By Laura Delbrugge
A Scholarly variation of Andres de Li's Thesoro de los angeles passion (1494) is the 1st new version of this early Castilian ardour textual content in years. initially released in 1494 via the prolific Zaragozan printer Pablo Hurus, this fantastically illustrated devotional deals the fashionable reader a glimpse into the advanced social international of past due fifteenth-century Spain. Li's converso id permeates his retelling of the fervour via expositions on hypocrisy, anti-Semitism, and fake religion. This new, modernized variation of the Thesoro de los angeles passion dramatically illustrates the original confluence of social, spiritual, and cultural forces current in the course of the emergence of Spain's nationwide id through analyses of the Thesoro's Classical, Castilian, and Catalan assets, its significance as an early published publication, Li's portrayal of the Virgin Mary, Christ, and the fervour occasions, and the significance of Li's converso views during the paintings.
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Extra info for A Scholarly Edition of Andrés de Li's Thesoro de la passion (1494) (Medieval and Early Modern Iberian World)
Hillgarth, The Spanish Kingdoms, 2:111. 115 Orans figures reminded readers to mediate on what they had read already, and to seek enlightenment for what they were about to read. All six orans figures from the Zaragoza: Hurus, 1494 edition of the Thesoro de la passion are reproduced in Appendix 2 of the present edition. 116 The Cromberger imprenta was arguably the most influential and productive press in early sixteenth-century Spain. ”117 For the Crombergers, woodcuts were essential to a text’s marketability, even in those editions where the inclusion of illustrations greatly increased both the capital investment in stock paper and the overall production costs.
Pseudo-Bonaventure, Meditationes, 323. Pseudo-Bonaventure, Meditationes, 323. Bynum, Wonderful Blood, 3. Pseudo-Bonaventure, Meditationes, 353. ”30 (“And by shedding his precious blood he paid the price for our redemption, and in doing so left us with an example so that in his service we do not abhor suffering and dying for the truth”). The Thesoro described how Christ actually sweated blood, which happened because “como scriue Beda, porque por la tierra regada conla preciosa sangre suya se manifestasse que por su sangre todos los hombres terrenos hauian de ser redemidos et saluos”31 (“As Bede writes, because the earth, when watered by his precious blood is made manifest, and by his blood was all mankind redeemed and saved”).
Sánchez, Bibliografía, xi. the thesoro de la passion 27 in Spain at the time, and their productions could compete with any of those produced in Venice or Germany during the same period”). Both Hurus editions of the Thesoro de la passion were illustrated, which undoubtedly increased their marketability. There are 133 illustrations in the Zaragoza: Hurus, 1494 edition of the Thesoro and 123 in the partial exemplar that remains of the Zaragoza, ca. 1496–ca. 1498 version; it is likely that the complete edition had even more illustrations.
A Scholarly Edition of Andrés de Li's Thesoro de la passion (1494) (Medieval and Early Modern Iberian World) by Laura Delbrugge