THE CARDONA AND FERNÁNDEZ DE CÓRDOBA COATS OF ARMS IN THE CHIGI CODEX

2002 ◽  
Vol 21 ◽  
pp. 223-258 ◽  
Author(s):  
Emilio Ros-Fábregas
Keyword(s):  
Seventeenth Century ◽  
Music Manuscripts ◽  
Coats Of Arms

The Chigi Codex occupies a place of honour among music manuscripts of the Renaissance; thirteen masses by Ockeghem along with L'homme armé masses by Josquin, Busnoys, Brumel and Compère figure prominently among its contents. According to Herbert Kellman, it was copied between 1498 and 1503 for the Burgundian nobleman Philippe Bouton. Several coats of arms of the Spanish families Cardona and Fernández de Córdoba appear in different places in the manuscript and Kellman suggested that the transfer of the Chigi Codex to the Spaniards occurred after the death of its first owner in 1515. Seven works, the foliation in the upper right margin of the recto folios and a table of contents with a heading that reads Tabla de missas y motetes were added by a Spanish scribe. Since Mouton's motet Quis dabit oculis, written on the death of Anne of Brittany in 1514, is also among the added works, Kellman concluded that these additions to the Chigi Codex were made after that date. The assumption that the manuscript travelled to Spain is further supported by a seventeenth-century inscription written in Italian on the flyleaf of the manuscript, which affirms that the book was used in Spain.

The Stained Glass at Chavenage House, Tetbury, Gloucestershire

1998 ◽  
Vol 78 ◽  
pp. 391-432
Author(s):  
Hilary Wayment
Keyword(s):  
Nineteenth Century ◽  
Seventeenth Century ◽  
Late Nineteenth Century ◽  
Stained Glass ◽  
Historic House ◽  
Late Nineteenth ◽  
Coats Of Arms

The windows of the Great Hall, the Chapel, the Porch, the Priest's Chamber and ‘Queen Anne's Bedroom’ are all garnished with stained glass – figures, roundels, coats of arms, and interesting fragments from a variety of sources English and Continental, and of all centuries from the fifteenth to the twentieth. The most striking are perhaps the four Oxford scholars in the Great Hall, wearing their medical gowns, with the seventeenth-century arms of the Due de Guise below; the three medieval Flemish roundels in Queen Anne's Room; and in the Chapel the Virtues inspired by Reynolds’ designs for New College, Oxford, alongside a late nineteenth-century Crucifixion, no doubt by C.E. Kempe & Co. The collection as a whole is fully worthy of a fine historic house.

Consort Music Manuscripts in Archbishop Marsh's Library, Dublin

1976 ◽  
Vol 13 ◽  
pp. 27-63 ◽  
Author(s):  
Richard Charteris
Keyword(s):  
Seventeenth Century ◽  
Printed Books ◽  
The Press ◽  
Music Manuscripts ◽  
Music Books

Archbishop Marsh's Library, otherwise known as the Library of St. Sepulchre, is adjacent to St. Patrick's Cathedral, Dublin, and was founded in 1704 by Narcissus Marsh D. D. (1638–1713), Archbishop of Armagh. Today the library contains over 20, 000 books and 300 manuscripts; the manuscripts and special books, including some music books, are located in the manuscript room, which is on the main landing before entering the first gallery of the library - all items in the manuscript room bear the press mark ‘Z’. To be found among the general holdings is a small, but valuable, collection of music manuscripts and printed books on music; some of the items were collected by Marsh himself, and date from the sixteenth and seventeenth centuries. Among the seventeenth-century manuscripts is a group which contains instrumental consort music, and these are the ones which will be discussed in this article.

scholarly journals Plant iconography and its message: realism and symbolic message in the Bernini fountain of the four rivers in Rome

2020 ◽  
Vol 31 (4) ◽  
pp. 1011-1026
Author(s):  
G. Caneva ◽  
A. Altieri ◽  
A. Kumbaric ◽  
F. Bartoli
Keyword(s):  
Seventeenth Century ◽  
Historical Documents ◽  
The Past ◽  
Coats Of Arms

Abstract The use of symbols in architecture of the past centuries is evident, even if sometimes cryptic. The reasons behind the representation of plants in artistic and architectural contexts are of great interest as they help in their understanding. We analysed the plants carved in the Fountain of Four Rivers (Rome), designed by G.L. Bernini (mid-seventeenth century), through iconographic and historical documents. The carved plants (about 34 species) creates a natural and symbolic association with the selected rivers and continents. Some species are chosen to characterise various geographic contexts or fluvial and rupestrian habitats or are referred to the papal coats of arms (Innocent X Pamphilj). A certain number has auspicious connotation and takes a strong symbolic salvific meaning and protective against the evil’s threat. The Kircherian influence emerges in several iconographic choices, as well as the river selection and orientation, in a philosophical-religious logic linked to the Papacy and Christianity role.

The Stained Glass at Chavenage House, Tetbury, Gloucestershire

1998 ◽  
Vol 78 ◽  
pp. 391-432
Author(s):  
Hilary Wayment
Keyword(s):  
Nineteenth Century ◽  
Seventeenth Century ◽  
Late Nineteenth Century ◽  
Stained Glass ◽  
Historic House ◽  
Late Nineteenth ◽  
Coats Of Arms

The windows of the Great Hall, the Chapel, the Porch, the Priest's Chamber and ‘Queen Anne's Bedroom’ are all garnished with stained glass – figures, roundels, coats of arms, and interesting fragments from a variety of sources English and Continental, and of all centuries from the fifteenth to the twentieth. The most striking are perhaps the four Oxford scholars in the Great Hall, wearing their medical gowns, with the seventeenth-century arms of the Due de Guise below; the three medieval Flemish roundels in Queen Anne's Room; and in the Chapel the Virtues inspired by Reynolds’ designs for New College, Oxford, alongside a late nineteenth-century Crucifixion, no doubt by C.E. Kempe & Co. The collection as a whole is fully worthy of a fine historic house.

