Giulia Torello-Hill (Ph.D. Nottingham, 2006) is a Lecturer in Italian at the University of New England. Her research explores the interplay between exegesis of ancient texts, iconographic tradition and performance practice in Renaissance Italy. Andrew J. Turner (Ph.D. Melbourne, 2000) is a researcher at the University of Melbourne, where he lectures on Latin literature. He has published on the reception of Terence and Sallust, and is at present examining late medieval commentaries on Seneca.

• PrefaceList of FiguresAbbreviationsNote on Illustrations and the Use of Electronic ResourcesIntroduction1 The Lyon Terence and Its Initial Impact1.1 Contents and mise-en-page1.2 Publishing in Lyon1.3 Composition, Printing, and Distribution2 Terence’s Plays: Commentary and Illustration from Manuscript to Print2.1 Terence as an Educational Classic: Text and Commentary from Antiquity to Medieval and Renaissance Europe2.2 The Development of Manuscript Illustrations of Terence2.3 The Impact of New Learning and Technologies: Donatus and the Advent of PrintingThe Editor of the Lyon Terence: Jodocus Badius Ascensius3.1 Badius3.2 Early Life and Literary Career to 14933.2.1 Flanders and Brabant3.2.2 Italy3.2.3 Lyon3.3 Later Career to 15024 Text and Commentary in Badius’ Three Editions of Terence4.1 The 1491 Edition and Donatus4.2 The Lyon Terence: the Commentary of Guy Jouenneaux and Badius’ Revisions4.2.1 The Commentary Edition of Guy Jouenneaux4.2.2 Badius’ Re-edition of Guy4.3 The 1502 Terence and Its Sources5 The Illustrative Programme of the 1493 Edition5.1 Badius’ Appropriation of the Carolingian Tradition5.2 Gestures in Medieval and Early Modern Culture5.3 Carolingian Gestures5.4 Non-Carolingian Gestures5.4.1 Manly Gestures5.4.2 Female Gestures5.4.3 Affective Gestures5.5 Characterization through Costuming5.6 Gestures, Illustrations and Commentary Derivative of Donatus in the Lyon Terence5.7 The Illustrator of the Lyon TerenceAppendix: A Catalogue of Gestures6 The Theatricality of the Lyon Terence6.1 The Lyon Terence and Performance6.2 Stage Design: the Lyon Terence and the Representation of Theatre Buildings6.3 The Stage6.4 Stage Conventions6.4.1 Entrances and Exits6.4.2 Asides, Eavesdropping, and Off-stage Scenes6.5 Terence on Stage in Renaissance Italy and France7 The Legacy of the Lyon Terence in the Sixteenth Century7.1 Terence in Print in Late Fifteenth and Sixteenth Century7.2 The Venetian Illustrated Editions of Terence of Lazzaro de’ Soardi7.3 The Italian Illustrated Editions of the Sixteenth Century7.4 The Influence of the Lyon Terence in Germany: the Illustrated Terence of Johann Grüninger and Its Tradition7.5 The French Tradition of Terence after 14937.6 ConclusionConclusionBibliographyIndex LocorumIndex of ManuscriptsIndex of SubjectsConcordance of Images in the Lyon TerenceIllustrations

“This (study) makes us not only grateful for what it teaches but eager to know still more.” Sander M. Goldberg, UCLA, in: Bryn Mawr Classical Review 2021.12.18

Giulia Torello-Hill (Ph.D. Nottingham, 2006) is a Lecturer in Italian at the University of New England. Her research explores the interplay between exegesis of ancient texts, iconographic tradition and performance practice in Renaissance Italy. Andrew J. Turner (Ph.D. Melbourne, 2000) is a researcher at the University of Melbourne, where he lectures on Latin literature. He has published on the reception of Terence and Sallust, and is at present examining late medieval commentaries on Seneca.

