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Continuing the study into the creative work of the Spanish playwright Tirso de Molina, in this article the author focuses on the problems of the writer’s works on the borderline between Mannerism and the Baroque that pose the most important questions of human existence, relations with the world and with God. In a broad historical, cultural, philosophical and religious context, the article analyses autos and ‘dramas about saints’, as well as the two masterpieces by Tirso de Molina — The Man Condemned for Lack of Faith and The Trickster of Seville, or the Stone Guest. In the drama The Man Condemned for Lack of Faith, the traditional image of a Christian righteous is debunked and the exaltation of a sinner is justified. In The Trickster of Seville, or the Stone Guest, criticism of morals is closely intertwined with mythopoetic imagery, and the tragic — with the grotesque, marking the tragicomic decline of the Renaissance and the transition from Mannerism to the problems of the Baroque. The optimistic anthropocentrism of the Renaissance is shifting towards the dynamics and tragedy of being and the heightened emotionality and polarity of the image system.

The paper deals with Nadija Rebronja’s book 88, which is conceived as 88 piano keys or fragments. The paper recognizes some important links that this book establishes with the mannerist literary tradition, as understood and explained by Gustav René Hocke in his widely acknowledged books Mannerism in Literature and The World as a Labyrinth. Instead of opening up to the totality of all things, 88 resembles a mannerist work that closes itself into its own artistic reality and questions the place that literature and art occupy in today’s world. The paper also deals with the implications that arise from the connection Nadija Rebronja establishes with the tradition of magic(al)realism, particularly regarding the construction of motivational systems and their relation to the phenomenon of magic in this book. By utilising the concepts of simultaneity and catalogue, 88 relates to the tradition of the Russian avant-garde, as understood by Aleksandar Flaker. It is also shown that a reassessment, a significant avant-garde procedure, holds an important place in the 88, since the author re-evaluates the figure of travel and a topos of the town square in relation to classical literature. This reassessment is linked to the tradition of hikaye, instructive stories that have come from the Islamic tradition, as well as a farce - a literary form based on reversal. The final part of this paper deals with the fragmentation in Nadia Rebronja’s88 which can be linked to the atomization within the mannerist literature and the avant-garde understanding of the world. It also explores the ways in which the world created in this book relates to,on the one hand,the “optimal projection” as one of the characteristics of the avant-garde, and the concept of utopia as an alternative to freethinking on the other.

For architects, the construction of a dataset for use in AI, whether imported from somewhere else or newly created, is fundamentally an epistemological canon of references, likes and preoccupations often predicated on the selection of so‐called masterpieces of Western art. The canon represents ideals of beauty and knowledge, but it also reflects a bias in favour of art created by those who have occupied the most socially, politically and economically powerful positions in culture. Mario Carpo, architectural historian, critic and Reyner Banham Professor of Architectural History and Theory at the Bartlett School of Architecture, University College London, leads us through a succinct series of eras and architectural styles to demonstrate this fact and their lack of diversity. [ABSTRACT FROM AUTHOR]

This article seeks to discuss narratives underlying the debate on artistic training and (self)education of artists in two distinguished moments: the sixteenth-century Italian Mannerism and nineteenth-century artistic movements which opposed academic instruction. Mannerist treatises were the first to encompass aesthetic and pedagogical concerns in the context of newly established art academies – providing a fundamental, albeit essentially unrecognised, conceptual background for the subsequent discussions on art education. The goal of this article, therefore, is to examine how the rich discursive production of Mannerist authors provided the frame of reference and delineated the limits of this debate until the late nineteenth century – by setting forth the perennial question of the polarity between imitation and individuality. For the conceptual treatment of empirical sources, we adopted an archaeological approach, which enabled us to identify how the derivations and appropriations of Mannerist concepts provided the theoretical base for both the firm establishment of Academic dogmas and, in parallel, their critique. By this methodological choice, we hope to make apparent how these narratives continually revolve around the same ideas in a binary logic of delivering critique and suggestions of reform and change, contributing thus to the deeper understanding of the debate on art education. [ABSTRACT FROM AUTHOR]

