#late renaissance

[lionofchaeronea]

Salvator Mundi (Christ Blessing), Titian, ca. 1570

[my-sacred-art]

Miley Cyrus (American, born Nov. 23, 1992)

Resurrection, between 1600 and 1625. Domenico Passignano (Italian, 1559-1638). Pinacoteca Vaticana, Vatican Museums.

[victusinveritas]

*** A 16th century fashion book ***

From Medieval Advisor on Facebook

1508-1564 - BSB Cgm 1950 - the Hofkleiderbuch (court fashion book) of dukes Wilhelm IV. and Albrecht V

[New upload]

One of the great fashion textbooks of the 16th century: a time-lapse view of fashion evolution from 1508 to 1564.

There are very interesting views of armour. See the different options for gloves to wear with plate gauntlets. In two cases they have mail on the palm!!

There is an arquebus on a man dressed for hunting in 1536, and a few pistols (!) from 1553 onwards. (never imagined pistols will ever make it to this page...)

Support this research on Patreon and get access to over 220 exclusive posts! https://www.patreon.com/c/Medieval_Advisor

[flowerytale]

Agnolo Bronzino (1503–1572), Portrait of a Woman (detail)

[from-a-spiders-web]

Portrait of a Lady in Black and White, ca. 1599 Alessandro Allori

[lesser-known-composers]

Luzzasco Luzzaschi (c. 1545 – 1607) - Aura soave

Andrea Inghisciano - cornetto

Maria Gonzalez - harpsichord

[7pleiades7]

Gabrielle d'Estrées et une de ses soeurs or Gabrielle d'Estrées and One of Her Sisters (c. 1594) by an unknown painter from the School of Fontainbleau (c. 1530 – c. 1610), oil on wood (oak), 96 x 125 cm, Musée du Louvre, Paris

[life-imitates-art-far-more]

Benvenuto Tisi (1491-1559) "Saint Lucy" (1535) Mannerism

[somethingwithmoles]

Giovanni Battista Moroni, The Sculptor Alessandro Vittoria, ca. 1552/53, oil on canvas, 87.5 x 70 cm, Kunsthistorisches Museum, Vienna

Source: Wikimedia Commons

[charlesreeza]

Lucius Verus cruising Antinous at the Museo di Capodimonte in Naples

Two bronze busts by Guglielmo della Porta, 1575

[flameaurasphere]

"Miserere mei, Deus” by Gregorio Allegri

Gregorio Allegri (c. 1582-1652) was a late Renaissance composer, best remembered for his ‘Miserere’ for two choirs. Allegri began singing in San Luigi dei Francesi before joining the Sistine Choir in 1629. Renaissance music was built upon plainchants, and is characterised by polyphony, imitation, motets, superimpositions, and overlapping cadences that convey flow, expressiveness, and devotion. ‘Miserere’ exemplifies Renaissance polyphony—one choir of five voices sings a fauxbourdon of a plainchant for the Tonus peregrinus, while the other choir of four voices supplies with elaborations and cadenzas, forming a 9-part polyphony.

Sistine Codex of 1661

‘Miserere’ is an acapella performed exclusively during Holy Week in the Sistine Chapel for ages. The church forbade it from being transcribed, so while the original 1661 codex might not reflect the true composition, it reveals the secret ornamentation practice of the olden Sistine Chapel Choir.

The Sistine Chapel Choir is a permanent choir in the chapel that never sings with instrument accompaniments. In this historical recording, a group of voices sings the plainchant, and then a second group of voices responds with elaboration. This repeats four times, as Allegri intended. The two choirs are distinct—even without video, one could picture that the second choir is singing far away at another end of a massive room. While I appreciated the contrast as it dynamised the plainchant, the upper voices in the second choir had drowned out the lower voices, resulting in an “airiness”. Nonetheless, the voices were well-blended and captured the essence of Renaissance music—the melodies flowed smoothly with no fixed tempo, and the music was expressive, whereby the soft tenor solos sounded pleading, but the choir in tutti sounded haunting. ‘Miserere’ means "Have mercy on me, O God" in Latin; fittingly, the acoustics of the chapel allowed their voices to echo, amplifying their devotion to God.

