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The Old English Life of Saint Pantaleon survives in one eleventh century manuscript: it appears here for the first time in an easily available edition. This edition is based both on independent research and on the work of previous scholars. It is a challenging text, from a much-damaged manuscript, but well worth reading: it is interesting both from a linguistic point of view, as a testimony of late Anglo-Saxon language, and also as a sign of continental influence on Anglo-Saxon culture and of a change in literary taste in England on the eve of the Norman Conquest. It is preceded by a full introduction dealing with the history of the text, from Greece to Western Europe and the context of its translation into Old English. The text is accompanied by copious notes dealing with difficult passages and it is made more accessible by a Modern English translation. The edition is completed by a 12th century Latin version which seems to be the closer to its Old English counterpart. The edition is completed by an Anglo-Saxon glossary.

In the first half of the nineteenth century, Belgium was repeatedly praised as a country of collectors and amateurs, and private art and antique collectors were important and highly visible actors in urban cultural life. At a time when the public museum was still a relatively recent innovation, private collections were quite easily accessible for local and international visitors of the same social rank as the collectors. By the beginning of the twentieth century, however, the collector's position in the public sphere had changed dramatically. Private collections were less accessible to an ever-expanding and increasingly culture-consuming public, and functioned more strongly in the context of the personal and explicitly private aims and networks of their owners. This book uncovers the premises and reasons for private collectors' shifting public role and relevance in nineteenth-century Brussels, Antwerp and Ghent. It examines the specific social, cultural, political, artistic and material context of private collectors' activity. Its main focus is on three related issues: 1) collectors' social profiles and networks; 2) collectors' tastes; and 3) the function, accessibility, display and reception of the collections. Attention is also paid to the differences between Brussels, Antwerp and Ghent with regard to the urban collecting cultures. The book intends to further our understanding of the diverse ways in which private collectors interacted with the social, cultural and artistic life of their cities and what the collectors' changing relationship to the public sphere can tell us about broader shifts in nineteenth-century culture, art and society.

Adriaan Verhulst's The Rise of Cities in North-West Europe (1999) is the last comprehensive work written by a single author on the urban genesis and spatial developments of cities in the medieval Low Countries. Since then, monographs, specialised studies and articles have been published on various cities and towns, while urban archaeologists have carried out numerous excavations. Much new knowledge has been gained, yet many gaps and the need for comparative overviews remain. Twenty-five years after Verhulst's synthesis, The Rise of Cities Revisited takes a fresh look at the origins and developments of cities and towns in the Low Countries between the tenth and the sixteenth centuries, critically assesses progress made in scholarship and outlines future directions for research. The nine chapters of the book are written by senior and junior specialists from various fields, including medieval history, historical geography, economic history, archaeology and building history. The Rise of Cities Revisited presents a state of the art and provides scholars with tools to study this complex subject in future.

Le professeur Noel Duval, a la forte personnalite, a marque le renouveau des etudes sur l'antiquite tardive. Se consacrant plus particulierement a l'Afrique romaine et byzantine, il en a etudie l'histoire tardive et l'archeologie, en particulier celle des eglises paleochretiennes. Mais ses interets se sont portes aussi sur la Gaule a la fin de l'antiquite, et, plus largement, a l'ensemble du bassin mediterraneen. Sa disparition, en 2018, a ete incontestablement une grande perte. Ses amis et ses eleves ont tenu a honorer sa memoire en rassemblant un recueil de contributions scientifiques sur des sujets sur lesquels il avait travaille, mais aussi en evoquant sa memoire et sa personnalite.

Glossaries are the dictionaries of the medieval period. They were created at a time when no comprehensive dictionary of the Latin language existed, but lexicographical resources were urgently needed to engage with the writings of Classical and Late Antiquity as well as near-contemporary texts. In the non-Romance speaking areas in north-western Europe, the compilers of glossaries were quick to have recourse to their vernacular languages. Glossaries are often the places in which these languages were put into writing for the first time. Hence, the effort to explain Latin vocabulary resulted in bilingual lexicography and in the establishment of the vernaculars as written languages in their own right. The negotiation of linguistic and cultural barriers lies at the centre of the glossaries. Consequently, medieval traditions of glossography are highly interconnected. This volume represents the first reference work dedicated to medieval glossaries in English and related traditions, including other languages spoken in the British Isles (Celtic languages, Anglo-Norman) and the Germanic languages (High and Low German, Dutch, Scandinavian, Gothic). As such, it is intended as a vademecum for researchers in order to facilitate modern approaches to medieval glossography, lexicology and lexicography, which often require some familiarity with different traditions. Written by experts in the field, the fifty chapters of this volume highlight important characteristics and themes of medieval glossaries and outline different glossographic traditions; they facilitate access to individual glossaries, or groups of related glossaries, by providing detailed discussions of the texts, their sources, relationships and transmission; they also give an account of the current state of research and highlight important resources.

