Dancing, love and the ‘beautiful game’: a new interpretation of a group of fifteenth‐century ‘gaming’ boxes
Identifieur interne : 001954 ( Istex/Corpus ); précédent : 001953; suivant : 001955Dancing, love and the ‘beautiful game’: a new interpretation of a group of fifteenth‐century ‘gaming’ boxes
Auteurs : Paula NuttallSource :
- Renaissance Studies [ 0269-1213 ] ; 2010-02.
English descriptors
- Teeft :
- Albert museum, Alessandro pontremoli, Backgammon side, Baldassare ubriachi, Bargello, Bargello board, Bargello games board, Bargello reliefs, Basse, Basse dance, Beautiful game, Betley, Betley hall, Betley window, Biblia pauperum, Bone boxes, Bone plaquettes, Bottega degli embriachi, Camille, Casket, Cent nouvelles nouvelles, Chequered bases, Chess, Chess pieces, Comb, Courtly, Courtly couple, Courtly life, Courtly love, Courtly pursuits, Dark wood, Devonshire hunting tapestries, Embriachi, Erasmus grasser, Exotic court dance, Foliate ornament, French courts, French painting, Fteenth century, Gabinetto florence, Gaborit chopin, Games board, Gaming, Geest, Grasser, Guglielmo ebreo, Gures, Horizontal format, Hudson hills press, Hunting water fowl, Ingrid brainard, Ivoires, Ivoires gothiques, Ivoires medievaux, Jacqueline marie musacchio, Kleuren, Koechlin, Long pedigree, Male dancers, Marriage boxes, Marriage caskets, Marriage gift, Medieval life, Metropolitan museum, Michael camille, Michele tomasi, Middle ages, Middle class, Middle classes, Millard meiss, Miti antichi, Moresca, Museo nazionale, Netherlandish, Netherlandish painting, Nuttall, Original polychromy, Patrizia castelli, Paula nuttall, Pear tree, Planet venus, Plaquettes, Polo museale fiorentino, Polychromy, Private collection, Randall, Renaissance italy, Renaissance studies, Rich tradition, Same workshop, Secular imagery, Single woman, Soprintendenza speciale, Stag hunt, Subject matter, Teatro italiano, Theatre costume, Timothy husband, Vandenbroeck, Victoria albert museum images, Vols, Wide variety, Yale university press.
Abstract
This paper considers two bone boxes in the V&A with chequerboard bases, traditionally thought to be gaming boxes, and a related ivory comb. They belong to a large group of similar objects, which it is argued originated in the ambit of the Burgundian Netherlands in the late fifteenth century, in a common workshop using common patterns. This workshop also produced more elite objects, notably the ivory reliefs on a games board in the Bargello. The lids of the boxes depict a moresca, a well‐known dance performed in court, and popular entertainments that carried connotations of sex, the folly of love and the power of women; their sides depict scenes associated with courtly love, such as jousting and hunting, while a more obscure scene of Beating the Pear Tree, is interpreted as denoting fertility. This combined imagery suggests that the objects in this group should be understood in the context of love rather than gaming. It is proposed that they are marriage boxes, made for a non‐elite market (like those associated with the Embriachi), and that their chequerboard bases are purely decorative.
Url:
DOI: 10.1111/j.1477-4658.2009.00639.x
Links to Exploration step
ISTEX:2654896D7CC4F9F92B39F2CFC333C2F0B0BADF58Le document en format XML
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They belong to a large group of similar objects, which it is argued originated in the ambit of the Burgundian Netherlands in the late fifteenth century, in a common workshop using common patterns. This workshop also produced more elite objects, notably the ivory reliefs on a games board in the Bargello. The lids of the boxes depict a moresca, a well‐known dance performed in court, and popular entertainments that carried connotations of sex, the folly of love and the power of women; their sides depict scenes associated with courtly love, such as jousting and hunting, while a more obscure scene of Beating the Pear Tree, is interpreted as denoting fertility. This combined imagery suggests that the objects in this group should be understood in the context of love rather than gaming. 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Journal compilation © 2010 The Society for Renaissance Studies, Blackwell Publishing Ltd</copyright><eventGroup><event type="firstOnline" date="2010-01-18"></event><event type="publishedOnlineFinalForm" date="2010-01-18"></event><event type="xmlConverted" agent="Converter:BPG_TO_WML3G version:2.3.5 mode:FullText source:FullText result:FullText" date="2010-04-07"></event><event type="xmlConverted" agent="Converter:WILEY_ML3G_TO_WILEY_ML3GV2 version:3.8.8" date="2014-02-08"></event><event type="xmlConverted" agent="Converter:WML3G_To_WML3G version:4.1.7 mode:FullText,remove_FC" date="2014-11-03"></event></eventGroup><numberingGroup><numbering type="pageFirst" number="119">119</numbering><numbering type="pageLast" number="141">141</numbering></numberingGroup><linkGroup><link type="toTypesetVersion" href="file:REST.REST639.pdf"></link></linkGroup></publicationMeta><contentMeta><countGroup><count type="figureTotal" number="12"></count><count type="tableTotal" number="0"></count><count type="formulaTotal" number="0"></count><count type="referenceTotal" number="0"></count><count type="wordTotal" number="9444"></count><count type="linksPubMed" number="0"></count><count type="linksCrossRef" number="0"></count></countGroup><titleGroup><title type="main">Dancing, love and the ‘beautiful game’: a new interpretation of a group of fifteenth‐century ‘gaming’ boxes</title><title type="shortAuthors">Paula Nuttall</title><title type="short">A group of fifteenth‐century ‘gaming’ boxes</title></titleGroup><creators><creator