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Erasmus' Familiar Colloquies grew from a small collection of phrases, sentences, and snatches of dialogue written in Paris about 1497 to help his private pupils improve their command of Latin. Twenty years later the material was published by Johann Froben (Basel 1518). It was an immediate success and was reprinted thirty times in the next four years. For the edition of March 1522 Erasmus began to add fully developed dialogues, and a book designed to improve boys' use of Latin (and their deportment) soon became a work of literature for adults, although it retained traces of its original purposes. The final Froben edition (March, 1533) had about sixty parts, most of them dialogues. It was in the last form that the Colloquies were read and enjoyed for four centuries. For modern readers it is one of the best introductions to European society of the Renaissance and Reformation periods, with lively descriptions of daily life and provocative discussions of political, religious, social, and literary topics, presented with Erasmus's characteristic wit and verve. Each colloquy has its own introduction and full explanatory, historical, and biographical notes. Volumes 39 and 40 of the Collected Works of Erasmus series - Two-volume set.
Erasmus was a sixteenth century educator, theologian, satirist, and scholar and there have been a number of attempts to describe his intellectual development and to measure his greatness. However, Rabil believes that most interpretations of Erasmus and his work fail in analyzing Erasmus in a way consistent with all the source material on which such an interpretation must be based. The author argues that religion and humanism are the proper poles in relation to which Erasmus' intellectual development must be understood. In Rabil's own interpretation of Erasmus, he covers Erasmus' intellectual development as it relates to his editing of the New Testament in Greek, his translation of it into Latin, a look at the methodology in Erasmus' annotations and paraphrase of Romans, and a comparison of Erasmus and Luther on Romans. Rabil demonstrates that Erasmus' intellectual development occurred at every turning point, from his first poem in 1483 until he achieved a maturity of outlook in his edition of the Greek New Testament in 1516. Originally published in 1972 by Trinity University Press.
Pieter Bruegel the Elder: Art Discourse in the Sixteenth-Century Netherlands examines the later images by Bruegel in the context of two contemporary discourses - art theoretical and convivial. The first concerns the purely visual interactions between artists and artistic practices that unfold in pictures, which often transgress the categorical boundaries modern scholars place on their work, such as sacred and profane, antique and modern, and Italian and Northern. In this context, the images themselves - those of Bruegel, his contemporaries and predecessors - make up the primary source material from which the author argues. The second deals with the dialogue that occurred between viewers in front of pictures and the way in which pictorial strategies facilitated their visual experience and challenged their analytical capabilities. In this regard, the author expands his base of primary sources to include convivial texts, dialogues and correspondences, and texts by rhetoricians and Northern humanists addressing art theoretical issues. Challenging the conventional wisdom that the artist eschewed Italianate influences, this study demonstrates how Bruegel's later peasant paintings reveal a complicated artistic dialogue in which visual concepts and pictorial motifs from Italian and classical ideas are employed for a subject that was increasingly recognized in the sixteenth century as a specifically Northern phenomenon. Similar to the Dutch rhetorician societies and French Pl?de poets who cultivated the vernacular language using classical Latin, the function of this interpictorial discourse, the author argues, was not simply to imitate international trends, a common practice during the period, but to use it to cultivate his own visual vernacular language. Although the focus is primarily on Bruegel's later work, the author's conclusions are applied to sketch a broader understanding of both the artist himself and the vibrant artistic dialogue occurring in the Netherl
