Motus mixti et compositi: The Portrayal of Mixed and Compound Emotions in the Visual and Literary Arts of Europe, 1500–1700

Karl Enenkel is professor of Medieval-and Neo-Latin literature at the University of Münster. He has published five monographs and some hundred and fourty articles, and edited more than fourty collective volumes. Recently, he has finished a critical commented edition of Erasmus' Apophthegmata, books V-VIII, to appear in ASD published by Brill. Walter Melion is Asa Griggs Candler Professor of Art History at Emory University in Atlanta, where he directed the Fox Center for Humanistic Inquiry between 2017 and 2023. He is the author of three monographs and a critical edition of Karel van Mander’s Foundation of the Noble, Free Art of Painting, co-author of two exhibition catalogues, editor or co-editor of twenty volumes, and has published more than one hundred articles.

Acknowledgements

List of Illustrations

Notes on the Editors

Notes on the Contributors



1 Introduction: Motus mixti et compositi – the Portrayal of Mixed and Compound Emotions in the Visual and Literary Arts of Europe, 1500–1700

 Walter S. Melion



Part 1: Portraying Mixed Emotions in the Literary Arts

Section A: Mixed Emotions in Dutch and Latin Drama

2 All Motion Discovers Us: Moral Discernment and the Role of the Passions in Willem van Nieulandt’s Nero (1618)

 Bart Ramakers



3 Staging the In-Between: Compound, Conflicting and Shifting Emotions in Seventeenth-Century Neo-Latin Drama from the Dutch Republic

 Lukas Reddemann



Section B: Mixed Emotions in Neo-Latin and French Poetry

4 Between Fleeting and Compound Emotions in Neo-Latin Lyric Poetry on 'Turks': Georgius Sisgoreus’ Elegia de Sibenicensis agri vastatione

 Ludovica Sasso



5 Shifting Emotions in Neo-Latin Psalm Poetry and Erotic Elegy: George Buchanan and Janus Lernutius

 Carolin A. Giere



6 On Red and White Cheeks: Jakob Balde’s Poetic Ekphrases on a Triptych by Christoph Schwarz in the Light of the Scholastic Theory of the Passions

 Aline Smeesters



7 Mixed Motives: the Art of Joachim Du Bellay, 1549–1558

 Tom Conley



Section C: Mixed Emotions in Prose Literature

8 Tears of Love and Sorrow: the Affective Regime of the European Pastoral Tradition

 Anita Traninger



9 ‘How We Weep and Laugh at the Same Thing’: Conflicting Emotions in Rabelais and Montaigne

 Paul J. Smith



10 The Troubles of Christian Perfection: Berinzaga, Gagliardi, Borromeo

 Wietse de Boer



Part 2: Portraying Mixed Emotions in the Visual Arts

Section A: Mixed Emotions in Image-based Spiritual Exercises

11 O vos omnes: Recognition, Tragic Emotion, and the Passerby Topos in Northern European Art around 1500

 Mitchell Merback



12 Mixed Emotion and Spiritual Perfection in Abraham Bloemaert’s Sylva anachoretica of 1619

 Walter S. Melion



13 Spiritual Joy in the Face of Death: Compound Emotions in Texts and Images of the Martyrs of the Japan Mission

 Raphaèle Preisinger



14 Materialities of Mixed Emotions and Spiritual Martyrdom between the Grand Duchy of Lithuania and Grand Duchy of Tuscany

 Ruth Sargent Noyes



Section B: Heuristic and Sanative Images of Mixed Emotions

15 Francisci chorda traxit ad se plurima corda: ‘Drawing’ the Heart’s Emotions in Jan Provoost’s Diptych of Christ Carrying the Cross

 Elliott D. Wise



16 ‘Symbolic Anatomies’: Hendrick Goltzius and the Ambiguities of Early Modern Disability

 Barbara A. Kaminska



17 Exploring Complex Emotions through the Portrayal of Dialogic Exchange: Pieter Lastman’s Paul and Barnabas in Lystra of 1617

 Graham R. Lea



18 Between Despair and Hope: Raising Emotions with Dutch Seventeenth-Century Marine Paintings and Prints

 Stijn Bussels and Bram Van Oostveldt



Index Nominum