Incidental Archaeologists: French Officers and the Rediscovery of Roman North Africa

IF 0.2 2区 历史学 0 ARCHAEOLOGY
Z. Çelik
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引用次数: 0

Abstract

front of the main altar, the sculpture helped to transform the church into one of Rome’s most revered shrines (p. 185). An epilogue takes us away from the chronological and geographic framework of the book to explore the saint’s evolution from saint to muse through the 17th century. The author sought to understand more deeply the origins of the English celebration of Cecilia’s Day and why Protestants came to regard the saint as a symbol of the power of music. Rice has also provided an appendix listing 170 pieces of music composed for Cecilia that were published or copied before 1620, including motets, Masses, and devotional songs. They offer a rich resource not only for music historians but for performers. The work is accessible, well argued, and confidently transcends academic disciplinary boundaries, fusing textual, visual and musical sources with aplomb. Yet this art historian reviewer was unfamiliar with much of the musical terminology, suggesting that of all readers, musicians and music historians are likely to reap the richest rewards. However, the book’s seventy-three colour plates offer a welcome visual chronology of Cecilia’s evolving iconographic role and rising musical star. They encompass a variety of media, including illuminations on parchment in medieval antiphonaries, woodcuts in early printed books, site-specific frescoes and panel paintings, and 16th-century engravings. The colour plates alone attest to the broad dissemination of Cecilia’s image as musician across multiple artistic supports and a wide geographic area. Rice’s book is a readable and richly researched work that makes an invaluable contribution to the understanding of this saint’s iconographic evolution.
偶然的考古学家:法国官员与罗马北非的重新发现
在主祭坛的前面,这座雕塑帮助这座教堂变成了罗马最受尊敬的神殿之一(第185页)。结语将我们带离本书的时间和地理框架,探索17世纪圣人从圣人到缪斯的演变。作者试图更深入地了解英国庆祝塞西莉亚节的起源,以及新教徒为什么把这位圣人视为音乐力量的象征。赖斯还提供了一份附录,其中列出了1620年之前出版或复制的170首为塞西莉亚创作的音乐,包括圣歌、弥撒和祈祷歌曲。它们不仅为音乐史学家提供了丰富的资源,也为表演者提供了丰富的资源。这部作品通俗易懂,论证充分,自信地超越了学术学科的界限,沉着地融合了文本、视觉和音乐资源。然而,这位艺术史学家评论家对许多音乐术语并不熟悉,这表明,在所有读者中,音乐家和音乐史学家可能会获得最大的回报。然而,这本书的73个彩色板块提供了一个受欢迎的视觉年表,展示了塞西莉亚不断发展的形象角色和冉冉升起的音乐明星。它们包含了各种各样的媒介,包括中世纪手稿上羊皮纸上的装饰画,早期印刷书籍中的木刻,特定地点的壁画和板画,以及16世纪的雕刻。仅这些彩板就证明了塞西莉亚作为音乐家的形象在多个艺术支持和广泛的地理区域得到了广泛的传播。赖斯的书可读性强,研究内容丰富,对理解这位圣人的肖像演变做出了宝贵的贡献。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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来源期刊
CiteScore
0.30
自引率
0.00%
发文量
22
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