King’s College Choir 1963

The world-famous Choir of King’s College, Cambridge sings in the King’s College Chapel. This is one of the first modern recordings, conducted by David Willcocks and featured soloist Roy Goodman. It differs vastly from the original—during the 19th century, ‘Miserere’ was incorrectly transcribed, transposing the solo choir up a fourth.

Although sung in English, this version still preserved the smooth melodies and distribution of rubato in the original 1661 codex. However, it is more textured, dynamic, and exciting. The articulation of words is clearer; the tenors used a higher vocal placement to produce a more lightweight sound; the basses were audibly growing louder and softer, shaping a slow push-and-pull melody; the boy sopranos pierced through with their resonance and agility in the ornamented lines. Nevertheless, the pièce de resistance is boy treble Goodman’s breath-taking high notes during the second half of the four-voice falsobordone. Though his entry was a little shaky, the transition to the “top C” note was slick and precise, with a slight crescendo and close-to-none sliding. It is astonishing how Goodman sustained those notes—four times—without sounding strained; his pure and aethereal voice quality cannot be replicated by a female soprano. The high notes are my favourite part in contemporary ‘Miserere’, and I have yet to hear one as moving as Goodman

Ofra Harnoy

Ofra Harnoy is a widely celebrated classical cellist with over 40 solo albums. This recording is part of her ‘Back to Bach’ album, filled with Baroque favourites. Harnoy’s vision was to design a large cello ensemble by herself. To attain that effect, she harnessed the power of technology to overdub and produce multi-tracks.

I thought Harnoy’s work was innovative—the mixing and mastering were done so well that with eyes closed, her arrangement did seem like a grand cello ensemble. The tempo was a bit slower than the original 1661 codex and King’s College Choir 1963 recording, but that allowed the strings to ring longer, hence extending the crescendos and decrescendos. Additionally, the lower parts are more discernible than in the previous recordings. The rich bass and use of vibrato dramatised the music, creating a hauntingly beautiful and poignant experience. The high notes did not overpower, unlike in the King’s College Choir 1963 version, hence highlighting the polyphony.

One might think that Harnoy made her cello sing, but I felt that she transformed ‘Miserere’ into a cello piece. My only critique is that all the verses should have been recorded, to demonstrate how each verse differs in the embellishments—for example, the appoggiaturas sung by the higher sections.

Montechait

Montechait is a YouTuber who does piano cover videos and arrangements. He played on a Studiologic SL88 Studio keyboard, then produced and edited the audio using Pianoteq and Cubase software. 

The pitches were not the most precise in the original 1661 codex and King’s College 1963 recordings. Hence, the pitch-perfect keyboard demonstrated how the melodies could sit with one another to deliver chords that assert gloom. I enjoyed that the ending verse was in forte, emphasising the volume of a 9-part polyphony. But this performance lacked expressiveness, which is quintessential to Renaissance music. Despite Pianoteq being one of the greatest virtual instruments that simulate the playability of an acoustic instrument, the recording had a largely manufactured sound. Furthermore, the piano is limited in the expressive shaping of notes as it does not offer dynamic nuance or vibrato.

I learnt that every performer has a unique story to tell in ‘Miserere’—whether it is of worship by the Sistine Codex of 1661, of tradition by the King’s College Choir, of beauty by Ofra Harnoy’s soul-stirring cello, or melancholy by Montechait’s solemn keyboard. In my opinion, the key change from G minor to C minor—due to scribal error—echoes the famous saying: “There are no mistakes, just happy accidents.” ~Bob Ross.

[lionofchaeronea]

Christ Washing the Disciples' Feet, Benvenuto Tisi, ca. 1520-1525

[my-sacred-art]

Monica Bellucci (Italian, born 1964)

Martyrdom of Saint Agatha, between circa 1635 and circa 1640. Andrea Vaccaro (Italian, 1604-1670).

[victusinveritas]

Color-coded arrows.

Arrows marked with specific "barcodes". Probably to establish ownership and figure out who hit what.

San Sebastian by Bartolomeo Maineri, 1492

[art-femmes]

"Pained Madonna" Plautilla Nelli

[lesser-known-composers]

Gioseffo Guami (1542-1611) - Messe à double chœur: V. Offertoire (Canzon a 8 voci)

Doulce Mémoire, Denis Raisin Dadre