This paper explores the response of the Eidgenössische Technische Hochschule Zürich (ETH Zurich) to the student unrest of 1968. Specifically, it analyses the teaching of Swiss architect and educator René Furer on architectural theory. One of the key examples is Furer's lecture on mannerism, in which both sixteenth-century and contemporary projects were used to illustrate "semantic" and "syntactic" dimensions of architecture. The terminology and pluralist content of the lecture show how mannerism was related to the notion of architecture as language and to nascent postmodernism. By highlighting this episode, the paper challenges the prevailing narrative of Swiss architecture as a bastion of modernism, suggesting that teaching at ETH was more in tune with international developments than previously thought. [ABSTRACT FROM AUTHOR]

The façade of the Gothic cathedral of Tortosa was built in the 17th century according to the project by Martín Abaria, which was carried out between 1621-1625 and is preserved in the ACTo, and whose study has revealed the origins of its composition. The repositioning and redrawing of the trace allows the comparison with the façade executed through the data obtained from the Terrestrial Laser Scanner (TLS) and whose 3:2 proportions are similar. The analysis of its scaling allows comparison with other Roman basilicas. The compositional basis of the lower body of the Abaria project is very similar to that of Santa Maria in Traspotina (1566-1587) in which Giovanni Vincenzo Casale was involved before becoming the engineer of the Escorial in 1589. [ABSTRACT FROM AUTHOR]

Abnormal movements are intrinsic to some forms of endogenous psychoses. Spontaneous dyskinesias are observed in drug-naïve first-episode patients and at-risk subjects. However, recent descriptions of spontaneous dyskinesias may actually represent the rediscovery of a more complex phenomenon, 'parakinesia' which was described and documented in extensive cinematographic recordings and long-term observations by German and French neuropsychiatrists decades before the introduction of antipsychotics. With the emergence of drug induced movement disorders, the description of parakinesia has been refined to emphasize the features enabling differential diagnosis with tardive dyskinesia. Unfortunately, parakinesia was largely neglected by mainstream psychiatry to the point of being almost absent from the English-language literature. With the renewed interest in motor phenomena intrinsic to SSD, it was timely not only to raise awareness of parakinesia, but also to propose a scientifically usable definition for this phenomenon. Therefore, we conducted a Delphi consensus exercise with clinicians familiar with the concept of parakinesia. The original concept was separated into hyperkinetic parakinesia (HPk) as dyskinetic-like expressive movements and parakinetic psychomotricity (PPM), i.e., patient's departing from the patient's normal motion style. HPk prevails on the upper part of the face and body, resembling expressive and reactive gestures that not only occur inappropriately but also appear distorted. Abnormal movements vary in intensity depending on the level of psychomotor arousal and are thus abated by antipsychotics. HPk frequently co-occurs with PPM, in which gestures and mimics lose their naturalness and become awkward, disharmonious, stiff, mannered, and bizarre. Patients are never spontaneously aware of HPk or PPM, and the movements are never experienced as self-dystonic or self-alien. HPk and PPM are highly specific to endogenous psychoses, in which they are acquired and progressive, giving them prognostic value. Their differential diagnoses and correspondences with current international concepts are discussed. [ABSTRACT FROM AUTHOR]

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The essay aims to present the possibility of an history of modernity in which the texts of artistic coctrines presents changes that would come to be characteristic of the modern philosophy. [ABSTRACT FROM AUTHOR]

There is no complete description of either the term "mannerism" or its associated features. Contradiction, paradox, and ambiguity may have been the terms most referential for mannerism since the 1950s, but this article poses a unification of opposites as another important feature, specific to modern and contemporary architecture. We analyse three series of works by Andrea Palladio against another three pairs of opposing concepts—absence versus presence, frontality versus foreshortening, and grid versus assemblage. An analysis of each pair of concepts using commonly accepted examples from late twentieth-century architecture, following Venturi in the way of "both-and," allows us to argue how this merging of opposites in the same element, blends into, and participates in both characterisations. The pairings of opposites maintain their features, becoming simultaneous complementary characters. These mannerist characterisations are less common in current architecture, but they can, we claim, be easily detected in various recent projects. [ABSTRACT FROM AUTHOR]

