The intention of this dissertation is to open up collaborative pictures to meaningful analysis by accessing the perspectives of early modern viewers. The Italian primary sources from the fifteenth to the seventeenth centuries yield a surprising amount of material indicating both common and changing habits of thought when viewers looked at multiple authorial hands working on an artistic project. It will be argued in the course of this dissertation that critics of the seventeenth century were particularly attentive to the practical conditions of collaboration as the embodiment of theory. At the heart of this broad discourse was a trope extolling painters for working with what appeared to be one hand, a figurative and adaptable expression combining the notion of the united corpo and the manifold meanings of the artist’s mano. Hardly insistent on uniformity or anonymity, writers generally believed that collaboration actualized the ideals of a range of social, cultural, theoretical, and cosmological models in which variously formed types of unity were thought to be fostered by the mutual support of the artists’ minds or souls. Further theories arose in response to Giovanni Paolo Lomazzo’s hypothesis in 1590 that the greatest painting would combine the most highly regarded old masters, each contributing their particular talents towards the whole. Presented with this ideal involving inimitable hands and minds, Francesco Scannelli, Carlo Cesare Malvasia, and Marco Boschini each reflected on the practical conditions and possibilities of

Collaborative Painting Between Minds and Hands: Art Criticism, Connoisseurship, and Artistic Sodality in Early Modern Italy

In the company of Lyäsus : the Jesuit mission in Ethiopia, 1557-1632

In this article, I review my recent book Protestant Modernity. Weber, Secularisation and Protestantism, which reconstructs Weber's theory of secularisation and argues that this is formulated within a liberal Protestant framework. I argue that this theory is a part of his Protestant account of modernity. I also sketch some of the major issues involved in developing a Catholic account of modernity and provide some worked through examples of the sociological implications of this change of confessional presuppositions.

https://www.cambridge.org/core/services/aop-cambridge-core/content/view/S0003975609000423

The Importance of Protestantism in Max Weber's Theory of Secularisation

This essay analyzes the representation and cross-fertilization of natural and spiritual landscapes in Andres Perez de Ribas's Historia de los Triumphos de Nuestra Santa Fee (1645), a massive history of Jesuit evangelization in northwestern New Spain. Perez de Ribas confers a major role to the natural world by deploying its wonders as well as its utilitarian riches in the service of imperial expansion and conversion, resignifying native landscapes in the process. The essay argues that Perez de Ribas uses a ‘double optics’ of empirical observation and religion in order to make the northern periphery visible to readers at the centers of imperial power, and to participate in the Jesuit enterprise of knowledge making that was so much a part of their global enterprise.

Transformative Topographies: The Natural World in Historia de los Triumphos de la Santa Fee by Andrés Pérez de Ribas, S.J. (1645)

This chapter illustrates the example of using structured query language (SQL) to track all authors who have articles in exactly two out of three categories in the book for a specified set of three categories that are put into the query as parameters. This cannot be done by using GROUP BY query because a GROUP BY on the key of a table provides groups of one row, and one contributor might have made two contributions in only one area, but they will both be counted. The solution lies in using (SELECT SUM (DISTINCT)) query.

Two of three

2. `Le style jésuite n'existe pas' Jesuit Corporate Culture and the Visual Arts

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2. `Le style jésuite n'existe pas' Jesuit Corporate Culture and the Visual Arts