DOCSLIB.ORG

Univerzita Palackého V Olomouci Filozofická Fakulta Katedra Romanistiky

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Univerzita Palackého V Olomouci Filozofická Fakulta Katedra Romanistiky UNIVERZITA PALACKÉHO V OLOMOUCI FILOZOFICKÁ FAKULTA KATEDRA ROMANISTIKY Mgr. Paolo Tabacchini La coltivazione di Luigi Alamanni. Edizione, studio e commento Luigi Alamanni’s La Coltivazione. Edition, Study, and Commentary Disertační práce Školitel (Univerzita Palackého): Prof. Mgr. Jiří Špička, Ph.D Školitel (Università di Parma): Prof. Mgr.Carlo Varotti, Ph.D Olomouc 2020 1 Prohlašuji, že jsem tuto disertační práci vypracovala samostatně pod odborným vedením prof. Jiřího Špičky a prof. Carla Varottiho a uvedl v ní veškerou literaturu a ostatní zdroje, které jsem použil. Paolo Tabacchini 2 Indice analitico Introduzione ........................................................................... 5 1 Lo studio ......................................................................... 10 1.1 L’autore e il tempo ..................................................... 10 1.1.1 Il contesto storico-culturale ................................. 10 1.1.2 La vita ................................................................. 12 1.1.3 Le opere .............................................................. 17 1.1.4 La ricezione ......................................................... 21 1.2 L’opera ...................................................................... 29 1.2.1 Genesi dell’opera ................................................. 29 1.2.2 La struttura ........................................................ 37 1.2.3 I modelli .............................................................. 42 1.2.4 La lingua e lo stile ............................................... 64 1.2.5 Il sapere agronomico ne La coltivazione ................ 72 1.2.6 Il genere didascalico-georgico .............................. 77 2 L’edizione e il commento.................................................. 94 2.1 Nota al testo e al commento ....................................... 94 2.1.1 Edizioni precedenti .............................................. 94 2.1.2 Criteri dell’edizione .............................................. 97 2.2 Note di commento ................................................... 102 2.2.1 Libro I ............................................................... 102 2.2.2 Libro II .............................................................. 149 2.2.3 Libro III ............................................................. 163 2.2.4 Libro IV ............................................................. 169 2.2.5 Libro V .............................................................. 175 2.2.6 Libro VI ............................................................. 188 Appendice .......................................................................... 196 Tavola I: gli argomenti ..................................................... 196 3 Libro I: lavori della primavera ....................................... 196 Libro II: lavori dell’estate .............................................. 198 Libro III: lavori dell’autunno ......................................... 200 Libro IV: lavori dell’inverno ........................................... 202 Libro V: coltura degli orti e dei giardini ......................... 204 Libro VI: influsso degli astri sulle colture ...................... 205 Tavola II: elementi e forme didascaliche ........................... 206 Libro I .......................................................................... 206 Libro II ......................................................................... 207 Libro III ........................................................................ 208 Libro IV ........................................................................ 209 Libro V ......................................................................... 209 Libro VI ........................................................................ 210 Tavola III: lessico notevole ............................................... 211 Libro I .......................................................................... 211 Libro II ......................................................................... 212 Libro III ........................................................................ 