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“Il poter dir”: Sincerity, Truth, and Faithfulness in Orlando furioso 37 《哈利波特》:奥兰多的真诚、真理与忠诚
IF 0.1
I Tatti Studies Pub Date : 2022-03-01 DOI: 10.1086/718720
Paola Ugolini
{"title":"“Il poter dir”: Sincerity, Truth, and Faithfulness in Orlando furioso 37","authors":"Paola Ugolini","doi":"10.1086/718720","DOIUrl":"https://doi.org/10.1086/718720","url":null,"abstract":"LUDOVICO ARIOSTO ’S ORLANDO FURIOSO was and still is one of the most celebrated works of sixteenth-century Italian culture, largely due to its capacity to combine fantastic adventures with poignant reflections on central issues of its time. With its clever mix of lovestruck paladins, brave women warriors, and magical elements, the poem—which appeared in three editions in 1516, 1521, and 1532, and quickly becamewhat inmodern termswould be dubbed a blockbuster—voices some of the most pressing concerns of contemporary society. The Orlando furioso is also one of the most studied works of the Italian Renaissance, and canto 37 in particular has received significant scholarly attention in recent years. A tale about misogyny, it is one of four episodes Ariosto added to the third edition of his poem. Most of the attention to this canto has been motivated by the","PeriodicalId":42173,"journal":{"name":"I Tatti Studies","volume":"85 1","pages":"69 - 88"},"PeriodicalIF":0.1,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79937381","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}
引用次数: 0
Primitivismo e francofilia nella critica di Lionello Venturi 莱昂内洛·文图里(Lionello Venturi)批评中的原始主义和亲法语
IF 0.1
I Tatti Studies Pub Date : 2022-03-01 DOI: 10.1086/718971
Fernanda Marinho
{"title":"Primitivismo e francofilia nella critica di Lionello Venturi","authors":"Fernanda Marinho","doi":"10.1086/718971","DOIUrl":"https://doi.org/10.1086/718971","url":null,"abstract":"IN QUANTO DISCIPLINA , la storia dell ’ arte si struttura a partire da Vasari per mezzo di nozioni come scuola, popolo o nazione. Indipendentemente dalle de fi nizioni identitarie dei singoli gruppi, il concetto di primitivo è maggiormente legato alle caratteristiche di chi attribuisce questo valore, rispetto invece alle caratteristiche di colui a cui viene attribuito: i pittori italiani del Duecento e Trecento sono considerati primitivi in un ’ ottica della teoria artistica del Cinquecento; il primitivismo fi ammingo del Trecento è tale nell ’ ottica del classicismo rinascimentale italiano; l ’ arte tribale africana, dalla prospettiva del surrealismo francese; e la cultura ame-rinda, dal punto di vista del modernismo del Novecento. Pertanto si vede che la classi fi cazione di primitivo, nella storia dell ’ arte, si presenta come un costrutto culturale spesso utilizzato a favore di un ’ organizzazione cronologica degli eventi storici e di una comprensione comparativa dei con fi ni culturali.","PeriodicalId":42173,"journal":{"name":"I Tatti Studies","volume":"41 1","pages":"167 - 191"},"PeriodicalIF":0.1,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74584334","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}
引用次数: 0
Dominicus Lampsonius, Giorgio Vasari, and the Print as Work of Art 多明尼克·兰普索尼斯，乔治·瓦萨里，版画作为艺术作品
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I Tatti Studies Pub Date : 2022-03-01 DOI: 10.1086/718895
Edward H. Wouk
{"title":"Dominicus Lampsonius, Giorgio Vasari, and the Print as Work of Art","authors":"Edward H. Wouk","doi":"10.1086/718895","DOIUrl":"https://doi.org/10.1086/718895","url":null,"abstract":"TODAY, THE NETHERLANDISH HUMANIST Dominicus Lampsonius (fig. 1) is generally known for his two published texts on art: the biography of his friend and teacher Lambert Lombard, printed in Bruges in 1565, and the verse inscriptions he composed to accompany twenty-three engraved portraits of Netherlandish painters, which appeared in 1572 under the title Pictorum aliquot celebrium Germaniae inferioris effigies. During his lifetime, however, Lampsoniuswas celebrated as a polymath who studied classical languages at the University of Leuven, trained as a painter, and distinguished himself as Latin secretary to the English cardinal Reginald Pole as well as three successive