By Laura Delbrugge
A Scholarly version of Andres de Li's Thesoro de los angeles passion (1494) is the 1st new version of this early Castilian ardour textual content in years. initially released in 1494 via the prolific Zaragozan printer Pablo Hurus, this fantastically illustrated devotional bargains the fashionable reader a glimpse into the advanced social international of overdue fifteenth-century Spain. Li's converso id permeates his retelling of the fervour via expositions on hypocrisy, anti-Semitism, and fake religion. This new, modernized variation of the Thesoro de l. a. passion dramatically illustrates the original confluence of social, spiritual, and cultural forces current throughout the emergence of Spain's nationwide id through analyses of the Thesoro's Classical, Castilian, and Catalan assets, its significance as an early revealed publication, Li's portrayal of the Virgin Mary, Christ, and the fervour occasions, and the significance of Li's converso views through the paintings.
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Additional resources for A Scholarly Edition of Andrés de Li's Thesoro de la passion (1494) (Medieval and Early Modern Iberian World)
81 A synthesis of these two definitions, as demonstrated by the writings of Thomas Aquinas, best characterizes the redemption theory of the later Middle Ages. In discussing the “appropriateness” of the passion, Aquinas asked why God chose to save by violence, which is surely “a severance or lapse” of nature. Among the many answers he gives, the first is that God chose to save by death and blood so that man might know how much God loves him and be “stirred to love” in return. Hence . . 82 By the thirteenth century the increased attention paid to Christ’s suffering humanity had developed into a new affective ideal of pious devotion in which the contemplation of the wounded body of Christ provoked empathetic reactions in the viewer (or reader), moving him or her into a closer relationship with God.
Sánchez Cantón, Libros, tapices y cuadros que coleccionó Isabel la Católica (Madrid: Instituto Diego Velázquez, 1950), 62. Sánchez Cantón lists the Summa as no. 171. 65 Charles B. Faulhaber, et al. BETA: Bibliografía Española de Textos Antiguos (July 2002), no. 4530; Manuel José Pedraza Gracia, Documentos para el estudio de la historia del libro en Zaragoza entre 1501 y 1521 (Zaragoza: Centro de Documentación Bibliográfica, 1993), 73; Francisco García Craviotto, Catálogo general de incunables en bibliotecas españolas (Madrid: Ministerio de Cultura, Dirección General del Libro y Bibliotecas, 1989–90), 1:559, no.
84 Belting, The Image and its Public, 2–3. The Imago Pietatis developed from Eastern icons, and depicted a “male nude in half length, a portrait in the conventions of the Middle Ages, depicting a dead man. ” the thesoro de la passion 23 viewers to clearly see his physical vulnerability, enabling them to better identify with his humanity. ”85 These panels were distinct from those artistic productions that focused on events of the Passion, including the Deposition and the Crucifixion. Scenes from Christ’s life and death were frequent subjects of religious art, including frescos, paintings, and altarpieces.