Isaac Casaubon’s treatise De critica was apparently completed, but it was never published, and no manuscript of the work has come to light. Since it appears to have been a substantial work on textual criticism by one of the most eminent and capable scholars of the period, its loss is tantalising. This article uses new manuscript evidence to throw light on its content and purpose. Five pieces of manuscript evidence are presented here. Three of these are documents which Casaubon himself (...) composed while preparing the work: two leaves outlining the contents of the work, and two sets of notes intended for the first book. The final part of the article will look at the role of Johannes Woverius of Hamburg (1574–1612) in the later fortunes of this work and publish a suppressed passage from a letter of Casaubon showing that Woverius had seen a copy of the treatise. Many of the editions used by Casaubon when making his notes are identified below, as are a number of printed books annotated in Casaubon’s hand. This new evidence illustrates the evolution of Casaubon’s early scholarship in the 1580s and 1590s. It allows a first description of his Observationes, an unpublished work which lay beneath, and evolved into, De critica. An outline of De critica enables an assessment of the place of Casaubon’s lost work in the critical literature of the late Renaissance, and a new account of its relationship to an extant work, Woverius’s treatise De polymathia. (shrink)

In this article, I demonstrate that, of the two horoscopes transmitted by the Anonymous Commentary on Ptolemy’s ‘Tetrabiblos’, edited by Hieronymous Wolf, Basel, 1559, pp. 98 and 112, the first (H1) corresponds to an actual birth that took place in Lower Egypt on 25 June 448 AD, while the second (H2) is the same horoscope, slightly modified to fit the specific example for which it provides the illustration. The new date proposed here for H1 is important for establishing a more (...) precise chronology of the Anonymous Commentary, since it not only provides a terminus post quem for its composition (from the middle of the fifth century onwards) but also a particular geographical environment in the proximity of Alexandria. Given the large amount of formal and structural similarities which can be readily observed between the Anonymous Commentary and commentaries on Plato and Aristotle composed by Ammonius and his disciples in Alexandria, it becomes impossible not to link the work of the anonymous commentator to the Neoplatonic school of Alexandria of the fifth and sixth centuries, led by the philosopher Ammonius and his brother Heliodorus. (shrink)

Scholarship of the last half century has transformed approaches to paganism and Christianity in the late Roman world. Much as the paradigm of late antiquity has replaced traditional narratives of ‘decline and fall’, expounded systematically in the eighteenth century by Edward Gibbon, so recent scholarship has also challenged older narratives of pagan / Christian conflict, particularly heroic narratives of the resistance mounted by Rome’s ‘last pagans’. This article locates a crucial—although often neglected—prehistory and parallel to these debates in the world (...) of early modern humanist scholarship. It examines how fourth-century Roman pagan authors—especially Quintus Aurelius Symmachus and Ammianus Marcellinus—were read by printers, editors and philologists in the sixteenth and seventeenth centuries. In a world before Gibbonian decline and fall, humanist scholars navigated both religious conflicts and literary canon wars to articulate a robust vision of late antiquity avant la lettre, although for reasons very different from those which have motivated twentieth- and twenty-first-century revisionists. Even as some of their colleagues dismissed late pagan texts on the grounds of deficient Latinity or deficient Christianity (or both), the early modern scholars who embraced this expansive vision of the ancient canon ended up highlighting the ambiguities of late antique religion—especially the grey area between the ‘pagan’ and the ‘Christian’. (shrink)

Joseph Eckhel was the most influential numismatic scholar of the Enlightenment. Eckhel’s key contribution was the creation of the ‘system’ named after him: a novel arrangement of ancient Greek and Roman coins that was swiftly adopted in major international collections and publications and largely still stands today. This article presents and discusses a previously unknown manuscript in Latin written by Eckhel in 1775, the Animadversiones in methodum, secundum quam nunc digestum est Museum numismaticum Magni Ducis (‘Observations on the Method according (...) to which the Coin Collection of the Grand Duke is Now Arranged’). This new source is the earliest attested methodological text by Eckhel. It sheds light on a crucial phase in the development of his system for the first time and demonstrates how Eckhel shaped his ideas while ordering the coin collection of Grand Duke Peter Leopold in Florence in 1773, together with Raimondo Cocchi. (shrink)

