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By Robert Black

This is often the 1st biography of 1 of the exceptional humanists of the fifteenth-century Renaissance. Benedetto Accolti's pursuits ranged from rhetoric, humanism and Italian poetry to Roman legislations, from old idea and medieval antiquarianism to the crusades and church historical past, and his paintings as a pupil, writer and historian is put in a large context stretching from antiquity to the eighteenth century. The highbrow, political and financial milieu of Accolti's local urban of Arezzo, missed in glossy scholarship, is explored, and the significance of Accolti's profession as chancellor of Florence, his function in bringing the hot studying to the chancery and his paintings as an administrative reformer are famous for the 1st time. Florence's reaction to the Turkish threat and contribution to papal crusading efforts are reinterpreted, and new information about Accolti's connections with best Florentine patricians is delivered to mild.

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Perhaps none does so more memorably than the Alexandrian Catherine in the Sienese play discussed above: O my beloved spouse, O Jesus Christ, my sweet Lord, You know with what affection I have always carried you in my heart. Receive my soul With love within your arms. (fol. 45r) Such examples, on the stage or on the way to the scaffold, took on deep meaning in an audience urgently concerned with the art of dying well. Works Cited Archives BAP BCIS PML Biblioteca Augusta, Perugia Biblioteca Comunale degli Intronati, Siena Pierpont Morgan Library, New York Printed Sources Brown, Peter Robert Lamont.

It is both striking and fitting that as soon as the actor portraying “big 8 Cornagliotti, La Passione di Revello. indb 18 8/26/08 10:42:01 AM Scaffold & Stage: Comforting Rituals & Dramatic Traditions 19 Jesus” enters the play, the brief commentary embedded in the stage direction refers to his death. This thematic orientation is soon borne out in action and text. Upon leaving Mary and Joseph, Jesus goes to John to be baptized, and at the end of the ceremony withdraws alone to another part of the acting area.

Before meeting with the condemned prisoner, the comforter must begin the process by preparing himself physically, mentally, emotionally, and spiritually. Laude would certainly help here and comforters may have sung a praising lauda (such as “Ave regina virgo gloriosa,” “Christo mio dami fortezza,” or “Ave Maria”) collectively or alone to ask for divine assistance: guidance, strength, or the ability to perform their duty effectively. As the prayer that closes the opening chapter of the manual asks, “and make my tongue serve me adroitly.

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