The Harvard University Center for Italian Renaissance Studies VILLA I TAT TI Via di Vincigliata 26, 50135 Florence, Italy

Volume 30 E-mail: [email protected] / Web: http://www.itatti.it    Tel: +39 055 603 251 / Fax: +39 055 603 383 Autumn 2010

or the eighth and last time, I fi nd Letter from Florence to see art and science as sorelle gemelle. Fmyself sitting on the Berenson gar- The deepening shadows enshroud- den bench in the twilight, awaiting the  ing the Berenson bench are conducive fi reworks for San Giovanni. to refl ections on eight years of custodi- In this D.O.C.G. year, the Fellows anship of this special place. Of course, bonded quickly. Three mothers and two continuities are strong. The community fathers brought eight children. The fall is still built around the twin principles trip took us to Rome to explore the scavi of liberty and lunch. The year still be- of St. Peter’s along with some medieval gins with the vendemmia and the fi ve- basilicas and baroque libraries. In the minute presentation of Fellows’ projects, spring, a group of Fellows accepted the and ends with a nostalgia-drenched invitation of Gábor Buzási (VIT’09) dinner under the Tuscan stars. It is still a and Zsombor Jékeley (VIT’10) to visit community where research and conver- Hungary, and there were numerous visits sation intertwine. to churches, museums, and archives in It is, however, a larger community. Florence and Siena. There were 19 appointees in my fi rst In October 2009, we dedicated the mastery of the issues of Mediterranean year but 39 in my last; there will be 31 Craig and Barbara Smyth wing of the encounter. The weekly shoptalks, in the year to come. The full-year Fel- library, the fruit of careful planning by however, evoked livelier discussion than lows remain fi xed at 15, with the occa- Michael Rocke and valiant fundraising almost any lecture series has ever had. sional addition of a Burckhardt Fellow that Alexa Mason will describe later in The Visiting Professors in sponsored by the ACLS. But thanks detail. It was completed on time after residence added wisdom and zest to to the Andrew W. Mellon Founda- an intense year of construction. While the year. Derek and Sissela Bok were tion, there are now also three-month hundreds of guests fi led through the unforgettable presences at Casa Morrill Craig Hugh Smyth Fellows drawn library admiring the brilliant design of for two months, taking a lively interest from the ranks of museum curators, the Roman fi rm of Garofalo and Miura, in everyone’s life and work. Daniel librarians, and conservators, with some Derek Bok shared memories of his fi rst Bornstein delved into local religion Smyth fellowships also designated for meeting and long collaboration with in Cortona, while Christiane Klapisch the scholarly mother. The Readers in Craig. The staff surpassed themselves explored the social dimensions of the Renaissance Studies are (usually) Har- to make the inaugural dinner one of Good and Bad Thieves in Renaissance vard graduate students who come for the most elegant ever. Kathryn Bosi art and society. Christine Shaw a semester’s wide reading, guided by arranged a concert by the German reminded us that the Renaissance was the director and by conversation at the group Singer Pur, who performed Four a time of incessant war, Joanna Woods- lunch table. Thus, each year, four or I Tatti Madrigals, commissioned from Marsden that Titian knew more than a fi ve pairs of eager young eyes are set on the British composer Gavin Bryars, to thing or two about gender, and Deborah the books in our ever growing library, a standing room only audience in the Parker that Michelangelo was the best and former Readers, now a sizable Myron and Sheila Gilmore Limonaia. of pen pals. The Visiting Professors contingent at the RSA, often speak of The inauguration was preceded by a who arrived in mid-year blended in a quantum leap in their personal and two-day symposium to mark the 50th eff ortlessly. Babette Bohn shared her intellectual growth. anniversary of the death of Bernard love of Barocci and joined forces with Fall and spring trips have helped Berenson in October 1959, which was Elisabetta Cunsolo and various Fellows the community bond. They have taken planned by Louis Waldman (VIT’06) to show us her beloved Bologna in mid- us to Renaissance sites as well as some and me. The limonaia was full to winter. Ann Moyer reminded us that of the major exhibitions of recent years bursting, and I have seldom sensed such intellectual history is still a vital fi eld, in northern Italy. In addition, I have electricity in the air. and shared her vision for the future traveled to Hungary, Poland, Slovenia, With the Florence Gould Hall not of the RSA. Kate Lowe showed that Croatia, and Berenson’s own Lithuania yet ready, it was a year with fewer public the Renaissance was thirsty for news to make contacts with former Fellows events than usual. Claus-Peter Haase’s from Africa and urged us to widen our and explore common interests in the lecture on Djem Sultan, “the fi rst geographical horizons. Martin Kemp Renaissance. Turkish European?,” stood out for its energized the community and taught us Continued on page 4.

