{"title":"Laura Battiferra’s “Letter from Lentulus” and the Likeness of Christ in Renaissance Italy","authors":"V. Kirkham","doi":"10.1086/705537","DOIUrl":"https://doi.org/10.1086/705537","url":null,"abstract":"WHAT DID CHRIST LOOK LIKE? Nowhere does the Bible describe his physical features. Silence conceals his appearance. To supplement scripture, miraculously created images of him emerged early on and, alongside them, written records with purported eyewitness authority. Carried by legend through the centuries, these testimonials have, ironically, turned the Bible’s invisible man into the figure most frequently portrayed and widely recognized in all Christendom. One such witness is the so-called “Letter from Lentulus,” believed to have been sent by a contemporary of Christ in Judea to the Roman Senate, so they could know what the remarkable prophet looked like. That apocryphal missive, probably dating from eighthcentury Byzantium, came to enjoy enormous popularity in medieval and Renaissance Europe, preserved in countless manuscripts and print editions, both Latin and vernacular. To enhance the simple text, most often in prose, devout Christians adapted it into rhyme, an artistic expression of veneration. Among them was the","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":"90997747","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":"Metonymic Agency: Some Data on Presence and Absence in Italian Miracle Cults","authors":"Christopher J. Nygren","doi":"10.1086/705516","DOIUrl":"https://doi.org/10.1086/705516","url":null,"abstract":"MIRACLE-WORKING IMAGES RAISE a unique set of theological, philosophical, and art historical issues that more traditional artworks do not. Of principal interest for this study is the question of agency: What agent(s) is (are) ultimately responsible for the miracles that have been attributed to a miracle-working image? The issue of agency has attained prominence among art historians in the last twenty years or so, especially following the publication of AlfredGell’s pioneering anthropological study, Art and Agency: An Anthropological Theory. His breakthrough came by insisting that art ought to be studied “as a system of action, intended to change the world rather than encode symbolic propositions about it.”AsGell noted, cult images have a central place in the discourse on agency, “since nowhere are images more obviously treated as human persons than in the context of worship.” Nevertheless, rigorously analyzing the chain of miraculous agency is difficult. As Gell writes, “it remains a controversial philosophical problem to distinguish between ‘actions’","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":"85915481","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":"Signs of Trust in the Italian Renaissance","authors":"A. Rizzi","doi":"10.1086/705434","DOIUrl":"https://doi.org/10.1086/705434","url":null,"abstract":"TRUST PLAYS A FUNDAMENTAL ROLE IN HOW INDIVIDUALS , communities, and institutions interact. Crises of trust have always affected communities. Earlymodern Italy is no exception. Governments, communes, and duchies trusted condottieri and podestà among other professionals to protect them. Fede (faith, trust) was an essential social condition for trade. In 1732, Ergas and Silvera, two Sephardic traders based in Livorno, wrote to another Sephardic merchant in Venice that what mattered to them most was to be able to rely on a “trustworthy and diligent person” (persona de confianza y deligente). Ideally, fede or trust was also accompanied by fiducia—or expectation that contracts, agreements, and all manner of friendships would be honored. In turn, fiduciawas ideally sustained by trust and a series of more or less flexible forms of contract that would protect both individuals and property. Failure to demonstrate trustworthiness often resulted in loss of honor. This was the case in the fifteenth century for Lodovico and Gianfranco Strozzi, whose insolvency, in the words of their cousin Alessandra Strozzi, brought a stain on their lineage that “could last forever.” Scholarship has focused on early modern rituals of trust (oath, membership, handshake, or kiss), but we know less about how trustworthiness was signaled and received.","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":"80677083","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":"Art History, Boundary Crossing, Making Worlds","authors":"Bronwen Wilson","doi":"10.1086/705736","DOIUrl":"https://doi.org/10.1086/705736","url":null,"abstract":"THIS SHORT ESSAY advocates boundary crossing as one direction for the future of Italian Renaissance art history, largely because it is an approach that emerges from engaging with phenomena that transgress traditional parameters of the field. These may be materials, formats, or people that cross geographical boundaries, unsettling familiar ground and inciting us to move in new directions. They may be global or transcultural things that challenge existing analytical