• PrefaceList of FiguresAbbreviationsNote on Illustrations and the Use of Electronic ResourcesIntroduction1 The Lyon Terence and Its Initial Impact1.1 Contents and mise-en-page1.2 Publishing in Lyon1.3 Composition, Printing, and Distribution2 Terence’s Plays: Commentary and Illustration from Manuscript to Print2.1 Terence as an Educational Classic: Text and Commentary from Antiquity to Medieval and Renaissance Europe2.2 The Development of Manuscript Illustrations of Terence2.3 The Impact of New Learning and Technologies: Donatus and the Advent of PrintingThe Editor of the Lyon Terence: Jodocus Badius Ascensius3.1 Badius3.2 Early Life and Literary Career to 14933.2.1 Flanders and Brabant3.2.2 Italy3.2.3 Lyon3.3 Later Career to 15024 Text and Commentary in Badius’ Three Editions of Terence4.1 The 1491 Edition and Donatus4.2 The Lyon Terence: the Commentary of Guy Jouenneaux and Badius’ Revisions4.2.1 The Commentary Edition of Guy Jouenneaux4.2.2 Badius’ Re-edition of Guy4.3 The 1502 Terence and Its Sources5 The Illustrative Programme of the 1493 Edition5.1 Badius’ Appropriation of the Carolingian Tradition5.2 Gestures in Medieval and Early Modern Culture5.3 Carolingian Gestures5.4 Non-Carolingian Gestures5.4.1 Manly Gestures5.4.2 Female Gestures5.4.3 Affective Gestures5.5 Characterization through Costuming5.6 Gestures, Illustrations and Commentary Derivative of Donatus in the Lyon Terence5.7 The Illustrator of the Lyon TerenceAppendix: A Catalogue of Gestures6 The Theatricality of the Lyon Terence6.1 The Lyon Terence and Performance6.2 Stage Design: the Lyon Terence and the Representation of Theatre Buildings6.3 The Stage6.4 Stage Conventions6.4.1 Entrances and Exits6.4.2 Asides, Eavesdropping, and Off-stage Scenes6.5 Terence on Stage in Renaissance Italy and France7 The Legacy of the Lyon Terence in the Sixteenth Century7.1 Terence in Print in Late Fifteenth and Sixteenth Century7.2 The Venetian Illustrated Editions of Terence of Lazzaro de’ Soardi7.3 The Italian Illustrated Editions of the Sixteenth Century7.4 The Influence of the Lyon Terence in Germany: the Illustrated Terence of Johann Grüninger and Its Tradition7.5 The French Tradition of Terence after 14937.6 ConclusionConclusionBibliographyIndex LocorumIndex of ManuscriptsIndex of SubjectsConcordance of Images in the Lyon TerenceIllustrations

“This (study) makes us not only grateful for what it teaches but eager to know still more.” Sander M. Goldberg, UCLA, in: Bryn Mawr Classical Review 2021.12.18

Giulia Torello-Hill (Ph.D. Nottingham, 2006) is a Lecturer in Italian at the University of New England. Her research explores the interplay between exegesis of ancient texts, iconographic tradition and performance practice in Renaissance Italy. Andrew J. Turner (Ph.D. Melbourne, 2000) is a researcher at the University of Melbourne, where he lectures on Latin literature. He has published on the reception of Terence and Sallust, and is at present examining late medieval commentaries on Seneca.

• PrefaceList of FiguresAbbreviationsNote on Illustrations and the Use of Electronic ResourcesIntroduction1 The Lyon Terence and Its Initial Impact1.1 Contents and mise-en-page1.2 Publishing in Lyon1.3 Composition, Printing, and Distribution2 Terence’s Plays: Commentary and Illustration from Manuscript to Print2.1 Terence as an Educational Classic: Text and Commentary from Antiquity to Medieval and Renaissance Europe2.2 The Development of Manuscript Illustrations of Terence2.3 The Impact of New Learning and Technologies: Donatus and the Advent of PrintingThe Editor of the Lyon Terence: Jodocus Badius Ascensius3.1 Badius3.2 Early Life and Literary Career to 14933.2.1 Flanders and Brabant3.2.2 Italy3.2.3 Lyon3.3 Later Career to 15024 Text and Commentary in Badius’ Three Editions of Terence4.1 The 1491 Edition and Donatus4.2 The Lyon Terence: the Commentary of Guy Jouenneaux and Badius’ Revisions4.2.1 The Commentary Edition of Guy Jouenneaux4.2.2 Badius’ Re-edition of Guy4.3 The 1502 Terence and Its Sources5 The Illustrative Programme of the 1493 Edition5.1 Badius’ Appropriation of the Carolingian Tradition5.2 Gestures in Medieval and Early Modern Culture5.3 Carolingian Gestures5.4 Non-Carolingian Gestures5.4.1 Manly Gestures5.4.2 Female Gestures5.4.3 Affective Gestures5.5 Characterization through Costuming5.6 Gestures, Illustrations and Commentary Derivative of Donatus in the Lyon Terence5.7 The Illustrator of the Lyon TerenceAppendix: A Catalogue of Gestures6 The Theatricality of the Lyon Terence6.1 The Lyon Terence and Performance6.2 Stage Design: the Lyon Terence and the Representation of Theatre Buildings6.3 The Stage6.4 Stage Conventions6.4.1 Entrances and Exits6.4.2 Asides, Eavesdropping, and Off-stage Scenes6.5 Terence on Stage in Renaissance Italy and France7 The Legacy of the Lyon Terence in the Sixteenth Century7.1 Terence in Print in Late Fifteenth and Sixteenth Century7.2 The Venetian Illustrated Editions of Terence of Lazzaro de’ Soardi7.3 The Italian Illustrated Editions of the Sixteenth Century7.4 The Influence of the Lyon Terence in Germany: the Illustrated Terence of Johann Grüninger and Its Tradition7.5 The French Tradition of Terence after 14937.6 ConclusionConclusionBibliographyIndex LocorumIndex of ManuscriptsIndex of SubjectsConcordance of Images in the Lyon TerenceIllustrations

“This (study) makes us not only grateful for what it teaches but eager to know still more.” Sander M. Goldberg, UCLA, in: Bryn Mawr Classical Review 2021.12.18