213 Libro IV ........................................................................ 214 Libro V ......................................................................... 215 Libro VI ........................................................................ 217 Bibliografia ......................................................................... 218 Opere di Luigi Alamanni .................................................. 218 Edizione moderne delle principali opere georgica ............. 218 Studi su Luigi Alamanni .................................................. 218 Studi vari e opere di consultazione .................................. 220 4 Introduzione La presente tesi, che ha come obiettivo lo studio complessivo dell’opera La coltivazione di Luigi Alamanni, è il frutto di una assidua frequentazione della pagina alamanniana. I primordi della ricerca si possono rintracciare all’epoca dei miei studi universitari svolti presso l’Università degli Studi di Roma “la Sapienza” e nello specifico con l’analisi linguistico-stilistica, proprio dedicata a La coltivazione, che costituì la relazione elaborata al termine del corso seminariale per lauree magistrali dedicato al poema didascalico volgare italiano e tenuto dal professor Matteo Motolese durante l’anno accademico 2011-2012. Secondo passo fondamentale è stato il lavoro di ricerca dedicato ad un’altra opera dell’autore, le Egloghe (in Opere toscane, 1532-1533), svoltasi al termine del laboratorio sulla poesia pastorale rinascimentale e tardo-rinascimentale e tenuto l’anno seguente dal dottor Lorenzo Geri. Di nuovo al poema georgico di Alamanni è stata poi dedicata la mia tesi di laurea magistrale, nella quale si tentava già allora di mettere in luce i problemi filologici che riguardano quest’opera attraverso la curatela e il commento di uno dei sei libri del poema (il secondo). La tesi venne seguita dai due studiosi citati, il prof. Motolese, in qualità di correlatore, il dott. Geri, in qualità di relatore. L’idea di dedicare la tesi di dottorato al poema didascalico di Luigi Alamanni ha tratto tuttavia una notevole forza dalla costatazione della scarsa attenzione (non del tutto assente, ma certamente discontinua e frammentaria) che la critica letteraria ha avuto nei confronti di questo autore in generale, e della sua fatica georgica in particolare. La lettura e rilettura dei testi di Alamanni ci aiuta a comprendere, invece, la notevole importanza della sua lezione poetica in riferimento al suo tempo e anche in relazione alla 5 storia successiva della letteratura italiana. La mancanza, per giunta, di una edizione affidabile del testo in questione (come anche per la quasi totalità della produzione d’autore), primo passo per qualsivoglia esercizio interpretativo, è un problema per nulla trascurabile per l’argomento. Per questo si è scelto di incentrare questo lavoro sulla costituzione di una edizione, fornita di note di commento, dalla quale, idealmente, vorrebbe avviarsi l’azione interpretativa. La tesi che si presente ha certamente una fisionomia singolare. Si tratta, in fin dei conti, del tentativo di elaborare un’edizione di un ampio e complesso poema. Un tentativo ambizioso, ma che con l’impegno e l’aiuto da parte de molti colleghi di maggiore esperienza (primi fra tutti in due relatori) può considerarsi raggiunto, pure se con tutte le limitazioni che una tale parola definitiva può avere nel campo filologico (e scientifico, in generale). La costituzione del testo è da considerarsi come la premessa a qualsiasi azione della critica; e questo ha ancora più valore quando si ha a che fare con opere del passato, di epoche in cui il concento di autorialità, di cura filologica e tipografica del testo erano agli albori. Pertanto, si è scelto di prendere avvio da questo problema, con il tentativo di risolverlo e poter dare inizio ad un lavoro critico maggiormente affidabile e concreto. La cura del testo è stato dunque il primo passo del lavoro di ricerca; ed anche se, come detto, ha un ruolo centrale per qualsivoglia lavoro critico (e, aggiungerei, anche nella nell’economia della tesi), si è tentato anche di offrire una prima lettura critica olistica dell’opera in esame. Tale azione analitica e interpretativa è stata scandita in due fasi: 1) il commento sistematico del testo (altra parte importante di qualsiasi edizione moderna di opere letterarie) e 2) la sintesi interpretativa di uno studio complessivo