Relative Constructions in Early Sixteenth Century English, with Special Reference to Sir Thomas Elyot

1971 ◽  
Vol 66 (1) ◽  
pp. 176
Author(s):  
Simeon Potter ◽  
Mats Ryden
Keyword(s):  
Sixteenth Century ◽  
Special Reference

scholarly journals An investigation into adhesives to consolidate distemper paintings on canvas

2020 ◽  
Vol 18 (1) ◽  
pp. 123-135
Author(s):  
Cristina Castro Simarro
Keyword(s):  
Sixteenth Century ◽  
Special Reference ◽  
Treatment Strategies ◽  
Analytical Techniques ◽  
Painting Technique ◽  
The Past ◽  
Large Size ◽  
Historical Reconstructions ◽  
Before And After ◽  
The Impact

This article investigates traditional and modern adhesives used to consolidate distemper paintings on canvas, with special reference to sixteenth century Hispano-tüchlein paintings, also called sargas. Such artworks are not only difficult to handle due to their large size, but they are also inherently fragile and/or are highly hygroscopic. This sensitivity is caused in part by the nature of the painting technique as well as the lack of varnish, which might account for why conservation methods related to these works have not been addressed in the past. This investigation was conducted on historical reconstructions samples to assess and develop treatment strategies for distemper paintings, in particular issues linked to powdery/friable matte paint layers. The impact of several adhesives on the painted surface of historical reconstructions was evaluated before and after the samples were subjected to humidity cycling tests using a range of analytical techniques. Such information can be used to aid conservators who face consolidation issues related to underbound paintings or artworks with similar surfaces. The results reveal that there is no one perfect adhesive for matte paint nor one that can be removed completely, once applied. Aquazol® 200 and Funori performed the best, but still introduced changes in colour and gloss, even if minimal.

XV.—Canterbury Cathedral Choir during the Commonwealth and after, with special reference to two oil paintings

Archaeologia ◽  
1911 ◽  
Vol 62 (2) ◽  
pp. 353-366
Author(s):  
W. D. Caröe
Keyword(s):  
Seventeenth Century ◽  
Sixteenth Century ◽  
Special Reference ◽  
Traditional Architecture ◽  
Oil Paintings

I am not quite sure how far the later records of Canterbury Cathedral are of sufficient importance to interest this Society, but, as we have long learnt that neither archaeology nor traditional architecture stop short in the middle of the sixteenth century, I exhibit two oil paintings of the interior of the choir of Canterbury Cathedral as in the latter half of the seventeenth century, and offer some notes upon them. A study of later documents, chiefly relating to destructions or replacements, certainly helps to throw light upon earlier history.

IV.—Italian Prototypes of the Masque and Dumb Show

PMLA ◽  
1907 ◽  
Vol 22 (1) ◽  
pp. 140-156 ◽  
Author(s):  
John W. Cunliffe
Keyword(s):  
Sixteenth Century ◽  
Special Reference ◽  
History Of ◽  
The Subject ◽  
Modern Author ◽  
Italian Origin

As the Italian origin of the Masque has been questioned in the latest and most elaborate investigation of the subject (R. Brotanek, Die Englischen Maskenspiele, Wien und Leipzig, 1902), it seems worth while to examine the history of the word and the circumstances of its introduction into English. Brotanek thinks that it came from the French, but it is to be borne in mind in the first place that the form masque is not found in sixteenth century English; and in the second place, that the French masque has never meant the performance but always the performer or the domino worn. Cotgrave gives masque as the synonym for “a maske for a woman,” but for “maske” without this qualification “masquerade, masquerie, barboire,” just as he gives for “mummery or mumming” “mommerie, masquerade, barboire.” Littré cites only one example of the use in French of masque for a form of entertainment, and that is from a modern author, with special reference to the English masques, which are elaborately described.

scholarly journals Contrastive grammar in the Renaissance

2021 ◽  
Author(s):  
Raf Van Rooy
Keyword(s):  
Sixteenth Century ◽  
Special Reference ◽  
Native Language ◽  
Linguistic Analysis ◽  
The Other ◽  
Pivotal Role ◽  
Language Studies ◽  
History Of ◽  
French Grammar

Abstract This paper focuses on how Jean Pillot, author of the most popular French grammar of the sixteenth century in terms of editions, took efforts to contrast his native language with Greek. His Gallicæ linguæ institutio (1550/1561), although written in Latin, contains numerous passages where Pillot subtly confronted French with Greek, surveyed in Section 2, in order to give his audience of educated German speakers a clearer view of the idiosyncrasies of French. In Section 3, I analyze why he preferred Greek to the other languages he knew in quite a number of cases, arguing that this subtle contrastive endeavor bore an indirect pedagogical and ideological load. Section 4 discusses the terminological means Pillot used to confront Greek with French, and their origins. In Section 5, I frame Pillot’s appropriation of Greek grammar in the long history of contrastive language studies, with special reference to the pivotal role of sixteenth-century linguistic analysis.

Sign in / Sign up

Export Citation Format

Share Document