Courtly art

"The term courtly art had already been introduced by Lavachery in describing Lunda art. The originality of courtly art lies in its ability to integrate diversified techniques and sources of inspiration. The first contribution comes from popular artistic tradition, notably in the form of a very elaborate, basketwork technique, as evidenced by the circumcision masks."

"The aim of courtly art is to produce representative objects. This art is created individually by artists invited to royal or magnate courts, but received collectively, by the court. Sacral and courtly art are part of everyday practice, part of the religious courtly life, which fundamentally distinguishes both these forms of art from autonomous art."

"Our knowledge of courtly art and entertainment has recently enjoyed a remarkable advancement as a result of this trend. Great interest in courtly art has been reflected, for instance, in a number of medievalist studies, Angus Fletchers The Transcendental Masque (its first three chapters are as good a prolegomenon for the study of Renaissance courtly art as I know of), the Inigo Jones quatercentenary in 1973, the works of Roy Strong and Stephen Orgel, the Fetes de la Renaissance series edited by Jean Jacquot, and the facsimile reprinting of many important iconologies and other texts on fine arts in the Renaissance."

"The central and most general preoccupation of courtly art is the praise and encouragement of a healthy civitas ox polis."