On the evening of 9 December 1496, Princess Joanna, Infanta of Castile, reaches the outskirts of Brussels where a procession of secular and ecclesiastical dignitaries welcomes her. After having been married to Philip the Fair in Lier, Joanna travelled to Brussels by herself. Equipped with torches and processional crosses, the citizens accompany her all the way to the heart of the city, the large market square with its magnificent town hall. The Berlin manuscript 78 D5 is the first illustrated report of an entry concentrating on one single lady. The manuscript is a treasure to all those interested in urban culture of the Early Modern period. The author of the festival booklet compares the well-lit city with the splendours of Troy and Carthage. Twenty-eight stage sets, or Tableaux Vivants, and an elaborate procession mirror the costly intellectual program presented to the sixteen-year-old princess. The carefully planned theatrical productions underscore themes of marriage, female virtues and the politics of war and peace. The program includes entertainments, soundscapes, and pyrotechnic amusements. The Latin texts are made available in English translation. The entire manuscript, with its sixty-three folios, is reproduced in colour. Eleven leading scholars present their new findings on this spectacular entry from an interdisciplinary approach.

This volume traces Egisto Macchi's creative process for the soundtrack of The Assassination of Trotsky directed by Joseph Losey (1972). Through a close reading of the sources preserved at the Egisto Macchi Collection at the Institute of Music, Fondazione Giorgio Cini, (Venice) and at the Joseph Losey Collection at the British Film Institute (London), the book sheds light on the first collaboration between Losey and Macchi, which continued in the following years for the film Mr. Klein (1976). Why did Losey choose this apparently unknown composer? How did an avant-garde composer approach the cinematic system? What kind of audio-visual experience did Macchi and Losey explore through this film? To answer these questions, the volume deals with different aspects of the creative process, combining letters, notes, drafts, sketches, and the final orchestral scores. The introductory essay presents Egisto Macchi within the context of the Roman avant-garde and the cinematic environments of the Sixties and early-Seventies. The volume is complemented by a wide selection of sources reproduced in facsimile.

Les ecrits presentes par des chercheurs de France, de Belgique, des Pays-Bas et du Royaume-Uni porteront sur le role de la famille Croy dans les conflits religieux et politiques du XVIe siecle, notamment dans la region frontaliere entre la France et les Pays-Bas des Habsbourg. Le caractere pan-europeen des guerres de religion suscite des questions sur l'incidence des frontieres et le role des acteurs qui les franchissent ou les transgressent. Cet ouvrage retrace les parcours transregionaux et confessionnels des Croy, une puissante maison nobiliaire etablie de part et d'autre des frontieres separant la France et les Pays-Bas habsbourgeois, a travers la reconstitution des engagements politiques et religieux de ses membres (Porcien, Aarschot, Chimay, Havre, et leurs epouses ou meres Amboise, Lorraine, Cleves, Brimeu, Dommartin). Ce volume montre comment ces noblesses transregionales batissent leur influence a l'ombre des rivalites internationales entre rois de France et d'Espagne, empereurs et ducs de Lorraine, et du choix de la religion au temps des Reformes; comment elles assemblent strategiquement leurs domaines, patronnent une clientele locale et se font reconnaitre comme souverains de micro-principautes; et comment elles mobilisent ce capital politique en rivalisant avec d'autres lignages catholiques (Guise, Cleves) ou protestants (Conde, Bouillon), en desobeissant a leur prince ou en negociant leur reconciliation avec lui.

This volume is a collection of studies on Latin American scholasticism originally presented at the Fourth International Conference of Medieval Philosophy at the Pontificia Universidade Catolica do Rio Grande do Sul (PUCRS), Porto Alegre, Brazil, November 12-14, 2012. These essays provide a significant overview of authors, works and areas of interest associated to scholastic thought in the 16th-18th centuries, focusing particularly on Latin American or European-born authors whose philosophical and theological careers were significantly set in Latin American soil and, due to their education, reveal a profound acquaintance with European philosophical theories and problems. The reception and development of Medieval thought in Baroque scholasticism, the connections between European philosophy, mainly Iberian scholasticism, and philosophical-theological debates in the New World, and the revisiting by Latin American scholars of Medieval schools of thought and theoretical patterns taught in Europe, prompted by the encounter with several peoples living in the new continent and the search and justification for models of colonization, are some of the relevant issues discussed in here. The studies collected in this volume place colonial scholasticism in the history of ideas by letting authors and their writings speak for themselves.

