I Tatti Studies最新文献

{"title":"The Role of Music in Tasso’s Reflections on the Value of Poetry","authors":"Francesco Brenna","doi":"10.1086/713447","DOIUrl":"https://doi.org/10.1086/713447","url":null,"abstract":"AMONG ITALIAN RENAISSANCE WRITERS , Torquato Tasso has received particular attention with respect to the relationship between poetry and music, and understandably so. He was an illustrious poet whose verse was often set to music, both during and after his lifetime, and whose theoretical reflections contain numerous considerations on the connection between these two arts. Critics have focused primarily on the relationship between Tasso andmusical practice, that is, actual compositions that use Tasso’s verse as lyrics, or various aspects of contemporary composition vis-à-vis the poetic, stylistic, and rhetorical norms that Tasso articulates in his writings. Others have studied the connection between Tasso and music within discussions of his Neoplatonism and the concept of music as divine harmony. There is, however, another facet that has been overlooked: the conspicuous role that music (a term I will use in this article to refer to compositions and performance) and musicality (which I will use to indicate the “musical” qualities of poetry, such as verse and rhyme) play in Tasso’s crucial reflections on the definition of poetry, as well as on its specific value: what can be accomplished only by poetry, and what distinguishes poetry from other forms of expression. Tasso asks whether music is necessary for poetry’s perfection, and if a poem’s musicality is a defining element of poetry. Is poetry distinguished from other fields of human learning","PeriodicalId":42173,"journal":{"name":"I Tatti Studies","volume":"1 1","pages":"101 - 123"},"PeriodicalIF":0.1,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83536428","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":"La ritrattistica siciliana di Francesco Laurana e l’influenza di Antonello da Messina","authors":"C. Damianaki","doi":"10.1086/711320","DOIUrl":"https://doi.org/10.1086/711320","url":null,"abstract":"QUESTO SAGGIO È PARTE di uno studio più ampio (di prossima pubblicazione) che affronta le reciproche influenze di due esponenti di spicco dell’arte siciliana del XV secolo: lo scultore Francesco Laurana e il pittore Antonello daMessina. Qui, per la prima volta, viene esplicitato che entrambi, divenuti grandi ritrattisti, ebbero una comune iniziale esperienza artistica a Napoli negli anni Cinquanta del Quattrocento, caratterizzata dallo studio dell’arte classica e della scultura catalana (Laurana), nonché dalla pittura, in particolare la ritrattistica franco-fiamminga e provenzale (Antonello), assai diffuse, queste due ultime tendenze, nella città partenopea. Oltre che a Napoli, i due artisti lavorarono nelle o per le stesse città siciliane (Messina, Noto, Palazzolo Acreide presso Siracusa) tra la fine degli anni Sessanta e i primissimi anni Settanta del secolo XV, ed erano perciò sicuramente a conoscenza","PeriodicalId":42173,"journal":{"name":"I Tatti Studies","volume":"46 2 1","pages":"241 - 271"},"PeriodicalIF":0.1,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74151833","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":"Justification and Grace in the Sala dei Cento Giorni: Tridentine Influences in Giorgio Vasari’s Vite","authors":"Filip Malesevic","doi":"10.1086/711312","DOIUrl":"https://doi.org/10.1086/711312","url":null,"abstract":"IN 1546 THE DUKE OF FLORENCE Cosimo I de’ Medici commissioned the painter Jacopo Pontormo to decorate Brunelleschi’s choir in the church of San Lorenzo. For the next decade, Pontormo worked on his fresco cycle that remained incomplete upon the painter’s death in 1557. Agnolo Bronzino eventually completed the choir, which was unveiled on July 23, 1558, but Pontormo had probably finished the upper zone of the choir in 1550, and he had also executed three large frescoes below the cornice with a Deluge and several sections of the Resurrection of the Dead. Bronzino then completed the remaining parts of Pontormo’s Resurrection by adding other scenes in the lower section. The finished decoration of the choir was unfortunately destroyed in the rebuilding of the church’s lateral walls in 1738, but the Florentine diarist Agostino Lapini immediately remarked after the choir’s public unveiling in 1558 that these scenes entailed several perplexities. Baccio Bandinelli went further when he accused Pontormo of having “offended the devotion of that church.”","PeriodicalId":42173,"journal":{"name":"I