement des sources anciennes, dans le but d’établir la complète activité artistique du peintre, tableaux et fresques détruits compris, pour en mettre en valeur son évolution et les relations avec ses contemporains. Notre travail présente donc une partie introductive concernant la fortune critique que Benso connut au cours de sa vie et après sa mort. A cela, fait suite l’étude de sa formation à l’Académie de Paggi et des commandes de peintures et de décorations en trompe l’œil reçues à Gênes, dans le Ponente et à Pieve de Teco. Puis, un troisième chapitre est consacré aux missions à l’étranger : en Allemagne, plus précisément à Weingarten, pour lequel nous publions dans le détail la relation épistolaire entre l’artiste et le commanditaire Gabriele Bucellino, grâce aux documents anciens retrouvés et des lettres transcrites par l’héritier de Benso, père Lorenzo Sertorio. En France, à Cagnes-sur-Mer (Provence), où nous étudions le vaste programme iconographique et iconologique du décor, choisi par la famille, avec une forte référence politique. Puis, nous présentons deux catalogues. L’un consacré à la peinture et l’autre à la production graphique. Le premier suit un ordre chronologique par mission, incluant les commandes perdues ou détruites, en cherchant, ainsi, à offrir une lecture de l’investissement artistique du peintre, du cadre social et culturel de la Ligurie, de l’Allemagne et de la France. Les commandes de longues durées telles que celles de l’Annunziata del Guastato à Gênes de 1638 à 1647 et Weingarten, de 1627 à 1667 ont été traitées dans leur unité pour favoriser l’analyse de leur évolution. A cela, fait suite le catalogue des dessins présenté selon l’ordre chronologique d’exécution. L’étude de la production graphique de Benso nécessite une analyse rigoureuse et scientifique basée sur des vérifications stylistiques de même que documentaires, c’est donc ainsi que nous avons procédé. En effet, les analyses conduites dans le passé sur les dessins ont révélé beaucoup de problèmes d’attribution, qu’impliquaient une remise en ordre. Nous nous sommes proposés donc, de tenter d’établir le corpus complet de son œuvre graphique en réexaminant toutes les feuilles à lui attribuées et celles de l’école génoise conservées dans collections publiques et privées du monde.

This bachelor thesis deals with the topic of the Italian Chapel of the Assumption of Our Lady at Karlova street in Prague's Old Town. The prime focus is on the architecture of this object. The unique building stands thanks to group of Italian artists-craftmens, who were coming to Prague at the end of 16th century. The Italian Chapel is an example of progressive and dynamic manneristic Italian architecture, which has no analoques in the local enviroment. Apart from that, I am also trying to discover the identity of architect, which is not substantiated by the sources until these days and a possible impact on sacral architecture development of the upcoming century.

A través del análisis de La tejedora de coronas de Germán Espinosa se busca revelar la manera cómo las ideas modernas del siglo XVIII se postergan en Colombia. El escritor decide dotar de un ethos barroco a la protagonista, Genoveva Alcocer, una mujer criolla de espíritu mestizo —una “indiana blanca” que se deshace de su mentalidad colonial, de los mitos religiosos y prejuicios de la época— hasta convertirla en un “sujeto moderno”. Genoveva sale de Cartagena de Indias a muy temprana edad y permanece muchos años en Europa y América del Norte; regresa a su tierra natal a fines del siglo XVIII, en los años más críticos previos a la Independencia, cuando las ideas de libertad, igualdad y progreso están en furor. El pensamiento moderno que la heroína asimila en sus viajes choca en esta Colonia, tan católica, tan cerrada, con una fuerte resistencia a la emancipación del individuo, a su liberación mental y ética. La tensión novelesca se construye sobre la distancia que existe entre el modo de pensar de Genoveva y lo que le exige el oscuro régimen de la Santa Inquisición que aun prevalecía en las naciones hispanoamericanas. The analysis of The Weaver of Crowns (La tejedora de coronas) by Germán Espinosa seeks to reveal the way in which modern ideas of the 18th century was delayed in Colombia. The writer decides to give a “baroque ethos” to the protagonist, Genoveva Alcocer, a Creole woman of a mestizo spirit — an “indiana blanca” who gets rid of her colonial mentality, religious myths and prejudices of the time — until she becomes a “modern person.” Genoveva leaves Cartagena de Indias at a very young age and she lived many years in Europe and North America. She returns to her homeland at the end of the 18th century, in the most critical years before Independence, when the ideas of freedom, equality and progress are booming. The modern thought the heroine assimilates in her travels collides in this Colony, so Catholic, so closed, with a strong resistance to the emancipation of the individual, to their mental and ethical liberation. The novelesque tension is built on the distance that exists between Genoveva's way of thinking and what is required by the dark rule of the Holy Inquisition that still prevailed in the Latin American nations. Magíster en Literatura Maestría

