I Tatti Studies最新文献

{"title":"Things in the Decameron: How Objects Become Secular","authors":"Andrew M. Hui","doi":"10.1086/721699","DOIUrl":"https://doi.org/10.1086/721699","url":null,"abstract":"THINGS ARE EVERYWHERE IN THE DECAMERON . Melchizedek escapes Saladin’s trap with a tale of three rings (I.3); Andreuccio wins a ruby ring after a day of calamity (II.5); a lover’s heart is placed in a golden chalice (IV.1); another lover’s head is interred in a pot of basil (IV.5); a feather is said to be from the wings of the Angel Gabriel; coals are hailed as the relics of St. Lawrence (VI.10); a lover hides in a tub (VII.2); a cloak is used as a token of pledge (VIII.2); Calandrino and his friends go in search of a heliotrope (VIII.3); an abbess mistakes breeches for a veil (IX.2). Throughout the novelle, characters use objects to fashion and unfashion themselves, organize their finances and affections, reveal or conceal their hypocrisies, and shape or subvert their deepest desires. Even a human can become a thing: you can be objectified so much that you become an endlessly traded sexual commodity, as can—and has—been argued for the silent Alatiel (II.7). She is described— onmultiple occasions—as a thing (la disiderata cosa,maravigliosa cosa, cosamortale).","PeriodicalId":42173,"journal":{"name":"I Tatti Studies","volume":"61 1","pages":"225 - 249"},"PeriodicalIF":0.1,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85121405","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Per la “perfezione, ornamento et bellezza” della cappella Salviati di Giambologna nella Basilica di San Marco a Firenze: La distruzione della cappella Martini e il disegno per il nuovo altare","authors":"Rafael Japón","doi":"10.1086/721693","DOIUrl":"https://doi.org/10.1086/721693","url":null,"abstract":"LA CAPPELLA DI SANT ’ANTONINO della Basilica di San Marco a Firenze testimonia un’inconsueta ambizione progettuale anche grazie all’ottenimento di un perfetto equilibrio fra le arti: architettura, pittura e scultura. Un solo sguardo all’interno della chiesa basta infatti per riconoscere l’importanza che tale area vi riveste, costituendosi come l’unica cappella nella forma di uno spazio isolato. Tale senso di magnificenza viene amplificato grazie alla sua ubicazione: si trova infatti nel braccio sinistro di un transetto che non prosegue sul lato opposto, confinante con il chiostro di Michelozzo. L’ambiente si compone di un vestibolo in cui si trova l’ingresso a un’altra stanza che permette l’acceso sia alla cripta che alla cappella a","PeriodicalId":42173,"journal":{"name":"I Tatti Studies","volume":"43 1","pages":"369 - 398"},"PeriodicalIF":0.1,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88947579","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Jerusalem Delivered to Italy: Moving the Holy Sepulcher across the Mediterranean","authors":"Victoria Addona","doi":"10.1086/721750","DOIUrl":"https://doi.org/10.1086/721750","url":null,"abstract":"IN 1604, THE TUSCAN GRAND DUKE Ferdinando I de’ Medici planned to execute an extraordinary feat with the aid of the Druze emir Fakhr ad-Dīn II: to move the Holy Sepulcher from Ottoman-controlled Jerusalem to Florence. He allegedly intended to place Christ’s tomb in the center of the Cappella dei Principi in the Church of San Lorenzo. Located between the Old and New Sacristy, this chapel was being constructed as a mausoleum for the Medici princes (fig. 1). Ferdinando inherited the incomplete project from his father, Cosimo I, who, with the court architect Giorgio Vasari, initially envisioned its design as a celebration of stone. According to Vasari, “various mixed marbles” collected from around the world and embedded in the chapel’s walls “would make this new mausoleum","PeriodicalId":42173,"journal":{"name":"I Tatti Studies","volume":"82 1","pages":"399 - 427"},"PeriodicalIF":0.1,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85772694","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Bloodstained Books in Renaissance Sicily: The Library of Matteo Barresi, Marquis of Pietraperzia","authors":"Laura Ingallinella","doi":"10.1086/721730","DOIUrl":"https://doi.org/10.1086/721730","url":null,"abstract":"AT ITS COMPLETION IN 1526 , the castle of Pietraperzia—later destroyed by the bombings of 1943—reflected the decade-long work of Matteo II Barresi (d. 1531), marquis