dell’opere, 6 compendiato da un inquadramento all’interno della produzione dell’autore, del tempo in cui visse e della tradizione del genere nella quale il poema si inserisce. Il lettore troverà questa struttura invertita nella facies della tesi. Infatti, l’elaborato presentato è diviso in due parte: 1)1 Lo studio, 2) Il commento. La prima parte è una sorta di introduzione all’edizione commentata (il vero “cuore” della tesi) nella quali si tratta il contesto storico-culturale, la vita e le altre opere dell’autore e la ricezione della sua attività poetica. Questa prima parte ha una doppia natura: 1) è una sintesi interpretativa complessiva del lavoro di analisi condotto sul testo e 2) una premessa all’edizione commentata che offre al lettore gli strumenti necessari per affrontare l’opera stessa. La seconda parte è l’edizione commentata vera e propria, introdotta dal una nota al testo, di natura schiettamente tecnica, che illustra lo stato dell’arte riguardante le edizioni precedenti del testo
Load more

Recommended publications
  • A History of Italian Literature Should Follow and Should Precede Other and Parallel Histories
    I. i III 2.3 CORNELL UNIVERSITY LIBRARY C U rar,y Ubrary PQ4038 G°2l"l 8t8a iterature 1lwBiiMiiiiiiiifiiliiii ! 3 1924 oim 030 978 245 Date Due M#£ (£i* The original of this book is in the Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924030978245 Short Histories of the Literatures of the World: IV. Edited by Edmund Gosse Short Histories of the Literatures of the World Edited by EDMUND GOSSE Large Crown 8vOj cloth, 6s. each Volume ANCIENT GREEK LITERATURE By Prof. Gilbert Murray, M.A. FRENCH LITERATURE By Prof. Edward Dowden, D.C.L., LL.D. MODERN ENGLISH LITERATURE By the Editor ITALIAN LITERATURE By Richard Garnett, C.B., LL.D. SPANISH LITERATURE By J. Fitzmaurice-Kelly [Shortly JAPANESE LITERATURE By William George Aston, C.M.G. [Shortly MODERN SCANDINAVIAN LITERATURE By George Brandes SANSKRIT LITERATURE By Prof. A. A. Macdonell. HUNGARIAN LITERATURE By Dr. Zoltan Beothy AMERICAN LITERATURE By Professor Moses Coit Tyler GERMAN LITERATURE By Dr. C. H. Herford LATIN LITERATURE By Dr. A. W. Verrall Other volumes will follow LONDON: WILLIAM HEINEMANN \AU rights reserved] A .History of ITALIAN LITERATURE RICHARD GARNETT, C.B., LL.D. Xon&on WILLIAM HEINEMANN MDCCCXCVIII v y. 1 1- fc V- < V ml' 1 , x.?*a»/? Printed by Ballantyne, Hanson &* Co. At the Ballantyne Press *. # / ' ri PREFACE "I think," says Jowett, writing to John Addington Symonds (August 4, 1890), "that you are happy in having unlocked so much of Italian literature, certainly the greatest in the world after Greek, Latin, English.
    [Show full text]
  • 1 the Political Philosophy of Niccolò Machiavelli Filippo Del Lucchese Table of Contents Preface Part I
    The Political Philosophy of Niccolò Machiavelli Filippo Del Lucchese Table of Contents Preface Part I: The Red Dawn of Modernity 1: The Storm Part II: A Political Philosophy 2: The philosopher 3: The Discourses on Livy 4: The Prince 5: History as Politics 6: War as an art Part III: Legacy, Reception, and Influence 7: Authority, conflict, and the origin of the State (sixteenth-eighteenth centuries) 1 8: Nationalism and class conflict (nineteenth-twentieth centuries) Chronology Notes References Index 2 Preface Novel 84 of the Novellino, the most important collection of short stories before Boccaccio’s Decameron, narrates the encounter between the condottiere Ezzelino III da Romano and the Holy Roman Emperor Frederick II: It is recorded how one day being with the Emperor on horseback with all their followers, the two of them made a challenge which had the finer sword. The Emperor drew his sword from its sheath, and it was magnificently ornamented with gold and precious stones. Then said Messer Azzolino: it is very fine, but mine is finer by far. And he drew it forth. Then six hundred knights who were with him all drew forth theirs. When the Emperor saw the swords, he said that Azzolino’s was the finer.1 In the harsh conflict opposing the Guelphs and Ghibellines – a conflict of utter importance for the late medieval and early modern history of Italy and Europe – the feudal lord Ezzelino sends the Emperor a clear message: honours, reputation, nobility, beauty, ultimately rest on force. Gold is not important, good soldiers are, because good soldiers will find gold, not the contrary.
