Domestic Devotions in Early Modern Italy

Front matter

Domestic Devotions in Early Modern Italy

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Intersections

PART 1 The Unbounded Nature of Domestic Space

1 Singing on the Street and in the Home in Times of Pestilence: Lessons from the 1576-78 Plague of Milan 27 Remi Chiu

2 The Ex Voto between Domestic and Public Space: From Personal Testimony to Collective Memory 45 Jane Garnett and Gervase Rosser

3 Spaces for Domestic Devotion in the Noble Residences of Palermo in the Age of Catholic Reform 63 Valeria Viola

4 Music and Domestic Devotion in the Age of Reform 89 Iain Fenlon

PART 2 Domesticating the Divine

5 Domestic Portraiture in Early Modern Venice: Devotion to Family and Faith 117 Margaret A. Morse

6 Domestic Religion and Connected Spaces: Isabella della Rovere, Princess of Bisignano (1552-1619) 139 Elisa Novi Chavarria

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VI CONTENTS

7 “And the Word Dwelt amongst Us": Experiencing the Nativity in the Italian Renaissance Home 163 Zuzanna Sarnecka

PART 3 The Materiality of Devotion

8 Religious Subjects on Sixteenth-Century Deruta Piatti da Pompa 187 Michael]. Brody

9 Investigating the ‘Case’ of the Agnus Dei in Sixteenth-Century Italian Homes 220 Irene Galandra Cooper

10 Material Prayers and Maternity in Early Modern Italy: Signed, Sealed, Delivered 244 Katherine M. Tycz n Devotional Panels as Sites of Intercultural Exchange 272 Michele Bacci

PART 4 Prayer and Meditation

12 Creating Domestic Sacred Space: Religious Reading in Late Medieval and Early Modern Italy 295 Sabrina Corbellini

13 Delight in Painted Companions: Shaping the Soul from Birth in Early Modern Italy 310 Maya Corry

14 Literary and Visual Forms of a Domestic Devotion: The Rosary in Renaissance Italy 342 Erminia Ardissino

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CONTENTS VII

PART 5 Conflict and Control

15 Domestic Prayers and Miracles in Renaissance Italy: The Case of Savonarola and His Cult 375 Stefano DallAglio

16 Private and Public Devotion in Late Renaissance Italy: The Role of Church Censorship 389 Giorgio Caravale

17 Contested Devotions: Space, Identities and Religious Dissent in the Apothecary’s Home 408 Joanna Kostylo

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Acknowledgments

The impetus for Domestic Devotions in Early Modern Italy (and for its partner volume Domestic Devotions in the Early Modern World) came from two events: a 2014 workshop for invited participants held at Jesus College, Cambridge, and the 2015 international interdisciplinary conference Domestic Devotions: The Place of Piety in the Italian Renaissance Home, 1400-1600 held at St Catharine's College, Cambridge. We are grateful for the enthusiastic participation of all the attendees of these events, which made them both a great success. These events were hosted and generously supported by the 2013 to 2017 research project Domestic Devotions: the Place of Piety in the Italian Renaissance Home, 1400-1600. This project received funding from the European Research Council (ERC) under the European Union's Seventh Framework Programme (FP7/2007— 2013) / ERC grant agreement n? 319475. For help with the organisation of the workshop and conference, and for the use of their excellent facilities, we owe a debt of thanks to Jesus College and St Catharine's College. We are grateful to Rachel Burgess, administrator of the Domestic Devotions project, who facilitated many practical aspects of these events. We would also like to thank the Principal Investigators of the Domestic Devotions project: Professor Deborah Howard of the Department of Architecture and the History of Art, Dr Abigail Brundin of the Faculty of Modern and Medieval Languages, and Professor Mary Laven of the Faculty of History for their intellectual generosity and support over the course of the research project, for their help in the running of the workshop and conference, and for their assistance in the production of this volume.

We owe many thanks to Prof. Wietse de Boer, Prof. Cornel Zwierlein, Prof. Karl Enenkel and to the Editorial Board of the Intersections series for all of their encouragement and advice. Thank you to Arjan van Dijk, Ivo Romein, and Gera van Bedaf for guiding us throughout the production process—the existence of this volume is due to their help and expertise.

