Books
This edited collection of papers explores from an interdisciplinary perspective the role of print... more This edited collection of papers explores from an interdisciplinary perspective the role of printed images and objects in early modern knowledge-making practices with an emphasis on methodology. The volume brings together work across diverse printed images, objects and materials produced c. 1500-1700 to reframe a comparative history of the rise of the 'epistemic imprint' as a new visual genre at the onset of the scientific revolution. The book includes contributions from the interdisciplinary perspective of international scholars and museum professionals drawing on methodological approaches from historical studies, digital humanities and re-enactment studies.
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2020-2022 Marie Skłodowska-Curie EU Fellowship grant recipient. Monograph project representing th... more 2020-2022 Marie Skłodowska-Curie EU Fellowship grant recipient. Monograph project representing the first comparative cultural history tracing how the formation of emerging boreal (‘of the far north’) and meridional European identities within and between the Nordic-Baltic littoral and the Italian peninsula during the early modern era c. 1500-1800 (and into the present day) was shaped by the ritual, art, architecture and material memory culture of death, from the perspective of the religious ritual of translatio (‘translation’), the ceremonial relocation of sacred relics of saints and holy persons. This multinational project analyzes case studies in cross-cultural relic translatio from different (extant and historical) regions of Europe that interconnect Italy and the Nordic-Baltic countries and played a pivotal role affecting many areas of social relevance. Intersecting a range of historical disciplines within humanities studies, my research sheds new light on not only the significance of ritualized relics in the cultural heritage of Europe’s northern- and southernmost borderlands, but also the ‘afterlives’ of relics in de-Catholicized Europe where Lutheranism ostensibly divested them of their sacred aura. Research additionally supported by Latvian State Education Development Agency, Fritz Thyssen Stiftung, Bourses Robert Klein, Estonian national Archimedes Foundation.
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2018-2020 Novo Nordisk Fonden Mads Øvlisen Research grant recipient. This study adopts a transect... more 2018-2020 Novo Nordisk Fonden Mads Øvlisen Research grant recipient. This study adopts a transectional interdisciplinary methodological approach that investigates across the cultural milieu of Tycho Brahe, Galileo Galilei and their contemporaries to account for the punctuated evolution ca. 1600 of the ‘ingenious imprint’ as superintendent episteme in the pursuit of intelligible knowledge of the unseeable, particularly related to the celestial realm (comprising the fields of astronomy, cosmology, optics and natural philosophy). The project plots against an intense period of intellectual innovation, religious and political upheaval, the rapid ascendency of engraved, etched, incised and imprinted ways of knowing in Northern Europe and Italy, through a series of case studies of epistemic image-contraptions, their fabricators and their users. Research for this project has been supported by fellowships from the American Academy in Rome, Dutch University Institute for Art History Florence and Descartes Centre Utrecht, and presented most recently in an invited paper at the University of Cambridge.
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Der amerikanische Filmkünstler Reynold Reynolds (*1966 Airbanks, Alaska, USA) agiert mit seinen A... more Der amerikanische Filmkünstler Reynold Reynolds (*1966 Airbanks, Alaska, USA) agiert mit seinen Arbeiten an den Grenzen zwischen Kunst und Wissenschaft, Vergangenheit und Gegenwart, Realität und Fiktion. Er spielt mit den Erwartungen und Emotionen des Publikums und führt sie auf ungeahnte Weise in die Irre. Der außergewöhnliche Katalog “Reynold Reynolds: Das unvollständige Werk/The Incomplete Works” versammelt zum ersten Mal alle Werke von Reynold Reynolds, die in den letzten 20 Jahren entstanden sind.