frameworks. They may be practices or forms that refuse conventional historical periodization, categories, or terms of reference. As an approach, boundary crossing entails being receptive to unexpected forms of solicitation and to unpredictable paths and detours—to being open to what we do not know. That we learn from how the world looks back at us, as Michel de Montaigne observes above, has been demonstrated by the proliferation of studies and exhibitions on early modern art, global exchanges, and mobility that have provoked many of us to rethink familiar terrain. Since it is the case study that gives rise to","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":"76329005","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":"Renaissance Music and Musicology: Challenges and Opportunities","authors":"Laurie Stras","doi":"10.1086/705435","DOIUrl":"https://doi.org/10.1086/705435","url":null,"abstract":"IN SUMMER 2002 , when the International Musicological Society (IMS) gathered for its quinquennial meeting in Leuven, I was still a relatively junior scholar, with only a few grants and publications to my name. My presentation, “When Is a Madrigal Not a Madrigal?,” focused on challenging the status of the musical score, which for over a century had been the primary tool for the study, analysis, and performance of Renaissance music. After one set of afternoon sessions, I was thrilled to find myself walking next to Jessie Ann Owens, who generously engaged me in conversation (here I paraphrase): “I’m so glad,” she said, “that you have decided to devote yourself to The What.” “What?” I replied, confused. “The What,” she repeated. “It used to be that every musicologist wanted to study Renaissance music. Now, when someone asks what music I work on, I say, ‘The Renaissance,’ and they say, ‘The What?’” Nearly seventeen years later, and at the time of writing, the medieval and Renaissance musicology community is preparing for its annual meeting (affectionately known as MedRen), which this year is hosted by the Schola Cantorum Basiliensis in Basel. Over four days there will be 283 papers with six parallel sessions in each time block, two workshops, ten lecture recitals, one roundtable, an exhibition, and a concert. Reconstructions of lost instruments will be played; new manuscript discoveries will be announced; music from Iceland to Iberia to Georgia will be discussed; critiques will be anchored in feminist musicology, film theory, and disability studies; traditional analysis and historical inquiry will sit alongside sessions on digital humanities. At vibrant events such as these, Renaissance musicology does not seem like a field under threat—in almost every way, it feels as if it is growing","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":"88675275","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":"Digital Renaissance","authors":"Deanna Shemek","doi":"10.1086/705488","DOIUrl":"https://doi.org/10.1086/705488","url":null,"abstract":"GEOGRAPHIC INFORMATION SYSTEMS (GIS) , Augmented Reality (AR), Virtual Reality (VR), data sets, assets, outputs, sound files: these are terms of art for the information renaissance of our time. Towhat extent are the digital humanities (DH) inspiring research and teaching about the renaissance that concerns readers of I Tatti Studies? My trajectory as a scholar took a digital swerve around 2012, when I found myself wishing for online visualizations of archival documents that were central to my research: how could I work with then-director of the Archivio di Stato of Mantua Daniela Ferrari both to conserve and to make more widely available the thousands of precious and fragile letters in the correspondence files of Isabella d’Este Gonzaga (1474–1539), marchesa of Mantua? How many other participants, with what kinds of expertise, would we need, with what financial resources, to realize this goal?Most importantly, what new research would be enabled by increasing access to the Gonzaga archive? What followed from these questions has not been my metamorphosis into a computer programmer or software developer but rather an ever-expanding set of relations with coproducers whose skills complement and supplement my own. What began as a preservation and access project about manuscript letters has evolved into a multiauthored, multimedia, online environment for study of the Italian Renaissance that is part public humanities, part specialized research tool, and always in evolution. IDEA: Isabella d’Este Archive now embraces an international team of scholars from Italy, the United States, Scotland, and Australia and features highresolution images of some 28,000 pieces of correspondence; an expanding set of music projects, including documentary films; a bibliography; and art historical materials (realized or in production) in projects ranging from databases, to visual and economic analyses, to a 3D, immersive model of Isabella’s famous studiolo. Some","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":"83747016","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":"Decameron 