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Illustrations

11 Excerpt from Litany of the Saints (Liber usualis) 33

21 Ex votos at the sanctuary of the Madonna of Montenero, Livorno. Photograph by the authors 48

2.2 Ex voto at the sanctuary of Santa Maria di Castello, Genoa. Photograph by the authors 55

2.3 Ex voto at the sanctuary of Santa Maria di Castello, Genoa. Photograph by the authors 58

2.4 Devotees at the garden shrine of the Madonna dell'Orto, Chiavari (commemorative image). Oil on wood. Cathedral and sanctuary of the Madonna dell'Orto. Photograph by the authors 59

2.5 The Madonna dell'Orto. Fresco, ca. 1490, formerly on a garden wall, in its transposed, 17th-century setting. Photograph by the authors 61

31 Villa Cattolica, Bagheria (Palermo), the geometrical disegno of outbuildings is highlighted in green, the oratory is in red. Manipulation by the author of a Google Earth image 69

3.2 Oratory of Villa Cattolica, entrance from the street, Bagheria (Palermo). Photograph by the author 70

3.3 Oratory of Villa Cattolica, entrance from the inner garden, Bagheria (Palermo). Photograph by the author 71

3.4 Villa La Grua, Palermo, the oratory is highlighted in red. Manipulation by the author of a Google Earth image 72

35 Chapel on the ground floor of Villa La Grua. Photograph by the author, by kind permission of Gustavo Wirz 73

3.6 Patricia Waddy's scheme for the apartment in seventeenth-century Rome. The chapel is highlighted in red by the author, whilst the bedroom area is coloured in light red. Scheme from: Waddy P., Seventeenth-century Roman Palaces: use and the art of the plan (New York and Cambridge:1990),5 77

37 Scheme of the apartment in late seventeenth- and early-eighteenth-century Palermo by the author, based on the description by G.B. Amico. The chapel is highlighted in red, whilst the bedroom area is coloured in lightred 78

$8 Schemebased on the description by G.B. Amico. The rooms shaded yellow represent the spaces that were most public, those in blue the most private, and those in red the more liminal. The red line indicates the limit to an outsider's gaze 79

3.9 Chapel and salon on the first floor of Palazzo Raffadali. Photograph by the author, by kind permission of Maria Teresa Panzera 81

310 Altar closet in Palazzo Termine. Photograph by the author, by kind permission of Signoretta Alliata 82

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ILLUSTRATIONS XI

5.1

5.2

6.3

6.4

Marietta Robusti, "Self Portrait", ca. 1580. Oil on canvas, 93.5 x 91.5 cm. Florence, Galleria degli Uffizi. € Scala Picture Library Florence 91

Jacopo Tintoretto, “Women making music" after 1566. Oil on canvas, 142 x

214 cm. Dresden, Gemáldegalerie Alte Meister, Staatliche Kunstsammlungen. © Elke Estel/Hans-Peter Klut 92

Wendelin Tieffenbrucker, Chitarrone (probably originally a lute but later converted), made in Padua, 1592. Pinewood with ebony and ivory, 170 x

34 cm. London, Victoria and Albert Museum. © Victoria and Albert Museum, London 95

Madonna Nicopeia, 12th century, Byzantine. Tempera on wood, 58 x 55 cm. Venice, Basilica di San Marco. 9 Cameraphoto Arte, Venice 101 Compendium musices confectum ad faciliorem instructionem cantum

choralem [...] (Venice: Lucantonium de Giunta, 1513). V&A Libraries,

Special Collections, 87.D.28. © Victoria and Albert Museum, London 110 Titian, “Nobleman of the Maltese Order”, 1510-1515. Oil on canvas,

80 x 64 cm. Galleria degli Uffizi, Florence. Photo: Nicola Lorusso.

© Alinari / Art Resource, NY 18

Palma il Vecchio (Jacopo d'Antonio Negretti), “Portrait of a Gentleman”,

ca. 1520-1525. Oil on panel transferred to canvas, 69.5 x 55.6 cm.

Philadelphia Museum of Art. © John G. Johnson Collection, 1917 121 Anonymous Cretan painter, "Virgin and Child" late 15th or early 16th century. Oil on wood, 332 x 332 cm. Louvre, Paris, France. € RMN-Grand Palais /

Art Resource 124

Lorenzo Lotto, “Madonna and Child with Two Donors" ca. 1525-1530. Oil on canvas, 87.6 x 1181 cm. The J. Paul Getty Museum, Los Angeles, CA. Digital Image courtesy of the Getty's Open Content Program 127

Antonello da Messina, “Ecce Homo”, 1475. Oil on wood, 48.5 x 38 cm.