In 1475, the Florentine humanist Piero Cennini sent a friend a letter in Latin, in which he described in detail both the Florentine baptistery and the yearly celebration of the feast of St John in late June. This article presents a full text and English translation of the document, with an introduction and notes. Cennini, a scribe and scholar, belonged to a distinguished family of Florentine goldsmiths, with whose members he collaborated on an edition of the commentaries of Servius on (...) Virgil. His description of the baptistery was informed by his knowledge of and pride in his family’s craft, as well as by the teachings of Leon Battista Alberti, which he had mastered. Cennini’s hybrid of craft and humanism enables him to fill his account of the celebration of St John with vivid detail, but his choice of Latin also makes it too artificial to convey the enchantment that the plays and processions, like the baptistery itself, inspired in other observers—a feature that helps to explain the author’s frustration with his remarkably vivid text. Drawing on contemporary texts and paintings, this article finally places Cennini’s vision on the spectrum between the magic of Florentine religion and its disenchantment. (shrink)

This article considers late additions to the miracles of Antichrist as found in fifteenth-century manuscripts such as Wellcome Library, MS 49 and the Antichrist-Bildertext. One of these miracles—a castle hanging by a thread—has a parallel in the German nonsense poetry tradition. The poem ‘Sô ist diz von lügenen’ from a fourteenth-century manuscript depicts a topsy-turvy world where Rome and the Lateran also hang by a thread. Subsequently the same motif occurs in the Emblemata of Théodore de Bèze (1580). A tense (...) interaction of text and image is a characteristic feature of this motif, which seems to be a local German invention. The borrowing from a tall tale into an eschatological legend, unusual as it seems, underscores the closeness of the topsy-turvy world of the popular imagination and the apocalyptical narrative with the Antichrist playing a demonstrably parodical part. (shrink)

This article explores the transformative power of art circulation by analysing surprising narratives of abducted fountains across the early modern Mediterranean area under the political influence of the Spanish Empire. The object of this study will be the stories of Italian fountains stolen by Spanish viceroys or rescued during naval skirmishes between the Holy League and the Ottoman Empire. These narratives reveal a widespread desire for fountains throughout the Mediterranean, which generated a sequence of geographical relocations and cultural translations. My (...) aim is to conceptualise the desire for Italian fountains as an engine for continental circulation, taking into consideration several cases of stolen, abducted, or captive works of sculpture whose stories navigate the dubious boundaries of historical truth and resemble more popular episodes of thefts of relics or the kidnapping and trafficking of enslaved people. Sometimes demonstrable facts, sometimes charming legends linked to the suggestive power of water, these episodes disclose the life of monumental art in motion and subvert the widespread reading of fountains as site-specific objects. (shrink)

Bourdieu’s concept of ‘symbolic capital’ has been used to study various kinds of elites. This article shows how it can help us understand the status and privileges of early modern English courtiers—and how these could be won and lost. The discussion focuses on the funeral, burial and commemoration of the most successful of contemporary generals, Charles Blount, 1st Earl of Devonshire, 8th Baron Mountjoy (1563–1606), and sets these in the context of the Jacobean court’s concern with symbolic capital. It demonstrates (...) that the ceremonies normally accorded someone of Mountjoy’s rank and military success were not observed properly. He was penalised because he had married his long-standing lover, Lady Penelope Rich (1563–1607), the ‘Stella’ of Sir Philip Sidney’s sonnets. King James I showed the couple great favour until their marriage, which he declared unlawful and annulled. The heralds accepted his ruling, after disagreeing among themselves. The article shows that though the funeral was held in Westminster Abbey, Mountjoy was not buried there but in another London church, formerly known as Greyfriars, where a monument was erected to him. Lady Rich was personally and symbolically excluded from the funeral. Also discussed is the privately printed poem that Mountjoy’s client Samuel Daniel (1562–1619) wrote for the funeral, which defends Mountjoy and alludes, in a half-hidden way, to Penelope’s exclusion. The article concludes by considering how the symbolic capital of the whole court sank in this period. Most of the archival evidence considered has not been published before, some of it illustrated in figures, the rest in appendices (an armorial description of Mountjoy’s arms at his funeral, bills from the Westminster Abbey funeral and a translated extract from a contemporary history in Latin). (shrink)

Published among the posthumous Opuscula of Isaac Barrow in 1687, the Epitome fidei et religionis Turcicae offers an exposition of the main tenets and practices of Islam that is unusually accurate for its time. The Epitome has been noted in passing by Barrow’s biographers and by scholars of seventeenth-century Oriental studies; but it is here firmly identified as the work of the Polish-born Ottoman dragoman and musician Ali Ufki, known in Latin as Albertus Bobovius (Wojciech Bobowski). As the Epitome has (...) never before been studied in detail, this article considers its nature, its importance and its circulation in the European Republic of Letters. The first part treats the evidence of Barrow’s amateur interest in Oriental studies, including his acquisition of the Epitome, and establishes Ufki’s authorship of the treatise. The second part examines the Epitome itself and traces its dissemination and influence through such figures as John Worthington, Samuel Hartlib, William Sancroft, Claes Rålamb and Johan Ulrich von Wallich. (shrink)