Littérature scientifique sur le sujet « 1557-1622 »

El artículo analiza el complicado itinerario que siguieron los diversos procesos de canonización de la causa de san Francisco Javier hasta la plasmación en su canonización de 1622. Estos procesos, que se desarrollaron en dos etapas, destacan por la gran variedad de escenarios geográficos donde tuvieron lugar y por la cantidad de testigos que intervinieron. Los cinco primeros procesos (1556-1557) fueron realizados por orden del rey Juan III de Portugal. El segundo grupo está formado por nueve procesos pontificios (llamados «renisoriales»), celebrados entre 1610 y 1617 en el marco de la causa de canonización llevada a cabo por la Congregación de los Ritos por orden del papa Paulo V.

This paper is part of a major prosopography project which is nearing completion. The project traced around 600 sisters, brothers and benefactors of Syon Abbey ca. 1400-1600. Their names were recorded by the community in three obit lists: the Cambridge obit list ca. 1451 was copied into the second, the Syon Martiloge (BL Add MS 22285), in the 1470s. The third was copied from the Martiloge in Lisbon ca. 1608. The Lisbon obit list contains new information unused by earlier historians. Five lists of names provide snapshots of the community in 1428, 1539, 1557, 1587 and 1622. Short biographies based on other sources reveal family background, social status, education and book ownership. Collectively they tell the story of Syon Abbey's first two centuries. This paper is about the Syon brothers: 164 have been traced and their names are all published here. St. Birgitta of Sweden (1303-1373) founded her Order of St Saviour for nuns as part of a wider movement for reform and renewal in the late medieval church. The Birgittines spread rapidly in northern Europe ca. 1400. Each Birgittine monastery had a house for up to 60 sisters living enclosed contemplative lives and a smaller house for 25 brothers. Their role was to provide the sacraments for the sisters and the community’s patrons and pilgrims. Syon Abbey was the only Birgittine house in England, founded near London by the Lancastrian king Henry V in 1415. It went on to commemorate the Yorkist and Tudor dynasties and had links with the Stuarts. It was important for its proximity to royal power during the Hundred Years’ War, the Wars of the Roses and the Reformation. The Birgittines of Syon Abbey were renowned for their holiness and learning and their resistance to Henry VIII’s Reformation. Syon priest St. Richard Reynolds was martyred at Tyburn in 1535 and Lay Brother Thomas Brownell in Newgate Gaol in 1537. Syon was dissolved in 1539, but the Birgittines divided into groups and continued to follow the Rule, some in exile. In 1559 the whole community went into exile, enduring poverty and warfare in the Low Countries and France. Two sisters died in prison and three brothers were captured by pirates before settling in Lisbon, Portugal, in 1594. Syon Abbey was significant in forging English Roman Catholic identity and inspiring the revival of religious orders in Europe. Scholars have made two main assumptions about the brothers which are countered by prosopographical analysis: firstly medieval Syon attracted steady numbers from foundation by Henry V to dissolution by Henry VIII; secondly numbers declined rapidly from 1539 until they died out in the 1600s. The early death of the founder, and Henry VI’s transfer of patronage elsewhere reduced funding and prestige. Recruitment dwindled until Edward IV refounded Syon in 1461. Medieval Syon’s fame is based on the achievements of the Yorkist era. There were fewer brothers after 1539 and fewer sisters, but the brothers were vital to Syon’s survival as a house of enclosed nuns. In St. Birgitta’s Rule the brothers were 30% of the community. At Syon they reached ca. 20-25%, 1420-1594. After 1600 the brothers continued their work as ca. 10% of the community until 1695.