Museo Civico, Piacenza, Italy. © Scala / Art Resource, NY 130

Antonello da Messina, “Portrait of a Man (Il Condottiero)" 1475. Oil on wood, 36.2 x 30 cm. Louvre, Paris, France. © Erich Lessing / Art Resource, NY 131 The Church of Gesù Nuovo, Naples, 16th-18th centuries. Photograph by the author 144

The epigraph on the timpanum of the Casa Professa. Photograph by the author 146

Portrait of Francesco Teodoro Sanseverino, BNN, ms. I B 36 G.B. Masculo (S,J.), Isabellae Feltriae Roboreaque principis Bisiniani |...] (Naples 1619). © Biblioteca Nazionale di Napoli 148

Portrait of Isabella della Rovere, BNN, ms. I B 36, G.B. Masculo (SJ.), Isabellae Feltriae Roboreaque principis Bisiniani [...] (Naples 1619). © Biblioteca Nazionale diNapoli 149

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XII

7.2

7.3

7-5

7.6

7-7

7.8

7.9

ILLUSTRATIONS

P. Campollonio, Stanze di Pietro Campollonio di Napoli, alla illustrissima et eccellentissima signora Isabella Feltria della Rovere [...] (Naples 1580) 150 Friar Emanuele from Naples, Vita del venerabile servo di Dio Frate Geremia da Valacchia de’ Minori Cappuccini della Provincia di Napoli (Naples 1761) 154 The vision of Madonna, BNN, ms. XI A 52, ca. n.n. © Biblioteca Nazionale di Napoli 155

Pietro and Giovanni Alemanno, polychromy Francesco Felice, “Presepe”, 1478. Polychromed poplar wood. Naples, Museo di Certosa di San Martino. Photograph by the author 165

Andrea della Robbia's workshop, “Christ Child”, ca. 1500. Glazed terracotta, h: 45.7 cm. London, Victoria and Albert Museum (Inv. no. 7702-1861).

© Victoria and Albert Museum, London 168

Giovanni di Nicola di Manzoni di Colle (?), “The Adoration of the Magi”,

ca. 1509-1515. Glazed terracotta, 25.5 x 34.5 cm. Cambridge, Fitzwilliam Museum (Inv. no. C.2180-1928). © Fitzwilliam Museum, Cambridge 171 Giovanni di Nicola di Manzoni (?), "Nativity Inkstand”, ca. 1509. Glazed terracotta, 24 x 23 x 22 cm. Geneva, Museum Ariana (Inv. AR 4092). Photograph by the author 173

Giovanni di Nicola di Manzoni (?), “Nativity Inkstand”, ca. 1509. Glazed terracotta, 24.4 x 23.4 x 22.2 cm. London, Victoria and Albert Museum

(Inv. no. 396-1889). © Victoria and Albert Museum, London 174

Giovanni di Nicola di Manzoni (?), “Nativity Inkstand”, ca. 1509. Glazed teracotta, 24 x 23 x 23 cm. Naples, Museo Duca di Martina (Inv. no. 958). Photograph by theauthor 175

Luca della Robbia, “Nativity with Gloria in Excelsis" ca. 1470. Glazed terracotta, 88.9 x 73.7 cm. Boston, Museum of Fine Arts (Inv. no. 17.1463). € Museum of Fine Arts, Boston 178

Fontana Family Workshop, “Inkstand with a Man Playing an Organ’, ca. 1580. Glazed terracotta, 38 x 27 x 22 cm. London, Victoria and Albert Museum (Inv. no. 8400-1863). © Victoria and Albert Museum, London 179 Anonymous Artist from Faenza (?), "Inkstand with Crib scene" first half of the 16th century. Glazed terracotta, 22.5 x 14 cm. Cento, Private collection. Photograph by the author 180

Deruta, “St Francis Receiving the Stigmata" 1531. Maiolica, diam. 41.3 cm. Cleveland Museum of Art. © The Cleveland Museum of Art 188

