Early Modern Circle
(Photograph: Andrew Stephenson)
Early Modern Studies Research Hub at the University of Melbourne
The Early Modern Circle is an interdisciplinary seminar open to interested students, academics and researchers. The Circle meets on the third Monday of the month, during semester, at 6.15 pm. Until further notice, meetings will be conducted via a zoom link circulated by the Chair a week before the relevant seminar.
Convenors
Catherine Kovesi
c.kovesi@unimelb.edu.au
Una McIlvenna
una.mcilvenna@unimelb.edu.au
Jenny Spinks
jspinks@unimelb.edu.au
To be added to the mailing list, please email Andrew Stephenson.
Programme for 2021
15 March
Dr Charlotte Millar, The University of Queensland
Urban Ghosts: Space and Spectral Narratives in Early Modern London
In 1732 the historian Thomas Salmon proclaimed that ‘the people of London are not so superstitious as those in the country; we seldom hear of Apparitions, Witches or Haunted Houses about town.’ Salmon’s statement draws on a long tradition of depicting a divide between the superstitious rural regions and the “enlightened” towns. Despite this, supernatural tales proliferated in early modern London, reaching the populace through word of mouth and cheap printed pamphlets and ballads. This talk uses printed tales of ghost sightings in seventeenth-century London to demonstrate not only that supernatural beliefs were a key part of the early modern urban landscape but, also, that ghostly tales were integral to understandings of space and place. It highlights the importance of particular places in eliciting affective responses to supernatural phenomena; how close-knit communities conceptualised urban space; and how supernatural beliefs remained a key part of how urban dwellers understood their world.
Dr Charlotte-Rose Millar is a cultural historian specialising in supernatural beliefs and popular print in early modern England. She has previously held a research fellowship at the University of Queensland (2016-2020) and a visiting fellowship at the University of Cambridge (2018). She is the author of Witchcraft, the Devil and Emotions in Early Modern England (Routledge, 2017) and is currently working on a new, book-length project on ghosts in early modern England, as well as editing volume three of Bloomsbury’s six volume series A Cultural History of Magic. She holds an honorary position at the University of Queensland.
To register and for the Zoom Link, contact Jenny Spinks: jspinks@unimelb.edu.au.
19 April
Carl Villis, National Gallery of Victoria
Deciphering Lucrezia’s Portrait
Since 1966, the National Gallery of Victoria has been home to a highly unusual Northern Italian oval portrait, believed to have been painted around 1525. For well over a century there has been debate and uncertainty about some of the most fundamental aspects of the painting, including its origins, authorship and especially the gender of the sitter portrayed. It was not until a detailed technical examination of the painting in 2006 that it became possible to confidently determine the Ferrarese origins of the portrait, which in turn led to a major reassessment of the painting’s motifs and meaning. This presentation will outline some of the critical steps in the process of discovery which resulted in the identification of the sitter as Lucrezia Borgia, Duchess of Ferrara.
Carl Villis is the Senior Conservator of Paintings at the National Gallery of Victoria. He has specialised in the conservation of Old Master paintings for nearly thirty years at the NGV and art museums in Italy and the United States. He has conducted major conservation treatments and technical research on paintings by many artists in the collection, including Correggio, Titian, Tintoretto, Veronese, Rubens and Giambattista Tiepolo. He combines his technical analysis of paintings with art historical research and has published studies on works by Poussin, Van Dyck and Bernardo Bellotto, among others. In 2013-14 he was a Craig Hugh Smyth Visiting Fellow at Harvard University’s Centre for Renaissance Studies at the Villa I Tatti in Florence to complete research for his forthcoming book on his identification of the Gallery’s early sixteenth-century portrait of Lucrezia Borgia.
To register and for the Zoom Link, contact Catherine Kovesi: c.kovesi@unimelb.edu.au