Cette contribution vise à présenter la lecture actuelle du mythe rosicrucien que fait Jan Van Rijckenborgh (1896-1968). Ce Néerlandais contemporain de Rudolf Steiner, d’abord responsable de l’antenne de l’Association Rosicrucienne (Max Heindel) aux Pays-Bas, est le fondateur, dans les années 1930, d’un mouvement rosicrucien contemporain, le Lectorium Rosicrucianum ou école internationale de la Rose-Croix d’Or. Après un survol de la vie de Jan Van Rijckenborgh qui mettra en lumière la place particulière qu’ont toujours occupée pour lui les Noces Chymiques, une seconde partie traitera de la manière dont l’ésotériste s’est approprié la matière alchimique et symbolique des Noces pour en tirer un enseignement inédit, mêlant paradoxalement hermétisme et dualisme gnostique. On s’interrogera enfin sur l’attention portée encore aujourd’hui, près de 45 ans après la mort de son fondateur, par le Lectorium Rosicrucianum sur le sens du manifeste paru à Strasbourg pour le public contemporain et sur sa propre filiation rosicrucienne. Ziel des Vortrags ist die heutige Ausdeutung des Rosenkreuzer Mythos vom niederländischen Esoteriker Jan Van Rijckenborgh (1896-1968) vorzustellen. Als ehemaliger Stellvertreter in Holland des Rosenkreuzer Vereins (gegründet von Max Heindel in Oceanside, Kalifornien), gründet Jan Van Rijckenborgh gegen Mitte der dreißiger Jahre eine spirituelle Bewegung, die noch heute besteht und ca. 15 000 Mitglieder zählt: die Geistesschule des Goldenen Rosenkreuzes oder Lectorium Rosicrucianum. Zuerst wird gezeigt, welche Bedeutung den Rosenkreuzer Urmanifesten im Leben und Werk Van Rijckenborghs beigemessen wurde, dann wird untersucht, wie die Chymische Hochzeit ihren Weg zu einer originellen esoterischen Lehre fand, gewoben aus Hermetik und gnostischem Dualismus, was an sich gar nicht so selbstverständlich ist. Des Weiteren wird der besonderen Art und Weise Aufmerksamkeit geschenkt, wie die moderne Bewegung des Lectorium Rosicrucianum mit dem rosenkreuzerischen Erbe heutzutage, ca. 45 Jahre nach dem Tod seines Gründers, umgeht. The contribution aims to present a modern interpretation of the Chymical Wedding by a self-taught Dutch esoteric author, Jan Van Rijckenborgh (1896-1968). Head of the Dutch Rosicrucian Association (founded by Max Heindel) to begin with, he then founded his own movement, the Lectorium Rosicrucianum or International school of the Golden Rosycross, in the early 1930s. After considering the place of the Rosicrucian Manifestos in the life and work of Jan Van Rijckenborgh, it will be worth analysing how the author combined the alchemical and symbolic elements in the Wedding to provide a radically new form of teaching, paradoxically blending hermetic and gnostic dualism. Last but not least, attention will be paid to the way the Rosicrucian movement founded by Jan Van Rijckenborgh is facing its heritage nowadays.