Deruta, “St Francis Receiving the Stigmata" ca. 1500-1530. Lustred maiolica, diam. 40.8. Pesaro, Museo delle Ceramiche. € Musei Civici, Pesaro 189 Deruta, ca. 1540— 1560. Lustred maiolica. Philadelphia, private collection. Detail of footring, underside of dish. Photograph by the author 191

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ILLUSTRATIONS XIII

8.4 Vittore Carpaccio, Legend of St Ursula polyptych, “Arrival of the Ambassadors", ca. 1498. Oil on canvas, 378 cm x 589 cm. Venice, Gallerie dell'Accademia. Detail. © Erich Lessing / Art Resource, NY 193

85 Deruta, Madonna and Child”, ca. 1520-1530. Maiolica, diam. 40 cm. Musée des arts décoratifs de Lyon. © Lyon, MTMAD - Pierre Verrier (1700) 194

8.6 Deruta, Bella donna dish inscribed ORARE SEGRETO E MOLTO ACETTO A DIO (To pray in secret is most acceptable to God), ca. 1505-1520. Lustred maiolica, diam. 42.6 cm. Private collection. Photograph by the author 195

85 Deruta, "Jesus praying in Gethsemane’, ca. 1500-1510. Maiolica, diam. 43 cm. Faenza, Museo Internazionale delle Ceramiche. € Museo Internazionale delle Ceramiche, Faenza 197

88 Anonymous, Florence, “Jesus praying in Gethsemane”, ca. 1492. Woodcut from Girolamo Savonarola, Tractato overo sermone della oratione (Florence, Lorenzo Morgiani: 1492). Photograph by the author 198

89 Deruta, "The Annunciation’, ca. 1500-1520. Maiolica, diam. 40.1 cm. Kansas City, The Nelson-Atkins Museum of Art. € The Nelson-Atkins Museum of Art, Kansas City, MO 199

810 Deruta, “The Passion of Jesus" ca. 1500. Maiolica, diam. 47.5 cm. Ravenna, Museo Nazionale. € Museo Nazionale di Ravenna 200

811 Deruta, “The Crucifixion, with St Jerome and St Francis”, ca. 1540-1550. Lustred maiolica, diam. 42.2 cm. Musée des arts décoratifs de Lyon. © Lyon, MTMAD — Sylvain Pretto (1947) 202

812 Deruta, “St Jerome in the Wilderness”, ca. 1550-1560. Maiolica, diam. 41.5 cm. Private collection. Photograph by the author 204

813 Deruta, “St Catherine" ca. 1510—1530. Lustred maiolica, diam. 40.5 cm. London, Victoria and Albert Museum. © Victoria and Albert Museum, London 205

814 Deruta, “St Roch’, ca. 1500-1550. Lustred maiolica, diam. 41.8 cm. Cambridge, Fitzwilliam Museum. © The Fitzwilliam Museum, Cambridge 206

815 Deruta, “The Incredulity of St Thomas”, ca. 1500-1530. Lustred maiolica, diam. 40.5 cm. Toronto, Gardiner Museum. © Gardiner Museum, Toronto 208

816 Deruta, "A Franciscan Monk Preaching from a Pulpit" ca. 1540-1560. Maiolica, diam. 46.5 cm. Private collection. Photograph by the author 21

91 Agnus Dei, front, 16th century. Wax, Campion Hall Collections, Oxford. O Jesuit Institute, London 223

9.2 Agnus Dei, back, 16th century. Wax, Campion Hall Collections, Oxford. O Jesuit Institute, London 224

9.3 Bartolomeo Faleti, *Pope Pious v consecrating the *wax lamb", 1567. Etching on paper, 40 x 54, British Museum. © The Trustees of the British Museum 225

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XIV ILLUSTRATIONS

9.4 Pendant/Cameo, front, 16th century. Silver, shell, niello, gold, copper, 2.5 cm in diameter, British Museum. © The Trustees of the British Museum 233

9.5 Pendant/Cameo, back, 16th century. Silver, shell, niello, gold, copper, 2.5 cm in diameter, British Museum. © The Trustees of the British Museum 233

9.6 Medallion, 16th century. Silver, niello, gold, 2.5 cm in diameter, British Museum. © The Trustees of the British Museum 234

9.; Pendant, 1400-1500. Silver, silver-gilt, 4 x 2.8 cm, Victoria and Albert Museum. © Victoria and Albert Museum, London 235

