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Letting the Evidence Speak for Itself: Applications of X-Ray Fluorescence for Print Enhancement
No full textCavicchi, Camilla. Maistre Jan: La carriera di un cantore francese alla corte degli Este di Ferrara (1512–1538)
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Allegory of Wavering Faith: Renaming the Law and Gospel (1535) by Georg Lemberger in Light of the Lutheran Ministry of Consolation in Sixteenth-Century Germany
No full textA painting by Georg Lemberger (c. 1490–1540) dated 1535 and housed in the Germanisches Nationalmuseum in Nuremberg presents a conspicuous variation of the representative Lutheran iconography, the Law and Gospel. The quintessential composition is delineated by the juxtaposition of scenes from the Old and New Testaments set against an unembellished backdrop. In Lemberger’s artistic rendition, however, the positions of the two testaments are inverted and accompanied by a tumultuous landscape in the background. The depictions of the Law and Gospel were conceived as an allegorical representation of faith, elucidating Luther’s doctrine of justificatio sola fide and imparting assurance to observers regarding their individual salvation. In contrast, Lemberger’s revised version portrays human frailty easily falling back into doubts and uncertainty about God and redemption. By giving a visual form to the negative experience the faithful would generally share, the image reminds viewers that they are not alone in such suffering and wondering.Un tableau de Georg Lemberger (v. 1490–1540) daté de 1535 et conservé au Germanisches Nationalmuseum de Nuremberg est une variation manifeste sur le thème iconographique luthérien de la Loi et l’Évangile. La composition typique juxtapose des scènes de l’Ancien et du Nouveau Testament sur un arrière-plan sans fioritures. Dans l’interprétation artistique de Lemberger, la position des deux testaments est toutefois inversée, et l’arrière-plan montre un paysage tumultueux. Les représentations de la Loi et l’Évangile étaient conçues comme une allégorie de la foi, élucidant la doctrine luthérienne de la justificatio sola fideet donnant aux spectateurs l’assurance de leur salut personnel. En revanche, la version révisée de Lemberger dépeint la faiblesse humaine qui retombe facilement dans le doute et l’incertitude vis-à-vis de Dieu et de la rédemption. En donnant une forme visuelle à une expérience négative commune à la plupart des fidèles, l’image rappelle aux spectateurs qu’ils ne sont pas seuls à souffrir et à douter
Postulating Trinitarian Orthodoxy in Book 8 of Paradise Lost: Identifying Milton’s “Presence Divine” as the Son, Considering God’s First Conversation with Adam Apart from De Doctrina Christiana
No full textRecent scholarship that either challenges Milton’s authorship of De Doctrina Christiana or argues that De Doctrina Christiana is Miltonic but should not be used as a gloss upon Paradise Lost opens up the possibility to interpret Milton’s epic without deference to the Antitrinitarian treatise. A close textual analysis of Adam’s interaction with the Presence Divine in Paradise Lost 8.295–499 reveals, first, that the Presence Divine, contrary to the prevailing view of Milton scholarship, is the Son of God as opposed to God the Father. Moreover, Milton’s presentation of the Presence Divine is strikingly Trinitarian—in tension with De Doctrina Christiana and contrary to the received interpretation in Milton scholarship—and notably consistent with orthodox Trinitarian writings concerning the Son of God throughout church history, particularly orthodox reformed writings from the sixteenth, seventeenth, and eighteenth centuries.Les travaux récents qui remettent en question l’attribution à Milton du De Doctrina Christiana ou qui affirment que cette œuvre, bien qu’écrite par Milton, ne doit pas orienter la lecture du Paradis perdu, invitent à interpréter l’épopée miltonienne indépendamment de cet écrit antitrinitaire. Une analyse textuelle approfondie de l’interaction entre Adam et la Présence divine dans Le Paradis perdu (8, 295-499) révèle tout d’abord que la Présence divine, contrairement à l’opinion dominante des spécialistes de Milton, est le Fils de Dieu et non Dieu le Père. De plus, la Présence divine prend chez Milton un aspect résolument trinitaire, qui se trouve en tension avec le De Doctrina Christiana et s’oppose à l’interprétation établie dans les études miltoniennes. Cette représentation est particulièrement conforme aux écrits trinitaires orthodoxes sur le Fils de Dieu à travers l’histoire de l’Église, en particulier les écrits réformés orthodoxes des seizième, dix-septième et dix-huitième siècles
Lupi, Livia. Painting Architecture in Early Renaissance Italy: Innovation and Persuasion at the Intersection of Art and Architectural Practice
No full textPeters, Julie Stone. Staging Witchcraft before the Law: Skepticism, Performance as Proof, and Law as Magic in Early Modern Witch Trials
No full textPreface from the Editors-in-Chief
No full textWe are honoured to share the first issue of the 103rd volume of the University of Toronto Medical Journal (UTMJ), which explores the rapidly evolving and impactful field of Precision Medicine. Precision medicine — grounded in tailoring care to the unique characteristics of each patient — has transformed the management of many life-altering illnesses. Since the publication of Vol. 97 No. 1: Personalized Medicine in 2020, the landscape has advanced dramatically. The adoption of artificial intelligence (AI), next-generation omics technologies, and other cutting-edge approaches has accelerated the bench-to-bedside pipeline globally. In light of these developments, we felt it both timely and essential as a journal to revisit this theme and examine how these innovations are reshaping the future of clinical medicine. Importantly, the role of patient-centered care in precision medicine cannot be understated. By marrying precision medicine principles with an understanding of each patient’s values, lived experiences, and unique challenges, we can enter an era where everyone gets the care they deserve
