Marsilio Ficino's Platonic evangelising was eminently successful and widely influential. His 'Platonic Theology' is one of the keys to understanding the art, thought, culture, and spirituality of the Renaissance.

Transparency and Dissimulation analyses the configurations of ancient neoplatonism in early modern English texts. In looking closely at poems and prose writings by authors as diverse as Thomas Wyatt, Philip Sidney, Edmund Spenser, John Donne, Edward Herbert, Andrew Marvell, Thomas Traherne, Thomas Browne and, last not least, Aphra Behn, this study attempts to map the outlines of a neoplatonic aesthetics in literary practice as well as to chart its transformative potential in the shifting contexts of cultural turbulency and denominational conflict in 16th- and 17th-century England. As part of a "new", contextually aware, aesthetics, it seeks to determine some of the functions neoplatonic structures - such as forms of recursivity or certain modes of apophatic speech - are capable of fulfilling in combination and interaction with other, heterogeneous or even ideologically incompatible elements. What emerges is a surprisingly versatile poetics of excess and enigma, with strong Plotinian and Erigenist accents. This appears to need the traditional ingredients of petrarchism or courtliness only as material for the formation of new and dynamic wholes, revealing its radical metaphysical potential above all in the way it helps to resist the easy answers - in religion, science, or the fashions of libertine love.

Filippino Lippi (1457–1504), although one of the most original and gifted artists of the Florentine renaissance, has attracted less scholarly attention than his father Fra Filippo Lippi or his master Botticelli, and very little has been published on him in English. This book, authored by leading Renaissance art historians, covers diverse aspects of Filippino Lippi’s art: his role in Botticelli’s workshop; his Lucchese patrons; his responses to Netherlandish painting; portraits; space and temporality; the restoration of the Strozzi Chapel in Santa Maria Novella; his immediate artistic legacy; and, finally, his nineteenth-century critical reception. The fourteen chapters in this volume were originally presented at the international conference Filippino Lippi: Beauty, Invention and Intelligence, held at the Dutch University Institute (NIKI) in Florence in 2017. See inside the book.

This is the first volume exclusively devoted to the Expositio by Berthold of Moosburg (c.1295-c.1361) on Proclus’ Elements of Theology. The breadth of its vision surpasses every other known commentary on the Elements of Theology, for it seeks to present a coherent account of the Platonic tradition as such (unified through the concord of Proclus and Dionysius) and at the same time to consolidate and transform a legacy of metaphysics developed in the German-speaking lands by Peripatetic authors (like Albert the Great, Ulrich of Strassburg, and Dietrich of Freiberg). This volume aims to provide a basis for further research and discussion of this unduly overlooked commentary, whose historical-philosophical importance as an attempt to refound Western metaphysics is beginning to be recognized. The publication of this volume has received the generous support of the European Research Council (ERC) under the European Union’s Horizon 2020 research and innovation programme through the ERC Consolidator Grant NeoplAT: A Comparative Analysis of the Middle East, Byzantium and the Latin West (9th-16th Centuries), grant agreement No 771640 (www.neoplat.eu). “[...] the volume displays various aspects of the richness hidden in this Commentary on Proclus: the contributions mentioned here are merely representative of such richness. Nonetheless, a desideratum of the research on Berthold remains a closer analysis of his polemical relations with his still unknown adversaries.” -Giuseppe Thomas Vitale, Thomas-Institut der Universität zu Köln, Recherches de Théologie et Philosophie médiévales 89.2

As well as presenting articles on Neo-Latin topics, the annual journal Humanistica Lovaniensia is a major source for critical editions of Neo-Latin texts with translations and commentaries. Please visit www.lup.be for the full table of contents.

Platonic Theology is the visionary and philosophical masterpiece of Marsilio Ficino (1433–1499), the Florentine scholar-philosopher-magus largely responsible for the Renaissance revival of Plato. This work, translated into English for the first time, is a key to understanding the art, thought, culture, and spirituality of the Renaissance.

"Italian Literature before 1900 in English Translation provides the most complete record possible of texts from the early periods that have been translated into English, and published between 1929 and 2008. It lists works from all genres and subjects, and includes translations wherever they have appeared across the globe. In this annotated bibliography, Robin Healey covers over 5,200 distinct editions of pre-1900 Italian writings. Most entries are accompanied by useful notes providing information on authors, works, translators, and how the translations were received. Among the works by over 1,500 authors represented in this volume are hundreds of editions by Italy's most translated authors - Dante Alighieri, [Niccoláo] Machiavelli, and [Giovanni] Boccaccio - and other hundreds which represent the author's only English translation. A significant number of entries describe works originally published in Latin. Together with Healey's Twentieth-Century Italian Literature in English Translation, this volume makes comprehensive information on translations accessible for schools, libraries, and those interested in comparative literature."--Pub. desc.

Castiglione’s Book of the Courtier (Il libro del cortegiano, 1528), a dialogue in which the interlocutors attempt to describe the perfect courtier, was one of the most influential books of the Renaissance. In recent decades a number of postmodern readings of this work have appeared, emphasizing what is often characterized as the playful indeterminacy of the text, and seeking to detect inconsistencies which are interpreted as signs of anxiety or bad faith in its presentation. In contrast to these postmodern readings, the present study conducts an experiment. What understanding does one gain of Castiglione’s book if one attempts an early modern reading? The author approaches The Book of the Courtier as a text in which some of its most important aspects are intentionally concealed and veiled in allegory. W.R. Albury argues that this early modern reading of The Book of the Courtier enables us to recover a serious political message which has a great deal of contemporary relevance and which is lost from sight when the work is approached primarily as a courtly etiquette book, or as a lament for the lost influence of the aristocracy in an age when autocratic nation-states were coming into being, or as an impersonal textual field upon which a free play of transformations and deconstructions may be performed.

How can we portray the history of Renaissance knowledge production through the eyes of the students? Their university notebooks contained a variety of works, fragments of them, sentences, or simple words. To date, studies on these materials have only concentrated on a few individual works within the collections, neglecting the strategy by which texts and textual fragments were selected and the logic through which the notebooks were organized. The eight chapters that make up this volume explore students' note-taking practices behind the creation of their notebooks from three different angles. The first considers annotation activities in relation to their study area to answer the question of how university disciplines were able to influence both the content and structure of their notebooks. The volume's second area of research focuses on the student's curiosity and choices by considering them expressions of a self-learning practice not necessarily linked to a discipline of study or instructions from teaching. The last part of the volume moves away from the student's desk to consider instructions on note-taking methods that students could receive from manuals of various kinds.

There is little doubt that sympathy plays a pivotal role in aesthetic as well as moral experience, yet also little agreement on how to describe this connection and its long history. This volume investigates the changes in the concept of sympathy as well as its rhetorical, poetical and ethical functions from antiquity to the threshold of Romanticism. The focus is on sympathy's development from a cosmological principle expressing the coherence, correspondence, and unity of all things into a theoretical key concept of intersubjectivity informing moral philosophy, criticism and literature. Thus, Sympathy in Transformation offers important insights into the many ways in which, when sympathy migrates into diverse discourses in Early Modernity, its ancient origins dwindle out of sight, while some of its central elements re-emerge in a surprising manner.