9.8 Medallion, front, 16th century. Silver, niello, gold, 2.5 diameter, British Museum. © The Trustees of the British Museum 236

9.9 Medallion, back, 16th century. Silver, niello, gold, 2.5 diameter, British Museum. © The Trustees of the British Museum 236

101 Title page of the Legenda et oratione di Santa Margherita vergine, & martire historiata; laqual oratione legendola, ouer ponendola adosso a vna donna, che non potesse parturire, subito parturirà senza pericolo, (Venice, Francesco de Tomaso di Saló e compagni: 1550). Woodcut and print on paper, octavo. London, The British Library, General Reference Collection C.38.b.34., not paginated. © British Library Board 249

10.2 “Lettera di rivelazione di Maria Ori [Letter of Revelation of Maria Ori]” found in the crypt of the Chiesa di San Paolo Apostolo, late sixteenth century. Ink on paper, seal wax, and woodcut encased in copper and glass. Roccapelago di Pievepelago, Museo delle Mummie di Roccapelago. © Museo delle Mummie di Roccapelago 253

10.3 Reverse of Fig. 10.2, “Lettera di rivelazione di Maria Ori [Letter of Revelation of Maria Ori]" © Museo delle Mummie di Roccapelago 254

10.4 Detail of Fig. 10.2, Woodcut image of the Madonna and Child on a copper backing with a glass cover. © Museo delle Mummie di Roccapelago 255

10.5 Breve found in the crypt of the Chiesa di San Paolo Apostolo, late sixteenthearly seventeenth century. Pressed paper image and devotional medallion in a cloth pouch. Roccapelago di Pievepelago, Museo delle Mummie di Roccapelago. © Photograph by the author 256

10.6 "Orazione della misura di Cristo [Prayer of the Measure of Christ]" Italy, unsigned: before 1500. Red ink on paper, 10.5 x 22 cm. New York, The Morgan Library and Museum, Checklist: ChL 1360, PML 16529. € The Morgan Library and Museum 258

10.7 "Oratione devotissima alla matre di Dio trovata nel S. Sepolcro di Christo [Most Devout Prayer to the Mother of God found in the Holy Sepulchre of Christ]" (In Barzellona, e ristampata in Venetia, co[n] licenza de' Superiori). Ink on Paper 175 x 120 mm. Rome, Biblioteca Alessandrina, Miscellanea xiv

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ILLUSTRATIONS XV

D 27 8. © By kind permission of the Ministero per i Beni e le Attività Culturali e ilTurismo 259

10.8 “La sacra cintola" Green wool with gold embroidery and two cords as ties. 87 cm (length) in the “Reliquary of the Sacra Cintola della Madonna" (Milan, 1638). Gold, enamel and rock crystal. Cathedral of Santo Stefano, Chapel of the Sacra Cintola. © Fototeca Ufficio Beni Culturali Diocesi di Prato 263

10.9 Girdle, ca. 1450. Tablet woven lampas with gilded and enamelled metal, nielloed silver and stamped brass. Victoria & Albert Museum, 4278-1857. Detail of the inscriptions on the two niello roundels, which read ‘AMORE. VOL and ‘SPERA. IN DIO’. © Victoria & Albert Museum, London 265

10.10 Giovanni di Ser Giovanni (lo Scheggia), “Madonna and Child with Angels”, ca. 1450-1480. Tempera on panel. Private Collection [Last Known: Collection H. Kisters, Kreuzlingen, Switzerland]. © Photo Library of the Federico Zeri Foundation. The property rights of the author have been met 267

nai Representation of a Painter, from a tomb in Cherson, Crimea, 3rd century. Saint Petersburg, The Hermitage Museum. Photograph by the author 274

n.2 Ceramic Iconostasis, 10th century. Preslav (Bulgaria), Archaeological Museum. Photograph by the author 275

1.3 Madonna di Santa Chiara, painted panel, Pisa, late 12th century. Pisa, National Museum of San Matteo. Photograph by theauthor 277

1.4. Madonna di sotto gli organi, icon, ca. 1200. Pisa, Cathedral of Our Lady. Photograph by the author 279

1.5 Andreas Ritzos, Mater de Perpetuo Succursu, ca. 1450, repainted in 1866. Rome, Sant’Alfonso all'Esquilino. Photo: after De Jonghe M., Roma Santuario mariano, Rome 1969, Fig.109 284