This article is dedicated to the insufficiently studied topic concerning comparative analysis of European mannerism and neo-mannerist tendencies in Russian modernist poetry. The basis of this analysis is formed by ideas of Ernst Robert Curtius regarding mannerism as a constant theme in European literature and classic art history studies (Max Dvořák, Erwin Panofsky) and modern philological studies dedicated to this style of the 16th century. The article examines the poems from early poetry collections by Valery Bryusov, such as “Juvenilia” (1892–1894), “Chefs d’oeuvre” (1894–1896), “Mе eum esse” (1896–1897), and “Pearls” (1910) by Nikolay Gumilev. It demonstrates that the neo-mannerism in Bryusov’s and Gumilev’s poetry was brought upon by influence of French culture and Art Nouveau style, which reveals in the creation of the contingent, aestheticized and exotic image of the world. The poets use techniques of theatricalization in order to develop plots. A complexity of poetic manner is characteristic, principles of surprise poetics are created in line with it. The picturesque scenes, motifs of narcissism and love games are varied. The topoi of mannerism or early baroque are used. It allows us to talk about the actualization of mannerist model of thinking that embody ideas of aesthetic rebel against tradition.

The owners of the Latin translation of Francesco Guicciardini’s work Storia d’Italia published in Basel in 1566 were Stanisław Sabinka (?–1588?) and Nicolai Decius (1586–1629), important figures of the Vilnius political and religious elite of the second half of the sixteenth century. Until today, the elaborate binding of this book, quite untypical of the collections of rare books in Lithuanian libraries, has been attributed to the printer and bookbinder Jokūbas Morkūnas (c. 1550–1611) from Vilnius. However, other books related to his activity in Vilnius do not have enough similarities with the binding technique of Sabinka’s book and, thus, this attribution raises a number of questions. Instead of trying to establish the bookbinder’s identity, this article above all aims to define more precisely the technical features of binding through a detailed observation and focus on the material aspects of the artifact itself. A significant increase of research into the technical art history, material culture and so-called “book archaeology” in the recent decades provides a methodology that enables us not only to discuss the binding in the terms of decoration, but also to pay more attention to the structure itself. The collected technical data about Sabinka’s book and placing it into the wider context of European bookbinding of the second half of the sixteenth century allows us to reveal several historical layers of this binding and to raise a new hypothesis about the circumstances of its production. On the one hand, the binding represents an intention to follow the style of famous sixteenth-century noble bibliophilic libraries. On the other, the technical execution of the binding has features characteristic of the search for cost-effective binding solutions in Europe in the period after the invention of printing. Judging from the structural features, the binding seems to have similarities with Northern and Central European bookbinding traditions with a stronger influence of German crafts. [ABSTRACT FROM AUTHOR]

The text will address some issues that substantially determine contemporary thinking about European drama and theatre. Thus, for example, the idea of fragmentary dramaturgy will be considered in relation to the first case of such writing, namely, the comedies of Aristophanes. The fundamental questions that should be taken into consideration are the following: relative to what idea of the “whole” (or “totality”) is a certain dramatic work fragmented, and according to what logic are these fragments connected to a certain unified “whole”? Another important aspect refers to our belief that we live in an exclusive moment in history and that performativity is a distinguishing characteristic of our time. This assumption seems to be neglecting the long-standing tradition, dating back to Plato, which considered spoken language as an act in itself.

Through a new analysis of the letter that opens Svevo’s first novel, Una vita, addressed by the protagonist Alfonso Nitti to his mother, this article aims to investigate the subterranean intertextual strategy adopted by the author to provide an initial psychological portrait of his character, surfacing in transparency behind the official presentation entrusted to Alfonso’s voice. In particular, the analysis of a short narrative segment generally traced by critics to a distant bucolic-Virgilian influence, reveals the closest and most significant presence, behind the prologue of Una vita, of Romantic literature, and specifically of Goethe’s Werther, a model revisited problematically by Svevo and assumed in the terms not of an inert acquiescence, but of a manifest impossibility of recovery.