prince-bishops of Liège. He also became a central figure in a community of artists, poets, and publishers who began to address the history of Netherlandish art following the publication of Giorgio Vasari’s seminal Lives of the Artists, first printed in Florence in 1550, which almost completely excluded northern artists from its history. On October 30, 1564, Lampsonius wrote a letter to Vasari, initiating an epistolary exchange that lasted approximately half a year. None of Vasari’s responses to","PeriodicalId":42173,"journal":{"name":"I Tatti Studies","volume":"11 1","pages":"89 - 131"},"PeriodicalIF":0.1,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87562822","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}
引用次数: 0
Dynastic Conflicts and European Politics in the Transmission of the Medici Inheritance 美第奇家族传承中的王朝冲突与欧洲政治
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I Tatti Studies Pub Date : 2022-03-01 DOI: 10.1086/718721
Guido Rebecchini
{"title":"Dynastic Conflicts and European Politics in the Transmission of the Medici Inheritance","authors":"Guido Rebecchini","doi":"10.1086/718721","DOIUrl":"https://doi.org/10.1086/718721","url":null,"abstract":"THROUGHOUT THE FIFTEENTH AND SIXTEENTH CENTURIES , theMedici family used a wide range of means to assert its authority over the Florentine state. Artistic and literary patronage and collecting, in particular, played a key role in the consolidation of the family’s status and power through the formation of a highly prestigious core estate, which we can still partially admire in Florence and many other Tuscan centers. As has been frequently argued, the splendor of the art and palaces that the Medici left behind was aimed precisely at constructing an image of legitimacy and stability that did not in fact exist until the reign of Duke Cosimo I (r. 1537–69). Among the Medici possessions, one group of precious objects, buildings, and lands acquired over time a special value asmarkers of dynastic identity: these were the properties amassed by Cosimo il Vecchio (1389–1464) and especially Lorenzo il Magnifico","PeriodicalId":42173,"journal":{"name":"I Tatti Studies","volume":"117 1","pages":"133 - 165"},"PeriodicalIF":0.1,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90535047","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}
引用次数: 0
Editor’s Note Editor’s音符
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I Tatti Studies Pub Date : 2021-09-01 DOI: 10.1086/716429
Jane Tylus
{"title":"Editor’s Note","authors":"Jane Tylus","doi":"10.1086/716429","DOIUrl":"https://doi.org/10.1086/716429","url":null,"abstract":"The cover for our fall issue features one of Europe’s patron saints at the beginning of her career, long before she had become a household name even in her native Siena. In a panel from what was once part of a predella by the Sienese artist Neroccio di Bartolomeo de’ Landi (1447–ca. 1500), the founders of three orders vie for the attention of the young Caterina Benincasa: Dominic, Francis, and Augustine (fig. 1). Coyly reaching around Augustine to hand Caterina the lily that represents the Dominican order, Saint Dominic is clearly the winner, and perhaps for good reason. The large family of the future saint lived in Fontebranda, just below the towering church of San Domenico, and Catherine would have spent her childhood watching the friars go in and out the nearby gate of Sant’Ansano. As Catherine’s confessor and hagiographer Raymond of Capua put it, at one point she tried to leave, too, in search of a hermitage—but was found out and forced to return home, where her insistence on a religious life was met with similar obstinacy on the part of her parents, who wanted her married. Neroccio’s small panel, like that of what may have been the adjacent scene of Catherine’s mystical marriage to Christ, gives us a rather spacious setting for this encounter with three saints. Caterina kneels on the colorfully tiled floor of a long and narrow chapel that houses an altar and an imposing wardrobe. Behind her opens an inviting loggia that seems to offer a quiet cortile, while the room itself is framed by large reddish pillars and a pediment. But Catherine’s encounter with her prospective mentors