    [Show full text]
  • C.A.N.E. Daniello Paper
    Page 1 of 15 Bernardino Daniello and Vergil's Georgics Z. Philip Ambrose, The University of Vermont (A paper delivered at the Annual Meeting of the Classical Association of New England on March 17, 2017, © Z. Philip Ambrose) (With English translation of Daniello's Note to the Readers and Letter to his Patron in endnotes 1 and 2) Almost no attention has been paid to the translation and commentary of Vergil's Georgics by Bernardino Daniello of Lucca. I hold here the first edition, printed in Venice in 1545. To make it better known and easier to read I have made a transcription of it which I will put up on the UVM Classics Department's webpage. I will also put up my translation of his note to the Readers1 and his letter to a patron2 with its claim that Agriculture is first among the Arts. This morning I want say a few things about it Bernardino Daniello (c. 1500 in Lucca-1565 Padua) was the author of the last Renaissance commentary on Dante's Commedia, published posthumously in 1568, the only Dante commentary known by Milton.3 The great humanists Pietro Bembo (1470-1547) and Trifone Gabriele (1470-1549), who were leaders in the development of literary studies and of Italian as a literary language, shaped much of Daniello's work.. Daniello's 1536 La Poetica featured Trifone Gabriele as a main speaker in this dialog that defends poetry against the claims of philosophy, considered the first such defense in the 16th century.4 Ten years later, Daniello's Georgica is published in Venice.5 Daniello in effect offers with this work proof of the value and utility of poetry he had argued in La Poetica.6 It was the second Italian translation.
    [Show full text]
  • Torquato Tasso and the Problem of Vernacular Epic in 16Th-Century Italy
    THE TRUMPET AND THE LYRE: TORQUATO TASSO AND THE PROBLEM OF VERNACULAR EPIC IN 16TH-CENTURY ITALY by Christopher Geekie A dissertation submitted to Johns Hopkins University in conformity with the requirements for the degree of Doctor of Philosophy. Baltimore, Maryland July 19th, 2017 © Christopher Geekie 2017 All rights reserved ABSTRACT In this dissertation, I analyze conceptions of epic poetry in sixteenth century Italy, specif- ically the debates surrounding vernacular poetic language, which ultimately produce the first successful Italian epic, Torquato Tasso’s Gerusalemme liberata. While scholars have mainly focused on early interpretations of Aristotle’s Poetics and questions of narrative structure, I argue for a shift towards analyzing discourses of language and style, which provide a more concrete framework for understanding Tasso’s poetic innovation. Examin- ing linguistic and literary texts from the 1530s to 1560s, I focus on issues of establishing a stable vernacular poetic language capable of equalling classical forms, specifically that of epic, at a time when the epic genre is defined by an exacting set of aesthetic expec- tations seemingly at odds with a predominantly lyric tradition grounded in Petrarchan love poetry. I argue that an unstable critical moment emerges by the mid sixteenth cen- tury concerning the ability of poets to translate the ideal form of classical epic into the mellifluous Italian language. This tension leads to experimentation with various formal elements that concern sound, notably meter and rhyme. I conclude that Tasso addresses this issue of sound with a radical theory of epic style based on the unconventional aes- thetic qualities of harshness, dissonance, and sonority.
    [Show full text]
  • Niccolo Machiavelli
    HISTORICAL, POLITICAL, AND DIPLOMATIC WRITINGS OF NICCOLO MACHIAVELLI TRANSLATED FROM THB ITALIAN BY CHRISTIAN E. DETMOLD IN FOUR VOLUMES VOL. I. BOSTON JAMES R. OSGOOD AND COMPANY I882 Copynghf, 1882, CHRISTIANE. DETMOLD. BY - All rights reserved. UNIVERSITYPRESS: JOHN WILSONAND SON, CAMBRIDGS. C 0 R RI G EN’D A. -----t VOLUMEI. Page 143, lines 9 and 10 from top, instead of “ state their wishes to the rioters,” read, “learn the wishes of the rioters.” VOLUME11. Page 52. ‘1 THE PRINCE?”chapter 16, 3d line, instead of the words, ‘1 indulged in so that you will no longer be feared, will prove injurious. For liberality worthily exercised, as it should he, will not be recognized,” read, ‘1 practised so that you are not repufed liberal, will injure you. For iibitralit’y worthily exercised, as it should he, will not be known ,’ ’ &c. * K0.m. * This erroneous translation resulted from a difference in the text of the Testine Edition (1550),which wah used by me in the translation of “The Prince.” Page 39, chap. 16, 2d and 3d lines, read “ Knndimnnco la liheralita usata in modo, ahe tu non sia tem~to,ti offeiitle.” It should be, ‘I che tu non sia tenato.” c. E. I). TRANSLATOR’S PREFACE. INoffering the present translation of Machiavelli’s principal historical, political, and diplomatic writings, my original object was simply to afford to the general reader the opportunity of judging for himself of the character of the man, and of those of his works upon which his reputation for good or for evil mainly depends.