The painting The Descent from the Cross, painted in 1620 by Pedro Nunes (1586–1637), presents two large figures with orange-coloured fabrics with conservation problems. Through the analysis of two samples with several analytical techniques, especially scanning electron microscopy combined with X-ray spectroscopy and Raman microscopy, it was possible to conclude that the orange colour is due to a complex artificial pigment made of amorphous arsenic sulphide. It essentially consists of spherical particles obtained by sublimation and condensation, possibly from orpiment, which ended up being joined with irregularly shaped particles resulting from crushing of the residual fraction obtained by solidification and fusion. This is a rare documented case of the extensive use of artificial arsenic sulphides in European easel painting, especially outside Italy. The conservation problems can be explained by the great sensitivity of the arsenic sulphides to photodegradation and the formation of powdery compounds.

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Copyright of Norba: Revista de Arte is the property of Servicio de Publicaciones de la Universidad de Extremadura and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The painting The Descent from the Cross, painted in 1620 by Pedro Nunes (1586–1637), presents two large figures with orange-coloured fabrics with conservation problems. Through the analysis of two samples with several analytical techniques, especially scanning electron microscopy combined with X-ray spectroscopy and Raman microscopy, it was possible to conclude that the orange colour is due to a complex artificial pigment made of amorphous arsenic sulphide. It essentially consists of spherical particles obtained by sublimation and condensation, possibly from orpiment, which ended up being joined with irregularly shaped particles resulting from crushing of the residual fraction obtained by solidification and fusion. This is a rare documented case of the extensive use of artificial arsenic sulphides in European easel painting, especially outside Italy. The conservation problems can be explained by the great sensitivity of the arsenic sulphides to photodegradation and the formation of powdery compounds. [ABSTRACT FROM AUTHOR]

Copyright of Nueva Revista del Pacífico is the property of Universidad de Playa Ancha de Ciencias de la Educacion and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The capacity for voluntary control is seen as essential to human movements; the sense that one intended to move (willing) and those actions were self-generated (self-agency) gives the sense of voluntariness and of being in control. While the mechanisms underlying voluntary movement have long been unclear, recent neuroscientific tools have identified networks of different brain areas, namely, the prefrontal cortex, supplementary motor area, and parietal cortex, that underlie voluntary action. Dysfunction in these brain areas can result in different forms of semivoluntary movement as the borderland of voluntary and involuntary movement where a person may experience a disordered sense of will or agency, and thus the movement is experienced as unexpected and involuntary, for an otherwise voluntary-appearing movement. Tics, functional movement disorders, stereotypies, perseveration, compulsions, utilization behaviors, and motor mannerism have been described elsewhere in the context of psychoses, and are often mistaken for each other. Yet, they reflect an impairment of prefrontal cortices and related circuits rather than simple motor systems, which results in the absence of subjective recognition of the movements, in contrast to other neurological movement disorders where principal abnormalities are located within the basal ganglia and its connections. Therefore, their recognition is clinically important since they are usually associated with neurodevelopmental and neurodegenerative disorders. In this review, we first defined a conceptual framework, from both a neuroanatomical and a neurophysiological point of view, for the generation of voluntary movement. We then examined the evidence linking dysfunctions in different motor pathways to each type of movement disorder. We looked at common semivoluntary movement disorders providing an overview, where possible, of their phenomenology and brain network abnormalities for each condition. We also emphasized important clinical feature similarities and differences to increase recognition of each condition in practice. [ABSTRACT FROM AUTHOR]

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Copyright of Journal of the Faculty of Philosophy in Sarajevo / Radovi Filozofskog Fakulteta u Sarajevu is the property of Faculty of Philosophy in Sarajevo and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In this paper we aim to analyze some of the attitudes of the man Macedonski, through which he approaches the problematic psychology of Mannerist individualities. Acquiring a partially "educated" personality, overwhelmed by negative criticism, but satisfied that his name is on everyone's lips, Macedonski projects through his way of being, many of the existential dilemmas of the Mannerist man. Self-worship and emphatic attitude become the core of the most controversial manifestations at the individual level. Therefore, in this part of the study, we discussed the poet's relationship with temporality, the oscillation between dream and reality, the failure as a tragic end that pursues the destiny of the Mannerists, the dandy spirit, the mystification of reality and the deficient relationships with otherness. [ABSTRACT FROM AUTHOR]

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.

