I Tatti Studies最新文献_第6页

Filippo Strozzi and the Two Plinys: Civic Pride, Diplomacy, and Private Taste in Quattrocento Naples and Florence 菲利波·斯特罗齐和两个普林尼:四世纪那不勒斯和佛罗伦萨的公民骄傲、外交和私人品味

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I Tatti Studies Pub Date : 2020-03-01 DOI: 10.1086/708194

Eve Borsook

引用次数: 1

“La forza della virtù”: Vasari on Skill and Holiness in the Lives of Fra Angelico and Filippo Lippi “美德的力量”:《安利哥和菲利普·里皮之间的技能和圣洁》中的瓦萨里

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I Tatti Studies Pub Date : 2020-03-01 DOI: 10.1086/708118

A. Russell

{"title":"“La forza della virtù”: Vasari on Skill and Holiness in the Lives of Fra Angelico and Filippo Lippi","authors":"A. Russell","doi":"10.1086/708118","DOIUrl":"https://doi.org/10.1086/708118","url":null,"abstract":"IN VICTIMS AND VILLAINS IN VASARI ’S LIVES , Andrew Ladis calls attention to the ways in which theVite of 1568 establishes a point-counterpoint of heroes and antiheroes that generates the narrative’s moral tension and literary energy: “Joined by common citizenship,” artists in this work “participate in a great morality play in which sacred virtues, such as humility, charity, and faith, vie against the base motives that perpetually threaten Vasari’s sacred brotherhood.” Among the many protagonists of this sweeping drama, Ladis reads Fra Angelico and Fra Filippo Lippi as each other’s foil. This seems an appropriate pairing, given the proximity of the two lives in Vasari’s oeuvre (only five vite apart from each other), the fact that both artists were friars, and the stark contrast in how they lived out their monastic vows. Opposite the angelic Fra Giovanni da Fiesole, for whom “virtue is an article of craft as well as faith,” Ladis places the undisciplined and dissolute Lippi, who used the nun with whom he would elope and conceive a child as his model for a painting of the Madonna. Fra Angelico, in Ladis’s reading, is hero to Lippi’s antihero, onemore positive exemplum in a sequence of edifying contrasts that shape Vasari’s history of the rebirth of art in Italy.","PeriodicalId":42173,"journal":{"name":"I Tatti Studies","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2020-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88122074","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

Decoding Code Name 16: Was Francesco Caccini the Host of the Donati-Ardinghelli Wedding Celebrations of 1465? 解码代号16:弗朗西斯科·卡奇尼是1465年多纳蒂-阿丁赫利婚礼庆典的主人吗?

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I Tatti Studies Pub Date : 2020-03-01 DOI: 10.1086/708192

J. Bryce

引用次数: 0

The Language of Dives and Lazarus: Preaching Generosity and Almsgiving in Renaissance Florence 潜水者与拉撒路的语言:文艺复兴时期佛罗伦萨的慷慨与施舍

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I Tatti Studies Pub Date : 2020-03-01 DOI: 10.1086/708110

P. Howard

{"title":"The Language of Dives and Lazarus: Preaching Generosity and Almsgiving in Renaissance Florence","authors":"P. Howard","doi":"10.1086/708110","DOIUrl":"https://doi.org/10.1086/708110","url":null,"abstract":"THIS ESSAY CONCERNS THE MORALITY of wealth and the range of meanings it had for people in Florence during the fifteenth century. While there were contemporary humanist discussions and reassessments of the value of wealth, such as those of Poggio Bracciolini, I am concerned here with what Florentines were hearing from their pulpits. My focus is on sermon texts that fed discussion about the pros and cons of wealth and, with it, poverty. To borrow the words of a Dominican preacher from Santa Maria Novella: “Poverty comes with the rich man’s feasting. Through Lazarus he is challenged daily to acts of virtue.” These words assign agency to the poor. They served as a constant reminder of the rich man’s obligations. But the pithy sentences also ascribe the source of poverty to the activities of the rich man himself. The biblical parable of Dives and Lazarus—where Dives is consigned to hell and Lazarus is welcomed into the bosom of Abraham—articulated the anxiety that drove the moral discussions of the period: “Could a rich man enter the kingdom of heaven?” In our day, this question, thus posed, may seem prosaic tomany (although perennially pertinent in the context of the church’s relationship to poverty), but the issue at that time obsessed the wealthy in the context of the","PeriodicalId":42173,"journal":{"name":"I Tatti Studies","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2020-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"91282724","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: 2

