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Immagini degli dei: mitologia e collezionismo tra '500 e '600. "Poussin's drawings for Marino and the new classicism." JWCI, 18 (1955), 296-317 (cycle of Ovid drawings ca. Blunt's Nicolas Poussin [New York, 1967], 39-49, and French site Utpictura18). Incipitarium Ovidianum: a Finding Guide for Texts in Latin Related to the Study of Ovid in the Middle Ages and Renaissance..
In the same year, the same group of publishers issued another, this time bilingual popularization of Ovid (Johann Posthius' TETRASTICHA IN OVIDII METAM. XV), which was graced with the same illustrations; thus this series of woodcuts by noted engraver Virgil Solis (1514-1562) may be said to have had two, or perhaps even three Spreng's allegorical commentary in Latin elegiacs is arguably just as important as Solis' illustrations, even though Spreng's discussion has probably not been reprinted since 1587; by that time it had gone through an expanded German rendering (Frankfurt: G. Spreng appends to each image a prose summary drawn from the work of "Luctatius" or "Lactantius Placidus" (a writer occasionally confused with Lactantius the Christian apologist), and to these summaries he then appends his own verse "expositions" and "allegories"; in this way Spreng's text actually serves up four Ovid recastings in one. The Gods Made Flesh: Metamorphosis and the Pursuit of Paganism.
of Micyllus (Henkel 88-89; our own union index supplies links to a page-linked reprint of Micyllus' edition [Leipzig, 1582], with a different set of cuts by "CM" [Henkel 92-93]). Mysteriously Meant: The Rediscovery of Allegory and Pagan Symbolism in the Renaissance. London and New York, 1971 (Chapter 2: "The tradition of the illustrated Ovids and Rubens's sketches for the Torre de la Parada"; Catalogue Raisonnée pp.
Is Jupiter justified in destroying the world with a flood? Compare and contrast the two wedding brawls in the Metamorphoses: the one at the wedding of Perseus and Andromeda in Book V and the one at the wedding of Pirithous and Hippodame in Book XII.
In Book VIII, how does Daedalus succeed as an artist? Compare and contrast the love triangle in Book XIII between Acis, Galatea, and Polyphemus with the one in Book XIV between Scylla, Glaucus, and Circe.
Oxford, 2004 ((Chapter 1: "An Anonymous Ancient Commentary on Ovid's Metamorphoses?
(See also the ICONOS project) L'arte delle metamorfosi: decorazioni mitologiche nel Cinquecento. As for which of the three 1563 releases came first, Posthius' title-page mentions Solis' woodcuts as "never before printed," but as Guthmüller notes ( n. 40), Spreng's signed dedication (February 22) slightly antedates Posthius' (March 1). owns]), it does not accept Simeoni's own topic-additions (Salomon's "extra-series," Further Reading: Allen, Christopher. "Some Renaissance 'Ovids.'" In Literature and Society, ed. Changing Forms: Studies in the "Metamorphoses" of Ovid. The Mirror of the Gods: Classical Mythology in Renaissance Art. " on the early reception and the summaries or narrationes of Ovid traditionally assigned to "Lactantius"). version in Studien zur antiken Mythologie in der italienischen Renaissance. Ovidio Metamorphoseos Vulgare: Formen und Funktionen der sprachlichen Wiedergabe klassischer Dichtung in der italienischen Renaissance. Ovidian Transformations: Essays in the "Metamorphoses" and its Reception. De Houtsneden van Mansion's Ovide moralisé, Bruges 1484, intr. Does Ovid invite us to form opinions about each character’s morals?Though our site now extends to a wide range of Metamorphoses editions and interpretations in more than one language and in more than one medium from Lactantius, Berchorius, and Caxton to Sandys, Garth, Banier and beyond, the old centerpiece of this part of the site is a remarkable illustrated recasting of Ovid from 1563, text by Johann or Johannes Spreng (1524-1601), now online and available in its entirety (apart from some early ink-blot bowdlerizations METAMORPHOSES OVIDII, ARGVMENTIS QUI//dem soluta oratione, Enarrationibus autem & Allegoriis Elegiaco uersu accuratissime expositae, summaque diligentia ac studio illustratae, per M. (Also see the versions featured in linked Spanish- and Dutch-language renderings of 1595.) Many of Solis' cuts were incorporated in Nicolaus Reusner's Picta Poesis Ovidiana (Frankfurt, 1580) and thence also in Reusner's Emblemata (Frankfurt, 1581); for the latter see the roster in Arthur Henkel and Albrecht Schne's Emblemata: Handbuch zur Sinnbildkunst des xvi. Jahrhunderts (Stuttgart: Metzler Verlag, 1967), L-LI. Not to mention various other lesser decorative pieces (cf. 14, picturing a Sgrafittohaus rendering of Solis' own Circe (14/3). The Decoration of the Torre de la Parada, Corpus Rubenianum Ludwig Burchard 9. Recherches sur des traductions françaises des "Metamorphoses" d'Ovide illustrées et publiées en France à la fin du xve siècle et au xvie siècle.