happened not in a convent, of which Neroccio’s architecture is reminiscent, but in her home, possibly in the small room where she had proposed to lock herself up as a way of resisting her parents’ demands—and more easily accessing the spiritual life she preferred. Caterina’s choice of the Dominican order nonetheless did not lead her to cloister herself as a nun but to take on themission of a tertiary, living","PeriodicalId":42173,"journal":{"name":"I Tatti Studies","volume":"23 1","pages":"217 - 222"},"PeriodicalIF":0.1,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73916442","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}
引用次数: 0
Letture “spirituali” di Petrarca all’Accademia Fiorentina 佛罗伦萨学院的Petrarca的“精神”阅读
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I Tatti Studies Pub Date : 2021-09-01 DOI: 10.1086/716491
S. Vatteroni
{"title":"Letture “spirituali” di Petrarca all’Accademia Fiorentina","authors":"S. Vatteroni","doi":"10.1086/716491","DOIUrl":"https://doi.org/10.1086/716491","url":null,"abstract":"COMMENTANDO L’ORAZIONE DI BENEDETTO VARCHI in morte del capitano Stefano Colonna, nel 1548, un anonimo diarista fiorentino non usa mezzi termini: l’Accademia Fiorentina è una “setta” di eretici, un luogo in cui “quasi tutti prendevano simili riti nel luterano.” Questo breve passaggio dà la misura della diffusione, nella Firenze degli anni Quaranta, di quella spiritualità filo-protestante che si esprime nel Beneficio di Cristo, livre de chevet degli “spirituali,” il gruppo legato a vario titolo a Reginald Pole e a Marcantonio Flaminio attivo nel quinto decennio del Cinquecento. Si tratta, com’è noto, di un testo eclettico e stratificato, che raccoglie apporti dottrinali di varia natura (Juan de Valdés, ma anche Calvino ed Erasmo), incentrato sulla dottrina della giustificazione per sola fede: il","PeriodicalId":42173,"journal":{"name":"I Tatti Studies","volume":"7 1","pages":"377 - 400"},"PeriodicalIF":0.1,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89861554","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}
引用次数: 0
An Inside View: Gendered Perspectives on Freedom in Decameron 7.5 透视:《十日谈7.5》中关于自由的性别视角
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I Tatti Studies Pub Date : 2021-09-01 DOI: 10.1086/716238
Brittany Asaro
{"title":"An Inside View: Gendered Perspectives on Freedom in Decameron 7.5","authors":"Brittany Asaro","doi":"10.1086/716238","DOIUrl":"https://doi.org/10.1086/716238","url":null,"abstract":"THE FIFTH TALE OF DAY 7 in Giovanni Boccaccio’s Decameron features a woman rebelling against her jealous husband, who has confined her in their home. From a structural viewpoint,Decameron 7.5 could be considered the very center of the collection’s feminist worldview. It is the central story set in the womb-like Valley ofWomen, the topic is the tricks thatwomen play upon their husbands, and the narrator is Fiammetta, whom Boccaccio often presents as an embodiment of a female perspective. The story begins with the brigata’s unanimous praise of the previous tale’s protagonist for having done to an evil man (her jealous husband) exactly what he deserved (defaming him and inciting an attack upon him).Whatever appreciation for women’s autonomy this reaction seems to suggest, however, is shattered by the intrusion, in midsentence, of this day’s ruler—il re: “Posto aveva fine la Lauretta al suo ragionamento; e avendo già ciascun commendata la donna che ella bene avesse fatto e come a quel cattivo si conveniva, il re, per non perder tempo, verso la Fiammetta voltatosi, piacevolmente il carico le ’mpose del novellare.” Day 7, after all, is not a","PeriodicalId":42173,"journal":{"name":"I Tatti Studies","volume":"25 1","pages":"223 - 240"},"PeriodicalIF":0.1,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89877292","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}
引用次数: 0
Judeo-Persian Tobit and G. B. Vecchietti: Exile and Writing between Florence and the Persianate World 犹太-波斯Tobit和g.b. Vecchietti:佛罗伦萨和波斯世界之间的流亡和写作
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I Tatti Studies Pub Date : 2021-09-01 DOI: 10.1086/716218
Mahnaz Yousefzadeh