1.6 Byzantine painter, Crucifixion and the Virgin with Child, painted panel, ca. 1370. Amsterdam, Rijksmuseum. © Rijksmuseum, Amsterdam 287

1.7 Cretan painter, Virgin and Child with Sts Anthony the Great, John the Baptist, Jerome, and Bernardine of Siena, painted triptych, ca. 1460. Prague, National Gallery. © National Gallery, Prague 289

131 “The Christ Child with the infant Saint John the Baptist with an unidentified male child”, sixteenth century. 42.5 x 35.6 cm, private collection. © Christie's Images / Bridgeman Images 3u

13.2 Leonardo da Vinci, “The Virgin and Child with a child and a cat, two studies of a child and a cat, and the Christ Child and infant Baptist embracing", ca. 1490-1500. Pen and ink over red chalk with touches of wash on paper, 20.2 x 151 cm. Royal Collection, Windsor. Royal Collection Trust / © Her Majesty Queen Elizabeth 11 2017 325

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XVI ILLUSTRATIONS

13.3 Marco d'Oggiono (?), “The Infant Christ and Saint John Embracing’, ca. 1500— 1530. Oil on panel, 64.3 x 48.1 cm. Royal Collection, Windsor. Royal Collection Trust / © Her Majesty Queen Elizabeth 11 2017 326

13.4 “Holy family with the infant St John”, sixteenth century. Oil on panel, 51 x 47 cm. Wellington Collection, Apsley House, London. © Historic England Archive 327

13.5 Bernardino Luini, “The Holy Family" first half of the sixteenth century. Oil on panel, 100 x 84 cm. Museo Nacional del Prado, Madrid. © Museo Nacional del Prado 328

13.6 Attributed by Sotheby's to Marco d'Oggiono, “The Christ with the infant St. John the Baptist”, early sixteenth century. Oil on panel, 43.8 x 36.2 cm. Private collection. © 2017 Art Works Fine Art Publishing, Los Angeles 329

13.7 Bernardino dei Conti (?), "Madonna and Child with the Infant St John the Baptist" 1496. Oil on panel, Pinacoteca di Brera, Milan. © Mondadori Portfolio/ Electa/Sergio Anelli / Bridgeman Images 331

13.8 “Madonna and Child with St. John”, ca. 1510. Oil on panel, 22.7 x 18.5 cm. Galleria dell’ Accademia Carrara, Bergamo. © Bridgeman Images 332

13.9 Bernardino Luini, “Virgin and Child with the Infant Saint John the Baptist”, 1523-1525. Oil on canvas, 86 x 60 cm. Museo Nacional Thyssen-Bornemisza, Madrid. € Fundación Colección Thyseen-Bornemisza 335

1310 "The Christ Child" early sixteenth century. Oil on panel, 19.5 x 15.5 cm. Museo Poldi Pezzoli, Milan. € Museo Poldi Pezzoli 337

141 Alberto da Castello, Rosario della gloriosa Vergine Maria (Venice, s.n.: 1521), frontispiece. By kind permission of the Biblioteca Consorziale di Viterbo 348

14.2 Alberto da Castello, Rosario della gloriosa Vergine Maria (Venice, s.n.: 1521) fols. 78v-79r. By kind permission of the Biblioteca Consorziale di Viterbo 349

14.3 Alberto da Castello, Rosario della gloriosa Vergine Maria (Venice, s.n.: 1521), fols. 162r-163v. By kind permission of the Biblioteca Consorziale di Viterbo 350

14.4 Luis de Granada, Rosario della sacratissima Vergine Maria, raccolto dall'opere del R.P.F. Luigi di Granata (Venice, Gioanne Varisco et Compagni: 1578) 56. By kind permission of the Biblioteca del Seminario del Polo Teologico Torinese, Turin 353

14.5 Luis de Granada, Rosario della sacratissima Vergine Maria, raccolto dall'opere del R.P.F. Luigi di Granata (Venice, Gioanne Varisco et Compagni: 1578) 136. By kind permission of the Biblioteca del Seminario del Polo Teologico Torinese, Turin 355

14.6 Strata Niccoló, Compendio dellordine e della regola del santissimo Rosario della gloriosa vergine (Turin, Gio. Michele, & ff. de’ Cauallerij: 1588) fols. 78v—79r. By kind permission of the Centro Teologico, Turin 356

