By Mario Praz
AW Mellon Lectures in fantastic Arts are offered every year on the nationwide Gallery of artwork in Washington. they're released within the prestigious Bollingen Series.
The Bollingen sequence is devoted to fine quality scholarly monographs on artwork, tradition, and philosophy.
From the dirt jacket:
In his seek for the universal hyperlink among
literature and the visible arts. Professor Praz
draws upon the ample proof of lengthy
mutual knowing and correspondence be
tween the sister alts even though parallels of
theme and notion are considerable, be is now not
primarily involved with those. fairly, he
examines the shut dating or air de fanulle
between the expression of the arts m any given
Each epoch has “ its abnormal handwriting
or handwritings, which, if one may possibly interpret
them, may show a personality, even a physi
cal appearance.” even if handwriting is
taught and a few of its features hence
belong to the basic sort of the interval, the
personality of the author does no longer fail to pierce
through. anything of the comparable type, the au
thor proposes, happens in paintings. The kinship of
literature and portray rests on this circum
stance: a paintings of paintings, no matter if visible or liter
ary, needs to use the detailed “ handwriting” of
its specific age, even as its originality pierces
through this handwriting.
The likeness among the arts inside a variety of
periods o f historical past can eventually be traced,
then, to structural similarities— similarities
that come up out of the attribute method in
which the humans of a convinced epoch see and
memorize evidence aesthetically. Mnemosyne, at
once the goddess of reminiscence and the mom
of the muses, accordingly presides over this view
of ihe arts. In illustrating her iniluence. Pro
fessor Praz levels largely via Western
sources, either literary and pictorial. There are
1 2 1 illustrations accompanying the text.
M A R IO P R A Z is Professor of English Lan
guage and Literature at the collage of
Rome. His previous books comprise The Roman
tic pain, stories in Seventeenth-Century
imagery, and The Flaming Heart.
ackct layout through P J. Conkwright
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Additional resources for Mnemosyne: The Parallel between Literature and the Visual Arts (The A.W. Mellon Lectures in the Fine Arts) (Bollingen Series XXXV-16)
Ivo, and to S. Lorenzo and the Capella della ss. Sindone in Turin [8a], is the curve. The curve induces movem ent, it articulates the fagade of a church like a fugue, with volutes, concave and convex surfaces, damaged pedim ents: a ceaseless throbbing remodel s the solidity of the stone into the m obility of the wave. ’ The curve is helping within the production o f an illusory area; the interaction of convex and concave shape s reasons the sm all piazza of Pietro da Cortona’s S. M aria della speed to seem a lot wider than it really is. a tool belonging to The Curve and the Shell 137 the type of fake point of view hired at the level. 32 Angels’ w ings, the sector, the sunlight, the cloud, wind-blown draperies and hair, the palm department — all curved shape s are ubiquitous; they can be invested with a sym bolical m eaning, as with regards to the cleaning soap bubble, a logo of hum an existence, or the egg,™ the heart,"1 the tennis ball. it truly is major, for example, that the im age of m an’s utter lack of ability to withstand future, or the w in poor health of a supernatu ral energy, w hich so much appealed to the 17th century used to be that of a ball utilized in a online game. “It appeared to ensue to me that I observed the devils taking part in tennis with m y soul,” wrote St. T eresa (V ida, X X X ); and Solorzano Pereira’s Em blem ata (M adrid, 1 6 five 1 ) has a symbol during which God is represented facing kings as with tennis balls. John W ebster, taking on by way of w ay of publication V of Sidney’s A rcadia M ontaigne’s sentence “Les dieux s’esbattent de nous a los angeles pelote, et nous agitent a toutes m ains” (in its flip indebted to Plautus’ Captivi, Prol. 2 2 ) , places it within the mouth of Bosola in his personal D uchess of Malfi (V , iv, 6 three - 6 four ) : “We are m erely the starres tennysballs (strooke, and banded / W hich w ay please them ). ” As can be anticipated, the predilection for the curve is clear in cos tume, either within the form of the garm ents them selves and within the em phasis on volum e: wigs, breeches, sleeves all converse a curvilinear language. One style in m en’s sneakers produced an oval hole on the extrem ity, the end of the shoe often jutting out in little horns. 35 The culm ination of the curved determine is the spiral, which the final of the baroque artists, Piranesi, w as later to speculate with a hallucinatory personality within the spiral staircases of the Carceri. ™ The baroque artists used the advice o f infinity conveyed via the curve as a automobile of spiritual sublim ity and for the exaltation of terrestrial m ajesty. whereas portray bargains any num ber of parallels to this apotheosis of the curve within the frescoed ceilings of baroque church buildings, and parallels with m usic m ay be mentioned in Borrom ini’s architecture,37 it's not really easy to discover illustrations in literature. there's, in spite of the fact that, a case during which the correspondence look s all yet ideal: R ichard C rashaw . 38 C rashaw realized the best way to flip dazzling concetti in M arino’s university, yet there's not anything both in M arino or within the Jesuit poets whose Latin verse C rashaw studied and imitated to indicate that m arvelous strength o f hovering im agination which affiliates the English poet with the m asterpieces of _----------------------------------------- -----79 F R A N C E S C O B O R R O M IN I: Fagade, S.