Tatti Studies","volume":"6 1","pages":"303 - 340"},"PeriodicalIF":0.1,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81255202","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":"Guarino Guarini’s Architectural Theory and Counter-Reformation Aristotelianism: Visuality and Aesthetics in Architettura civile and Placita philosophica","authors":"B. Mitrović","doi":"10.1086/710779","DOIUrl":"https://doi.org/10.1086/710779","url":null,"abstract":"GUARINO GUARINI (1624–83) is today mainly remembered for his architectural works, such as the chapel of Santissima Sindone, the church of San Lorenzo, Palazzo Carignano in Turin, or the church Santa Maria in Araceli in Vicenza. His encyclopedic interests and massive treatises on philosophy, mathematics, and astronomy—quite extraordinary for a Baroque architect—have received much less scholarly attention. At the same time, these nonarchitectural interests are not easy to separate from his architectural pursuits, especially his views on architectural theory. The theoretical positions that he endorses in his architectural treatise Architettura civile often result from his wider philosophical views, elaborated in his philosophical treatise, Placita philosophica. This is particularly the case","PeriodicalId":42173,"journal":{"name":"I Tatti Studies","volume":"28 1","pages":"375 - 396"},"PeriodicalIF":0.1,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81735813","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":"10.1086/710925","DOIUrl":"https://doi.org/10.1086/710925","url":null,"abstract":"An image from the Biblioteca Berenson’s copy of Daniele Barbaro’s 1556 translation of and commentary on Vitruvius’s De Architectura, illustrated by Andrea Palladio, seemed like a good fit for this fall issue. For one thing, a number of the essays deal directly or indirectly with architectural studies: the treatises of the architect Guarino Guarini, the shifting interior of Saint Peter’s during its renovation, the ruined ancient building in Leonardo’s unfinishedAdoration. For another thing, the putto wielding a wand or a rod from book 9 in a section dedicated to the invention of sundials and clocks (“Della ragione, et uso de gli horologi, et della loro inventione, et de gli inventori”) offers a figure of human ingenuity—creative work that might inspire in a time of crisis (fig. 1). In the proem of book 9, Vitruvius waxes expansively about Plato, Aristotle, Pythagoras, Democritus, and (in Barbaro’s translation) “tutti gli altri Savi”who deserve resounding acclaim since their doctrines “hanno ottimi sentimenti della sapienza, & danno alle Città costumi della humanità, ragioni eguali, e leggi, lequai cose quando sono lontane, niuna Città può star bene.” But then Vitruvius goes on to characterize Plato as making a discovery fundamental to architecture: not only did he philosophize and give laws, but he invented the best way to measure a field. Accordingly, Barbaro, a Venetian aristocrat, ambassador to England, patron of Palladio and other artists, and leading scholar in the Serenissima, speaks confidently in his dedication to Cardinal Ippolito d’Este of “le belle inventioni de gli huomini” and the “piacer naturale di sapere” that led Vitruvius 1,500 years earlier to dedicate himself not only to architecture but to all the arts. For architecture “abbraccia tutto il bello delle inventioni, che si possa trovare a commodità, e diletto di chi ci vive.”","PeriodicalId":42173,"journal":{"name":"I Tatti Studies","volume":"35 1","pages":"177 - 184"},"PeriodicalIF":0.1,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77312946","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":"Giovanni Battista Braccelli’s Etched Devotions before the Vatican Bronze Saint Peter","authors":"Erin C. Giffin","doi":"10.1086/711366","DOIUrl":"https://doi.org/10.1086/711366","url":null,"abstract":"IN THE MID-SEVENTEENTH CENTURY , the artist Giovanni Battista Braccelli (ca. 1584 – 1650) created an etching of the bronze Saint Peter cult statue at the Vatican surrounded by devotees and votives ( fi g. 1). 