It has been shown that it was Max Dvořák who introduced into art-historical research the concept of Mannerism as an independent style that dominated the second half of the 16th century. Dvořák described the art of Raphael’s pupils and of Florentine painters such as Rosso Fiorentino or Jacopo Pontormo not as a decline in artistic development, but as an expression of a change in the cultural mood that needed to be voiced in artistic form. However, the historiography of Dvořák’s conception of Mannerism has to date neglected to devote any attention to how Mannerism actually emerged: what in Dvořák’s conception of art generated the need to describe the art of the late 16th century as a separate artistic style distinct from the Renaissance? As the study shows, the answer to this question may be found in Max Dvořák’s interpretation of the late art of Michelangelo Buonarroti.

Max Dvořák is widely recognized as a key contributor to the tectonic change in the perception of Mannerism amongst art historians. Soviet scholars could not ignore this shift. In this paper, I trace the impact of Dvořák’s writings on Mannerism in Italian and Northern art on generations of Soviet scholars, who had been working on Renaissance/Baroque topics and methodological issues. One can distinguish three periods in the reception of Max Dvořák’s ideas in Soviet art history. The first clash of methodologies occurred in the 1930s when an abridged collection of Dvořák’s essays was translated into Russian. The beginning of the Cold War marked the second period (the 1940s – 1960s), with its enforcement of ideological boundaries and the use of specific vocabulary; and yet, this period was ambivalent – the first efforts at rehabilitation were followed by the new outbreaks of dogmatic austerity. Lastly, I christened the third period, which lasted from the 1970s until the 1990s a ‘Dvořák Revival’ for it flourished with the new positive evaluations of his works and concepts.

Although typically associated with the Mannerist artistic style of the Renaissance, artists throughout history have created pictures and sculptures of humans depicted in an unrealistic and abnormally elongated form. The scientific basis for adopting this form of distortion is discussed here. First, probably subconsciously, artists have appreciated that the human form displays a symmetry which is often aesthetically pleasing. Second, perceived beauty is enhanced when the symmetrical image is elongated. There is evidence that the appeal of artworks which feature these characteristics can be attributed to their ease of cerebral processing, a view supported by functional MRI studies indicating there is an overlap between regions of the brain devoted to processing of symmetry and those devoted to appreciation of beauty. [ABSTRACT FROM AUTHOR]

Copyright of Cuadernos del Centro de Estudios de Diseño y Comunicación is the property of Cuadernos del Centro de Estudios de Diseno y Comunicacion and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Manierism is an art movement that began to be seen simultaneously in Florence and Rome between 1520 Dec 1580 (1600). The main aim of the research is to identify the causes of Ratio-Proportion problems that occur as a result of exaggerations seen in formal images, especially in Figure images in paintings in the understanding of Manierism, figure and space problems that occur with perspective, and to reveal the cause of deformation that occurs in works and the importance of emphasis in manierism. Research conducted by qualitative research method was also conducted in order to reach the data. Descriptive analysis method was used for the analysis of the pictures in the research. A total of five images were analyzed in the study. Proportion-proportion, perspective and emphasis were especially discussed and examined in the sampling pictures. As a result, Manierist painters have exaggerated and/or reduced these areas in order to draw the viewer's attention to the areas where emphasis is needed, which are important in terms of the theme in some of their works, or they have drawn attention to this area by using light and tried to convey their messages in this way. [ABSTRACT FROM AUTHOR]

