French Romanesque Bibles in Portugal. The "Codex Capituli Ecclesiae B. Mariae Vernonensis". (original) (raw)
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Revista de História da Sociedade e da Cultura, 2020
Em 8 de Junho de 1536, Nicolau Lopes, o último bedel da universidade medieval de Lisboa, compilou um inventário que incluía todos os 156 livros da biblioteca da universidade portuguesa, poucos meses antes da deslocalização definitiva do studium generale para Coimbra, em Março de 1537. Esse inventário acabou por se tornar um documento precioso, pois permite-nos compreender a circulação de saberes, pessoas e livros na Europa na Idade Média e início do período moderno. Com base nos inventários originais da biblioteca do estudo e nos catálogos existentes de manuscritos e incunábulos da Biblioteca Geral da Universidade de Coimbra (que presentemente detém os arquivos da velha universidade medieval sediada em Lisboa), propomo-nos neste artigo a tentar compreender se algum dos volumes mencionados no inventário sobreviveu até hoje, ao mesmo tempo que tentamos identificar adequadamente alguns dos livros descritos no inventário.
Ms. 5.602 of the Biblioteca Nacional, Madrid: A Description of the Codex and Its Historical Context
Throughout the sixteenth century in Spain there circulated many poetic collections that achieved wide distribution and appealed to an avid reading public of mostly traditional style verse. Among them were the various editions of the Cancionero general, the ever-growing anthologies of ballads such as the Silva de romances, and the thousands of pliegos sueltos that were published in a number of cities. Besides these mass-produced collections there existed as well smaller manuscript compilations that were assembled and copied by individuals for their own reading pleasure or to offer as gifts to others. While many of these personal cancioneros have surely disappeared over the centuries, some of them eventually made their way into public and private libraries, allowing scholars a glimpse into the private world of a sixteenth-century reader and collector of poetry. One such collection is Ms. 5.602 of Madrid's Biblioteca Nacional, which is a mid-century assortment of poetic and prose texts that evokes the milieu of the courts of Carlos V and his daughter María, Queen of Bohemia. Its unknown compiler has left us with a unique historical and literary artifact, a compendium of two kinds of texts: those that were well-known and widely disseminated in the era, and works that are exclusive to this manuscript and are compelling not only for their artistic interest, but for their documentation of events that occurred at these courts in the early 1550s. The Inventario General de Manuscritos de la Biblioteca Nacional (10: 422) provides a brief and cursory description of Ms. 5.602 which does little to inform scholars about its contents. In addition to physical details such as its dimension, number of folios, and a broad approximation of its date of composition (which it estimates from the sixteenth to seventeenth centuries), this description gives only a general idea of the codex's contents. It divides it into six sections which do not respond very well to the actual organization of its texts. The Inventario mentions only a few of the authors whose works it contains and the title of just one of the collection's poem and of two of its texts in prose. A more complete account of this manuscript and its contents can be found in the Catálogo de manuscritos de la Biblioteca Nacional con poesía en castellano de los siglos XVI y XVII, which establishes a list of all its texts, their first lines, and their external characteristics (4: 2170-2173). In 1985 José Manuel Blecua published an article in which he further discussed the works of Ms. 5.602. Besides providing an annotated list of its works and their appearance in other codices or printed texts, Blecua edited some of the poetic compositions which he believed to be unique to the manuscript. This codex was also known to Agustín Durán, who included some of its unique ballads in his Romancero general. In a footnote to one of these texts Durán states that he copied it from a witness dated 1643, not realizing that this was a date added well after the original compilation of Ms. 5.602 which, as will shall see, occurred in the mid sixteenth century (2: 145). Over the years the editors of various cancioneros have included in their editions variants from this manuscript, and some of its poetry is listed in the Bibliografía Índice de Poesía
The main purpose of this study is to demonstrate the relationship between the affirmation of the cult of the Blessed Sacrament starting at the late twelfth century, and the characteristics of the objects directly related to the Body of Our Lord: chalices and patens, Host boxes, ciboria and monstrances. The privileged sources for this research relate to the Visitations Books conducted between the last quarter of the fifteenth century and about 1571 to the churches under the jurisdiction of the Military Orders of Christ, Avis and Santiago, in Portugal. The results of this study demonstrate the survival of Gothic forms in Portuguese sacred jewellery during the first quarter of the sixteenth century (and even second), despite the introduction of the " Roman-style " decorative elements since the early days of this same century. En el nombre del Señor: la afirmación del culto al Santísimo Sacramento y los objetos litúrgicos de finales de la Edad Media en Portugal Resumen El principal propósito de este estudio es demostrar la relación entre la afirmación del culto a la Eucaristía iniciado a finales del siglo XII y las características de los objetos directamente vinculados con el cuer-po de Cristo: cálices y patenas, porta hostias, copones y custodias. Las fuentes privilegiadas para esta investigación son los Libros de Visitas llevadas a cabo entre el último cuarto del siglo XV y hacia 1571 en las iglesias bajo la jurisdicción de las órdenes militares de Cristo, Avis y Santiago en Portugal. Los resultados de este estudio demuestran la persistencia de las formas góticas en la orfebrería sacra portu-guesa durante el primer cuarto del siglo XVI (e incluso el segundo) pese a la introducción de elementos decorativos " a la romana " desde comienzos de la misma centuria.
