The Case for Francesco Rosselli as the Engraver of Berlinghieri's Geographia

The Florentine Francesco Berlinghieri (1440–1501) published his Geographia, a version of Ptolemy's Cosmographia in Italian terza rima, comprising 123 folios of text and 31 engraved maps, in 1482. As early as 1938 Arthur M. Hind, Keeper of Prints and Drawings at the British Museum, hinted that the engravings might have been made by Francesco Rosselli (1448–before 1527), the principal engraver in Florence in the 1480s and 1490s. Subsequently, this possibility was rejected by Roberto Almagià, R. A. Skelton and Tony Campbell. In the author's view, however, both stylistic and circumstantial evidence argues that Francesco was indeed the engraver, and that this first major commission launched the career that eventually made him known to his contemporaries as ‘Franciscus rosellus florentinus Cosmographus’.

Le Florentin Francesco Berlinghieri (1440–1501) publia en 1482 sa Geographia, une version de la Cosmographia de Ptolémée en terza rima italienne, comprenant 123 feuillets de texte et 31 cartes gravées. Dès 1938, Arthur M. Hind, conservateur des estampes et dessins au British Museum, suggéra que les gravures pouvaient être l'?uvre de Francesco Rosselli (1448–avant 1527), le principal graveur florentin dans les années 1480 et 1490. Ultérieurement, cette éventualité fut rejetée par Roberto Almagià, R. A. Skelton, et Tony Campbell. De l'avis de l'auteur, cependant, des preuves stylistiques et circonstancielles démontrent clairement que Francesco Rosselli était en effet le graveur, et que cette première commande importante lança la carrière qui allait finalement le faire connaître par ses contemporains comme ‘Franciscus rosellus florentinus Cosmographus’.

1482 veröffentlichte der Florentiner Francesco Berlinghieri (1440–1501) seine Geographia, eine Version der Cosmographia des Ptolemäus, in italienischen terza rima. Sie umfasst 123 Folioseiten Text und 31 gestochene Karten. Schon 1938 deutete Arthur M. Hind, Direktor der Grafikabteilung am British Museum, an, dass der Stich von Francesco Rosselli (1448–vor 1527) besorgt worden sein könnte. Während den Jahren 1480s und 1490s, war Rosselli der hauptsächliche Florentinische Stecher. Diese Möglichkeit wurde in weiterer Folge jedoch von Roberto Almagià, R. A. Skelton und Tony Campbell verworfen. Nach der Meinung der Autorin sprechen aber sowohl der stilistische Befund als auch die näheren Entstehungszusammenhänge sehr für Francesco Rosselli als Stecher und auch dafür, dass dieser erste größere Auftrag ihm eine Karriere eröffnete, die ihn letztendlich bei seinen Zeitgenossen als ‘Franciscus rosellus florentinus Cosmographus’ bekannt machte.

El florentino Francesco Berlinghieri (1440–1501) publicó en 1482 su Geographia, una version de la Cosmographia de Ptolomeo en terza rima italiana, que comprendía 123 folios de texto y 31 mapas grabados. En 1938 Arthur M. Hind, conservador de Impresos y Grabados del British Museum sugirió que los grabados podían haber sido hechos por Francesco Rosselli (1448–antes de 1527), el principal grabador de Florencia en los años de 1480 a 1490. Posteriormente esta posibilidad fue rechazada por Roberto Almagià, R. A. Skelton y Tony Campbell. Sin embargo, en opinión de la autora del artículo, las evidencias estilísticas y cincunstanciales indican con seguridad que Francesco Rosselli fue en efecto el grabador, y que este importante encargo dio comienzo a una carrera que finalmente le hizo ser conocido por sus contemporáneos como “Franciscus rosellus florentinus Cosmographus”.     

1. INTRODUCTION: MULTIPLE TIMES AND THE WORK OF SYNCHRONIZATION

In this essay, which introduces the History and Theory forum on Multiple Temporalities, I want to discuss how the existence of a plurality or a multiplicity of times has been conceptualized in the historiographical tradition, partly by entering into a dialogue with recent writers, historians, philosophers, sociologists, anthropologists, and literary scholars, partly by returning to the eighteenth century, to the origin of “the modern regime of historicity” (Hartog). In these theoretical and historical investigations I aim to do two things: on the one hand, to explore and discuss different ways of conceptualizing multiple times, in terms of nonsynchronicities, layers of time, or natural and historical times; on the other hand, to trace how these multiple times have been compared, unified, and adapted by means of elaborate conceptual and material practices that I here call “practices of synchronization.” From the eighteenth century onward, these synchronizing practices, inspired by, but by no means reducible to, chronology have given rise to homogeneous, linear, and teleological time, often identified as modern time per se, or simply referred to as “progress.” In focusing on the practices of synchronization, however, I want to show how this regime of temporality during its entire existence, but especially at the moment of its emergence in the eighteenth century and at the present moment of its possible collapse, has been challenged by other times, other temporalities, slower, faster, with other rhythms, other successions of events, other narratives, and so on.     