of Pietraperzia and Convicino. Less than a week after themarquis’s death, a local notary walked through the building and compiled a postmortem inventory that reveals the care with which Matteo projected his aspirations onto the space he inhabited. The Barresi castle was essentially a fortress, built to impress and steeped","PeriodicalId":42173,"journal":{"name":"I Tatti Studies","volume":"29 1","pages":"309 - 337"},"PeriodicalIF":0.1,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81552550","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Editor’s Note","authors":"Jane Tylus","doi":"10.1086/721731","DOIUrl":"https://doi.org/10.1086/721731","url":null,"abstract":"In 1901, the British artist and critic Roger Fry painted a desco da sposalizio—a marriage tray, in honor of the recent wedding of Bernard Berenson andMary Costelloe (fig. 1). He chose to celebrate their matrimony, performed in a civil ceremony in Florence and then in the small chapel on the grounds of I Tatti in late December 1900, using an image drawn from day 3 of Boccaccio’s Decameron, in which the brigata of seven women and three men dally in a walled garden that seems made for love. Furnished with a fountain and beautiful flowers, the setting is so perfect as to seem a veritable “paradiso,” as the group opines. This is where they will spend their Sunday telling stories, based on the theme declared by the day’s queen, Neifile, who asks her companions to talk about those who have been graced by Fortune’s wheel and acquired something they had lost or long desired. Fry correspondingly depicts the fountain in the garden’s midst, offering us a view of nearby Florence in the distance and—possibly—the river Mensola as it ambles along behind the garden wall. While as Caroline Elam observes, “there is no attempt at exact topography,” the Mensola as a backdrop makes sense, given its proximity to one of the brigata’s purported gathering places in Poggio Gherardo and to Boccaccio’s own house, as well as to Villa I Tatti, which the Berensons had been renting for several months. Fry alludes in his inscription (“Anno MDCCCCI”) not to Boccaccio whose setting he so clearly imitates but to the Berensons themselves, who “a guisa degli antichi villeggianti della riva Mensolana sempre si dilettanto con i [sic] amici loro”—“scherzando e favellando delle sciocchezze dell’umana [sic] genere” (like those of long ago who vacationed in villas, are always delighting themselves with their friends, joking and telling stories about the foolishness of the human race). Given the opening essay by Andrew Hui called “Things in the Decameron,” the image seemed an appropriate choice for this issue’s cover. While there may not be many “things” in the desco da sposalizio save for flowers, fruit-laden trees, and the imposing fountain and villa wall, Fry’s painting—influenced by both deschi from the quattrocento and the pre-Raphaelite movement of the late nineteenth century—","PeriodicalId":42173,"journal":{"name":"I Tatti Studies","volume":"243 1","pages":"219 - 223"},"PeriodicalIF":0.1,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80541838","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Keeping Track of the Household: Accounting the Exceptional Spousal Collaboration between Margherita and Francesco Datini","authors":"D. Pellegrino","doi":"10.1086/721697","DOIUrl":"https://doi.org/10.1086/721697","url":null,"abstract":"Contact Deborah Pellegrino at deborah.pellegrino@yale.edu. I would like to thank the journal’s anonymous reviewers, Francesco Guidi Bruscoli, and Jane Tylus for their helpful suggestions in improving this article, which draws on my doctoral dissertation, “Women’s Literacy and Numeracy in Late Medieval and Renaissance Florentine Mercantile Culture” (PhD diss., New York University, 2018). 