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https://www.routledge.com/Peter-Paul-Rubens-and-the-Counter-Reformation-Crisis-of-the-Beati-moder... more https://www.routledge.com/Peter-Paul-Rubens-and-the-Counter-Reformation-Crisis-of-the-Beati-moderni/Noyes/p/book/9781472484796
Publisher description: "The Crisis of the Beati Moderni takes up the question of the issues involved in the formation of recent saints—or Beati moderni (modern Blesseds) as they were called—by the Jesuits and Oratorians in the new environment of increased strictures and censorship that developed after the Council of Trent with respect to legal canonization procedures and cultic devotion to the saints. Ruth Noyes focuses particularly on how the new regulations pertained to the creation of emerging cults of those not yet canonized, the so-called Beati moderni, such as Jesuit founders Francis Xavier and Ignatius Loyola, and Filippo Neri, founder of the Oratorians. Centrally involved in the book is the question of the fate and meaning of the two altarpiece paintings commissioned by the Oratorians from Peter Paul Rubens. The Congregation rejected his first altarpiece because it too specifically identified Filippo Neri as a cult figure to be venerated (before his actual canonization) and thus was caught up in the politics of cult formation and the papacy's desire to control such precanonization cults. The book demonstrates that Rubens' second altarpiece, although less overtly depicting Neri as a saint, was if anything more radical in the claims it made for him. Peter Paul Rubens and the Crisis of the Beati Moderni offers the first comparative study of Jesuit and Oratorian images of their respective would-be saints, and the controversy they ignited across Church hierar chies. It is also the first work to examine provocative Philippine imagery and demonstrate how its bold promotion specifically triggered the first wave of curial censure in 1602."
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"As wide-ranged as it is detailed, the book is a well-founded account of the way in which the cul... more "As wide-ranged as it is detailed, the book is a well-founded account of the way in which the cult of the beati moderni was shaped between 1595 and 1610, what initiatives the Jesuits and Oratorians took, how the pope and curia reacted to this, and how the promotors of the cults tried to meet the wishes of their ecclesiastical authorities."
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Refereed Articles and Chapters
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This article explores the Counter-Reformation medievalization of Polish-Lithuanian St. Kazimierz ... more This article explores the Counter-Reformation medievalization of Polish-Lithuanian St. Kazimierz Jagiellończyk (1458-84)-whose canonization was only finalized in the seventeenth century-as a case study taking up questions of the reception of cults of medieval saints in post-medieval societies, or in this case the retroactive refashioning into a venerable medieval saint. The article investigates these questions across a transcultural Italo-Baltic context through the activities of principal agents of the saint's re-fashioning as a venerable saint during the late seventeenth century: the Pacowie from the Grand Duchy of Lithuania and the Medici from the Grand Duchy of Tuscany, during a watershed period of Tuscan-Lithuanian bidirectional interest. During this period, the two dynasties were entangled not only by means of the shared division of Jagiellończyk's bodily remains through translatio-the ritual relocation of relics of saints and holy persons-but also self-representational strategies that furthered their religio-political agendas and retroactively constructed their houses' venerable medieval roots back through antiquity. Drawing on distinct genres of textual, visual, and material sources, the article analyzes the Tuscan-Lithuanian refashioning of Kazimierz against a series of precious reliquaries made to translate holy remains between Vilnius and Florence, to offer a contribution to the entangled histories of sanctity, art and material culture, and conceptual geography within the transtemporal and transcultural neocolonial context interconnecting the Middle Ages, Age of Reformations, and the Counter-Reformation between Italy and Baltic Europe.
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This article explores Jews’ role in mediating artistic exchange between Italy and the Polish–Lith... more This article explores Jews’ role in mediating artistic exchange between Italy and the Polish–Lithuanian Commonwealth in the eighteenth century, through a case study examining the cultural and historical context surrounding the construction of the Druja synagogue (ca. 1765–1766) by the Paracca family of immigrant Italian architects and masons, for the burgeoning Jewish community affiliated with the region’s reigning noble families. The article explores the circumstances surrounding the Druja synagogue as a manifestation of the so-called “Vilnius Baroque” school of late Baroque–Rococo architecture in the Grand Duchy. The synagogue design reanimated the grandeur of the past and represented notions of Italy in honor of Baltic Catholic patrons and Jewish clients. Jews emerge as scions and mediators of the geopolitical, spiritual and
cultural crossroads at Druja, a historical inflection point when emerging divisions of conceptual geography gave rise to the notion of an “eastern Europe.”
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This article reevaluates the lifelong artistic patronage and collecting practices of Polish-Lithu... more This article reevaluates the lifelong artistic patronage and collecting practices of Polish-Lithuanian Count Michał Jan Borch (1753-1810/11) against the historical background of Enlightenment Europe more broadly and specifically the Age of Partition (c. 1750-1810). This article examines how despite persistent financial shortcomings and political difficulties, Borch staked for himself a strategic position as patron and collector, staging a renovation of the present by engaging with late baroque, rococo, and neoclassical Italianate forms that inflected Italy and the antique not as fixed entities but as a malleable or notional fragments that could be arbitrated, reassembled and transformed through the intermediating agency of persons and objects, and related to the past in form, style and language, thematizing the temporal passage between venerable and modern in a way that reanimated the grandeur of the past in honor of Borch’s re-envisioning of his restored homeland. As a case study in period self-fashioning, the article is structured around four portraits of Borch and his family executed at crucial inflection points in his life and career.