1 This previously unpublished print, titled The Bronze Saint Peter with Votives , offers a detailed representation of the devotional object in its early modern location ( fi gs. 2 – 3): against the northeast pier of the crossing of Saint Peter ’ s Basilica, where Pope Paul V Borghese (r. 1605 – 21) had installed it on May 29, 1620 (still in situ today). The print details a group of early modern visitors gathered around the sculpture — well-dressed men, women, and children to the left of the composition, and an assortment of humbler lay and religious personages to the right. At the center, two pilgrims with walking sticks in hand and broad-brimmed hats slung over their shoulders approach the foot of the sculpted Saint Peter with great reverence. The fi rst of the two bows down to touch the top of his head to the underside of the sculpted foot in an act of extreme humility, bracing himself against the sculpture ’ s base as the crowd looks on with approval. Emanating up from the devotees, a series of ex-voto offerings blanket the fl anking pilasters of Saint Peter ’ s. One can make out the barest references of standard votive imagery and objects on the sketchily rendered plaques — kneeling fi gures and canopied beds before fl oating apparitions — accompanied by","PeriodicalId":42173,"journal":{"name":"I Tatti Studies","volume":"128 1","pages":"341 - 374"},"PeriodicalIF":0.1,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86593096","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":"Rappresentare le lacerazioni dell’animo: Archetipi letterari dell’amphibolía di Pomponio Gaurico","authors":"D. Gamberini","doi":"10.1086/710780","DOIUrl":"https://doi.org/10.1086/710780","url":null,"abstract":"Contact Diletta Gamberini at the Zentralinstitut für Kunstgeschichte (d.gamberini@zikg.eu). Voglio ringraziare Michael Cole e Ulrich Pfisterer, che hanno letto una prima stesura del presente articolo e mi hanno fornito indicazioni decisive per approfondire la sua dimensione storico-artistica. Sono altrettanto grata ai due lettori anonimi del contributo, a Jane Tylus, Jessica Goethals e Alessandra Montalbano, cui devo suggerimenti molto utili a migliorare il testo. Un sentito grazie va poi a Jonathan Nelson, con cui ho discusso diverse delle questioni qui affrontate, a Francesca Fantappiè e Clementina Marsico per la gentile consulenza bibliografica, e a Domitilla d’Onofrio per quella sui testi greci. 1. Nell’impossibilità di rendere conto in questa sede della vasta bibliografia esistente sul tema, mi limito a ricordare solo un manipolo di studi. Su tutti, quello fondativo di Rensselaer W. Lee, Ut pictura poesis: The Humanistic Theory of Painting, in “The Art Bulletin,” XXII, 1940, 197–269, che si concentra sull’influenza che la massima esercitò nei trattati composti fra la metà del sedicesimo e la metà del diciottesimo secolo. Dedicati al ruolo che l’Ars poetica aveva in precedenza avuto per le teorizzazioni circa la licenza inventiva concessa ad artisti e poeti sono il contributo di André Chastel, Le dictum Horatii “quidlibet audendi potestas” et les artistes (XIII –XVI siècle), in “Comptes rendus des séances de l’Académie des Inscriptions et Belles-Lettres,” CXXI, 1, 1977, 30–45, e, con attenzione alle ricadute in ambito figurativo all’altezza del quindicesimo secolo e al grado di autonomia mantenuto dagli artisti rispetto alle prescrizioni oraziane, Ulrich Pfisterer, Künstlerische potestas audendi und licentia im Quattrocento: Benozzo Gozzoli, Andrea Mantegna, Bertoldo di Giovanni, in “Römisches Jahrbuch der Bibliotheca Hertziana,” XXXI, 1996, 107–48. Sul versante dell’italianistica, due importanti messe a punto dei più recenti orientamenti della critica in merito al rilievo dell’ut pictura poësis nel panorama culturale italiano della prima età moderna sono offerte da Stefano Jossa, La penna e il pennello: retoriche a confronto, in Officine del nuovo: sodalizi fra letterati, artisti ed editori nella cultura italiana fra Riforma e Controriforma, a cura di Harald Hendrix e Paolo Procaccioli, Manziana 2008, 245–56; e dal volume Letteratura e arti visive nel Rinascimento, a cura di Gianluca Genovese e Andrea Torre, Roma 2019. Molto utile è poi la disamina di alcuni luoghi testuali fortemente improntati dalla memoria dell’analogia oraziana in Émilie Passignat, Il Cinquecento. Le fonti per la storia dell’arte, Roma 2017, 76–78 e 273–78.","PeriodicalId":42173,"journal":{"name":"I Tatti Studies","volume":"19 1","pages":"213 - 240"},"PeriodicalIF":0.1,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72621964","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":"Prophecies and Ruins: Architectural Sources for Leonardo’s Adoration of the Magi","authors":"E. Ferretti","doi":"10.1086/710958","DOIUrl":"https://doi.org/10.1086/710958","url":null,"abstract":"AS IS WELL KNOWN , Leonardo da Vinci (1452–1519) began his career working in the bottega of Andrea del Verrocchio. Initially, Leonardo collaborated on some of Verrocchio’s