Hostname: page-component-78c5997874-mlc7c Total loading time: 0 Render date: 2024-11-17T16:39:04.807Z Has data issue: false hasContentIssue false
  • English
  • Français

Dance and the Garden: Moving and Static Choreography in Renaissance Europe*

Published online by Cambridge University Press:  20 November 2018

Jennifer Nevile
Jennifer Nevile*
Affiliation:
University of New South Wales
Get access Rights & Permissions [Opens in a new window]

Abstract

In the Renaissance there were close similarities between the static choreography of the formal gardens of the nobility and the moving choreographies performed by the members of the court. The principles of order and proportion, the expression of splendour, the geometrical forms, were all fundamental principles of both Renaissance court dance and the formal garden. The patterns in both these art-forms were meant to be viewed from above. This close similarity in design principles between the horticultural and kinetic arts existed right through the fifteenth and sixteenth centuries and continued into the seventeenth century.

Type
Studies
Information
Renaissance Quarterly , Volume 52 , Issue 3 , Autumn 1999 , pp. 805 - 836
Copyright
Copyright © Renaissance Society of America 1999

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

Footnotes

*

Earlier versions of this article were presented at the Sydney Society of Literature and Aesthetics Colloquium, Sydney, June 1994 and the Annual Conference of the Society of Dance History Scholars, Toronto, May 1995. I would like to express my thanks to my colleague Graham Pont, who first inspired me to look at the formal gardens in Europe.

