Attachment is an emotional bond between two people where one seeks care from the other. In the prototypical case, the child attaches to their mother. The most recent theoretical developments point out that attachment is multidimensional – meaning that the phenomenon pertains to multiple domains related to the relationship with the caregiver. However, researchers have so far modeled attachment computationally by mostly adopting a classical categorical (as opposed to dimensional) standpoint that sees the system as controlling caregiver proximity. In contrast, (...) we adopt here adimensional perspective(DP) and consider dimensions to be the system’s set-goals. We hypothesize that the resulting multidimensional controller should lead to valid (or even better) models of the phenomenon. To start testing this hypothesis, we built a DP-informed agent-based model of attachment inspired by the widely-studied Strange Situation Procedure. In this context, child and mother show the nature of attachment bonds through their behavioral and emotional expressions. By modeling them as point-agents moving in a two-dimensional arena, we simulated child-mother interactions for the avoidant and ambivalent attachment dimensions. The generated dynamical patterns – characterized by the alternation between approach and exploration – matched those described in the attachment literature, thereby confirming the implementability and validity of the DP. (shrink)

The “extreme consequence” is a very common pattern in advertising messages that presents an odd, even negative, situation resulting from the use of the advertised product as a good reason to buy it. By analyzing selected advertisements employing this pattern using the conceptual integration theory and the Argumentum Model of Topics, we aim to understand how “extreme consequence” works at the rhetorical and argumentative levels. The analyses allow us to detect the typical, generic, cognitive, and argumentative structure underlying the pattern (...) and to identify the rhetorical and argumentative role played by its main components, namely exaggeration and cause-effect relation. (shrink)

This article and checklist present the contents of the Spencer Album of Marcantonio Raimondi prints, long considered to be lost. By examining its composition and tracing its provenance from the Spencer collection at Althorp House to the John Rylands Library, Manchester, we offer new insight into how attitudes toward Marcantonio Raimondi‘s work evolved during the eighteenth and nineteenth centuries, particularly in Great Britain. Our article also explores Victorian collecting practices and the importance of the graphic arts for Mrs (...) Rylands‘s vision for the Library to be dedicated to her late husband‘s memory. (shrink)

v. 1. Dal primo periodo padovano al periodo presalernitano.

Marcantonio Raimondis so-called Caryatid Façade has received scant attention, yet it occupies an important place in the printmakers oeuvre and was widely admired and imitated in the sixteenth century. The image, which features an architectural façade adorned with Caryatid and Persian porticoes and an oversized female capital, does not fit easily with the usual narrative about Raimondis career in Rome, summed up in Vasaris account that he collaborated with Raphael to publicise the masters storie. Rather than being an illustration (...) of a religious or mythological subject, it brings together architectural fantasia, archaeology and Vitruvian studies, reflecting on the origins of the orders and the nature of architectural ornament. Arguably, it is also an indirect trace of Raphaels unfinished projects to reconstruct Rome and to collaborate with humanist Fabio Calvo and others on a new, illustrated edition of Vitruvius. (shrink)

Marcantonio Raimondis Il Sogno and Albrecht Dürers Sea Monster share a number of compositional similarities as well as a fascination with the bizarre. The association of monstrous forms as an omen of grave misfortune, including pestilence and war, was particularly common at the beginning of the sixteenth century. In Marcantonios engraving the chimeric monsters, billowing inferno and shooting star can be perceived as a graphic warning that by 1509 Venices world was in deep peril.

Vasari said that Marcantonio Raimondis first engraving after a design by Raphael was the Suicide of Lucretia, but he most likely confused it with the similar but much smaller Suicide of Dido, also engraved by Marcantonio. Following the Didos success Raphael no doubt wished Lucretia to be larger and bolder. The two figures were probably recycled from a group of dancers, perhaps the Muses, projected for a mural decoration; a drawing by Raphael adapted to Lucretia is precisely in (...) the style of his Parnassus studies The hypothesis that Dido and Lucretia were initially conceived as dancers is supported by a montage of the two figures silhouetted and by a glance at contemporary representations of dancing Muses. (shrink)

Marcantonio Raimondis career is here considered as a record of a distinctively Renaissance hunger for imagery, on the part of the literate as well as the illiterate, a taste that did not demand autograph work and yet was very attentive to the decisions made by artists about which subjects to portray and how to present them. Marcantonios contribution is described less in terms of having made Raphaels work known widely, and more as having made engraving into an established art (...) form: collectible, discussable, debatable. His innovative technique yielded, it is argued, images of deliberately impersonal style, an accomplishment obscured by the ensuing emphasis on maniera. (shrink)

What was the process by which an antiquity found on the streets of Rome became the subject of a Renaissance engraving? How did engraving preserve the memory of such antiquities as they vanished into the homes of private collectors, were plundered or destroyed? This article focuses on Marcantonio Raimondis Lion Hunt to explore the relationship between ancient sculpture and the medium of print in Raphaels Rome.