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ILLUSTRATIONS XVII

14.7 Strata Niccolò, Compendio dell'ordine e della regola del santissimo Rosario della gloriosa vergine (Turin, Gio. Michele, & ff. de’ Cauallerij: 1588) fols. 77v—78r. By kind permission of the Centro Teologico, Turin 357

14.8 Aresi Paolo, Imprese sacre con triplicati discorsi illustrate & arricchite a’ predicatori, à gli studiosi della Scrittura Sacra VI (Tortona, Calenzano & Viola: 1634-5) 219. By kind permission of the Biblioteca dei Cappuccini di Torino 358

14.9 Bracchi T. Le due imprese delle due catene de’ rosarii (Brescia: Antonio Ricciardi, 1633) frontispiece. By kind permission of the Staatliche Bibliothek Regensburg,

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Notes on the Editors

Maya Corry

is College Lecturer in Early Modern History at Oriel College, University of Oxford. Previously she was a Postdoctoral Researcher at the University of Cambridge, and Graduate Teaching and Research Scholar at the University of Oxford. She was a lead curator of the 2017 Fitzwilliam Museum exhibition Madonnas & Miracles. She works at the intersection of social and cultural history and the history of art, and researches the interrelationships between practices and beliefs relating to the body, religion, gender, sexuality and medicine in the early modern era. She is co-editor of Madonnas & Miracles: the Holy Home in Renaissance Italy (Philip Wilson: 2017), and has a forthcoming book Beautiful Bodies: Sexuality, Spirituality and Gender in Leonardo's Milan with OUP.

Marco Faini

is Marie Sktodowska Curie Fellow at the Universities of Venice and Toronto. Previously he was Instructor of Italian at the Eastman School of Music, University of Rochester, Andrew W. Mellon Fellow at Villa 1 Tatti, The Harvard University Center for Italian Renaissance Studies, Research Associate at the Department of Italian, University of Cambridge, and fellow at the Herzog August Bibliothek, Wolfenbiittel. He works on comic, macaronic and mockheroic literature, biblical epic and devotional literature. His book La porpora e l'alloro: Vita di Pietro Bembo (Rome: 2016) has been translated into English and French. He is the co-editor of Books for Captains and Captains in Books. Shaping the Perfect Military Commander in Early Modern Europe (Wiesbaden: 2016). He is presently co-editing a Companion to Pietro Aretino (Leiden — Boston: forthcoming).

Alessia Meneghin was Ahmanson Fellow at Villa 1 Tatti, The Harvard University Center for Italian Renaissance Studies in Florence. She was Research Associate in the Faculty of History at the University of Cambridge, Assistant Investigator for The Anatomy and Physiology of Renaissance Florence: The Dynamics of Social Change in the Fifteenth Century project at the University of Sydney, and former Fellow of the Society for Renaissance Studies. Her published work focuses on issues of credit, consumption, identity and social mobility of the Arti Minori in Renaissance

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NOTES ON THE EDITORS XIX

Florence and Tuscany. She is the author of a book on the Tuscan Misericordie: Serbatoi di umanità. La Misericordia e i suoi volontari nella storia (Pisa: 2017). She has a forthcoming volume on rigattieri (The Social Fabric of Fifteenth- Century Florence: Identities and Change in the World of Second-hand Dealers) with Routledge.

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Notes on the Contributors

Erminia Ardissino

is Associate Professor at the University of Torino. Her research deals with Italian literature from Dante to the Baroque age, with special attention to the relationship between the history of ideas and religious experience. She has published several books on Dante (Tempo storico e tempo liturgico nella “Commedia” di Dante,2009;L'umana ‘Commedia’ di Dante, 2016), Tasso (‘L'aspra tragedia: Poesia esacro in Torquato Tasso, 1996; Tasso, Plotino, Ficino. In margine a un postillato, 2003), Galileo (Galileo. La scrittura dell'esperienza. Saggio sulle lettere, 2010), and Baroque Italian literature (Il Barocco e il sacro. La predicazione del teatino Paolo Aresi tra letteratura, immagini e scienza 2001; Il Seicento, 2005), critical editions of ancient texts (Giovanni di Bonsignori's Ovidio Metamorphoseos Vulgare; Angelo Galli's Operetta, both for the Commissione per i Testi di Lingua, 2001e 2006; Giambattista Marino's Dicerie sacre for the National Edition of Marino's works, 2014; Lucrezia Tornabuoni's Poemetti biblici, 2015), and articles in the main journals in the field of philology and literary studies. Currently she is exploring Biblical reading and writing in early modern Italy, focusing on female interpretative communities. She has received numerous awards, including the Newberry Library Weiss-Brown Subvention Award, Renaissance Society of America Fellowship, Italian Academy for Advanced Studies at Columbia University Fellowship, Fulbright Distinguished Lectureship at the University of Chicago, and Fellowship at the Institut for Advanced Studies Le Studium-CESR (Orléans-Tours FR).