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This essay takes the eighteenth-century artistic patronage of the noble Plater family in Krāslava... more This essay takes the eighteenth-century artistic patronage of the noble Plater family in Krāslava (Pol. Krasław), a private magnate town in Polish Livonia (present-day Latgale, Latvia), an administrative division within the historical territory of the Polish–Lithuanian Commonwealth, as a case study to explore multiple modes of artistic migration facilitated by human agents and the agentive properties of objects against the historical backdrop of the Age of Partition (c. 1750-1810). I examine how the Plater by means of migration by proxy and through performative engagement commissioning, collecting and displaying art and architecture constructed a network of monuments and artworks evoking the notion of the Plater as heirs to the glory of Rome, to re-form their dominion as the crossroads of Europe’s Roman Catholic frontier, where the long Counter-Reformation negotiated a complex web of intersecting yet potentially opposed religio-political prerogatives. I argue that these magnates undertook a multifaceted campaign of self-fashioning to realign their interests and re-legitimize their patrimonial hegemonic claims by undertaking the translatio reliquiae (transfer of relics), the ceremonial transfer of holy remains from the Roman catacombs according to venerable Roman Catholic tradition, and appealing to a broader cultural translatio imperii (transfer of rule or empire). Their campaign thematized the temporal passage between ancient and modern and the geographic distance between the Italian and Baltic sphere in a way that reanimated the grandeur of the past and deployed mediated forms of knowledge about its target (Rome) in honor of the illustrious patrons. It also took advantage of the fact that the beleaguered eighteenth-century Holy See sought to reaffirm the papal city as caput mundi, renovate its image as international arbiter of taste and reaffirm the illusion of integral Catholic empire.
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The Lugano lake region numbers amongst the most important cradles of European art and architectur... more The Lugano lake region numbers amongst the most important cradles of European art and architecture since the middle ages. The paths of itinerant masons, painters, builders, sculptors, architects and other diverse Lugano artists and artisans have left their traces throughout Europe. They made a particularly significant impact in the case of the Baroque style. Approximately 40 such individuals were active in the Grand Duchy of Lithuania during the period spanning the sixteenth through the eighteenth century. It has been argued most prominently by Polish art historian M. Karpowicz that their impact was crucial to the development of the specific Lithuanian architectural style of the eighteenth century termed the so-called Vilnius Baroque. The present article discusses hypotheses related to Guido Antonio Longhi and members of the Paracca family, who constitute the group of the most outstanding Lugano lake artists to contribute to the Vilnius Baroque.
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[version 1; peer review: 5 approved]
This article offers a first study of the traffic of corpisan... more [version 1; peer review: 5 approved]
This article offers a first study of the traffic of corpisanti catacomb relic-sculptures between Rome and sites in the Grand Duchy of Lithuania and Polish Livonia in the decades just before and during the Age of Partition (c. 1750-1800). The article firstly frames an overview of current knowledge on corpisanti more broadly against cases in Livonia and the Grand Duchy. It secondly provides a clearinghouse of secondary and primary source evidence on this topic, with particular attention to providing previously largely unpublished or understudied texts pertaining to corpisanti cults in the north in translation, included as appendices. This article also presents a study in methods of collaborative scholarship in the pandemic era, investigating across distinct genres of source materials and material and artistic cultural heritage objects accessed via scholarly networks both in the field and online, representing historic sites and institutions in present-day Italy,
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This essay plots descriptions of cultic spaces and structures in hagiographic literature ca. 1600... more This essay plots descriptions of cultic spaces and structures in hagiographic literature ca. 1600, against cases of construction, decoration, and performative manipulation of architecture in the service of sanctity in Rome. Taking up Oratorian and Jesuit chapels erected to promote their would-be saintly founders Filippo Neri and Ignatius within the Chiesa Nuova and Gesù churches respectively, together with contemporaneous ekphrases in hagiographic texts, as a case study to establish relationships between different yet complimentary universes, the paper retraces the redistributions and reproductions of holiness through a series of movements both material and metaphorical enacted in the Roman milieu. In so doing, I attend to how the volatile hydraulic character of saintliness, rather than “held by space and a local movement from one specified point to another,” was instead “productive of a movement that holds space and simultaneously affects all its points,” ultimately exceeding and eluding structural, spatial and temporal specificity altogether.