T he second edition of J ohann B ehrendt ’ s hymn book ISZ naujo pérweizd ėtos ir pagérintos Giesm û-Knygos AND PRAYER BOOK Maldû-Knygélos (1735): an unknown copy in Prague The article presents a 1735 Lithuanian publication from Königsberg (Lith. Karaliaučius) which was believed to not have survived—the hymn book for Prussian Lithuania’s Evangelical Lutherans Iß naujo pérweizdėtos ir pagérintos Giesmû-Knygos (Reviewed and Improved Hymn-book) and the prayer book Maldû-Knygélos (Prayer-book). The only known copy of the second edition of the hymn book and the prayer book was discovered in the National Library of the Czech Republic (Czech Národní knihovna České republiky; NK ČR: 33 K 139) in Prague. It has not been registered in Lithuanian bibliographies. Just as the first 1732 edition, the second edition appeared thanks to the initiative of the theology professor of the University of Königsberg and the chief court preacher, Johann Jacob Quandt (Lith. Jonas Jokūbas Kvantas, 1686–1772), while the archpresbyter of Insterburg (Lith. Įsrutis), Johann Behrendt (Lith. Jonas Berentas, 1667–1737), led the editing team. Aiming to reveal the differences of the second edition from the first, and to highlight the editing tendencies of the hymn and prayer books, this article not only discusses the main features of the copy, but also analyzes the structure of the 1735 edition including the repertoire of new hymns and linguistic particularities of the texts of hymns and prayers written in Lithuanian. Provenance research revealed that the copy belonged to the Lithuanian Dovydas Blindinaitis or Bl(i)undinaitis before reaching this library, and this is supported by handwritten inscriptions on the front and back flyleaves. He acquired the book in 1736 for 33 groschen and must have been its first owner. The imprint “REGIÆ BIBLIOTH: ACAD: PRAGEN:” (“Royal Library of the Academy of Prague”) which is seen on the title page of the hymn book could only appear after 1777 when the Public Imperial-Royal University Library (Czech Veřejná císařsko-královská univerzitní knihovna) in Prague had been established. From the perspective of structure, the 1735 Lithuanian publication is a convolute which consists of two alligates: (1) hymn book and (2) prayer book. The hymn book comprises: (a) two introductions—one written by Quandt in German and one written by Behrendt in Lithuanian, (b) the main section of the hymn book and its appendix “Kittos naujos Gieſmes ßwėey pridėtos” (“Other new recently added hymns”), (c) two indexes—the index for the Lithuanian hymns “Prirodijimas Wiſſû Gieſmû, ant kurro Laißko jos ßoſa Knygoſa randamos yra” (“A listing of all hymns which page they are found on in this book”) and the index of German original hymns called a “Regiſter” (“Register”). The prayer book comprises prayers, collects, the story of Christ’s suffering, and a list of thematic groups of these texts marked “Prirodijimas Wiſſû Maldû” (“A listing of all prayers”). The second (1735) edition of the hymn book differs remarkably from the first (1732) in its structure and scope: (1) All of the hymns that had been previously included in the 1732 edition’s “Appendix arba Kittos naujos Gieſmes ßwėey pridėtos” (“Appendix or other new recently added hymns”) (a total of 34) were integrated into the main section of the hymn book of the 1735 edition comprising 334 hymns; their thematic groupings and subgroupings remained the same; (2) The 1735 edition does not include one of the hymns published in 1732: Peter Gottlieb Mielcke’s (Lith. Petras Gotlybas Milkus, 1695–1753) translation “MIeli Krikßćionis dʒaukimės” (“Dear Christians let us rejoice”) (← Martin Luther, “Nun freut euch lieben Chriſten”); (3) The 1735 edition was supplemented with 26 hymns, that is to say, the second edition comprises 360 hymns. The new hymns are published in the appendix “Kittos naujos Gieſmes ßwėey pridėtos” (“Other new recently added hymns”). Cryptonyms attached to these hymns attest to the fact that their translators were two priests of Prussian Lithuania. For the first time, 18 hymns of the priest of Didlacken (Lith. Didlaukiai), Fabian Ulrich Glaser (Lith. Fabijonas Ulrichas Glazeris, 1688–1747), were included in this hymn book. The priest of Popelken (Lith. Papelkiai), Adam Friedrich Schimmelpfennig (Lith. Adomas Frydrichas Šimelpenigis, 1699–1763), translated 8 new hymns (while 15 of his hymns that had been already published in the 1732 edition were presented in the main section of the hymn book of the 1735 edition). The new repertoire of the Lithuanian hymn book was compiled from