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.

disertační práce v anglickém jazyce ALICE BARTŮŠKOVÁ MONASTIC RULES AND MUSES. THE CAPUCHIN FRIARS IN THE SERVICE OF THE ART IN EARLY BAROQUE BOHEMIA VEDOUCÍ PRÁCE: DOC. PHDR. MARTIN ZLATOHLÁVEK, PHD. Dissertation entitled Monastic rules and muses. The capuchin friars in the service of the art in early Baroque Bohemia set out for the purpose of research to the neglected theme of the Capuchin brothers - painters on the border between Mannerism and the Baroque era. This phenomenon in painting, which is not only characteristic for the order of the Capuchins, but also of other ecclesiastical orders, has never been more comprehensive. The Capuchin brother Paolo Piazza came to the Czech lands with first capuchin brothers; in his paintings he is inspired of the Venetian school of the 16th century. He was a versatile painter, he created not only painting on canvases, but also made wall paintings and his painting manuscript was not uniformly defined. Paolo Piazza worked in the capuchin monasteries in Prague and Brno during the reign of Rudolph II, for the emperor himself he created several artworks. Piazza's work has also been preserved in the engravings of the Sadeler family. Thanks to these engravings, several Piazza's compositions with a set iconographic type have spread to European fine arts. From the...

Based on the results of most recent research concerning the so-called fourth block of communal houses in the early 1560s, this article argues in favour of the assumption that the facade of this particular block was used as a model for all the house facades later constructed on the north side of the Placa, at first, directly—in the hitherto unknown construction undertakings of two new blocks of communal houses in the westernmost part of the city' s main thoroughfare (near the Franciscan Church) in the early, i.e., mid-seventeenth century—and later, indirectly, in the reconstruction after the 1667 earthquake. Further examined are the issues that result from the analysis of present-day architectural structures in the light of previously known and recently discovered archival and visual evidence, as well as the role of certain participants in the processes of decision- making, design and construction, notably Ragusan authorities as initiators, investors and commissioners, along with two foreign architects—Jacques de Spinis, who arrived in Dubrovnik from Venice in the mid-sixteenth century, and papal architect Giulio Cerruti, sent directly from Rome in the autumn of 1667.

Treball Final de Grau en Història i Patrimoni. Codi: HP1036. Curs acadèmic: 2016/2017 Evolución a lo largo de los siglos XVI y XVII de las construcciones promovidas por los diferentes gobiernos pontificios, para plasmar a lo largo de la topografía urbana de Roma su poder. Para ello, los diferentes Papas se pusieron en manos de diversos artistas para hacer realidad sus intenciones, por lo que las altas esferas eclesiásticas y los diferentes artistas del panorama artístico de la Roma pontificia se necesitaban los unos a los otros. Esta unión entre poder y arte está muy presente a lo largo de los siglos XVI y XVII. Evolució al llarg dels segles XVI i XVII de les construccions promogudes pels diversos governs pontificis, per plasmar per tota la topografia urbana de Roma el seu poder. Per a això, els diferents Papes es posaren en mans de diferents artistes per a fer realitat les seves intencions; per tant, les altes esferes eclesiàstiques i els variats artistes del panorama artístic romà necessitava d'uns i dels altres. Aquesta unió entre poder i art és molt present durant els segles XVI i XVII. The evolution along the 16 th and 17 th centuries of the promoted constructions by the different pontifical governments, to capture throughout it’s urban topography of Rome it’s power. For this, the different Popes were put in the hands of various artists to realize their intentions, thus the high ecclesiastical spheres and the different artists of the artistic panorama from the pontifical Rome needed each other. This union between power and art is very present throughout the sixteenth and seventeenth centuries.

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.

The dissertation evaluated the formal, stylistic and contextual analysis of the painting oeuvre of the Cremonese native Antonio Campi. Monographic elaboration of Campi's oeuvre complement to the existing range of syntheses a number of information that has been in the literature so far omitted. The work assessed Antonio's oeuvre on the revision of archival material preserved in Milanese and Cremonese state and church archives, as well as by the means of thorough study of the secondary literature. Chronology of Campi's production was based on the stylistic and formal analysis and at the same time it has been enriched by a number of comparisons of the Lombardy-Ligurian region. Perspective at Antonio's oeuvre was accompanied by drawings and panel paintings that have emerged in the art market in recent years. With this thorough analysis, it became clear that the simple definition of an older Italian scientific literature that had Antonio Campi understood as a painter, who by his work formed the basis of Caravaggio chiaroscuro approach in the last decades of the 16th century and in the early years of the 17th age, proved to be inaccurate. It became clear that with this view we can not identify ourselves any more. Constant changes in mood, surprise, unpredictability, restlessness and individuality, the...