Cambridge Office: Villa I Tatti, Harvard University, 124 Mt. Auburn Street, Cambridge, MA 02138-5762 Tel: +1 617 496 8724 or +1 617 495 8042 / Fax: +1 617 495 8041 / Web: http://www.itatti.it JAMEY GRAHAM (2nd sem), Literature. VILLA I TATTI COMMUNITY 2009-2010 JUSTIN GROSSLIGHT (1st sem), History. JESSE HOWELL (2nd sem), History. MICHAEL TWOREK(1st sem), History. Fellows “Pagan Culture and the Humanist Portrait EMILY ZAZULIA (2nd sem), University of Pennsylvania, Music. AMY BLOCH, CRIA Fellow, State Univer- of Sigismondo Malatesta.” sity of New York at Albany, Art History. UNA D’ELIA, Robert Lehman Fellow, Visiting Professors “Lorenzo Ghiberti’s Gates of Paradise and Queen’s University, Art History. “Raphael’s BABETTE BOHN (2nd sem), Lila Wallace - the Renaissance Biblical Imaginary.” Ostrich: Allegory & Ambiguity in Reader’s Digest Visiting Professor, Texas CLAUDIA BOLGIA, Rush H. Kress Fellow, Cinquecento Rome and Florence.” Christian University, Art History. “Exhi- University of Edinburgh, Art History. ANNE D UNLOP, Hanna Kiel Fellow, Tulane bition of Paintings, Drawings, and Prints “The ‘Long’ Trecento: Rome without University, Art History. “Materials, the by Federico Barocci (St. Louis 2012 and the Popes (c. 1305-1420).” Imagined World, and Trecento Artistic National Gallery London 2013).” SUZANNE BOORSCH (1st sem), Craig Change.” DEREK BOK (1st sem), Harvard Visiting Hugh Smyth Visiting Fellow, Yale Uni- SERENA FERENTE, Francesco De Dom- Professor, Harvard University, History. 2 versity Art Gallery, Art History. “Exhi- browski Fellow, King’s College, London, “The Challenges Facing Universities  bition and Accompanying Monograph History. “Factions as Passions in Renais- and How to Meet Them.” on Sienese Painter Francesco Vanni.” sance Italy.” SISSELA BOK (1st sem), Harvard Visiting ABIGAIL BRUNDIN, Deborah Loeb Brice FRANCESCA FIORANI, Frederick Professor, Harvard Center for Popula- Fellow, University of Cambridge, Literature. Burkhardt Residential Fellow, University tion & Development Studies, History. “Rewriting Trent: The Practice of Poetry of Virginia, Art History. “Leonardo’s Shadows. “Renaissance Humanism and the Tra- in Counter-Reformation Florence.” Images of Knowledge in Renaissance Art and dition of Philosophical Dialogues.” DUNCAN BULL (2nd sem), Craig Hugh Culture.” DANIEL BORNSTEIN (1st sem), Robert Smyth Visiting Fellow, Rijksmuseum, ZSOMBOR JÉKELY (2nd sem), Andrew Lehman Visiting Professor, Washington Amsterdam, Art History. “Catalogue of W. Mellon Research Fellow, Museum University in St. Louis, History. Italian Paintings in the Rijksmuseum.” of Applied Arts, Budapest, Art History. “Religion, Culture, and Society in Late GÁBOR BUZÁSI (1st sem), Andrew W. “Italian Painters in the Service of Hun- Medieval and Renaissance Cortona.” Mellon Research Fellow, Pazmany garian Aristocrats, c. 1330-1430.” MARTIN KEMP (2nd sem), Lila Wallace Peter Catholic University, History. ROBERT G. LA FRANCE, Hanna Kiel - Reader’s Digest Visiting Professor, “Neoplatonic Metaphysics of Light in Fellow, University of Illinois at Urbana- Oxford University, Art History. “Living the Thought of Marsilio Ficino.” Champaign, Art History. “Timoteo Viti: with Leonardo: An Unreliable Memoir LORENZO CALVELLI, Deborah Loeb from Bologna to Urbino and Rome.” of the Leonardo Business.” Brice Fellow, Università Ca’ Foscari LAURA MORETTI (2nd sem), Craig Hugh CHRISTIANE KLAPISCH-ZUBER (1st sem), Venezia, History. “Le pietre romane Smyth Visiting Fellow, University of St. Lila Wallace - Reader’s Digest Visiting di Venezia fra tardo-medioevo e Andrews, Art History. “Palladio’s Patrons Professor, École des Hautes Études en Rinascimento.” and Music: Connections between Cul- Sciences Sociales, History. “Confession, CHRISTOPHER CARLSMITH, Andrew W. tural Interests and Architecture.” Penance, and Punishment in the Euro- Mellon Fellow, University of pean Representations of