1. The epistolary collection is composed of 244 surviving letters fromMargherita to Francesco and 181 from Francesco to Margherita. It is located in the Archivio Datini in the Archivio di Stato di Prato (hereafter ASPo Datini). This article is based on that archival collection as well as published studies of these documents, including Margherita Datini, Le lettere di Margherita Datini a Francesco di Marco (1384– 1410), ed. Valeria Rosati (Prato, 1977); and Francesco Datini, Le lettere di Francesco Datini alla moglie Margherita: 1385–1410, ed. Elena Cecchi (Prato, 1990). Margherita Datini, Per la tua Margherita: Lettere di una donna del ’300 al marito mercante (Prato, 2002), is a CD-ROM that includes Margherita’s epistles. Important studies of the Datini letters are Federigo Melis, Aspetti della vita economica medievale (Siena, 1962); Iris Origo, The Merchant of Prato: Francesco di Marco Datini, 1335–1410 (Boston, 1986); Jérôme Hayez, “ ‘Io non so scrivere a l’amicho per siloscismi’: Jalons pour une lecture de la lettre marchande toscane de la fin du Moyen Age,” I Tatti Studies in the Italian Renaissance 7 (1997): 37–79, and “Le rire du marchand: Francesco di Marco Datini, sa femmeMargherita et les ‘gran maestri’ florentins,” in La famille, les femmes et le quotidien (XIV–XVIII siècle): Textes offerts à Christiane Klapisch-Zuber, ed. Isabelle Chabot, JérômeHayez, andDidier Lett (Paris, 2006), 407–58; Diana Toccafondi, “Margherita e le altre,” in Datini, Per la tua Margherita; Giampiero Nigro, ed., Francesco di Marco Datini: The Man, the Merchant (Florence, 2010); AnnCrabb,TheMerchant of Prato’sWife:MargheritaDatini andHerWorld, 1360–1423 (Ann Arbor, MI, 2015). For studies of Margherita’s letters in particular, see n. 4 below.","PeriodicalId":42173,"journal":{"name":"I Tatti Studies","volume":"1 1","pages":"251 - 277"},"PeriodicalIF":0.1,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83096404","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Giotto’s Triumph: The Arena Chapel and the Metaphysics of Ancient Roman Triumphal Arches","authors":"Henrik Lange","doi":"10.1086/718972","DOIUrl":"https://doi.org/10.1086/718972","url":null,"abstract":"POSITIONED ON THE SITE OF THE ANCIENT ROMAN ARENA in Padua, Enrico Scrovegni’s family chapel, Santa Maria della Carità, has long been known as the Cappella dell’Arena, or Arena Chapel (figs. 1–5). The interior of the oratory was painted byGiotto in the years after the Roman Jubilee of 1300, following his employment in Rome as court painter for Pope Boniface VIII in the 1290s.Wall to wall, floor to ceiling, the chapel is covered in frescoes that create the illusion of an articulated architectural structure. At the dado level, fictive marble paneling surrounds stony faux relief figures: seven Virtues oppose seven Vices on the two walls of the nave, forming a visual psychomachia. Above these allegorical figures appear scenes from the lives of Mary and Jesus set against a blue ground. Overlooking the fictive architrave, the blue barrel vault carries a pattern of golden stars and medallions with two focal apparitions of Mary and Jesus Christ. Celebrated for centuries, the chapel’s walls have been said to exemplify “the utter finality and absolute density of [Giotto’s] images.” The chapel is “an important contribution to the representation andperception of reality”; the blue of its interior is “Giotto’s joy.”","PeriodicalId":42173,"journal":{"name":"I Tatti Studies","volume":"101 1","pages":"5 - 38"},"PeriodicalIF":0.1,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80210976","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"“Non si deve portare un anello stretto al dito”: L’orazione Pro litteris graecis di Pietro Bembo e la questione della lingua","authors":"R. Nicosia","doi":"10.1086/718894","DOIUrl":"https://doi.org/10.1086/718894","url":null,"abstract":"UNO DEGLI ASPETTI PIÙ INTRIGANTI del giovane Pietro Bembo umanista, anche per l’ampio terreno vergine che ancora offre alla futura ricerca, è rappresentato dall’uso delle lingue classiche come mezzo per costruire e definire la propria identità intellettuale ed autoriale; non solo cioè del Bemboumanista e filologo a noi noto dagli scritti latini (De Aetna, il De Virgili e Terentii fabulis, e il De Guido Ubaldo Feretrio deque Elisabetha Gonzagia Urbini ducibus), quanto anche del Bembo scrittore di letteratura volgare (Rime, Asolani e Prose): una doppia identità in continuo e fluido dialogo, come già notava Dionisotti (cfr. sotto nota 128), per cui fondativa appare l’incidenza dello studio del greco durante e dopo i due anni presso la scuola di Costantino Lascaris a Messina avvenuta, secondo una lettera dello stesso Bembo, dopo quasi un’inspiegabile, improvvisa e pressoché segreta fuga da Venezia, nel 1492. Un’incidenza, quella del greco, che ci è dato oggi compulsare attraverso l’analisi di alcune primizie a noi sopraggiunte di quel biennio