By Laura Delbrugge
A Scholarly version of Andres de Li's Thesoro de l. a. passion (1494) is the 1st new version of this early Castilian ardour textual content in years. initially released in 1494 by way of the prolific Zaragozan printer Pablo Hurus, this superbly illustrated devotional deals the trendy reader a glimpse into the advanced social international of overdue fifteenth-century Spain. Li's converso id permeates his retelling of the eagerness via expositions on hypocrisy, anti-Semitism, and fake religion. This new, modernized version of the Thesoro de l. a. passion dramatically illustrates the original confluence of social, non secular, and cultural forces current throughout the emergence of Spain's nationwide identification through analyses of the Thesoro's Classical, Castilian, and Catalan resources, its significance as an early published publication, Li's portrayal of the Virgin Mary, Christ, and the eagerness occasions, and the significance of Li's converso views during 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)
43 Like the Meditationes, Ludolf’s Vita organized the events of the Passion according to the canonical hours, and the preoccupation with the wounds and suffering of Christ was as prevalent in the Vita as it had been in the Meditationes. Ludolf’s Vita was a significant influence on later Passion texts due in large part to the many manuscript and printed editions produced of the work, both in Latin and the vernacular. 46 Although it was not widely-available in the Iberian Peninsula until the end of the fifteenth century,47 traces of Ludolf’s Vita can be seen in late medieval and Early Modern Castilian Passion texts including Fray 41 Charles Abbott Conway, The Vita Christi of Ludolph of Saxony and Late Medieval Devotion Centered on the Incarnation: A Descriptive Analysis.
These “wood-cut” illustrations were easy to produce alongside printed text, and were therefore common even in the earliest incunables; their uses often went beyond simple text accompaniment. Woodcuts were sometimes used as textual organizers to divide sections of books, and their placement gave meaning as readers were directed to process events in a prescribed sequence that then became the standard for subsequent texts. The use of woodcuts was common throughout Europe, and when European printers established ateliers in other countries, they would often take their blocks with them.
Lyell, Early Book Illustration in Spain (New York: Hacker Art Books, 1976), 38. , Peregrinatio in Terram Sanctam (Viaje de la Tierra Santa). Princeps version printed by Pablo Hurus in Zaragoza, January 1, 1498; BETA No. 1967. 112 Lyell, Early Book Illustration, 38. 113 See Appendix 1 for detailed descriptions of all woodcut illustrations found in the Zaragoza: Hurus, 1494 edition of the Thesoro de la passion. In addition, sixteen of the woodcut illustrations from the 1494 edition have been reproduced in Appendix 2 of the present edition.