Two little-known drawings of Anselm Adornes

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This paper offers an art historical approach to the study of cultural networks. Specifically, it examines the extent to which they influenced the early career of the Italian Renaissance sculptor Andrea Sansovino. Building on the work of Pierre Bourdieu, it focuses on the dynamic ways in which network connections were transformed into durable relationships. Ongoing archival research, it sheds light on connections that all too often elude scholarly attention.

The “figure” of Fleurigny, preserved press to the National Archives in Paris, is known as a map commissioned for a legal dispute about geographical boundaries between the lord of Fleurigny and the commander of Launay in 1530. The “figure”, which is painted by a Parisian artist, includes a representation of a castle. The image is conformed to the building by comparison with modern iconographical sources. Problem: when the map was painted, the building was under construction. So what is this “figure”? This is a judicial map? A work of art? An architectural drawing? Reviewing textual sources this paper proposes to investigate usual ancient lexicography in both functional and artistic area. I will begin to present the map of Fleurigny, its context of production – the judicial process, who the painter is, who the patron is too – and the building site. In a second time I will focus on the word “figure” inscribed on the painting. Did this mean the same in all types of source like accounts, judicial registers or legal, normative and literary writings? And on the contrary which words were used to describe maps, works of art or technical drawings if not “figure”? In the mid-sixteenth-century terminology has changed to become more specific. In parallel modes of representation has been evolving. To conclude I will explain why the “figure” of Fleurigny is a map of transition, medieval as well as modern, artistic as well as cartographic. Raphaële SKUPIEN

Controversy over Chinese Rites. Is Confucius a God or a Master?

Almatourism. Journal of Tourism, Culture and Territorial Development, 2017

Anselmo Adorno was one of the most prominent and influential men of Western Europe in the late Middle Ages in the area between Flanders, the Duchy of Burgundy and Scotland. Negotiator, wise, magistrate, Anselmo left us the journey report Itinerarium Terrae Sanctae Anselmi Adorni, written by his son Giovanni, a source of extraordinary wealth for the details and descriptions of places, customs and customs of the peoples of the eastern Mediterranean. Of particular interest is also the description of the cities, the urban and rural landscape, the routes that Adorno traveled in his journey between 1470 and 1471. The article will therefore take the moves from this precious testimony to describe the Italy visited by the pilgrim of Bruges, including Genoa, a family town of Rome, Brindisi and the Apulian cities of Naples, and the route that from the eternal city led to Venice, Cologne and finally to the West Flanders. Keywords: Pilgrimage, Anselm Adorno, Italy, Urban and Rural Landascape, Late Middle Ages

JSAH, 1995

"This article examines two developments in Scottish architecture hitherto considered unrelated: a late medieval Romanesque revival in ecclesiastical architecture and the arrival of Italian Renaissance motifs. The first part sets various Romanesque- looking architectural features in the wider political and cultural context of Scotland c. 1380-c. 1520 to show that, far from being retardataire, they reflect a mood of Scottish national self-awareness and confidence found also in veneration of native saints and the writing of history, which looked back to the Golden Age of the Canmore dynasty (1058-1286), to the beginnings of the Scottish church, and, ultimately, to the belief that the Scots were descended from the Greeks. I argue that this indigenous Romanesque revival prepared the ground in many important respects for the Renaissance. In the second part, I demonstrate that Italian influence was already apparent in the royal works of kingsJames III (1460-1488) and James IV (1488-1513), focusing especially on Linlithgow Palace."

J. Goudeau & M. Verhoeven & W. Weijers, Eds., The Imagined and Real Jerusalem in Art and Architecture (Radboud Studies in Humanities 1) , 2014

In The Imagined and Real Jerusalem in Art and Architecture specialists in various fields of art history, from Early Christian times to the present, articulate a variety of cultural, religious and political implications of the visualization of Jerusalem.

‘As if they had physically visited the holy places’ Two Sixteenth-century Manuscripts Guide a Mental Journey through Jerusalem (Radboud University Library, Mss 205 and 233)

in Evolving Spaces: Shaping and Representing the City and the Periphery in Early Modern Italy and Europe I Sixteenth Century Society Conference 18 – 20 August 2016 Bruges, Belgium Sponsor: Centre for Early Modern Studies, University of Aberdeen Organizer and Chair Sandra Cardarelli