Editor’s Note Editor’s音符

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I Tatti Studies Pub Date : 2020-03-01 DOI: 10.1086/708191

Jane Tylus

{"title":"Editor’s Note","authors":"Jane Tylus","doi":"10.1086/708191","DOIUrl":"https://doi.org/10.1086/708191","url":null,"abstract":"This issue opens with a Florentine wedding and speculations on its mysterious host (Judith Bryce’s “Decoding Codename 16”). The Berenson collection features several works related to weddings, but the one that particularly caught my eye features trumpeters, coy maidens, dejected suitors, and a haggard looking husband-to-be: Francesco Botticini’s Sposalizio della Vergine (fig. 1). What’s more, it was painted for a church in Florence—San Felice in Piazza on the Oltrarno— some five years before the marriage ceremony discussed by Bryce. And even though in 1918 Bernard Berenson thought the panel he had recently purchased was by the Perugian painter Giovanni Boccati, he cited the plausibility of earlier arguments attributing it to Fra Angelico, given that “much . . . in the composition suggests Florence.” Botticini’s Marriage of the Virgin may indeed be reminiscent of Florentine weddings and sites, and not simply because Botticini was Florentine. The seven pillars may look to the library of San Marco designed by Michelozzo, the same architect behind the Renaissance facade of the church where Botticini’s work was once housed. The trumpeters themselves, awash in red and by far the most colorful members of the wedding party (although Mary’s now-gray dress was once a glowing purple, as Laurence Kanter notes) were staples at Florentine ceremonies. The painting features a daring asymmetry—the space behind Joseph is much more crowded and busier than the comparatively vacant space occupied by Mary’s calm handmaidens—and at least one tantalizing puzzle: of the four doors that line the room, the one to Mary’s right is slightly ajar. Perhaps it’s out of carelessness, or perhaps it’s a sign of the opening into a new life for Mary and her husband— and for all future Christians. But Botticini seems to make this moment more solemn than festive, judging from Joseph's concentrated expression and Mary's modest demeanor as she shuts her eyes. (The jilted male suitors, two of whom are seen breaking their rods, would no doubt describe the occasion differently.)","PeriodicalId":42173,"journal":{"name":"I Tatti Studies","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2020-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84083551","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

Death and the Maenad 死神和女祭司

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I Tatti Studies Pub Date : 2020-03-01 DOI: 10.1086/708193

Rob Millard

{"title":"Death and the Maenad","authors":"Rob Millard","doi":"10.1086/708193","DOIUrl":"https://doi.org/10.1086/708193","url":null,"abstract":"AFTER VISITING THE UFFIZI IN 1819, Percy Bysshe Shelley (1792–1822)made the following observations regarding a marble relief (fig. 1) from the workshop of Andrea del Verrocchio (1435–88): “[There is] . . . a woman who appears to be in the act of rushing in, with disheveled hair and violent gestures, and in one hand either a whip or a thunderbolt. She is probably some emblematic person whose personification would be a key to the whole. What they are all wailing at, I don’t know; whether the lady is dying or the father has ordered the child to be exposed; but if the mother be not dead, such a tumult would kill a woman in the straw these days.” Both Shelley and the current opinion of his day were mistaken in assuming this relief was an ancient work. The poet was correct, however, in surmising that the tormented female figure storming onto the scene at the extreme right-hand side—gripping her hair, not a thunderbolt (fig. 2)—provided a key to the understanding of the composition as a whole.With her swirling hair and equally roiling, windswept drapery, as well as her emphatically “antique” costume, this agitated embodiment of extreme grief or panic clearly derives from the familiar antique model of the Maenad. Ancient artists characteristically depicted these female followers of Dionysus as engaging in frenetic, ecstatic activity, signified by the turbulentmotion of their hair and garments (see, e.g., figs. 3 and 4). Shelley was obviously familiar with the type, as we","PeriodicalId":42173,"journal":{"name":"I Tatti Studies","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2020-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78219249","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 Playful Invention: Agostino Carracci’s Bacchus with Goat in the Louvre 一个有趣的发明:阿戈斯蒂诺·卡拉奇的《巴克斯与山羊》在卢浮宫

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I Tatti Studies Pub Date : 2020-03-01 DOI: 10.1086/708221