References

Adams, William Howard. The French Garden 1500-1800. London, 1979.Google Scholar
Alberti, Leon Battista. Delia Pittura. Trans. John Spencer. London, 1956.Google Scholar
Alberti, Leon Battista. On the Art of Building in Ten Books. Trans. J. Rykwert, N. Leach, and R. Tavernor. Cambridge, MA, 1988.Google Scholar
Arbeau, Thoinot. Orchesography . Trans. Mary Stewart Evans, intro. and notes Julia Sutton. New York, 1967.Google Scholar
Azzi Visentini, Margherita. L'Orto botanico di Padova e il giardino del Rinascimento. Milan, 1984.Google Scholar
Brown, J. The Art and Architecture of English Gardens. Designs for the Garden from the Collection of the Royal Institute of British Architects 1609 to the Present Day. London, 1989.Google Scholar
Butler, Martin. Theatre and Crisis 1632-1642. Cambridge, 1984.Google Scholar
Caroso, Fabritio. Il Ballarino. Venice, 1581 (facs. New York, 1967).Google Scholar
Caroso, Fabritio. Nobilta di Dame. Venice, 1600 (fees. Bologna, 1980).Google Scholar
Cavendish, William. The Varietie. London, 1649.Google Scholar
Clough, Cecil H. Rev. of Guglielmo Ebreo of Pesaro, De practica seu arte tripudii: On the Practice or Art of Dancing, ed. Barbara Sparti. Renaissance Studies 11/3 (1997): 241-69.Google Scholar
Coffin, David R., ed. The Italian Garden. Washington, DC, 1972.Google Scholar
Coffin, David R. “The ‘Lex Hortorum’ and Access to Gardens of Latium During the Renaissance.” Journal of Garden History 2/3 (1982): 201-32.Google Scholar
Coffin, David R.. Gardens and Gardening in Papal Rome. Princeton, 1991.Google Scholar
Comito, Terry. “The Humanist Garden.” In The History of Garden Design. The Western Tradition from the Renaissance to the Present Day, ed. Monique Mosser and Georges Teyssot, 37–46. London, 1991.Google Scholar
Ebreo, Guglielmo. De pratica seu arte tripudii vulgare opusculum. Paris, Bibliotheque Nationale, MS fonds it. 973.Google Scholar
Falletti, Clelia. “Le feste per Eleonora d'Aragona da Napoli a Ferrara (1473).” In Spettacoli conviviali dall'antichita classica a lie corti italiane del ‘400, 269-89. Viterbo, 1982.Google Scholar
Fallows, David. “The Gresley Dance Collection circa 1500.” Research Chronicle 29 (1996): 1–20.Google Scholar
Feuillet, Raoul-Auger. Chorigraphie, ou I'Art de De'crire la Danse. Paris, 1700.Google Scholar
Garlick, Fiona. “The Measure of Decorum. Social Order and the Dance Suite in the Reign of Louis XIV.” unpublished PhD thesis, University of New South Wales, 1992.Google Scholar
Gillies, John. Shakespeare and the Geography of Difference. Cambridge, 1994.Google Scholar
Hill, Thomas. The Profitable Art of Gardening. London, 1568.Google Scholar
Hill, Thomas. (Didymus Montaine). The Gardeners Labyrinth. London, 1594 (facs. New York, 1982).Google Scholar
Hobhouse, Penelope. Gardening Through the Ages. New York and London, 1992.Google Scholar
Hunt, John Dixon. ed. Garden History. Issues, Approaches, Methods. Washington, DC, 1992.Google Scholar
Hunt, John Dixon and Peter, Willis. ed. The Genius of the Place: The English Landscape Garden 1620-1820. London, 1975.Google Scholar
Jonson, Ben. The Works of Ben Jonson. Ed. C. H. Herford, P. Simpson, and E. Simpson, 11 vols. Oxford, 1925-52.Google Scholar
Karling, S. “The Importance of Andre’ Mollet and His Family fot the Development of the French Formal Garden. “ In The French Formal Garden, ed. Elisabeth B. Macdougall and F. Hamilton Hazlehurst, 1-25. Washington, DC, 1974.Google Scholar
Lauze, Francois de. Apologie de la Danse, 1623.Google Scholar
Lawson, William. A New Orchard. London, 1618 (facs. New York, 1983).Google Scholar
Lazzaro, Claudia. The Italian Renaissance Garden, New Haven and London, 1990.Google Scholar
MacDougall, Elizabeth B. Hamilton and Hazlehurst, F. Hamilton ed. The French Formal Garden. Washington, DC, 1974.Google Scholar
Markham, Gervase. The English Husbandman. 2 vols. London, 1613-1614.Google Scholar
McGowan, Margaret M.. LArtdu ballet de cour en France 1581-1643. Paris, 1963.Google Scholar
McGowan, Margaret M.. Ideal Forms in the Age of Ronsard. Berkeley, 1985.Google Scholar
McGowan, Margaret M.. “The Arts Conjoined: A Context for the Study of Music.” Early Music History 13 (1994): 171-98.Google Scholar
McGowan, Margaret M., ed. ‘Le Balet Comique’ by Balthazar de Beaujoyeulx, 1581. Binghamton, 1982.Google Scholar
Minelli, Alessandro. ed. L'Orto botanico di Padova 1545-1995. Venice, 1995.Google Scholar
Negri, Cesare. Le Gratie d'Amore. Milan, 1602 (facs. New York, 1969).Google Scholar
Nevile, Jennifer. “'Certain Sweet Movements': The Development of the Concept of Grace in 15th-Century Italian Dance and Painting.” Dance Research 9/1 (1991): 3–12.Google Scholar
Nevile, Jennifer. “The Courtly Dance Manuscripts from Fifteenth-Century Italy,” unpublished PhD dissertation, University of New South Wales, 1992.Google Scholar
Nevile, Jennifer. “Dance in early Tudor England: an Italian connection?.” Early Music 26/2 (1998a): 230-44.Google Scholar
Nevile, Jennifer. “Cavalieri's Theatrical Ballo O che nuovo miracolo: A Reconstruction. “ Dance Chronicle 21/3 (1998b): 353-88.Google Scholar
Nevile, Jennifer. “Cavalieri's Theatrical Ballo and the Social Dances of Caroso and Negri.” Dance Chronicle 22/1 (1999): 119-33.Google Scholar
Orgel, Stephen and Strong, Roy ed. Inigo Jones. The Theatre of the Stuart Court. 2 vols. Berkeley and London, 1973.Google Scholar
Plat, Hugh. The Garden of Eden. London, 1654.Google Scholar
Pont, Graham. “In Search of the Opera Gastronomica.” In Food in Festivity. Proceedings of the Fourth Symposium of Australian Gastronomy, ed. Anthony Corones, Graham Pont, and Barbara Santich, 114-24. Sydney, 1990.Google Scholar
Puppi, Lionello. “Nature and Artifice in the Sixteenth-Century Italian Garden.” In The History of Garden Design. The Western Tradition from the Renaissance to the Present Day, ed. Monique Mosser and Georges Teyssot, 47-58. London, 1991.Google Scholar
Rameau, Pierre. Le Maitre a danser. Paris, 1725.Google Scholar
Ruiz, Teofilo F. “Elite and Popular Culture in Late Fifteenth-Century Castilian Festivals: The Case of Jae“n.” In City and Spectacle in Medieval Europe, ed. B. A. Hanawalt and K. L. Reyerson, 296-318. Minneapolis and London, 1994.Google Scholar
Rykwert, J. “Introduction.” In On the Art of Building in Ten Books, by Leon Battista Alberti. Trans. J. Rykwert, N. Leach, and R. Tavernor, ix-xxi. Cambridge, MA, 1988.Google Scholar
Smith, Judy and Gatiss, Ian. “What did Prince Henry do with his feet on Sunday 19 August 1604”. Early Music 14/2 (1986): 199–207.Google Scholar
Sparti, Barbara, ed., trans, and intro. Guglielmo Ebreo of Pesaro. De Pratica Seu Arte Tripudii. On the Practice or Art of Dancing. Oxford, 1993.Google Scholar
Sparti, Barbara. “Urban VIII's Physician Reports ‘On the Origin and Nobility of Dance',” a paper presented at the Society for Seventeenth-Century Music Conference, Danville, Kentucky, 27-30 April 1995.Google Scholar
Sparti, Barbara. “Breaking Down Barriers in the Study of Renaissance and Baroque Dance,” Dance Chronicle 19/3 (1996): 255-76.Google Scholar
Spencer, T. J. B. and Wells, S. ed. A Book of Masques in Honour of Allardyce Nicoll. Cambridge, 1970.Google Scholar
Strong, Roy. The Renaissance Garden in England. London, 1979.Google Scholar
Taylor, John. A New Discovery by Sea, with a Wherry from London to Salisbury. London, 1623.Google Scholar
Terwen-Dionisius, Else M. “Date and design of the botanical garden in Padua.” Journal of Garden History 14/4 (1994): 213-35.Google Scholar
Thacker, Christopher. The History of Gardens. Berkeley, 1985.Google Scholar
Tomasi, Lucia Tongiorgi. “Geometric Schemes for Plant Beds and Gardens: A Contribution to the History of the Garden in the Sixteenth and Seventeenth Centuries.” In World Art. Themes of Unity in Diversity (Acts of the XXVI International Congress of the History of Art) 1, ed. Irving Lavin, 211-17. University Park and London, 1989.Google Scholar
Tomlinson, Kellom. The Art of Dancing. London, 1735.Google Scholar
Walls, Peter. Music in the English Courtly Masque 1604-1640. Oxford, 1996.Google Scholar
Ward, John M. “Newly Devis'd Measures for Jacobean Masques.” Acta Musicologica 60 (1988): 111-42.Google Scholar
Zimmerman, Reinhard. “Iconography in German and Austrian Renaissance Gardens.” In Garden History. Issues, Approaches, Methods, ed. J. D. Hunt, 97-118. Washington, DC, 1992.Google Scholar