In the struggle with COVID-19, art offered a way to face the solitude of the lockdown. The focus of this paper is primarily on Caravaggio's painting The Seven Works of Mercy, with references to other paintings to amplify some aspects of the artist's approach to life and his uniqueness in the artistic landscape of his time. Darkness was part of Caravaggio's research for spiritual truth and by entering the stories of his life and exploring the tales told through imaginative expression in his paintings, it is possible to understand his process of exploration of ancestral darkness. The author uses her imagination to reflect on how art can help to contact the profound fears buried in the unconscious which are now being awakened by the pandemic. The contemplation of this painting facilitated the emergence of emotions related to the darkness of our time, with the discovery that empathy and mercy offer a way to come to terms with the pandemic. This approach demands a different understanding of reality with Caravaggio's dark creative world becoming a companion that permits the exploration of what is not yet thinkable in daily life. Images accompany the author's research that relies on her imagination and amplifications. [ABSTRACT FROM AUTHOR]

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Highly effective mode of solution to the crises in the Mannerist epoch is the solution in artistic structure. This article compares tendencies towards polycentric composition by two artists who were born in the 1560s – Claudio Monteverdi and William Shakespeare.

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).

This paper aims at questioning the concept of exercise as it is understood in the mannerist treaties of art in the late Cinquecento. It relies on a thorough investigation on the philosophical sources (such as Aristotelism and Neoplatonism) of these artistic theories. For the mannerists, art is a subjective quality that is granted by practice and custom; drawing practice, for instance, is supposed to help the artist create with ease and facility, improving both his manual dexterity and the accuracy of his judgement. The notion of “judgement of the eye”, one of the many qualities exercises may involve, suggests that the artist must learn “to see” in order to be able to adapt general rules to fit specific and difficult situations, as Aristotle’s prudent man. Drawing, in particular, is regarded as an opportunity of getting an enriched and refined eye by correcting the flaws of one’s works. Grace, defined as “facilità nella difficoltà”, is said to emerge from this frequent practice, but also implies that the artist should be true to himself and follow his own inclinations. Because art is thought as a sort of virtue and concerns the artist’s whole life, drawing practice turns into a practice of the Self, through which the artist models, examines and improves himself.

This article examines the troubled history of the word confusione as it was employed by a number of well-known art-critical and -theoretical writers of the Italian Renaissance. Beginning with De pictura, the foundational treatise of Leon Battista Alberti, this study traces the applications of the word into the late cinquecento, drawing out its various aesthetic, intellectual, psychological, and theological-devotional associations. In offering this focused study, the article proposes a wider methodological turn towards the vocabulary denoting ‘bad’ pictorial qualities as used both in the Renaissance and in art-theoretical writing at large. Such analyses, this article seeks to elucidate, can yield a wealth of information about language, taste, and ideology as disclosed by the vocabulary of art theory and criticism.

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. [ABSTRACT FROM AUTHOR]

This article considers the relationship between the architectural renovation plans by the Popes and the outbreak of religious protest and the Reformation. It describes the personality of Ignatius of Loyola, very typical of his birthplace, and how it inspired the features of the religious order which he founded, as well as the influence that Ignatian spirit had on the Mannerist and Baroque architecture of sixteenth-century Rome. With the pastoral success of the Society having been consolidated, the paper explains how its superior generals decided to build a commemorative building in Loyola designed by an Italian who had never set foot in the town, and the difficulties later experienced by the local masters in interpreting and materialising the plan, whose laborious funding coincided with times of bankruptcy for the promoting entity, the Spanish Crown. It ends by considering the relations of the reverend fathers with the province and the vicissitudes of their hazardous and fluctuating presence in it, to this day. [ABSTRACT FROM AUTHOR]

To contribute to the comprehension of the painting of Diego Velázquez is the main objective of this study, is to point out some of the latent sevillian roots that the artist kept in his extensive Madrid's stage. In this logic, I would like to analyze the relationships arising from the comparison of the table that represents to San Pablo Ermitaño y San Antonio by Pedro de Campaña, and the painting of Velázquez with a similar theme: Encuentro de San Antonio Abad con San Pablo, primer ermitaño. [ABSTRACT FROM AUTHOR]