The Faragola Ceramic Collection: Ceramic Production,Consumption and Exchange in Seventh‐Century Apulia

A collection of 30 ceramic samples, 16 of coarse wares and 14 of fine painted wares, have been investigated by optical microscopy, scanning electron microscopy, inductively coupled plasma optical emission spectrometry, inductively coupled plasma mass spectrometry and neutron activation analysis. Further samples of clayey sediments, both locally outcropping and found within the settling tank, have been submitted to the same analytical techniques for comparison with the ceramic collection. The results demonstrated that local clayey sediments were used as received for the production of coarse wares. The same raw materials were sieved and/or refined by decantation for the production of fine painted wares, which, in fact, provided results that were perfectly comparable with those for the clayey raw materials found within the settling tank. The Faragola productions were distinguished from the neighbouring Apulian productions according to petrographic features (the presence of leucite‐bearing volcanic rocks and Mn‐rich wads) and their bulk chemical composition.     

Occipitalization of the Atlas in Archaeological Material from the 16th–19th Century

During the anthropological analysis of skeletal material dated in the 16th–19th century from St Katarina monastery in Split, a female skull with occipitalization of atlas has been found. Anterior part of atlas and foramen magnum were fused, with numerous perforations on auricular surface of atlas. As the age at death was estimated at more than 70 years, it is most likely that this woman had progressive course of illness. Copyright © 2012 John Wiley & Sons, Ltd.     

Transnational solidarities and the politics of the left, 1890–1990 – introduction

The ten articles in this special issue of the European Review of History—Revue européenne d'histoire explore the operation of transnational solidarity movements from the late nineteenth to the late twentieth century. This introduction highlights the endurance of methods and strategies across this period, even while the contexts for transnational activism changed. It points to the opportunities presented by expressions of transnational solidarity, but also their inherent limitations.     

20世纪前期宜兴陶业史料钩沉及泥片成型

自晚清以来,首先由一些外国人开始关注、著录宜兴陶业。到20世纪前期,中国人对于窑口、产品、工艺等宜兴陶业情况的文献记录逐渐涌现,其中包括宜兴制陶环节中最具特色的泥片成型工艺。传统泥片成型工艺虽延续至今,但以如今的制作方法与之相比,诸多方面和细节已逐渐改变,甚至消失。宜兴窑业传统工艺的传承与保护,任重而道远。     

‘From Nitria to Sitria’: the construction of Peter Damian's Vita Beati Romualdi

This article examines the construction of Peter Damian's (c.1007–72) Vita Beati Romualdi (c.1042) as a piece of eleventh-century hagiography. Peter Damian was an erudite hermit, monk and reformer whose ideas on spiritual perfection helped to shape the ideals of the so-called ‘Gregorian Reform’ movement in the eleventh century. This article aims to contribute to recent historiography on the eleventh century through a re-examination of this important piece of hagiography, which has not been more thoroughly considered by medievalists since 1957 in Tabacco's critical edition. This article suggests that, through the biography of St Romuald, Peter Damian sought to promote the example of the Desert Fathers in formulating a more rigorous monastic rule, not only for his hermits at Fonte Avellana, but also for a wide monastic and lay audience. It also argues that there existed a gradual evolution in monastic ideology from the tenth century onwards, sponsored by ascetics like Damian who strove constantly to lead a more austere existence based on the Desert tradition and more particularly the Life of St Antony. In particular, the article pays attention to how Damian, as a hagiographer, was engaged in the construction of Romuald's sanctity.     

Citizenship and religion in the Italian constitutions, 1796-1849

This article explores the link between religion and politics, religious liberty and the rights of religious minorities, by focusing on the constitutions which Italian states adopted and discarded from 1796 to 1849. It concerns questions about the ‘national character’ and the rights and duties of the citizen, and argues that - far from being ‘an outlet’ for material discontent - questions of religious identity and pluralism were integral to the Risorgimento definition of liberty. In this context, the author explores also the Mazzinian vision of a democratic republic inspired by an acephalous and non-hierarchical civil religion, similar to the Unitarian Transcendentalism practiced by some of his New York admirers - a far cry from the ‘religions of politics’ inspired by Saint Simon and Auguste Comte.     

J.W. Burrow: A personal history

The late John Burrow, one of the most stimulating promoters of the distinctively interdisciplinary enterprise that is Intellectual History, was a vital member of what has become known as the ‘Sussex School’. In exploring the resonances of his singular and richly idiosyncratic contribution, this article places his unique historical sensibility within a series of interpretative contexts, demonstrating the vitality of writings that will continue to inspire and inform scholarship in the field for decades to come.