Anexos para consulta na Biblioteca - TCD 3840 Tese editada e premiada pela FCG não pode ficar em livre acesso A presente tese de doutoramento tem por objectivo estabelecer o percurso biográfico e profissional dos Nunes Tinoco, uma das mais importantes famílias portuguesas de arquitectos régios do século XVII e inícios do século XVIII. Com uma actividade que se estendeu desde o domínio filipino até ao reinado de D. João V, marcariam a arquitectura portuguesa transmitindo, geracionalmente, toda uma tradição de conhecimentos teóricos e práticos, à semelhança do que aconteceria com outras famílias, como os Frias e os Couto, só para citar as mais importantes. Sistematizados os dados biográficos dos seus membros, tendo em atenção o contexto social e da actividade profissional em que se inseriram, pretendemos esclarecer algumas questões que considerávamos importantes sobre a prática e características da arquitectura neste período, salientando a importância que a estrutura familiar desempenhou nos aspectos por nós considerados fundamentais para essa mesma análise: passagem de mestre pedreiro a arquitecto e consequente emergência de um novo estatuto social; formação, desempenho e transmissão de cargos; contribuição do binómio família/formação para o discurso da arquitectura portuguesa. Por fim, pretendemos esclarecer ainda qual a evolução do seu estatuto profissional, relacionando-­‐o com a evolução da própria arquitectura, e com as transformações culturais e sociais observadas ao longo do período em estudo. The current doctoral thesis aims at tracing the life and career path of the Nunes Tinoco, one of the most important Portuguese families of royal architects, back to the 17th century and early 18th century. Their acctivity spanned from the reign of the Filipes to the reign of king John V and had a tremendous impact on the Portuguese architecture, transmitting, generation after generation, a whole tradition of knowledge and skills, as, in the future, it would be the case of other families, such as the Frias and the Couto, only to mention the most influential. After having systematized this family members´ biographical data and information about their professional activity, integrating it in the social context of that period, we intend to clarify some issues we consider important about the tecniques and characteristics of architecture during this time, pointing out the relevance of the family structure concerning the facts we considered fundamental for this study: the passage from head mason to architect and the resulting new social status; training, performance, posts assignment, contribution to the binomial family/tecniques Portuguese architecture speech. Finally, we purpose to establish the evolution of their professional status, linking it with the evolution of architecture itself and with the cultural and social changes occurred over this period.

[EN[] The abundance of floating figures i n the plastic of the Modern Age invites us to study the movement that angels and deities carried out. For its weightless movement, these characters are different from the characters subject to their center of gravity with which they coexist. Their movement is known through the pictures and it has been invented out of the sensory experience and imagination. 2 Virtual expression of the dynamism in static images can be supported by technical and formal resources. In the case of the weightless human figure, these resources are designed to emphasize the unique characteristics of its movement. The independence of a support surface turns to unlimited the space in which these weightless beings develop their movement; and it independence from a center of gravity makes possible movements that are inconceivable in daily life. Therefore, any visual resource that suggests this condition will help to express their freedom of trajectories, [ES] La abundancia de figuras flotantes en la plástica de la Edad moderna nos invita a estudiar el movimiento que realizan ángeles y divinidades. Por su movimiento ingrávido, estos per- sonajes se diferencian de aquellos que están sujetos a su centro de gravedad. Conocemos su movimiento a través de las representaciones de esta época, movimiento que ha sido inventado a partir de la experiencia sensorial y la imaginación. La expresión virtual del dinamismo en imágenes estáticas se apoya en recursos técnicos y formales que en el caso de la figura humana ingrávida están orientados a resaltar las características peculiares de su movimien- to. La independencia de una superficie de apoyo transforma en ilimitado el espacio en el que se mueven los seres ingrávidos; y su independencia del centro de gravedad hace posible desplazamientos que son insólitos en la vida cotidiana. Por ello, todo recurso visual que sugiera esta condición contribuirá a expresar su libertad de trayectorias.