Cyril Gerbron

引用次数: 0

The Future of Premodern Studies: A View from the Newberry 前现代研究的未来:来自纽贝里的观点

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I Tatti Studies Pub Date : 2019-09-01 DOI: 10.1086/705399

Lia Markey

{"title":"The Future of Premodern Studies: A View from the Newberry","authors":"Lia Markey","doi":"10.1086/705399","DOIUrl":"https://doi.org/10.1086/705399","url":null,"abstract":"THE CENTER FOR RENAISSANCE STUDIES (CRS) at the Newberry Library in Chicago is celebrating its fortieth anniversary in 2019. The center was founded in 1979 by Counter-Reformation historian John Tedeschi in order to promote research and scholarly activities at the library, whose rich holdings in medieval and Renaissance studies had already been inspiring scholars since the arrival on staff in 1949 of noted historian Hans Baron. The CRS has always aimed to provide a place for students and faculty to take classes, work with sources, and enjoy collaborations that would not have been possible at their institutions or on an individual basis. Over the years and thanks to subsequent directors and acting directors (Mary Beth Rose, Clark Hulse, Raymond Clemens, Carla Zecher, and Karen Christianson), the center grew to include some fifty universities in its consortium throughout the United States, Canada, the United Kingdom, and Switzerland. Each year the center now hosts three or four symposia, a graduate student conference, numerous workshops and courses, lectures, scholarly seminars, and vernacular paleography institutes. The center also develops and supports digital humanities projects and the Newberry’s fellowship program. What the CRS has accomplished over the years is largely due to the Newberry’s enthusiastic community and the growth of its other research centers, now under the umbrella of the Newberry’s Institute for Research and Education. As I enter my fourth year as director of the center, I am poised to reflect on the future of the field of Renaissance studies as seen through the activities at the library and the center. I should note that by “Renaissance studies” I mean “premodern studies,” since our center encompasses medieval, Renaissance, baroque, colonial, and early","PeriodicalId":42173,"journal":{"name":"I Tatti Studies","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2019-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75801837","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

Botticelli’s Illustrations of Dante’s Paradiso: The Construction of Conjoined Vision 波提切利对但丁天堂的图解:连体视觉的建构

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I Tatti Studies Pub Date : 2019-09-01 DOI: 10.1086/705470

Heather Webb

引用次数: 0

Forgetting the Italian Renaissance and Other Irreverent Suggestions for the Future 忘记意大利文艺复兴和其他对未来不敬的建议

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I Tatti Studies Pub Date : 2019-09-01 DOI: 10.1086/705437

G. Ruggiero

{"title":"Forgetting the Italian Renaissance and Other Irreverent Suggestions for the Future","authors":"G. Ruggiero","doi":"10.1086/705437","DOIUrl":"https://doi.org/10.1086/705437","url":null,"abstract":"LIKE MANY OTHERS , I have long been concerned about the ongoing slide of the Italian Renaissance along with Renaissance studies to the periphery of scholarly interest and the concomitant disappearance of academic positions in the field, as a host of apparently more inclusive or currently popular areas of inquiry have grabbed the scholarly imagination. As departments across the humanities have ceased to hire bright young scholars in the area—of whom there are no lack—and as funds and positions are relocated to other more fashionable areas or reallocated by deans and provosts to other more “important” disciplines such as business, communications, or the sciences, the field seems doomed. Some have even suggested forgetting the Italian Renaissance as hopelessly out-of-date and irrelevant. In the face of these unhappy trends, many excellent scholars have stepped up with impressive suggestions for future approaches to the field that might save it. But I would like to go against that admirable and optimistic current to suggest irreverently that we give in to these bleak developments and simply forget the Italian Renaissance. And from that irreverent point of departure I would like to suggest a few possible futures that might make use of our well-trained and enthusiastic, but largely unemployable, new generation of scholars working in the area and perhaps even rejuvenate our ongoing interest in a past that is indeed deeply past and, for that, interesting and valuable. Interesting and valuable especially for a present that is often all too present and, largely because of that, often too narrow and shortsighted, lost in the hubris of a timeless modernity without history or future. First, then, forgetting the Italian Renaissance would take care of a troubling problem with traditional terminology. Never all that comfortable with the name, Italian","PeriodicalId":42173,"journal":{"name":"I Tatti Studies","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2019-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78084519","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