fervido di studi, tra cui, in particolare, un’orazione in favore delle lettere greche in cui distinto affiora,","PeriodicalId":42173,"journal":{"name":"I Tatti Studies","volume":"95 1","pages":"39 - 67"},"PeriodicalIF":0.1,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80409495","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Jam Sessions: Celant and Battisti, Modern and Early Modern Connections","authors":"T. Kittler","doi":"10.1086/718969","DOIUrl":"https://doi.org/10.1086/718969","url":null,"abstract":"THE ROLE OF THE CRITIC GERMANO CELANT (1940–2020) in defining and establishing the reputation of the contemporary art movement Arte Povera is well known. In particular, the association of the movement with materials and process largely derives from his contribution to the volume Arte Povera, simultaneously published in English translation as Art Povera in 1969. Less well known is Celant’s use of the work of Eugenio Battisti (1924–1989), a scholar of Renaissance studies, whose major publication was L’antirinascimento (1962). While this connection has been acknowledged in the scholarship, what the young critic took from Battisti, and how he used it in his own work, has yet to be fully explored. Specifically, what was the impact of L’antirinascimento on the young critic and how did Battisti’s version of an anti-Renaissance speak to contemporary art? Conversely, given Battisti’s interest and support of developments in art and culture in Italy in the 1960s, in part through","PeriodicalId":42173,"journal":{"name":"I Tatti Studies","volume":"8 1","pages":"193 - 217"},"PeriodicalIF":0.1,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74689309","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Editor’s Note","authors":"Jane Tylus","doi":"10.1086/718970","DOIUrl":"https://doi.org/10.1086/718970","url":null,"abstract":"The subject of this issue’s cover is a conversation. The painting, Il colloquio, by the Sicilian artist Renato Guttuso, isn’t in the Berenson collection by chance (fig. 1). When he painted it in 1952, Guttuso had known Bernard Berenson for at least several years; among his extant letters to Berenson is a postcard sent from Poland shortly after the war, with a photo ofWarsaw still in ruins. Painted while Guttuso was staying at the Neapolitan villa of Berenson’s friend ClotildeMarghieri, this image of two women deep in intimate conversation was dedicated to Berenson, as can be seen from an inscription on the back. Given the vague if suggestive setting, this encounter could be happening anywhere—even on the hills of the Vincigliata. Berenson was hardly the only Renaissance art historian with whomGuttuso was in frequent contact during the 1940s and 50s. Another was Roberto Longhi, who along with Berenson was one of the “due massimi ‘guru’ della critica d’arte italiana del ’900,” as Maria Cristina Carratù puts it in her review of Guttuso e gli amici di Corrente, an exhibition held in honor of Guttuso’s centenary. Longhi’s and Berenson’s connections to Italian Renaissance art may not have influenced the painter’s esteem for them one way or the other, or necessarily shaped his work. But as Carl Strehlke has pointed out, Guttuso was particularly fond of Caravaggio, with whose memorable works he contrasted (unfavorably) the unrealistic abstractness of contemporary art—a comparison Berenson and Longhi made as well. Roughly a decade after Il colloquio, a new movement appeared in the art world: Arte Povera, a term coined by the young Germano Celant. It flourished in no small part because of “colloqui” between artists and critics, as Teresa Kittler argues in her essay on Celant. And this conversation frequently invoked Renaissance art as a pathway to creativity, as Kittler demonstrates the extent to which Celant relied on the work of his erstwhile teacher, the art historian Eugenio Battisti. Celant’s “conversations” with Battisti himself as well as with his books produced a strong affirmation of the materiality of Arte Povera, its immersion within and connection to a natural world typified by forces beyond the artist’s control: magic, the elements, organic","PeriodicalId":42173,"journal":{"name":"I Tatti Studies","volume":"1 1","pages":"1 - 4"},"PeriodicalIF":0.1,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87864834","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}