Music is not only an art (either as the art of composition or the art of performance) but also a subject for scientific investigation. Scientists have always been interested in musical sound, philosophers in the impact of music on the human mind, and musicians may have been puzzled by the scientific foundations of their art. This book collects fourteen studies by authors from various countries about the interrelations between music and science as apparent in the long century from the lifetime of Leonardo da Vinci (1452-1519) to that of Galileo Galilei (1564-1642), a period termed Renaissance, Early Modern or the time of the (first) Scientific Revolution depending on the angle from which this period is approached. It is a time when the Aristotelian physics was replaced by modern pre-Newtonian physics, when Catholicism was challenged by the Reformation, when traditional polyphonic musical styles were supplemented by new monodic styles, vocal and instrumental. Both Leonardo and Galileo had vivid interests in music, but they were not the only ones. The ideas of scientists and philosophers, such as Marin Mersenne, Rene Descartes, Giordano Bruno and Philipp Melanchton are also discussed.

Improvisation is an important aspect of music, not only in jazz and other 'improvised music', but also of classical music. Pianists may add improvised interludes to their recitals and cadenzas to a concerto they perform. They may conclude their recitals by playing compositions composed on the spot, freely invented or on themes handed to them by the public. Violinists and other instrumentalists may do the same. Singers may add embellishments to their arias which are not notated in their scores, a practice widely spread in nineteenth-century opera. For the listener it may perhaps not make very much difference whether or not what he hears is improvised or composed, but for the performer it does, of course. In fact, the improviser shows that he is a real master of the art: he can do at once, without preparation, what others can do only with preparation. But there is also a genre of written compositions which is supposed to sound as improvisations, especially those entitled Improvisation, Fantasy, Impromptu, Prelude, and so forth. Beyond Notes: Improvisation in Western Music of the Eighteenth and Nineteenth Centuries brings together twenty essays that do confirm the many sides of the concept of 'improvisation' and the wide range of approaches that can be taken to it. Because of the collective nature of this volume, the approaches do indeed vary greatly. Some contributions deal with improvisation from the conceptual point of view: what really is improvisation? Others deal with certain repertoires, or with specific examples. Some deal with improvised additions, others with improvisational aspects of written compositions. The contribution on the improvisations of the French organist Louis Vierne deals directly with recorded improvisations. The contribution on the flute-cadenza in Donizetti's Lucia di Lammermoor encompasses recorded material, but this was rather semi-improvisational, prepared certainly, but not necessarily notated and not necessarily performed identically every time. Contemporary descriptions of improvisations are found in contributions on Italian music theorists and musicians in general, and in those on composers such as Hummel, Paganini, Beriot, Clara Wieck Schumann, Czerny, Liszt and Henselt. Compositions in improvisatory style are discussed in several of these contributions and in one on nineteenth-century Hungarian or so-called 'Gypsy' music. Ad libitum ornamentation is discussed in relation to Tartini's violin sonatas and nineteenth-century operatic arias. Other contributions discuss the instability that is a property of nearly all music or the migration of motives and schemes from one composition to another, processes that pave the way for improvised additions. Several contributions provide theoretical reflections on improvisation. Beyond Notes: Improvisation in Western Music of the Eighteenth and Nineteenth Centuries contains contributions by Carmela Bongiovanni (Genoa), Philippe Borer (Boudry, Switzerland), Rogerio Budasz (Riverside, California), Vincenzo Caporaletti (Rome), Gregorio Carraro (Padoa), Simone Ciolfi (Rome), Damien Colas (Paris), Mariateresa Dellaborra (Pavia), Raffaele Di Mauro (Rome), Martin Edin (Stockholm), Valerie Woodring Goertzen (New Orleans), Martin Kaltenecker (Paris), John Lutterman (Walla Walla, Washington), Naomi Matsumoto (London), Laura Moeckli (Bern), Csilla Petho-Vernet (Paris), Rudolf Rasch (Utrecht), Renato Ricco (Salerno), Rohan Stewart-MacDonald (Cambridge), and Steven Young (Bridgewater, Massachusetts).