Within this paper we aim to analyse the instances of love in Macedonski`s creation, relying on the fact that, in part, they correspond to Mannerist affectivity. Because in love, contradictory principles operate, the exploitation of this area allows the activation of shocking, bizarre, antagonistic images, typical of the problematic personality of the Mannerist man. But Macedonski's life, his youthful attitude, lack of relationships with women, lack of devouring love, instinctive misogyny, selfishness and declared narcissism do not in any way anticipate the erotic consciousness of a screaming violence, which will later germinate in his creation. Because his life proves a certain erotic sterility, the creation becomes a compensatory space and projects some ofthe wildest images of love [ABSTRACT FROM AUTHOR]

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The review focuses on Bogusław Zmudziński’s monography devoted to the films of Jan Švankmajer, one of the most prominent surrealist artists. In his book, Zmudziński explores most important contexts of the director’s work, such as mannerism (in relation to the paintings of Giuseppe Arcimboldi), the aesthetics of still life painting, cabinets of curiosities, or widely understood concept of freedom. The articles included in this publication are the results both of Zmudziński’s long-term research, and his involvement in promoting Švankmajer’s films. [ABSTRACT FROM AUTHOR]

Whilst Multiform has achieved a certain acceptance as a way of combating the so‐called New London Vernacular's contextual architecture, there are still many other aspects of urbanism it does not necessarily address, particularly within the public realm. The cityscape is often left out of the debate where buildings risk becoming simply self‐referential objects. Dirk Somers, manager and founder of Antwerp's Bovenbouw architectuur, argues for a reconsideration and posits successful precedents that balance convention with surprise. [ABSTRACT FROM AUTHOR]

The following essay conveys a critical introduction to the edition of three texts on the problem of Mannerism as conceived by Arnold Hauser in 1965. The main article is the trenchant review recently identified as written by Keith Andrews, which is completed by Hauser’s answer and a final note of the reviewer. Their completely parallel approaches reproduce a common dichotomy in the historiography of Mannerism: Hauser’s philosophical book meditates on the dynamism of conventions and creativity in an age of economic and cultural crises having little to say about single artworks and their intermediate position between High Renaissance and Baroque.

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. [ABSTRACT FROM AUTHOR]

In his essay "The Architecture of Mannerism" (1946), Nikolaus Pevsner remarked that while little had been published on Mannerism in England, and even less on Mannerist architecture, Anthony Blunt was one of the few English scholars active in the field. Blunt's first two published books, Artistic Theory in Italy 1450–1600 (1940) and François Mansart and the Origins of French Classical Architecture (1941), dealt with the style in both art and architecture. While comparatively brief when set beside his work on the baroque, Blunt's engagement with Mannerism has particular historiographic significance because of the contingency of its methods. His approach to art history was incredibly malleable, reflecting personal influences and the wider debates surrounding both method and the topic of Mannerism itself. Originally an "art for art's sake" formalist, Blunt dramatically turned around this time to experiments in a social history of art, one which was at least partly based on the role of class. These methods would come under fervent criticism from their methodological rivals which called, in turn, for a renewed focus on artistic agency. Blunt's lecture "Mannerism in Architecture" (1949), which he gave towards the end of his focus on this period, reflects these methodological positions while also marking a partial personal denouement with a social reading of Mannerist architecture, therein reaffirming the agency of the architect. The tension between these two divergent historical positions in Blunt's work—one which emphasises social forces, the other asserting agency—was neither an accident nor the inevitable deductive result of probing into Mannerism. Instead, they were methods marked by the unique conditions of Blunt's circumstances. Firstly, his commitment to communism in the 1930s, then the influence of Frederick Antal and finally the counter-influence of such figures as Rudolf Wittkower. These were some of the contingent factors underpinning Blunt's historical methods. This paper investigates this relation between Mannerism and historical method in Blunt's work and extends its theses to the constellation of colleagues and papers within which Blunt's writing on Mannerism was nested. [ABSTRACT FROM AUTHOR]