Paintings off the Peg: The Retail Sale of Paintings in Tudor and Early Stuart England

2021 ◽  
pp. 1-22
Author(s):  
Robert Tittler
Keyword(s):  
Seventeenth Century ◽  
Historical Research ◽  
Retail Market ◽  
Retail Sale ◽  
Cultural Center ◽  
Luxury Goods ◽  
The Social ◽  
Stuart England ◽  
Additional Support ◽  
Coats Of Arms

Abstract The scholarly consideration of the marketing of luxury goods like paintings in Renaissance Europe has rightly concentrated on the Italian and Netherlandish experiences, while the discussion of an English retail market for paintings has focused on a later era. This article investigates the retail sale of painting in Tudor and early Stuart times. It asks what sorts of paintings were sold, who sold them, and what sorts of spaces accommodated such sales. Whereas conventional art historical research has concentrated on the production and sale of portraits, the discovery of an early seventeenth-century list of coat of arms painters holding retail shops in London adds additional support to the prominence of arms painting in such retail sales. This article considers the social context underlying the importance of displaying coats of arms and shows that arms painters engaged in the retail sale as well as the production of arms. The article proceeds to examine the varieties of retail spaces in which sales took place and concludes with a consideration of how retail sale of paintings contributed to London's role as a cultural center.

scholarly journals The Heraldry of the Noble Gruževskis Family and Its Actualisation at the Kelmė Regional Museum

Lituanistica ◽  
2021 ◽  
Vol 67 (2) ◽  
Author(s):  
Gabrielė Jasiūnienė
Keyword(s):  
Eighteenth Century ◽  
Seventeenth Century ◽  
Sixteenth Century ◽  
Main Memory ◽  
Critical Approach ◽  
Reformed Church ◽  
Manor House ◽  
Single Field ◽  
Grand Duchy Of Lithuania ◽  
Coats Of Arms

From the sixteenth to the eighteenth centuries, the heraldry of the nobility of the Grand Duchy of Lithuania was influenced by local, Polish, and other European heraldic traditions. The coat of arms became one of the most important elements representing the culture and identity of the nobles. It reflected their family and marital ties, titles, positions, and other important aspects in the life of the nobility. The coats of arms that have survived to this day act as a reminder of the past lives of their holders. The article explores the heraldry of the noble Gruževskis (Grużewski) family from Samogitia between the sixteenth and eighteenth centuries and its actualisation in the twenty-first century in the manor estate in Kelmė that was formerly owned by this family. The analysis revealed that the Gruževskis, a Polish noble family, who moved to Samogitia in the sixteenth century, enriched the heraldic tradition of the region’s nobility with the Lubicz coat of arms originating in Poland. The Lubicz coat of arms depicts a white horseshoe on an azure field with two crosses, one cross inside the horseshoe and the other outside with a crest of three ostrich feathers. The article looks at the heraldic seals held by the members of the Gruževskis family be­tween the sixteenth and eighteenth centuries, the seventeenth-century coat of arms of Jurgis Gruževskis in the joint coat of arms in Kelmė Evangelical Reformed Church, and the eighteenth-century coat of arms of the Gruževskis family above the entrance to the manor house they used to own. It has been observed that the members of the Gruževskis family preserved their coat of arms from the sixteenth century up to the second half of the eighteenth century and that it was passed down from generation to generation. The analysis of the records shows that the family’s heraldic tradition featured both single-field and combined coats of arms. The emergence of the former in the seventeenth century is traced back to Jurgis Gruževskis. Today, the Kelmė Regional Museum is one of the main memory institutions that preserve and actualise the legacy of the noble Gruževskis family. While the coat of arms of this family is not forgotten by the museum and receives relatively comprehensive attention, there are few attempts to provide more detailed information or more critical insights about it. The heraldry of the former owners of the manor estate is usually presented using easy-to-understand visual resources such as illustrations, stands, interactive materials, and souvenirs. It is believed that visitors could be offered a more detailed picture of the heraldic traditions of the Gruževskis family and a more critical approach to these traditions could be developed by drawing upon a relatively extensive range of heraldic sources and scholarly materials. The possibility of showcasing the copies of the sources featuring the family’s heraldic traditions or developing thematic educational activities is to be considered.

Studies on the Iconography of Universities in the Holy Roman Empire: Images on Seals and Maces

2018 ◽  
Author(s):  
Berthold Kress
Keyword(s):  
Roman Empire ◽  
Seventeenth Century ◽  
Holy Roman Empire ◽  
The University ◽  
Coats Of Arms

This chapter provides an iconographic overview on how the universities of the Holy Roman Empire displayed their authority. It will focus on two aspects. The first is the development of iconographic formulae that can convey the constitution and activity of a university or one of its faculties; and the second is the role of coats of arms or other political signs that indicate the relation between the university and the rulers of the territory in which it was situated. A seventeenth-century legal treatise on insignia gives a long list of the signs of the head of a university: maces (Sceptra), robe (Epomis), register (Matricula), the presence of bedells, seals, books of statutes and privileges, and the keys to consistory and prison. Of these objects, only the two that regularly bear images is discussed in this chapter: the seals and the maces.

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