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 well over a hundred articles, and has edited more than forty collective volumes. His latest publication is a critical edition of Erasmus's Apophthegmata, books V–VIII (Brill, 2024).Walter Melion is Asa Griggs Candler Professor of Art History at Emory University, 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 (Brill, 2023), co-author of two exhibition catalogues, editor or co-editor of twenty collected volumes, and author of more than a hundred articles.

• AcknowledgementsList of IllustrationsNotes on the EditorsNotes on the Contributors1 Introduction: Motus mixti et compositi – the Portrayal of Mixed and Compound Emotions in the Visual and Literary Arts of Europe, 1500–1700Walter S. MelionPart 1: Portraying Mixed Emotions in the Literary ArtsSection A: Mixed Emotions in Dutch and Latin Drama2 All Motion Discovers Us: Moral Discernment and the Role of the Passions in Willem van Nieulandt’s Nero (1618)Bart Ramakers3 Staging the In-Between: Compound, Conflicting and Shifting Emotions in Seventeenth-Century Neo-Latin Drama from the Dutch RepublicLukas ReddemannSection B: Mixed Emotions in Neo-Latin and French Poetry4 Between Fleeting and Compound Emotions in Neo-Latin Lyric Poetry on 'Turks': Georgius Sisgoreus’ Elegia de Sibenicensis agri vastationeLudovica Sasso5 Shifting Emotions in Neo-Latin Psalm Poetry and Erotic Elegy: George Buchanan and Janus LernutiusCarolin A. Giere6 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 PassionsAline Smeesters7 Mixed Motives: the Art of Joachim Du Bellay, 1549–1558Tom ConleySection C: Mixed Emotions in Prose Literature8 Tears of Love and Sorrow: the Affective Regime of the European Pastoral TraditionAnita Traninger9 ‘How We Weep and Laugh at the Same Thing’: Conflicting Emotions in Rabelais and MontaignePaul J. Smith10 The Troubles of Christian Perfection: Berinzaga, Gagliardi, BorromeoWietse de BoerPart 2: Portraying Mixed Emotions in the Visual ArtsSection A: Mixed Emotions in Image-based Spiritual Exercises11 O vos omnes: Recognition, Tragic Emotion, and the Passerby Topos in Northern European Art around 1500Mitchell Merback12 Mixed Emotion and Spiritual Perfection in Abraham Bloemaert’s Sylva anachoretica of 1619Walter S. Melion13 Spiritual Joy in the Face of Death: Compound Emotions in Texts and Images of the Martyrs of the Japan MissionRaphaèle Preisinger14 Materialities of Mixed Emotions and Spiritual Martyrdom between the Grand Duchy of Lithuania and Grand Duchy of TuscanyRuth Sargent NoyesSection B: Heuristic and Sanative Images of Mixed Emotions15 Francisci chorda traxit ad se plurima corda: ‘Drawing’ the Heart’s Emotions in Jan Provoost’s Diptych of Christ Carrying the CrossElliott D. Wise16 ‘Symbolic Anatomies’: Hendrick Goltzius and the Ambiguities of Early Modern DisabilityBarbara A. Kaminska17 Exploring Complex Emotions through the Portrayal of Dialogic Exchange: Pieter Lastman’s Paul and Barnabas in Lystra of 1617Graham R. Lea18 Between Despair and Hope: Raising Emotions with Dutch Seventeenth-Century Marine Paintings and PrintsStijn Bussels and Bram Van OostveldtIndex Nominum