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In: Brill’s Companion to the Reception of Homer from Byzantium to the Enlightenment
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5.1 San Daniele del Friuli (Italy), Biblioteca Civica Guarneriana, ms. 43, f. 123r: Leonardo Bruni’s Prohemium to the Orationes Homeri 118

14.1 The Αἱ καθ’ Ὅµηρον Ἀρχαιότητες καὶ Αἱ Κερκυραϊκαὶ Ἀρχαιολογίαι by Eugenios Voulgaris (Moscow, 1804), Athens, private collection 334

16.1 Pisa, Facade of the Duomo, First Arcade: Burial Place of Buscheto, c.1118 374

16.2 Apollonio di Giovanni, Front of a Wedding Chest with the Adventures of Ulysses (from Polyphemus to Scylla), c.1435–45, Cracow, Wawel Royal Castle 376

16.3 Apollonio di Giovanni, Front of a Wedding Chest with the Adventures of Ulysses (from the Sirens to the Suitors), c.1435–45, Cracow, Wawel Royal Castle 376

16.4 Antonio Averlino detto il Filarete, Ulysses and Irus, c.1445–50, Vienna, Kunstihistorisches Museum, Sammlung für Plastik und Kunstgewerbe, Inv. No. KK6127 377

16.5 Pinturicchio, The Return of Telemachus, c.1509, London, National Gallery 379

16.6 Raphael (and workshop), Wall of Poetry (with the Parnassus and the two monochromes with Alexander the Great Who Sets the Iliad in a Coffer of Darius and Augustus Who Saves Virgil’s Aeneid from the Pyre), c.1510–11 and c.1513, Rome, Vatican Museums, Stanza della Segnatura 380

16.7 Bartolomeo Passerotti, Homer’s Riddle, c.1575, Florence, Gallerie degli Uffizi 382

16.8 Antonio Allegri, detto Correggio, Portrait of a Gentlewoman, c.1520, Saint Petersburg, Hermitage 383

16.9 Antonio Allegri, detto Correggio, Lunette with the Punishment of Hera, c.1518–1519, Parma, Camera di San Paolo 384

16.10 Detail of Garofalo, Mars and Wounded Venus before Troy, c.1520–1524, Dresden, Gemäldegalerie Alte Meister 385

16.11 Pellegrino Tibaldi, Ulysses Blinds Polyphemus, c.1550–51, Bologna, Palazzo Poggi, central panel of the vault of the salon of Ulysses 387

16.12 Rembrandt Harmenszoon van Rijn, Aristotle with a Bust of Homer, 1653, New York, The Metropolitan Museum of Art 388

16.13 Imagined Portrait of Homer, of the type “Hellenistic Blind Man,” second half of the second century BCE, Rome, Capitoline Museums, Palazzo nuovo, Sala dei Filosofi 389

16.14 Rembrandt Harmenszoon van Rijn, Homer, 1663, La Haye, cabinet royal des peintures, Mauritshuis 390

16.15 Antonio Canova, Dance of Alcinous’ Sons, 1793–1794, Possagno, Gypsotheca e Museo Antonio Canova 391

17.1 Claudio Monteverdi, Penelope’s lament from Il ritorno d’Ulisse in patria, I.1, mm. 1–11 401

17.2 List of characters from Matteo Noris, Penelope la casta (Venice: Nicolini, 1685), 7; Racc. Dramm. Corniani Algarotti, 999, Biblioteca Braidense, Milan 409

17.3 List of characters from Domenica Lalli, Ulisse (Venice: Rossetti, 1725), p. 7; Racc. Dramm. Corniani Algarotti, 3222, Biblioteca Braidense, Milan 413

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Brill’s Companion to the Reception of Homer from Byzantium to the Enlightenment

Series:  Brill's Companions to Classical Reception, Volume: 29
Cover Brill’s Companion to the Reception of Homer from Byzantium to the Enlightenment
E-Book ISBN:
9789004750791
Publisher:
Brill
Print Publication Date:
26 Nov 2025
  • Subjects
    • Classical Studies
      • Classical Tradition & Reception Studies
Front Matter
Preliminary Material
Copyright Page
Figures
Notes on Contributors
Introduction
Part 1 Byzantium
Chapter 1 Homer in the School of Gaza (Fifth to Sixth c.)
Chapter 2 Homer as a Tool for Creative Writing in the Works of Michael Psellos
Chapter 3 Eustathios’ Homeric Commentaries and Byzantine Textual Culture
Chapter 4 John Tzetzes’ Reception of Homer: A Love–Hate Relationship?
Part 2 The Renaissance
Chapter 5 Leonardo Bruni’s Translation of the Speeches in Iliad 9
Chapter 6 The Blurred Face of a Distant Beloved: Translations of Homer in Italy from Dante to the Sixteenth Century
Chapter 7 The True Face of Penelope: Jean Dorat on Odysseus’ Nostos
Chapter 8 Scaliger versus Homer (1561–1714)
Chapter 9 Thomas Hobbes’s Translations of The Homeric Poems: Writing about Politics through the Iliad and the Odyssey?
Part 3 The Enlightenment
Chapter 10 The “Discovery of the True Homer”: Giambattista Vico and His Contemporaries
Chapter 11 Alexander Pope’s Homer in Its Social and Political Context
Chapter 12 Homer in the Scottish Enlightenment
Chapter 13 The Reception of Homer in the French Enlightenment
Chapter 14 Eugenios Voulgaris on Homeric Scholarship and the History of Corfu
Chapter 15 Homer in Germany Around 1800: F. A. Wolf’s Prolegomena and Its Immediate Impact
Part 4 Fine Arts—Music
Chapter 16 Picturing Homer from the Fifteenth Century Onwards
Chapter 17 Costanza e astuzia: Penelope’s Progress on the Venetian Operatic Stage (1640–1725)
Chapter 18 Homer through Winckelmann: Education in Receptivity
Back Matter
General Index

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