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This article takes up the question of issues of the intended spectacular effects of early Seicent... more This article takes up the question of issues of the intended spectacular effects of early Seicento Counter-Reformation Eucharistic festival devices and mechanisms as instantiated in performative printed media. I attend to the confluence of text and image in Louis Richeôme’s La peinture spirituelle (1611) as a case study, to plot early Baroque optical theories and processes of transformation against Jesuit Eucharistic multimedia festival culture. In La peinture Richeôme transformed the act of perceiving or seeing into a metaphor for Transubstantiation. Of largely unacknowledged consequence is the fact that his description of a Roman Jesuit Eucharistic festival theater demonstrated the workings of visual perception and Transubstantiation. His passage inflected Kepler’s recent notion of retinal perception yet refuted Keplerian theory’s rejection of the real presence of the percept in the ocular species by recourse to a Jesuitic Counter-Reformation paradigm of embodied Eucharistic doctrine, whereby Christs’s Real Presence was manifest in the sacramental Species. Bodying forth Richeôme’s polemical elision of ocular and Eucharistic species, the engraved title page culminated in a rendering of the Jesuits’ Eucharistic performance.
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Books
Publisher description: "The Crisis of the Beati Moderni takes up the question of the issues involved in the formation of recent saints—or Beati moderni (modern Blesseds) as they were called—by the Jesuits and Oratorians in the new environment of increased strictures and censorship that developed after the Council of Trent with respect to legal canonization procedures and cultic devotion to the saints. Ruth Noyes focuses particularly on how the new regulations pertained to the creation of emerging cults of those not yet canonized, the so-called Beati moderni, such as Jesuit founders Francis Xavier and Ignatius Loyola, and Filippo Neri, founder of the Oratorians. Centrally involved in the book is the question of the fate and meaning of the two altarpiece paintings commissioned by the Oratorians from Peter Paul Rubens. The Congregation rejected his first altarpiece because it too specifically identified Filippo Neri as a cult figure to be venerated (before his actual canonization) and thus was caught up in the politics of cult formation and the papacy's desire to control such precanonization cults. The book demonstrates that Rubens' second altarpiece, although less overtly depicting Neri as a saint, was if anything more radical in the claims it made for him. Peter Paul Rubens and the Crisis of the Beati Moderni offers the first comparative study of Jesuit and Oratorian images of their respective would-be saints, and the controversy they ignited across Church hierar chies. It is also the first work to examine provocative Philippine imagery and demonstrate how its bold promotion specifically triggered the first wave of curial censure in 1602."
Refereed Articles and Chapters
cultural crossroads at Druja, a historical inflection point when emerging divisions of conceptual geography gave rise to the notion of an “eastern Europe.”
This article offers a first study of the traffic of corpisanti catacomb relic-sculptures between Rome and sites in the Grand Duchy of Lithuania and Polish Livonia in the decades just before and during the Age of Partition (c. 1750-1800). The article firstly frames an overview of current knowledge on corpisanti more broadly against cases in Livonia and the Grand Duchy. It secondly provides a clearinghouse of secondary and primary source evidence on this topic, with particular attention to providing previously largely unpublished or understudied texts pertaining to corpisanti cults in the north in translation, included as appendices. This article also presents a study in methods of collaborative scholarship in the pandemic era, investigating across distinct genres of source materials and material and artistic cultural heritage objects accessed via scholarly networks both in the field and online, representing historic sites and institutions in present-day Italy,
Publisher description: "The Crisis of the Beati Moderni takes up the question of the issues involved in the formation of recent saints—or Beati moderni (modern Blesseds) as they were called—by the Jesuits and Oratorians in the new environment of increased strictures and censorship that developed after the Council of Trent with respect to legal canonization procedures and cultic devotion to the saints. Ruth Noyes focuses particularly on how the new regulations pertained to the creation of emerging cults of those not yet canonized, the so-called Beati moderni, such as Jesuit founders Francis Xavier and Ignatius Loyola, and Filippo Neri, founder of the Oratorians. Centrally involved in the book is the question of the fate and meaning of the two altarpiece paintings commissioned by the Oratorians from Peter Paul Rubens. The Congregation rejected his first altarpiece because it too specifically identified Filippo Neri as a cult figure to be venerated (before his actual canonization) and thus was caught up in the politics of cult formation and the papacy's desire to control such precanonization cults. The book demonstrates that Rubens' second altarpiece, although less overtly depicting Neri as a saint, was if anything more radical in the claims it made for him. Peter Paul Rubens and the Crisis of the Beati Moderni offers the first comparative study of Jesuit and Oratorian images of their respective would-be saints, and the controversy they ignited across Church hierar chies. It is also the first work to examine provocative Philippine imagery and demonstrate how its bold promotion specifically triggered the first wave of curial censure in 1602."
