The Hutchinson Encyclopedia of the Renaissance

By David Rundle | Go to book overview
Save to active project


Quagliati, Paolo (c. 1555-1628)

Italian composer. He was organist at the church of Santa Maria Maggiore in Rome from 1601. For the wedding of Carlo Gesualdo's daughter, Isabella, in 1623 he wrote a collection of instrumental pieces, entitled La sfera armoniosa.

Works include:

The dramatic cantata Carro di fedeltà d'amore ( 1806); motets; spiritual and secular madrigals and canzonets; organ and harpsichord works.

quattrocento (ITALIAN 'FOUR HUNDRED')

Denotes the 1400s and used in relation to Italian culture of the 15th century.

Quercia, Jacopo della (c. 1374-1438)

Sienese sculptor. He was a contemporary of Donatello and Ghiberti. His major works were a fountain for his hometown of Siena, the Fonte Gaia 1414-19 (Palazzo Pubblico, Siena), and the main portal at San Petronio, Bologna, 1425-38. His turbulent style and powerful figures influenced Michelangelo, whose painting The Creation of Adam (1511, Sistine Chapel, Vatican) was inspired by Jacopo's relief panel of the same subject at San Petronio.

questione della lingua (ITALIAN 'THE LANGUAGE QUESTION')

Debate over which dialect of the Italian peninsula was best suited for literary expression. It was an issue discussed in the early 16th century with different solutions advanced by the likes of Pietro Bembo, Baldassare Castiglione, and Niccolò Machiavelli.

Discussion of the volgare had its origins in the early 14th century, with Dante De vulgari eloquentia/On Vernacular Eloquence ( 1304-06). Dante discussed the suitability of various dialects for poetic composition, finding all excellent in part but none perfect. While the tre corone (three crowns) -- Dante, Boccaccio, and Petrarch -- wrote in the vernacular as well as Latin, the enterprise of studia bumanitatis (see feature) was, naturally, focused on composition in the ancient tongue.

In the late 15th century, however, there was increased interest in the volgare as a mode of expression, which necessarily raised the question of which dialect was most appropriate. Pietro Bembo, in Prose della volgar lingua/writings in the Vernacular Tongue ( 1525), argued that just as Virgil and Cicero had become the exemplars of Latin style, so Petrarch and Boccaccio were the models for Italian composition. This promotion of an archaic Tuscan style was supported by Leonardo Salviati and the Accademia della Crusca; though it was the most favoured response to the questione, other writers suggested different solutions. Castiglione, for example, promoted a lingua cortigiana (courtly language), reflecting actual usage in the Italian courts. Machiavelli, on the other hand, in his Discorso o Dialogo intorno a la nostra lingua/Discourse or Dialogue on Our Language ( 1525), rejected Bembo's old-fashioned Tuscan for contemporary Florentine usage.

Quixote, Don

Eponymous principal character of Cervantes's two- part novel (Part I: 1605, Part II: 1615.). The work concerns the (mis)adventures of Alonso Quijano, a nobleman of extremely modest means, whose obsessive readings of chivalric romances eventually convince him to ride out as a knight himself. He changes his name to Don Quixote, acquires an old nag as a steed (calling it Rocinante), and chooses as his lady a local girl, Aldonza Lorenzo, renaming her Dulcinea del Toboso in accordance with his chivalric fantasies. Thus prepared, he rides forth, always interpreting unextraordinary encounters and situations in terms of the extraordinary and literary. Hence a group of windmills become giants to be challenged, and a flock of sheep become an army to be fought. Quixote's actions are naturally misunderstood by his fellow human beings; as a result he is frequently subjected to vicious beatings. Undeterred, Quixote resumes his wanderings, now accompanied by Sancho Panza, a


Notes for this page

Add a new note
If you are trying to select text to create highlights or citations, remember that you must now click or tap on the first word, and then click or tap on the last word.
Loading One moment ...
Project items
Cite this page

Cited page

Citations are available only to our active members.
Sign up now to cite pages or passages in MLA, APA and Chicago citation styles.

Cited page

Bookmark this page
The Hutchinson Encyclopedia of the Renaissance


Text size Smaller Larger
Search within

Search within this book

Look up

Look up a word

  • Dictionary
  • Thesaurus
Please submit a word or phrase above.
Print this page

Print this page

Why can't I print more than one page at a time?

While we understand printed pages are helpful to our users, this limitation is necessary to help protect our publishers' copyrighted material and prevent its unlawful distribution. We are sorry for any inconvenience.
Full screen
/ 436

matching results for page

Cited passage

Citations are available only to our active members.
Sign up now to cite pages or passages in MLA, APA and Chicago citation styles.

Cited passage

Welcome to the new Questia Reader

The Questia Reader has been updated to provide you with an even better online reading experience.  It is now 100% Responsive, which means you can read our books and articles on any sized device you wish.  All of your favorite tools like notes, highlights, and citations are still here, but the way you select text has been updated to be easier to use, especially on touchscreen devices.  Here's how:

1. Click or tap the first word you want to select.
2. Click or tap the last word you want to select.

OK, got it!

Thanks for trying Questia!

Please continue trying out our research tools, but please note, full functionality is available only to our active members.

Your work will be lost once you leave this Web page.

For full access in an ad-free environment, sign up now for a FREE, 1-day trial.

Already a member? Log in now.

Are you sure you want to delete this highlight?