the translations of the following German hymn creators of the 16th–18th centuries: Johann Georg Albinus (1624–1679), Martin Behm (1557–1622), Kaspar Bienemann (Melissander, 1540–1591), Simon Dach (1605–1659), Johann Burchard Freystein (1671–1718), Paul Gerhardt (1607–1676), Johannes Gigas (Heune, 1514–1581), Ludwig Andreas Gotter (1661–1735), Johann Heermann (1585–1647), Heinrich Held (1620–1659), Martin Moller (1547–1606), Johann Rist (1607–1667), Samuel Rodigast (1649–1708), Johann Röling (1634–1679), Gottfried Wilhelm Sacer (1635–1699), Arnold Heinrich Sahme (1676–1734), Benjamin Schmolck (1672–1737). In contrast to the hymn book, the structure of the 1735 prayer book published concurrently were not changed; the thematic groups of prayers remained essentially the same as they were in the first edition of 1732. Texts of both the hymn book and the prayer book were edited. The editing tendencies in both are similar and encompass all linguistic levels (phonetics, morphology, lexicon, syntax), as well as orthography and punctuation, but the intensity of editing was different. The orthographic corrections prevail and the most consistent of them are: [i·] <ij> → <y> (characteristic only of the hymn book), [č’] <ć> → <cʒ> (together with refusing the marker indicating consonant palatalization <i>), [·] <e> → <ė>, [ž] ir [ž’] <Ʒ> → <>, marking accent placement with an acute accent < ’ >. The second edition reflects an important stage in the quantitative and qualitative development of Behrendt’s hymn book. In the second edition that appeared just three years later, we see the further consistent efforts of the editors to expand the repertoire of hymns and improve the texts in terms of language (i.e. they first of all sought to standardize the orthography of texts written in different centuries by many different translators). In contrast to the hymn book, the prayer book was improved along only one vector: the language of the texts was edited according to the same principles, while the number of prayers was not increased. The fact that the editors of the second edition devoted more attention to the hymn book than the prayer book probably stems from the important place that hymns hold in the Evangelical Lutheran liturgy.

Defence date: 18 April 2016
Examining Board: Profesor Luca Molà, European University Institute, Florence; Profesor Stéphane Van Damme, European University Institute, Florence; Profesor Tim Carter, University of North Carolina at Chapel Hill; Profesor Carmen Sanz Ayán, Universidad Complutense de Madrid.
Many scholars have shown the importance of musical education for noblemen in late Renaissance Italy. For both individuals and groups, music could be used as a tool for process of self-identity, helping them to construct their aesthetical forma del vivere. In fact, along with a sum of literate and aesthetical knowledge, music was an integral element of the culture of la conversazione. Noblemen and noblewomen displayed a large variety of artistic and literary virtues in courtly, academic and private-exclusive gatherings, in order to create distinctive spaces of sociability and self-fashioning. However, could the printing of music, composed by noblemen, affect or contradict their socio-cultural rules of distinction, exclusiveness and discretion? To address this issue, my dissertation will focus on the period between 1570 and 1620, in the Italian peninsula; where there was a major accumulation of composers who identified themselves as nobili or gentiluomini on the covers of their books. Through the case of count Alfonso Fontanelli, from Reggio Emilia, the aim of this thesis is to explore the role of musical composition in nobles' cultural sociability (incorporated in friendly and patronage networks) and the processes of construction of Fontanelli's cultural selfprestige. Fontanelli's biography provides a variety of socio-cultural experiences and interactions in the three different cities where he displayed his musical virtues: Ferrara, Rome and Florence. Hence, this case study allows us to compare the diverse functions of music for the nobility of these three cities (considering their respective socio-political and cultural particularities) as well as to contrast Fontanelli with other noble composers of the time. Finally, the results of this thesis will offer interesting reflections about the plasticity of noble culture and its relation with music, the diversity of socio-cultural strategies through musical practices, and the complex social dynamics involved in the concept of "authorship" in printed music.