cultural crossroads at Druja, a historical inflection point when emerging divisions of conceptual geography gave rise to the notion of an “eastern Europe.”
This article offers a first study of the traffic of corpisanti catacomb relic-sculptures between Rome and sites in the Grand Duchy of Lithuania and Polish Livonia in the decades just before and during the Age of Partition (c. 1750-1800). The article firstly frames an overview of current knowledge on corpisanti more broadly against cases in Livonia and the Grand Duchy. It secondly provides a clearinghouse of secondary and primary source evidence on this topic, with particular attention to providing previously largely unpublished or understudied texts pertaining to corpisanti cults in the north in translation, included as appendices. This article also presents a study in methods of collaborative scholarship in the pandemic era, investigating across distinct genres of source materials and material and artistic cultural heritage objects accessed via scholarly networks both in the field and online, representing historic sites and institutions in present-day Italy,
"Redes artísticas, circulación y exposición de reliquias en el Mundo Hispánico"
Coordinación general: Luisa Elena Alcalá y Juan Luis González García (Departamento de Historia y Teoría del Arte - UAM). Investigadores Principales del Proyecto I+D de Excelencia HAR2017-82713-P "Spolia Sancta. Fragmentos y envolturas de sacralidad entre el Viejo y el Nuevo Mundo".
En décadas recientes ha habido un notable aumento de estudios sobre las reliquias en el ámbito europeo; en comparación, son mucho menos comunes las aproximaciones renovadoras al respecto para los territorios que abarcó la Monarquía Hispánica. Tampoco abundan trabajos que relacionen la historia religiosa, política y social con aspectos artísticos y materiales de la configuración y presentación de las reliquias. Dados estos precedentes, este Seminario propone, por una parte, ampliar el marco geográfico de estudio bajo la hipótesis de que una visión más globalizada –tanto hispánica como iberoamericana– puede arrojar luz sobre los procesos de circulación y definición estatutaria de las reliquias; y por otra, devolver a las cuestiones expositivas de los relicarios y su emplazamiento la centralidad que merecen y que es además necesaria para comprender tales objetos.
Abstract:
The proposed paper plots Catholic Reformation confessionalized science against the material culture of the converting [im]print in the Low Countries c. 1600, taking up the advent of the astrolabium aequinoctiale as a case study. In 1601 revered Jesuit astronomer-mathematician Christoph Clavius wrote from Rome to young Odo van Maelcote S.J. in Liège, inviting the twenty-nine year old to join him to undertake mathematical studies. The invitation constituted Clavius’s reply to a gift sent to him by Maelcote the previous year: a planispheric astrolabe of the fledgling Flemish polymath’s own design and facture, the astrolabium aequinoctiale. In 1607 Maelcote published in Brussels with instrument maker Leonard Damery an exposition of the astrolabe design that included a printed paper specimen. Possessing unique formal and functional features, the astrolabium aequinoctiale presented a singular heuristic contraption that operated according to principles of inversion, and not only materialized in its ipseity, but also bodied forth in its production, propagation, and praxis, the labile quiddity of Catholic Reformation scientific conversion pervading its inventor’s geopolitical biography, institutional identity, and broader cultural-historical milieu. A device of paradoxical simplicity and complexity, Maelcote’s conjoined northern-southern hemispheric device promised astronomical accuracy and staged a physical, figural, and cosmological rapprochement of polarities. By 1600 Brussels, among other Catholic centers in the Low Countries, boasted a printing industry that at once gave visible forms to confessional reforms, and disseminated these forms, such that the veracity of Catholic Reformation culture in the Low Countries was both the precondition and the product of printed media, mechanisms, and metaphors.