The present study examines the motif of the encounter with the beloved in dreams in three sonnets from the three main stages that are often distinguished in the Golden Age: Renaissance, Mannerism and Baroque.

Artykuł ukazał się w serii „Humanizm. Idee, nurty i paradygmaty humanistyczne w kulturze polskiej” Na wstępie autor odwołuje się do powszechnej opinii o przełomowym znaczeniu soboru trydenckiego dla dziejów kultury. Zauważa, że przekonanie o jego wadze powstało w epoce, i dowodzi, że ustalenia Tridentidum nie były ostateczne, choć dążono do tego. Podaje przykład sporów o łaskę, ciągnących się również po soborze zarówno wśród katolików, jak i protestantów. Duchowość potrydencka nie jest monolitem, zmieniała się i rozszczepiała. Badacz przestrzega przed uznawaniem soboru za przyczynę powstania nowego modelu chrześcijańskiego humanizmu. Optyka taka wiąże się z czytaniem dziejów kultury jako ciągu przełomów i zaciera ewolucyjność procesów w niej zachodzących. Autor uznaje Tridentitum za skutek i legitymizację naturalnych przemian renesansowego humanizmu, przechodzącego od realizmu do spirytualizmu, od wczesnego do dojrzałego i późnego, wyrażonego w manieryzmie i baroku. Według badacza komunikatywny i sensualistyczny barok wygrał nad chłodnym i intelektualnym manieryzmem niejako wbrew zaleceniom soboru. Początek omawianych przemian autor widzi w spirytualistycznym florenckim neoplatonizmie w XV w., reakcji na „naturalistyczny” arystotelizm wczesnego renesansu. Kontynuował ją dojrzały renesans Rafaela i późnego Michała Anioła, a potem manieryzm. Wspomagała ją też pobożność północna, która dotarła do Włoch za pośrednictwem duchowości ignacjańskiej. Jako polski przykład przedsoborowego chrześcijańskiego humanizmu badacz omawia Rytmy o porodzeniu przenaczystym Bogarodzice Panny Maryjej Grzegorza Czaradzkiego, przeróbkę poematu Jacopa Sannazara, zdradzającą już elementy myślenia potrydenckiego i barokowej stylistyki. Sobór trydencki zebrał, skodyfikował i uregulował tendencje dojrzałego renesansu. Choć nakładał na sztukę obostrzenia, Kościół doceniał jej ewangelizacyjny potencjał i wycofywał się przepisów, które uznano za niepraktyczne. Pragmatyzm podyktował przejście od manieryzmu do baroku, mniej elitarnego, za to bardziej efektownego. Spowodował je również spór o sztukę religijną z protestantami. Krytykowali oni przejęcie przez chrześcijan form cesarskiej sztuki antycznej (Centuriae Magdeburgenses), na co katolicy odpowiedzieli pochwałą sztuki i wizją chrześcijaństwa czerpiącego z tradycji, ale też nowatorskiego. Badacz przytacza poglądy Roberta Bellarmina, który legitymizował zdobycze humanizmu oraz cechy baroku w sztuce, m.in. hierarchizujący porządek kościoła, bogactwo wystroju i „realizm” w malarstwie. Omawia też myśl Cesare Baronia, reprezentanta tzw. odrodzenia wczesnochrześcijańskiego. Bronił on sztuki i architektury religijnej oraz kultu relikwii i świętych, odwołując się do praktyk pierwszych chrześcijan. Jako przykład krzewienia katolickiej sztuki barokową w Rzeczypospolitej badacz wskazuje artystyczną działalność współpracownika Carla Maderny Mattea Castella, specjalnie wysłanego w tym celu z Rzymu. Marek Prejs, Post-Tridentine Humanism and a New Model of Catholic Culture (Mannerism or Baroque?) In the beginning, the author refers to a general opinion about the crucial importance of the Council of Trent for the history of culture. He notes that the conviction of its magnitude was born in the epoch, and proves that the Trent decrees were not definitive, despite efforts. He gives an example of disputes about grace, also after the Council, both among Catholics and Protestants. Post-Tridentine spirituality was not a monolith; it was changing and splitting. The researcher warns against recognizing the Council as the reason for the emergence of a new model of Christian humanism. Such perspective results from the reading of cultural history as a series of breakthroughs and blurs the evolution of its processes. The author considers the Council of Trent as a result and legitimization of the natural changes in Renaissance humanism, passing from realism to spiritualism, from early humanism to mature and then late humanism, expressed in Mannerism and Baroque. According to the researcher, the communicative and sensualistic Baroque prevailed of cool and intellectual Mannerism, somewhat contrary to the Council’s recommendations. The beginning of these changes the author sees in the spiritualist Florentine Neoplatonism in the fifteenth century, a reaction to the “naturalistic” Aristotelianism of the early Renaissance. It was continued by the mature Renaissance of Rafael and the late Michelangelo, followed by Mannerism. It was also supported by northern piety, which reached Italy through the Ignatian spirituality. As a Polish example of pre-Tridentine Christian humanism, the researcher discusses Grzegorz Czaradzki’s Rhymes on the immaculate birth by the Virgin Mary, Mother of God (Rytmy o porodzeniu przenaczystym Bogarodzice Panny Maryjej), a modified version of a poem by Jacopo Sannazaro, already revealing elements of post-Tridentine thinking and Baroque style. The Council of Trent collected, codified and regulated the tendencies of the mature Renaissance. Although it imposed restrictions on the art, the Church appreciated its evangelistic potential and withdrew from the provisions that were considered impractical. Pragmatism dictated the transition from Mannerism to Baroque, less elite but more effective. It was also caused by a dispute over religious art with Protestants. They criticized Christians’ acquisition of forms of the Roman Empire ancient art (Centuriae Magdeburgenses), to which Catholics responded with the praise of art and the vision of Christianity based on tradition, but also innovative. The researcher cites the views of Roberto Bellarmino, who legitimized the achievements of humanism and Baroque features in art, including hierarchizing Church order, the richness of decor and “realism” in painting. He also discusses the thought of Cesare Baronio, a representative of the so-called early Christian revival. He defended religious art and architecture as well as the worship of relics and saints, referring to the practices of the first Christians. As an example of the propagation of Catholic Baroque art in the Polish-Lithuanian Commonwealth, the researcher indicates the artistic activity of Carlo Maderna’s collaborator Matteo Castello, specially sent from Rome for this purpose. Ewa Kuczyńska