    [Show full text]
  • WRAP THESIS Comiati 2015.Pdf
    A Thesis Submitted for the Degree of PhD at the University of Warwick Permanent WRAP URL: http://wrap.warwick.ac.uk/79572 Copyright and reuse: This thesis is made available online and is protected by original copyright. Please scroll down to view the document itself. Please refer to the repository record for this item for information to help you to cite it. Our policy information is available from the repository home page. For more information, please contact the WRAP Team at: [email protected] warwick.ac.uk/lib-publications HORACE IN THE ITALIAN RENAISSANCE (1498-1600) BY GIACOMO COMIATI A thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy in Italian Studies University of Warwick, School of Modern Languages and Cultures, Italian Studies September 2015 TABLE OF CONTENTS Acknowledgments page 4 Abstract 5 List of Abbreviations 6 INTRODUCTION 8 1. RENAISSANCE BIOGRAPHERS OF HORACE 27 1.1 Fifteenth-Century Biographers 30 1.2 The First Printed Biographies 43 1.3 Biographies in the Sixteenth Century 53 Conclusion 66 2. RENAISSANCE COMMENTATORS OF HORACE 69 2.1 The Exegetical Fortune of Horace in the Late Quattrocento 71 2.2 Horatian Commentators: from Beroaldo the Elder to Girolamo Scoto 84 2.3 Horatian Exegesis 1550-1600 103 2.4 The Art of Poetry and its Exegesis 114 Conclusion 129 3. RENAISSANCE TRANSLATORS OF HORACE 133 3.1 Translating Horace’s Hexametrical Works 134 3.2 Translating Horace’s Lyrical Production 148 Conclusion 166 4. RENAISSANCE ITALIAN IMITATORS OF HORACE 169 4.1 The Satirical Genre 171 4.2 Vernacular Odes 188 4.3 The Founding Fathers of Petrarchism 210 2 4.4 Petrarchism After Bembo 220 4.4.1 Naples 220 4.4.2 Tuscany 230 4.4.3 Venetian Region 238 Conclusion 250 5.
    [Show full text]
  • Bartolomeo Bettini's Cycle of Paintings by Michelangelo, Pontormo, and Bronzino for His Florentine Camera
    City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 9-2015 A Merchant-Banker's Ascent by Design: Bartolomeo Bettini's Cycle of Paintings by Michelangelo, Pontormo, and Bronzino for His Florentine Camera Richard Aste Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/841 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] A Merchant-Banker’s Ascent by Design: Bartolomeo Bettini’s Cycle of Paintings by Michelangelo, Pontormo, and Bronzino for His Florentine Camera By Richard Aste A dissertation submitted to the Graduate Faculty in Art History in partial fulfillment of the requirements for the degree of Doctor of Philosophy, the City University of New York 2015 i © 2015 Richard Aste All Rights Reserved ii This manuscript has been read and accepted for the Graduate Faculty in Art History in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy. James M. Saslow ____________________ _______________________________________ Date Chair of Examining Committee Claire Bishop ____________________ _______________________________________ Date Executive Officer Lauren Kilroy-Ewbank Amanda Wunder Deborah Krohn Supervisory Committee The City University of New York iii Abstract A Merchant-Banker’s Ascent by Design: Bartolomeo Bettini’s Cycle of Paintings by Michelangelo, Pontormo, and Bronzino for His Florentine Camera By Richard Aste Advisor: James M. Saslow This project examines the early art patronage of a sixteenth-century Florentine merchant-banker, Bartolomeo Bettini, an ambitious anti-Medici Republican with aristocratic pretensions.