I’m happy to be contacted with comments or questions about the MC proposal preparation process by email: ruth.sargent.noyes@natmus.dk
This is a recent entry I prepared with local historian Ewa Lisiecka for the Polish-language educational tourism website, Przewodnicy w Zamościu. Zwiedzanie Zamościa i okolic [Guides in Zamość. Visiting Zamość and the surrounding area], about catacomb relics of St. Felix in in the Church of the Annunciation of the Blessed Virgin Mary in Tomaszów Lubelski.
"We look at the fascinating life of astronomer Tycho Brahe, and examine a ‘first edition’ of his book Astronomiae Instauratae Mechanica.
Featuring Rupert Baker from The Royal Society speaking with Brady.
A very special thanks to Ruth Sargent Noyes for her correspondence with Rupert regarding the book featured in this episode."
By 1600 Rome, among other Catholic centers, boasted a flourishing printing industry that at once gave visible forms to martyrial suffering, and disseminated these forms, such that the veracity of Counter-Reformation Catholic martyrdom was both the precondition and the product of printed media, mechanisms, and metaphors. Such images implicated beholders’ ocular communion in the theater of early modern martyrdom, simultaneously bearing witness and creating new witnesses to purported atrocities against valiant [Catholic] believers past and present, transmutating beholders into co-victims. Copperplate engraving’s constituent materials and methods achieved an ontological eclipse with the subject represented, rendering explicit the latent violence intrinsic to his medium. Contemporary engraved printed imagery shared a common visio-martyrial quiddity.
In 1610 Maelcote published in Rome sub nomine Valeriani Regnartij Belgae a treatise titled Astrolabiorum seu utriusque planisphaerii universalis, et particularis usus, containing engraved printed pages that could be excised, cut and re-formed into working specimens. Valerian Regnard (or Regnart), a prolific artist-engraver, yet stubbornly enigmatic figure in the early 17th-century artistic-intellectual Roman ambit, appears to have had a special working relationship with Jesuit constituencies. By mid-century, it was held in Jesuit circles that Valerianus Regnartius Belga represented a pseudonymic persona assumed by Maelcote according to common Jesuitic observances of authorial self-absconding. Taking up the complex matrix of people, places, and things that engendered Maelcote/Regnard’s astrolabium aequinoctiale as a case study, this essay plots fluctuating networks of artistic-intellectual exchange whereby ductile objects and personae operated as mutable intermediaries between the Southern Netherlands and Italy, philosophical, confessional and institutional prerogatives, against the instable post-conciliar cosmos circa 1600.
Time and place: Sep. 14, 2021 2:00 PM–4:00 PM, The Norwegian Institute in Rome
The event is hybrid taking place at The Norwegian Institute in Rome, and it will also be possible to follow the seminar through Zoom. To receive a link, please contact: eleonora.cappuccilli@ifikk.uio.no or clara.stella@ifikk.uio.no
The seminar Sacred Books, Holy Relics and Godly Women: New Perspectives on Sanctity in Renaissance Europe starts from the new research findings of Emeritus Professor Brian Richardson (University of Leeds, UK), author of the recent book Women and the Circulation of Texts in Renaissance Italy (2020), and art historian Dr Ruth S. Noyes (National Museum of Denmark), currently working on a book project called Translatio. Richardson and Noyes are two key experts in the history of the circulation of texts and premodern migrations of sacral heritage across the Nordic-Baltic region and greater Europe respectively. The seminar will investigate the notion of sanctity in the Renaissance by looking at women as key actors in the circulation of religious books and objects. Richardson's and Noyes's presentations will be followed by an open discussion. The proposed seminar is related to the ongoing research on sanctity pursued at the Department of Philosophy, Classics, History of Art and Ideas via the projects "The Legacy of Birgitta of Sweden" and "Women Writing Saints" which focus respectively on the circulation of Birgitta of Sweden's Revelations and the production of religious literature by women writers in Renaissance Italy, in connection with the activities of the interdisciplinary research group 'Textual Traditions and Communities in Early Modern Europe'.
Copenhagen
6-9 November 2019
Dates: 10-11 November 2022
Location: Art Academy of Latvia & Latvian Academy of Sciences, Riga, Latvia
Deadline: 1 January 2022