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Book cover for Early Modern Theatricality Early Modern Theatricality
Henry S. Turner (ed.)
https://doi.org/10.1093/oxfordhb/9780199641352.001.0001
Published online:
06 June 2017
Published in print:
01 December 2013
Online ISBN:
9780191843822
Print ISBN:
9780199641352

Contents

Book cover for Early Modern Theatricality Early Modern Theatricality
Front Matter

List of Illustrations

https://doi.org/10.1093/oxfordhb/9780199641352.002.0005
Pages
vii–ix
  • Published:
    December 2013
Subject
Literature
Collection: Oxford Handbooks Online

Frontispiece Diagram for a Theatre. Le second Livre de perspective de Sebastian Serlio Bolognois, mis en langue franchoise par Iehan Martin (Paris: Jehan Barbé, 1545), fol. 66 (photo: Library of Congress). ii

Figure 1

Hubert Cailleau, ‘Stage’ or ‘Theatre’ for the 1547 Passion play in Valenciennes. Le Mystère par personages de la vie, passion, mort, resurrection et ascension de Notre Seigneur Jésus-Christ en 25 journées. Paris, Bibliothèque Nationale de France, MS. fr. Rothschild I-7-3, frontispiece (photo: BnF).  26

Figure 2

Terence, Comedies (Lyons: Jean Trechsel, 1493), frontispiece (photo: Washington, National Gallery of Art, Department of Prints and Drawings).  32

Figure 3

Terence, Comedies (Thérence en françois) (Paris: Anthoine Vérard, 1499), frontispiece (photo: BnF).  34

Figure 4

Renward Cysat, Diagram for Day 1 of the Lucerne Passion Play, 1583 (photo: ZHB Luzern Sondersammlung [Eigentum Korporation]).  35

Figure 5

Renward Cysat, Diagram for Day 2 of the Lucerne Passion Play, 1583 (photo: ZHB Luzern Sondersammlung [Eigentum Korporation]).  36

Figure 6

Diagram for a Theatre. Le second Livre de perspective de Sebastian Serlio Bolognois, mis en langue franchoise par Iehan Martin (Paris: Jehan Barbé, 1545), fol. 64 (photo: Library of Congress).  37

Figure 7

Jean Goujon, Diagram for a Theatre. Architecture, ou Art de bien bastir, de Marc Vitruve Pollion, auteur romain antique. Mis de Latin en Francoys, par Ian Martin (Paris: Jacques Gazeau, 1547), fol. 75 verso (photo: Marquand Library of Art and Archeology, Princeton University, Barr Ferree Collection).  45

Figure 8

 Title page. William Shakespeare, A Most pleasaunt and excellent conceited Comedie, of Syr John Falstaffe, and the merrie Wiues of Windsor (London, 1602). This item is reproduced by permission of The Huntington Library, San Marino, California.  158

Figure 9

The Card Players (oil on canvas) by Jan Havicksz Steen (1625/26–79). Private Collection. Reproduced by permission of The Bridgeman Art Library.  190

Figure 10

The Game of Backgammon (oil on panel) by Dirck Hals (1591–1656). Musée des Beaux-Arts, Lille, France. Giraudon. Reproduced by permission of The Bridgeman Art Library.  190

Figure 11

Four Gentlemen of High Rank Playing Primero (oil on panel), by Master of the Countess of Warwick ( fl.1567–9). The Right Hon. Earl of Derby. Reproduced by permission of The Bridgeman Art Library.  200

Figure 12

Frontispiece of The Lamentable and True Tragedy of Master Arden of Feversham in Kent (London: Printed by Eliz. Allde dwelling neere Christ Church, 1633). Reproduced by permission of the Huntington Library, San Marino, CA.  207

Figure 13

Title page, Coryats Crudities (London, 1611). STC 5808 copy 2. By permission of the Folger Shakespeare Library.  452

Figure 14

Title page, Thomas Coriate Traueller for the English Wits: Greeting. From the Court of the Great Mogvl, Resident at the Towne of Asmere, in Easterne India (London, 1616). STC 5811. By permission of the Folger Shakespeare Library.  455

Figure 15

Coryate standing on the tun of Heidelburg. Coryats Crudities (London, 1611). STC 5808 copy 2. (Fold-out after p. 486.) By permission of the Folger Shakespeare Library.  456

Figure 16

A lesson from James Burgh, The Art of Speaking, teaching how to read texts for the passions implied by them. Shown here in the 7th edn. of 1787, the text was first published in 1761. Houghton Library, Harvard University (9280.761.70).  570

Figure 17

Charles Le Brun. A figure expressing wonder and astonishment. Musée du Louvre, Cabinet des Dessins. © RMN-Grand Palais/Art Resource, NY.  572

Figure 18

Charles Le Brun. The expression of ‘la joie’ (joy). Conference sur l’expression des passions. Musée du Louvre, Cabinet des Dessins. © RMN-Grand Palais/Art Resource, NY. The ebullient spirits associated with joy and ecstasy force the facial features and hands upwards.  573

Figure 19

Extasis (ecstasy), a detail from D. Fermin Eduardo Zeglirscosac, Ensayo sobre el origen y naturaleza de las pasiones, del gesto y de la accion teatral (Essay on the origin and nature of the passions, of gesture, and of theatrical action) (Madrid, 1800). Bibliothèque Nationale de France. The figures provided by D. Francisco de Pazula Marti display habits and passions, the chief units of theatrical significance in the early modern period.  573

Figure 20

Charles Le Brun. The expression of ‘la tristess’ (sadness). Conference sur l’expression des passions. Musée du Louvre, Cabinet des Dessins. © RMN-Grand Palais/Art Resource, NY. The languid spirits associated with sadness weigh down the features of the face and the gestures of the hands.  574

Figure 21

Tristeza (sadness), a detail from Zeglirscosac, Ensayo sobre el origen y naturaleza de las pasiones (Essay on the origin and nature of the passions). Bibliothèque Nationale de France.  574

Figure 22

Jakob Engel, Ideen zu einer Mimik (1785–6). Illustration of the gesture to accompany, ‘O, that way madness lies; let me shun that; / No more of that!’ (King Lear 3.4.21–2). Houghton Library, Harvard University (Typ 720.85.363, vol. 1).  575

Figure 23

The closet scene depicted in Nicholas Rowe's edition of Shakespeare (1709). With his overturned chair and backward step, Hamlet displays terror, while Gertrude, who does not see the ghost, remains seated, expressing simple amazement at the conduct of her son. Courtesy Department of Special Collections, Stanford University Libraries.  576

Figure 24

Jakob Engel, Ideen zu einer Mimik (1785–6). The figure of Terror contains a gesture of aversion whose raised hands imply a feeling of inferiority to the feared object. Houghton Library, Harvard University (Typ 720.85.363, vol. 1).  577

Figure 25

Odio (odium), a detail from Zeglirscosac, Ensayo sobre el origen y naturaleza de las pasiones (Essay on the origin and nature of the passions). Odium contains the same gesture of aversion displayed by Terror, but the downward slope of the arms implies contempt for the object. Bibliothèque Nationale de France.  577

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