Working in collaboration with others, Agostino Veneziano produced three remarkable prints representing nude women seated or standing beside spectacular allantica vases and set before ruinous landscapes. This article investigates the authorship and origin of these unusual images. It suggests that the vases are presented as a metaphor for female beauty, and relates the visual rhetoric of these three prints to the writings of contemporary writers, including Agnolo Firenzuola, who described the beauty of women in relation to the elegant proportions of (...) such vases. (shrink)

George Clough‘s donation of old master prints raised the Whitworth Institute‘s collection to international standing. Simultaneously, it presented Manchester with a viewing experience that was possibly unique in Britain, and placed on permanent display one of the nations finest collections of engravings, etchings and woodcuts so as to offer a visual history of the medium of print. Clough had a special interest in Marcantonio Raimondi, collecting over forty prints by him at a time when such works commanded high prices. (...) This article examines the history and composition of Clough‘s collection and its place in the collecting culture of northern England, and of Manchester in particular, around 1900. (shrink)

The situation after the 13th century, however, badly needs to be clarified by additional detailed research. Bruno Nardi and Anneliese Maier have exhibited a nice understanding of the extraordinary complexities surrounding the question of what "Averroism" might be during this later period, but they stand nearly alone in this knowledge; even Gilson is content to dismiss, with a few strokes of the pen, the entire "Averroist" tradition as authority-bound, sterile, and doomed to early extinction through sheer stagnation. But the very (...) history of philosophy attests to the vitality of the tradition, whatever it may consist of, or at least to the vitality of the designation, for Cremonini in the 17th century was still preferring the commentaries of Averroes to all others, and late in the 16th century Marcantonio Zimara was commonly known as an "Averroist"--to name but two obvious cases. From before the time of Siger of Brabant through to the 17th century Averroes was read as the Commentator on Aristotle, and every generation throughout this period reveals its quota of philosophers who are, or who could easily be, dubbed "Averroists." It is here being asked: what do all these thinkers share, if anything? A common attitude toward the nature of the intellective soul? A common sympathy toward Averroes' Neo-Platonic rendering of Aristotle? A common blind reproduction of the Commentator's interpretation of the Stagirite? An unwarranted trust in the capacities of unaided reason, as manifested in a constant opposition of the conclusions of natural reason to the doctrines of the Christian Revelation? A common tendency in the direction of doubt, insincerity, heresy, and even atheism? It is here suggested that, far from taking "Averroism" as an obsolescent and disappearing species of subversive thinkers, it would be more enlightening to consider the tradition as symptomatic of the essential inability of Christian thinkers to assimilate Greek philosophy without modifications which would profoundly alter the fundamental character of that philosophy. Or, to phrase it somewhat differently, throughout the mediaeval period, when the domain of natural reason was being radically separated from the domain of faith, the rigorous rendering of Aristotle that Averroes presented maintained a steady appeal, which waned only when new translations from the Greek pointed up the Neo-Platonic predispositions of the Commentator, and revealed that the original spirit of the Stagirite was rather different than the flavor that Averroes introduces to the texts. (shrink)

It is well-known among historians that rhetoric was at the centre of the studia humaniora in the Italian Renaissance and an important part of education in those times. In this essay the author draws attention to three short tracts discussing the merits of rhetoric from various points of view. Ognibene da Lonigo claims in Oratio de laudibus eloquentiae that rhetoric is absolutely indispensable in all fields of human life. In Filippo Beroaldo’s Declamatio philosophi, medici et oratoris de excellentia disceptantium, the (...) orator gains the victory over his rivals. Both these writers argue mainly by citing ‘authorities’. In his Dialogus de eloquentia, Marcantonio Maioragio tries to argue by rational argument for the higher value of the studia humaniora over an exclusively Christian education. None of the three authors achieves more than plausibility for his claim. The echo of Cicero’s philosophical and rhetorical works is clearly perceptible in all of them. (shrink)

Leonardo da Vinci’s extensive drawings and notes devoted to anatomy do not arise in a medical context. He does not engage with surgery or “physic.” Rather, his aim is to reveal what he understood to be the divine engineering of God’s greatest creation. His earliest anatomical drawings map the conduits for the “spirits” at a deep level not practiced by other artists interested in the human body. The first set of drawings he produced in 1489 describes skulls with brilliant draftsmanship. (...) His notes for these drawings are predominantly concerned with the location of the “common sense” (sensus communis) at the geometrical center of the cranium. The next great set of drawings completed in ca. 1510 expounds the form and functions of the bones and muscles in meticulous mechanical detail, probably in collaboration with the young Paduan doctor, Marcantonio della Torre. Leonardo’s greatest realization of mathematics in anatomy comes when he looks at the valves of the heart; in studying the heart he also conceived a casting technique that he adapted to determine the form of the ventricles in the brain, radically revising the traditional arrangement of these structures. In a range of portrayals from diagrammatic to pictorial and from static to dynamic, Leonardo’s anatomical research is unrivalled in revealing the mechanics of the human body. His work in this context is an underappreciated precursor of the modern science of biomechanics. (Larger-sized versions of the Leonardo drawings presented here are available as supplementary material in the online version of this article.). (shrink)