A leitura da obra de Arnold Hauser, particularmente de seu livro Der Manierismus, de 1964, ao voltar-se para a história da literatura espanhola, nos permitiu superar as habituais catalogações embasadas apenas na cronologia, que predominam nos manuais dessa especialidade. Hauser chama de "Maneirismo" a crise da Renascença e distingue esse movimento dos Barrocos europeus. Alguns autores e obras espanholas dos séculos XVI e XVII, graças ao seu perspectivismo, à presença do paradoxo, à sua construção cerebral, à descoberta do leitor moderno, à sua autonomia como obras literárias, à superação dos gêneros clássicos, ao uso do diálogo, etc., respondem às características desse Maneirismo e, assim sendo, podem ser lidas como fundamentos da Modernidade literária. The reading of Arnold Hauser´s work, in particular his book Der Manierismus, written in 1964, that deals with Spanish literature, allows us to overcome the usual classifications found in manuals of this area based only on chronological data. Hauser calls "Mannerism" the crisis of the Renaissance, distinguishing it from European Baroque movements. Some of the Spanish authors and their works from the sixteenth and seventeenth centuries respond to the characteristics of Mannerism, if one takes into account their perspectivism, the presence of paradox, their cerebral construction, the discovery of the modern reader, their autonomy as literary works, the overcoming of the classical genders, the use of dialog, etc, and can, therefore, be seen as the basis of the literary Modernity.