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RENAISSANCE AND REFORMATION

Publisher:
—
ISSN:
0034-429X
Category:
MEDIEVAL & RENAISSANCE STUDIES
Impact factor:
0.2
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Le recueil et la construction de l’image d’auteur : Ronsard et Herrera, le poète manie la lyre d’Apollon

2026-02-09

João Aidar

Renaissance authors often attempt to fashion their authorial image by their arrangement of texts and engravings at the beginning of their books, by giving careful thought to editorial questions, or by attending to the architecture of their works–that is, to the organization of texts within a book. They also tend to ground this self-fashioning by associating themselves with a mythical figure. Two examples of this are Ronsard and Fernando de Herrera, in Les Amours (1552) and Algunas Obras (1582) respectively. This article attempts to show how Ronsard, by integrating references to the mythic Cassandra into the depiction of his beloved, fashions his own image after that of the god who falls in love with the Trojan prophetess. Similarly to Ronsard, Herrera arranges the poems in his book in such a way as to make his voice echo that of Apollo. However, instead of utilizing the love poetry in his collection to achieve this effect, he makes use of texts written in honour of Ferdinand III, the city of Seville, and its artistic heritage.

Allegory of Wavering Faith: Renaming the Law and Gospel (1535) by Georg Lemberger in Light of the Lutheran Ministry of Consolation in Sixteenth-Century Germany

2026-02-09

Yu Na Han

A painting by Georg Lemberger (c. 1490–1540) dated 1535 and housed in the Germanisches Nationalmuseum in Nuremberg presents a conspicuous variation of the representative Lutheran iconography, the Law and Gospel. The quintessential composition is delineated by the juxtaposition of scenes from the Old and New Testaments set against an unembellished backdrop. In Lemberger’s artistic rendition, however, the positions of the two testaments are inverted and accompanied by a tumultuous landscape in the background. The depictions of the Law and Gospel were conceived as an allegorical representation of faith, elucidating Luther’s doctrine of justificatio sola fide and imparting assurance to observers regarding their individual salvation. In contrast, Lemberger’s revised version portrays human frailty easily falling back into doubts and uncertainty about God and redemption. By giving a visual form to the negative experience the faithful would generally share, the image reminds viewers that they are not alone in such suffering and wondering.