    [Show full text]
  • Vernacular Encounters with Aristotle's Politics in Italy, 1260‒1600
    Vernacular Encounters with Aristotle’s Politics in Italy, 1260‒1600 Grace Allen A dissertation submitted in fulfilment of the requirements for the degree of Doctor of Philosophy in Combined Historical Studies The Warburg Institute University of London 2015 1 I declare that the work presented in this dissertation is my own. Grace Allen 2 Abstract This dissertation explores the use and dissemination of Aristotelian political theory in Italian literature from the late medieval period, when the first fragments of Aristotle’s political thought appeared in the West, to the sixteenth century, when vernacular Aristotelian literature flourished. I show how late medieval and Renaissance authors employed Aristotle’s Politics in various ways, according to their political background and allegiances, their approach to the text and their intended audience. I also demonstrate how, reciprocally, the vocabulary and classifications in the Politics shaped their understanding of their own political context. The thesis is divided into six chapters. The first chapter offers an overview, for comparative purposes, of the Latin and Greek reception of the Politics in Western Europe. The remaining chapters proceed chronologically. Chapter Two explores the place of the Politics in Italian vernacular literature of the late thirteenth and the fourteenth centuries. Chapter Three does the same for the fifteenth century, as well as considering the impact of Neo-Platonism and the ‘questione della lingua’ on vernacular political Aristotelianism. The three remaining chapters cover the sixteenth century. Chapter Four concerns Antonio Brucioli, who composed a series of Aristotelian political dialogues in the 1520s and in 1547 produced the first vernacular translation of the Politics.
    [Show full text]
  • A Forgotten Bestselling Author: Laura Terracina in Early Modern Naples
    A Forgotten Bestselling Author: Laura Terracina in Early Modern Naples Amelia Papworth Fitzwilliam College, University of Cambridge August 2018 This dissertation is submitted for the degree of Doctor of Philosophy. Preface This dissertation is the result of my own work and includes nothing which is the outcome of work done in collaboration except as declared in the Preface and specified in the text. It is not substantially the same as any that I have submitted, or, is being concurrently submitted for a degree or diploma or other qualification at the University of Cambridge or any other University or similar institution except as declared in the Preface and specified in the text. I further state that no substantial part of my dissertation has already been submitted, or, is being concurrently submitted for any such degree, diploma or other qualification at the University of Cambridge or any other University or similar institution except as declared in the Preface and specified in the text. It does not exceed the prescribed word limit. 1 2 Acknowledgements Firstly, I would like to express my sincerest thanks to my supervisor Dr Abigail Brundin, for her continuous and generous support throughout my academic career, and for encouraging me to embark upon this project. I could not have wished for a better or more inspirational mentor – thank you. My thanks too to my examiners, Professor Brian Richardson and Dr Mary Laven, whose insightful comments and stimulating discussion were extremely helpful. My warm thanks to all the librarians who have been so helpful along the way, not least everyone in the Cambridge University Library Rare Books Room, the Biblioteca Nazionale di Firenze, the Biblioteca Nazionale di Napoli, the Biblioteca dell’Accademia Nazionale dei Lincei, and the Biblioteca Civica di Padova.
    [Show full text]
  • I Glory and Infamy: Making the Memory of Duke Alessandro De
    Glory and Infamy: Making the Memory of Duke Alessandro de’ Medici in Renaissance Florence by Tracy E. Robey A dissertation submitted to the Graduate Faculty in History in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2012 i © 2012 TRACY E. ROBEY All Rights Reserved ii Abstract Glory and Infamy: Making the Memory of Duke Alessandro de’ Medici in Renaissance Florence by Tracy E. Robey Advisor: Margaret L. King Duke Alessandro de’ Medici (1512-1537, r. 1531-1537) was the victim of a previously unknown and far-reaching conspiracy to condemn him in posthumous histories and erase him from the archives of Florence. This cultural manipulation cast Duke Alessandro for the past 500 years as a tyrant, murderer, and rapist of nuns. The case study of how later dukes, historians, and archivists defamed Alessandro de’ Medici illustrates the ways people made and destroyed memory in sixteenth-century Florence. The first chapter outlines the negative statements made about Duke Alessandro in the major histories that discuss his reign. The second chapter explores the political affiliations of the contemporary authors who wrote the histories used in the first chapter. I show that the historians’ opposition to Alessandro’s rule during his lifetime influenced what they eventually wrote about the Duke in their histories—a fact overlooked by scholars, who tend to almost wholly rely on the histories. The third chapter outlines the neglected concept and practice of damnatio memoriae, or condemnation of memory, in the Renaissance. Using poems, paintings, and rumors, I demonstrate how unknown Florentines secretly marginalized the memory of Duke Alessandro using objects intended to commemorate him.
    [Show full text]