![]() ![]() 3526) and several books which once belonged to his library. 11) the manuscript of his commentary on Suetonius (RLB, Ms. 15704) a contemporary copy of the original deed by which he donated some of his properties to the Jesuits in Leuven (RLB, Ms. Furthermore, we also have: a bound volume containing copies of more than 1,200 letters sent by Torrentius during the years 1583-1595 (RLB, Ms. – but we are even more fortunate to have an inventory, made after his death, of his coin collection (RLB, Ms. Not only do we possess the detailed inventory of his vast library amounting to more than 1,700 volumes (RLB, Ms. It turns out that the Royal Library of Belgium holds a rich archive of material relating to this prominent figure. Well connected with Rome, where he spent several years in his youth, and with the antiquarians, he developed a serious (although interrupted) interest in ancient numismatics. Called the “prince of poets” or “the Christian Horace” by his friends, he achieved fame as the editor of Suetonius and Horace. Laevinus Torrentius (1525-1595) was one of the foremost humanists of his time. Finally, I link the paintings’ iconography and the conciliatory spirit of convivia with the preaching of Antonio del Corro, a former Spanish monk active in Antwerp, who fashioned his identity after Saint Paul, and make a case that de Vos’ panels functioned as a visual equivalent of del Corro’s irenic theology. ![]() I further propose that they were actively incorporated into dining rituals and stimulated amicable learned conversations (convivia) among Hooftman’s guests, who indeed represented diverse sectarian beliefs. In 1535, the family had fallen under suspicion of Protestantism. The Orthellius family were originally from Augsburg, a Free imperial city of the Holy Roman Empire. Therefore, the paintings accommodated different confessional interpretations, while simultaneously precluding accusations of heresy. 4 April 1527 in the city of Antwerp, which was then in the Habsburg Netherlands (modern-day Belgium). On the one hand, the series’ focus on the apostolic mission of Saint Paul corresponds with the diversity of Antwerp’s population, and, on the other hand, matches the universal interest in Pauline theology among Catholics and Protestants alike. The cycle comprised five panels, three of which are still extant: Saint Paul and Saint Barnabas at Lystra, Saint Paul and the Silversmith Demetrius, and Saint Paul on Malta. Volume 3, Issue 1, Pages 99–129, ISSN (Online) 2196-6656, ISSN (Print) 2196-6648, DOI: 10.1515/jemc-2016-0004, May 2016 This essay analyzes an early series of paintings by an Antwerp artist Martin de Vos, commissioned around 1568 by a local entrepreneur and a leading figure of the Calvinist community, Gillis Hooftman, specifically for the dining hall of his residence. ![]() Citation Information: Journal of Early Modern Christianity. ![]()
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