{"title":"Judeo-Persian Tobit and G. B. Vecchietti: Exile and Writing between Florence and the Persianate World","authors":"Mahnaz Yousefzadeh","doi":"10.1086/716218","DOIUrl":"https://doi.org/10.1086/716218","url":null,"abstract":"ON THE EVE OF THE YEAR 1600 , Giovambattista Vecchietti (1552–1619)— former papal envoy, scholar, and agent of oriental books—found himself at an impasse on the Island of Hormuz. In order to continue on his journey to India where he hoped “to try his luck and settle down financially once and for all,” Vecchietti had to pay the island’s Portuguese governor a passage tax that he deemed unreasonable. While wealthier travelers like merchants from Venice or Florentine Jesuits with powerful patrons could pass without delay, Vecchietti was traveling on borrowed money in 1599. Not quite able or, at any rate, not quite willing to pay a hefty","PeriodicalId":42173,"journal":{"name":"I Tatti Studies","volume":"22 1","pages":"311 - 343"},"PeriodicalIF":0.1,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84953570","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}
引用次数: 0
A Sense of Time: Experiencing Plague and Quarantine in Early Modern Italy 时间感:体验近代早期意大利的鼠疫与检疫
IF 0.1
I Tatti Studies Pub Date : 2021-09-01 DOI: 10.1086/716244
J. Crawshaw
{"title":"A Sense of Time: Experiencing Plague and Quarantine in Early Modern Italy","authors":"J. Crawshaw","doi":"10.1086/716244","DOIUrl":"https://doi.org/10.1086/716244","url":null,"abstract":"A RELIEF PANEL OF ST. SEBASTIAN , produced in early sixteenth-century Deruta, is well known among historians of material culture as the earliest known example of Italian lusterware. This claim is made possible by the unusually prominent date inscription on the lower section of the piece: July 14, 1501. The precision of the date on the panel is striking, given that premodern conceptions of time have often been characterized as organic and imprecise when compared with modern eras. The role played by St. Sebastian as one of the principal intercessors against the plague makes this object particularly intriguing. It is not known whether the inscription marked the end of an outbreak of plague, or perhaps a personal experience of healing in the course of an epidemic. Either way, the enduring nature of the saint’s role for intercession is intensified through reference to a specificmoment in time, shown here by a precise date rather than a visual representation of an event akin to those illustrated on votive panels. To look back on episodes of early modern Italian plague is to see how a","PeriodicalId":42173,"journal":{"name":"I Tatti Studies","volume":"53 1","pages":"269 - 290"},"PeriodicalIF":0.1,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73050819","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}
引用次数: 0
Ovidian Influences and Figural Obsessions in Michelangelo’s Fall of Phaethon Drawings 米开朗基罗《法厄同的堕落》中奥维德学派的影响和人物痴迷
IF 0.1
I Tatti Studies Pub Date : 2021-09-01 DOI: 10.1086/716217
Deborah Parker
{"title":"Ovidian Influences and Figural Obsessions in Michelangelo’s Fall of Phaethon Drawings","authors":"Deborah Parker","doi":"10.1086/716217","DOIUrl":"https://doi.org/10.1086/716217","url":null,"abstract":"MICHELANGELO ’S MEETING WITH TOMMASO DE ’ CAVALIERI during the winter of 1532 sparked new levels of creativity: the artist presented Tommaso with a number of exquisitely finished drawings and some of his most refined poems. The Punishment of Tityus, The Rape of Ganymede, and the three versions of The Fall of Phaethon are derived from Ovid’s Metamorphoses. The Phaethon drawings have attracted the greatest amount of critical attention: thismyth is the only one to elicit three different versions, three narrative scenes, as well as a series of notes betweenMichelangelo and Tommaso.While scholars have notedMichelangelo’s incorporation of narrative details derived from Ovid in the drawings, scant attention has been paid to the influence exerted by the Roman poet’s hypercharged rhetoric.","PeriodicalId":42173,"journal":{"name":"I Tatti Studies","volume":"44 1","pages":"401 - 426"},"PeriodicalIF":0.1,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88745383","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}
引用次数: 0
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