paintings, but he gradually realized that he was no longer satisfied by working on artworks that were not his own. Three paintings and one commission by the Repubblica (never made) attest to his autonomy in this first Florentine period: the Annunciation (1472–75), the Portrait of Ginevra dei Benci (1474–78), the Adoration of the Magi (1481–82), and the altarpiece commissioned for the Cappella dei Priori in Palazzo Vecchio (1478). The patrons of Leonardo’s early paintings may have belonged to different social classes, but they were often linked via bonds of kinship and friendship, partly still to be detailed. For the Priori’s commission and for the Adoration of the Magi, numerous elements indicate a “high-level” network that helped to shape the painter’s career. Such a network provided him with elements of humanistic and antiquarian culture that were available in the environment fostered by Lorenzo de’ Medici. This article analyzes theAdoration of the Magi from the specific point of view of the history of architecture, adding to the new evidence brought to light from the restoration of the painting at the Opificio delle Pietre Dure, under the direction of Marco Ciatti and Cecilia Frosinini. I will argue that this focus on architecture","PeriodicalId":42173,"journal":{"name":"I Tatti Studies","volume":"9 1","pages":"273 - 302"},"PeriodicalIF":0.1,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84302164","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":"Aurelio Lippo Brandolini’s Republics and Kingdoms Compared and the Paradoxes of Humanist Monarchism","authors":"Hanan Yoran","doi":"10.1086/710759","DOIUrl":"https://doi.org/10.1086/710759","url":null,"abstract":"HANS BARON ’S SEMINAL THESIS on Florentine civic humanism has engendered several fruitful historical and theoretical debates. By now one of Baron’s claims, namely, that fifteenth-century humanists affirmed the vivere civile, has been almost universally accepted. However, most scholars of humanism have rejected Baron’s key argument about the intrinsic relationship between this commitment to active citizenship and the republican political ideology that he attributed to the civic humanists. Studies on humanism in its various political contexts seem to have conclusively disproved Baron’s argument concerning republicanism. They have demonstrated that humanists in aristocratic Venice, despotic Milan, theocratic Rome, and monarchical Naples (to name only the most important humanist centers in quattrocento Italy) strongly favored public activity while propagating the dominant political ideology of their given polity.","PeriodicalId":42173,"journal":{"name":"I Tatti Studies","volume":"41 1","pages":"185 - 212"},"PeriodicalIF":0.1,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90152055","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":"Representing the Ottomans and Their World in 1490s Mantua: The Lost “Ottoman Mode” in Mantuan Painting in Comparative Perspective","authors":"Antonia Gatward Cevizli","doi":"10.1086/708219","DOIUrl":"https://doi.org/10.1086/708219","url":null,"abstract":"IN MANTUA DURING THE 1490S , the friendship between Francesco II Gonzaga, Marquis of Mantua (r. 1484–1519), and the Ottoman sultan Bayezid II (r. 1481– 1512) was celebrated both directly and indirectly on the walls of the Gonzaga palaces. Rather unexpectedly for a small landlocked city-state, paintings with Ottoman subject matter—including views of Ottoman territories, a scene of a Turkish banquet, and a portrait of the Ottoman ambassador—were executed both in Mantua itself and in Francesco’s rural palaces following the Ottoman ambassador’s visit. They are now only known to us through documents, since the rural palaces were destroyed in the eighteenth century after having fallen into disrepair. This has resulted in a gap in the corpus of Italian representations of their Eastern neighbors. It is significant that the Mantuan Ottoman-themed paintings occur at the very moment when the Mamluks, whose rule extended across Egypt, the Levant, and the Hejaz, were becoming a more prominent interest in Venice and Florence, and at a time when the Ottomans were being depicted as persecutors of Christians in paintings in the papal apartments. This study seeks to integrate Mantua’s lost “Ottoman","PeriodicalId":42173,"journal":{"name":"I Tatti Studies","volume":"39 1","pages":"125 - 152"},"PeriodicalIF":0.1,"publicationDate":"2020-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89299588","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}