Michele Bacci

Professor of Medieval Art History at the University of Fribourg, Switzerland, is the author of several publications on the cultural and art-historical contacts of East and West in the Middle Ages and on the history of the religious practices associated with cult-objects and holy sites. His books include Zl pennello dell'Evangelista (1998), Pro remedio animae (2000), Lo spazio dell'anima (2005), San Nicola il Grande Taumaturgo (2009), The Many Faces of Christ (2014), and The Mystic Cave (2017). He is editor-in-chief of the periodical Iconographica.

Michael]. Brody was Director and Curator of the USciences Museum in Philadelphia and a member of faculty in the Humanities Department. At USciences he mounted exhibitions on a wide variety of subjects, including American and European material culture, photography, medical illustration, and pharmacy. His primary

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NOTES ON THE CONTRIBUTORS XXI research interests are pharmacy history, print history, and Italian Renaissance ceramics.

Giorgio Caravale

is Professor of Early Modern European History at the University of Roma Tre. He is co-editor of the Catholic Christendom 1300-1700 series published by Brill. He has been a Member of the School of Historical Studies at the Institute for Advanced Study, Princeton (2013-2014) and Lauro De Bosis Lecturer in the History of the Italian Civilization at Harvard University (2010-2011). He is the author of Forbidden Prayer. Church Censorship and Devotional Literature in Renaissance Italy (Ashgate, 2011); George L. Mosse’s Italy. Interpretation, Reception, and Intellectual Heritage (ed. with L. Benadusi, Palgrave 2014); The Italian Reformation outside Italy. Francesco Pucci's Heresy in Sixteenth-Century Europe (Brill, 2015); Preaching and Inquisition in Renaissance Italy. Words on Trial (Brill, 2016); Beyond the Inquisition. Ambrogio Catarino Politi and the Origins of the Counter-Reformation (Notre Dame University Press, 2017); Censorship and Heresy in Revolutionary England and Counter-Reformation Rome. Story of a Dangerous Book (Palgrave, 2017).

Remi Chiu is Assistant Professor of Musicology at the University of Toronto, specialising in the intersections between music, medicine, and disability. He is the author of Plague and Music in the Renaissance (Cambridge University Press, 2017).

Sabrina Corbellini is Rosalind Franklin Fellow and Professor of “History of Reading in Premodern Europe’ at the University of Groningen, the Netherlands. She specialises in the reconstruction and study of religious reading activities in pre-modern Europe, in particular during the ‘long fifteenth century’ (1350-1520). She has been P.I. of the ERC-Starting Grant research project ‘Holy Writ and Lay Readers. A Social History of Vernacular Bible Translations in Late Medieval Europe’ (2008— 2013) and has chaired the cosT Action ‘New Communities of Interpretation: Context, Strategies and Process of Religious Transformation in Late Medieval and Early Modern Europe’ (2013-2017). Since 2015, she has coordinated the research project, ‘Cities of Readers. Religious Literacies in the long Fifteenth Century’, which aims at reconstructing the participation of lay people in the production and the transmission of religious knowledge through the study of their engagement in textual and performative activities. Together with Wim Francois (University of Louvain, BE) since 2017 she has also led the project ‘In Readers’ Hands. Early Modern Dutch Bibles from a Users’ Perspective, which

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XXII NOTES ON THE CONTRIBUTORS aims at developing new methodological approaches to the reconstruction of reading activities in early modern Europe. She has published extensively on (religious) reading and has edited the volumes Instructing the Soul, Feeding the Spirit and Awakening the Passion. Cultures of Religious Reading in the Late Middle Ages (Turnhout 2013) and Discovering the Riches: Religious Reading in Late Medieval and Early Modern Europe. (Brill 2015).