5.8: From Compassion to Compliancy","authors":"Olivia Holmes","doi":"10.1086/702646","DOIUrl":"https://doi.org/10.1086/702646","url":null,"abstract":"BOCCACCIO FAMOUSLY BEGINS the Decameron’s preface “Umana cosa è aver compassione degli afflitti” (It is a matter of humanity to show compassion for those who suffer) and goes on to claim that he intends the book as a work of consolation for young ladies, confined to their rooms and afflicted with lovesickness. The content of the opening aphorism is somewhat conventional, but Boccaccio’s placement of it at the very start of the Decameron raises important questions about the collection’s purpose. Is the narrative’s putative objective only to distract its figuratively female readers while their lovesickness wanes of its own accord, or is it also to instill compassion—for women in love and for people in","PeriodicalId":42173,"journal":{"name":"I Tatti Studies","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2019-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"91278298","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":"Compassion in the Decameron: The Opening Sequence","authors":"F. R. Psaki","doi":"10.1086/702645","DOIUrl":"https://doi.org/10.1086/702645","url":null,"abstract":"SET AGAINST THE BACKDROP of an apocalyptic pandemic that extirpates all certainty, order, and kindness from the city of Florence, the Decameron is a work that is self-consciously novel. It is a massive undertaking unprecedented in its form: a frame narrative in modern Italian prose, deploying systematically multiple narrators and levels of narration, both stringently regular and in its micropatterns deliberately asymmetrical. It is equally unprecedented in its themes: the purpose and functioning of imaginative fiction, the (gendered) role of appetite in human behavior, the drivers and outcomes of behavioral choices examined in a rigorously immanent context. Beginnings are always important; every work carries its content on its forehead, as Giovanni Boccaccio said of his tales’ rubriche, positioning its readers and shaping their expectations and experience of it. Of this immense production, even more than most, the opening sequence offers a road map to its readers. First and foremost, the proem announces that compassion is the engine that powers this innovative project. Compassion is a complex value in any society, particularly in one infused as much with a capitalist as with a Christian ethos. TheDecameron sets out to explore the spiritual and social dimensions of compassion, although through neither a philosophical or theological analysis nor a didactic series of transparently exemplary models reflecting and rewarding “good” behaviors and indicting and punishing “bad” ones. Boccaccio both invokes and revises the didactic exemplum, whose simplicity limits its utility for him; his strategy here, as in all his literary fictions, is not to clarify but to nuance—not to spoon-feed but to challenge his readers. This ap-","PeriodicalId":42173,"journal":{"name":"I Tatti Studies","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2019-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79768389","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":"The Ribbon Files: The Medici Project to Chart the Measurements of the Entire World","authors":"Emanuele Lugli","doi":"10.1086/702665","DOIUrl":"https://doi.org/10.1086/702665","url":null,"abstract":"THIS ARTICLE IS ABOUT A LITTLE DISCOVERY . In Florence’s Archivio di Stato, folded between lists of publications and postage prices, are some one hundred documents belonging to a forgotten Medici project for recording all the measurements of the world. A week before the end of July 1683, the chancellery of Grand Duke Cosimo III (r. 1670–1723) sent letters to some of his agents across Europe, asking them to provide the dimensions of standards in use in their areas of operation. It also solicited up-to-date information on currencies, even if the replies indicate that this second request only inquired about the names of units of accounts and their divisions. Those responses got stacked together, bound to the drafts (minute) of Cosimo’s letters, and inserted in a towering miscellanea of receipts and wish lists. The result—what I call the “ribbon files”—is as curious as was the decision to keep all the letters together. Florentine archivists usually place each missive in the folder of the respective sender. They sometimes even divide them into different years. The current arrangement instead points to a different objective: to keep those documents together even after the endeavor was eventually abandoned.","PeriodicalId":42173,"journal":{"name":"I Tatti Studies","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2019-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86248858","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}
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