The Lyon Terence

Its Tradition and Legacy


In The Lyon Terence Giulia Torello-Hill and Andrew J. Turner take an unprecedented interdisciplinary approach to map out the influence of late-antique and medieval commentary and iconographic traditions over this seminal edition of the plays of Terence, published in Lyon in 1493, and examine its legacy. The work had a profound impact on the way Terence’s plays were read and understood throughout the sixteenth century, but its influence has been poorly recognised in modern scholarship. The authors establish the pivotal role that this book, and its editor Badius, played in the revitalisation of the theoretical understanding of classical comedy and in the revival of the plays of Terence that foreshadowed the establishment of early modern theatre in Italy and France.

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Giulia Torello-Hill (Ph.D. Nottingham, 2006) is a Lecturer in Italian at the University of New England. Her research explores the interplay between exegesis of ancient texts, iconographic tradition and performance practice in Renaissance Italy.

Andrew J. Turner (Ph.D. Melbourne, 2000) is a researcher at the University of Melbourne, where he lectures on Latin literature. He has published on the reception of Terence and Sallust, and is at present examining late medieval commentaries on Seneca.
List of Figures
Note on Illustrations and the Use of Electronic Resources


1 The Lyon Terence and Its Initial Impact
 1.1 Contents and mise-en-page
 1.2 Publishing in Lyon
 1.3 Composition, Printing, and Distribution

2 Terence’s Plays: Commentary and Illustration from Manuscript to Print
 2.1 Terence as an Educational Classic: Text and Commentary from Antiquity to Medieval and Renaissance Europe
 2.2 The Development of Manuscript Illustrations of Terence
 2.3 The Impact of New Learning and Technologies: Donatus and the Advent of Printing

The Editor of the Lyon Terence: Jodocus Badius Ascensius
 3.1 Badius
 3.2 Early Life and Literary Career to 1493
  3.2.1  Flanders and Brabant
  3.2.2  Italy
  3.2.3  Lyon
 3.3 Later Career to 1502

4 Text and Commentary in Badius’ Three Editions of Terence
 4.1 The 1491 Edition and Donatus
 4.2 The Lyon Terence: the Commentary of Guy Jouenneaux and Badius’ Revisions
  4.2.1  The Commentary Edition of Guy Jouenneaux
  4.2.2  Badius’ Re-edition of Guy
 4.3 The 1502 Terence and Its Sources

5 The Illustrative Programme of the 1493 Edition
 5.1 Badius’ Appropriation of the Carolingian Tradition
 5.2 Gestures in Medieval and Early Modern Culture
 5.3 Carolingian Gestures
 5.4 Non-Carolingian Gestures
  5.4.1  Manly Gestures
  5.4.2  Female Gestures
  5.4.3  Affective Gestures
 5.5 Characterization through Costuming
 5.6 Gestures, Illustrations and Commentary Derivative of Donatus in the Lyon Terence
 5.7 The Illustrator of the Lyon Terence
 Appendix: A Catalogue of Gestures

6 The Theatricality of the Lyon Terence
 6.1 The Lyon Terence and Performance
 6.2 Stage Design: the Lyon Terence and the Representation of Theatre Buildings
 6.3 The Stage
 6.4 Stage Conventions
  6.4.1  Entrances and Exits
  6.4.2  Asides, Eavesdropping, and Off-stage Scenes
 6.5 Terence on Stage in Renaissance Italy and France

7 The Legacy of the Lyon Terence in the Sixteenth Century
 7.1 Terence in Print in Late Fifteenth and Sixteenth Century
 7.2 The Venetian Illustrated Editions of Terence of Lazzaro de’ Soardi
 7.3 The Italian Illustrated Editions of the Sixteenth Century
 7.4 The Influence of the Lyon Terence in Germany: the Illustrated Terence of Johann Grüninger and Its Tradition
 7.5 The French Tradition of Terence after 1493
 7.6 Conclusion


Index Locorum
Index of Manuscripts
Index of Subjects
Concordance of Images in the Lyon Terence

This is a work primarily aimed at scholars and students interested in classical reception, ancient drama, medieval and renaissance iconography, history of the book, history of theatre. Keywords: Terence, Jodocus Badius Ascensius, Johannes Trechsel, classical scholarship, Donatus, Guy Jouenneaux, classical reception, Roman comedy, revival of Terence, book history, Carolingian manuscripts, medieval and renaissance iconography, woodcut illustrations, theatrical gestures, stage conventions.