Bruno Feitler 1 It was part of the strategies adopted by every important family in the Iberian Ancien Régime, whenever possible, to dedicate one or more of their children to the Church. Such ordinations were the result of specific vows, strategies of prestige, or simply a way of keeping the family estate undivided. More than one foreign traveler, in his chronicles, drew attention to the high proportion of priests, friars and nuns among the population of Lisbon, for example. Because of their number, but mainly because of their specific status and the role they played, the men and women of the Church constituted an important social group in Iberian society. They deeply influenced the economy and politics of those kingdoms, not to mention the obvious religious and disciplinary roles that they played.
Manuscript Évora, Biblioteca Pública, Cód. CLI/1-3 is a small volume made up of two originally independent manuscripts datable respectively to c.1615 and c.1575, which were bound together sometime in the seventeenth century. The second part of the volume contains what is possibly the oldest, most persistent and widely-circulated of Holy Week series of responsories in extant late-sixteenth- and seventeenth-century Portuguese sources of polyphony. The first part is dominated by the works of Manuel Mendes, a composer whose considerable reputation rested especially on his abilities as a teacher, but whose works are among the most widespread pieces in Portuguese and American colonial manuscripts in the years around 1600. In this paper I determine the origin of Évora Cód. CLI/1-3 by following the steps of Mendes’s career, and establish the relationship between this source and several other important manuscripts as to the transmission of two exemplary pieces through the study of variant readings and the rates of agreement of the sources in the points of variation, proposing a general stemmata for pieces in late-sixteenth and early-seventeenth-century Portuguese sources of polyphony.
Ementa Examina temas/autores clássicos - cristãos e de outras tradições religiosas - e sua possível atualidade para as teologias contemporâneas. Para além da história da teologia, a disciplina se propõe discutir a possível atualidade dos clássicos, em diálogo com os principais intérpretes da atualidade que os contemplam e em novas perspectivas hermenêuticas. Objetivos 1. Conhecer alguns dos caminhos literários e visuais da interpretação do significado da morte de Jesus de Nazaré na cruz na tradição cristã e além ao longo dos séculos; 2. Familiarizar-se com textos religiosos chaves e representações da cultura material e visual; 3. Evidenciar a diversidade e riqueza das articulações e seus impactos distintos no campo religiosa brasileiro, tanto nas instituições religiosas como nas culturas populares; 4. Identificar as suas respectivas linguagens religiosas; 5. Discutir, como estas diversas teologias da cruz, articulam a relação entre sujeitos religio-sos e a cultura e cidadania no Brasil. Conteúdo 1. Theologia crucis, teoria da expiação e o papel do sujeito religioso no mundo: leituras e releituras clássicas a) Teorias da expiação antes de Lutero: Irêneo de Lyon (130-202 d.C.), Orígenes (185-243 d.C.), Anselmo de Centúria (1093-1109 d.C.) e Abelardo (1079-1142 d.C.); b) A theologia crucis em Martim Lutero (1483-1546); c) Teorias da expiação depois Lutero: Calvino (1515-1565 d.C.), Hugo Grotius (1583-1645); Albrecht Ritschl (1822-1889), John Miley (1813–1895), Albert Schweitzer (1875-1965), Gustaf E. H. Aulén (1879-1977), Dietrich Bonhoeffer (1906-1945), Jürgen Moltmann (1926...); Elsa Tamez (1950-), Vítor Westhelle e Juan Sobrino e as declarações como da Comissión Teológica Latinoamericana (Graça, Cruz e Esperança (2003) e da Comissão Teológica Internacional da Asso-ciação Ecumênica de Teólogos/as do Terceiro Mundo (ASETT) 2. A morte de Jesus na cruz nas artes visuais e o papel do sujeito (religioso) no mundo a) Linguagens religiosas visuais da crucificação antes da reforma protestante; b) Linguagens religiosas visuais da crucificação da reforma protestante; c) Linguagens religiosas visuais da crucificação depois da reforma protestante; d) Linguagens religiosas visuais da crucificação contemporâneas.