creatorRole="author" xml:id="cr1" affiliationRef="#a1"><personName><givenNames>Paula</givenNames><familyName>Nuttall</familyName></personName></creator></creators><affiliationGroup><affiliation xml:id="a1"><unparsedAffiliation>Victoria and Albert Museum/Independent Scholar</unparsedAffiliation></affiliation></affiliationGroup><keywordGroup xml:lang="en"><keyword xml:id="k1">bone</keyword><keyword xml:id="k2">comb</keyword><keyword xml:id="k3">games</keyword><keyword xml:id="k4">love</keyword><keyword xml:id="k5">marriage boxes</keyword><keyword xml:id="k6">moresca</keyword></keywordGroup><abstractGroup><abstract type="main" xml:lang="en"><p>This paper considers two bone boxes in the V&A with chequerboard bases, traditionally thought to be gaming boxes, and a related ivory comb. They belong to a large group of similar objects, which it is argued originated in the ambit of the Burgundian Netherlands in the late fifteenth century, in a common workshop using common patterns. This workshop also produced more elite objects, notably the ivory reliefs on a games board in the Bargello. The lids of the boxes depict a moresca, a well‐known dance performed in court, and popular entertainments that carried connotations of sex, the folly of love and the power of women; their sides depict scenes associated with courtly love, such as jousting and hunting, while a more obscure scene of Beating the Pear Tree, is interpreted as denoting fertility. This combined imagery suggests that the objects in this group should be understood in the context of love rather than gaming. It is proposed that they are marriage boxes, made for a non‐elite market (like those associated with the Embriachi), and that their chequerboard bases are purely decorative.</p></abstract></abstractGroup></contentMeta></header></component></istex:document></istex:metadataXml><mods version="3.6"><titleInfo lang="en"><title>Dancing, love and the ‘beautiful game’: a new interpretation of a group of fifteenth‐century ‘gaming’ boxes</title></titleInfo><titleInfo type="abbreviated" lang="en"><title>A group of fifteenth‐century ‘gaming’ boxes</title></titleInfo><titleInfo type="alternative" contentType="CDATA" lang="en"><title>Dancing, love and the ‘beautiful game’: a new interpretation of a group of fifteenth‐century ‘gaming’ boxes</title></titleInfo><name type="personal"><namePart type="given">Paula</namePart><namePart type="family">Nuttall</namePart><affiliation>Victoria and Albert Museum/Independent Scholar</affiliation><role><roleTerm type="text">author</roleTerm></role></name><typeOfResource>text</typeOfResource><genre type="article" displayLabel="article" authority="ISTEX" authorityURI="https://content-type.data.istex.fr" valueURI="https://content-type.data.istex.fr/ark:/67375/XTP-6N5SZHKN-D">article</genre><originInfo><publisher>Blackwell Publishing Ltd</publisher><place><placeTerm type="text">Oxford, UK</placeTerm></place><dateIssued encoding="w3cdtf">2010-02</dateIssued><copyrightDate encoding="w3cdtf">2010</copyrightDate></originInfo><language><languageTerm type="code" authority="rfc3066">en</languageTerm><languageTerm type="code" authority="iso639-2b">eng</languageTerm></language><physicalDescription><extent unit="figures">12</extent><extent unit="tables">0</extent><extent unit="formulas">0</extent><extent unit="references">0</extent><extent unit="linksCrossRef">0</extent><extent unit="words">9444</extent></physicalDescription><abstract lang="en">This paper considers two bone boxes in the V&A with chequerboard bases, traditionally thought to be gaming boxes, and a related ivory comb. They belong to a large group of similar objects, which it is argued originated in the ambit of the Burgundian Netherlands in the late fifteenth century, in a common workshop using common patterns. This workshop also produced more elite objects, notably the ivory reliefs on a games board in the Bargello. The lids of the boxes depict a moresca, a well‐known dance performed in court, and popular entertainments that carried connotations of sex, the folly of love and the power of women; their sides depict scenes associated with courtly love, such as jousting and hunting, while a more obscure scene of Beating the Pear Tree, is interpreted as denoting fertility. This combined imagery suggests that the objects in this group should be understood in the context of love rather than gaming. It is proposed that they are marriage boxes, made for a non‐elite market (like those associated with the Embriachi), and that their chequerboard bases are purely decorative.</abstract><subject lang="en"><genre>keywords</genre><topic>bone</topic><topic>comb</topic><topic>games</topic><topic>love</topic><topic>marriage boxes</topic><topic>moresca</topic></subject><relatedItem type="host"><titleInfo><title>Renaissance Studies</title></titleInfo><genre type="journal" authority="ISTEX" authorityURI="https://publication-type.data.istex.fr" valueURI="https://publication-type.data.istex.fr/ark:/67375/JMC-0GLKJH51-B">journal</genre><identifier type="ISSN">0269-1213</identifier><identifier type="eISSN">1477-4658</identifier><identifier type="DOI">10.1111/(ISSN)1477-4658</identifier><identifier type="PublisherID">REST</identifier><part><date>2010</date><detail type="volume"><caption>vol.</caption><number>24</number></detail><detail type="issue"><caption>no.</caption><number>1</number></detail><extent unit="pages"><start>119</start><end>141</end><total>23</total></extent></part></relatedItem><identifier type="istex">2654896D7CC4F9F92B39F2CFC333C2F0B0BADF58</identifier><identifier type="ark">ark:/67375/WNG-HFJHT06W-G</identifier><identifier type="DOI">10.1111/j.1477-4658.2009.00639.x</identifier><identifier type="ArticleID">REST639</identifier><accessCondition type="use and reproduction" contentType="copyright">© 2010 The Author. 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