the Cru- Massachusetts, Lowell, History. cifi xion, 13th-17th Centuries.” “To Live and to Study: Col- KATE LOWE (2nd sem), Lila leges in Early Modern Italy.” Wallace - Reader’s Digest Visiting CLAUDIA CHIERICHINI, Jean- Professor, Queen Mary, University François Malle Fellow, of London, History. “Black Massachusetts Center for Africans in Renaissance Italy.” Interdisciplinary Renaissance ANN MOYER (2nd sem), Robert Studies, Literature. “E per Lehman Visiting Professor, mostrar ch’ancor ne’ povarelli University of Pennsylvania, History. regna virtù: The Literary Pro- Abigail Brundin & Claudia Chierichini; Carlo Taviani. “Studies of Florentine Cultural duction of the Congrega dei Rozzi in Identity in the Era of Cosimo I.” Siena, 1531-1552.” ROMANO NANNI (2nd sem), Craig DEBORAH PARKER (1st sem), Lila Wallace - DONAL COOPER, Hanna Kiel Fellow, Hugh Smyth Visiting Fellow, Biblioteca Reader’s Digest Visiting Professor, Univer- University of Warwick, Art History. Leonardiana, Art History. “Analisi delle sity of Virginia, Literature. “Michelangelo “Images of St. Francis in Tuscany and convenzioni del disegno di macchine and the Art of Letter Writing.” Umbria, c. 1340-c. 1420.” tra Medioevo e Rinascimento.” CHRISTINE SHAW (1st sem), Lila Wallace MICHAEL CUTHBERT, Ahmanson Fellow, MARC SCHACHTER, Francesco De - Reader’s Digest Visiting Professor, Massachusetts Institute of Technology, Dombrowski Fellow, (Duke University), Swansea University, History. “Editing Musicology. “Credo Scabioso: Italian Sacred Literature. “Metamorphoses of the Golden and Completion of Michael Mallett’s Music during the Age of Plague and Schism.” Ass: Apuleius in Word and Image.” Book, The Italian Wars.” MARY-MICHELLE DECOSTE (2nd sem), CARLO TAVIANI, Melville J. Kahn Fel- JOANNA WOODS-MARSDEN (1st sem), Craig Hugh Smyth Visiting Fellow, Univer- low, (Università di Teramo), History. Lila Wallace - Reader’s Digest Visiting sity of Guelph, Literature. “Genre, Science, “Biografi e dell’esilio tra Urbino, Roma e Professor, University of California, Los and Literature in 16th-Century Italy.” Genova: Ottaviano e Federico Fregoso.” Angeles, Art History. “Visual Rhetoric of ANTHONY D’ELIA, Lila Wallace - Reader’s Male Power and Female Beauty: Gendered Readers in Renaissance Studies (from Harvard Digest Fellow, Queen’s University, History. Identity in Titian’s Court Portraits.” University unless stated otherwise) Continued on page 3.

Villa I Tatti Lino Pertile Becomes I Tatti’s Seventh Director s of 1 July 2010, Lino Pertile, and Renaissance periods. AHarvard College Professor and Carl He has been a member of A. Pescosolido Professor of Romance the Harvard faculty since Languages and Literatures in Harvard’s 1995, when he joined the Faculty of Arts and Sciences, has taken Department of Romance up the position of I Tatti’s seventh Languages and Literatures years. After more than a decade as 3 director. He and his wife, Anna Bensted, from the University of Edinburgh. co-masters of Eliot House at Harvard,  a Senior Editor at WBUR radio station, Between 2000 and 2010, Lino and Anna and I are very used to working Boston, moved into the Villa over the Anna served as master and co-master where we live and living where we summer, eager to get settled and ready of Eliot House, one of Harvard’s twelve work. We welcome the opportunity to for the new academic year. undergraduate houses, where they were become part of the I Tatti family, and I A native of Padua, Lino Pertile is known for fostering an extraordinarily very much look forward to getting to a renowned scholar of Italian literature, warm and welcoming environment for know the many scholars I have until with a particular focus on the medieval students and scholars alike. now only met through their fellowship “In the 50 years since Bernard applications. Berenson bequeathed I Tatti to “Next year, I Tatti will celebrate its Harvard,” Lino Pertile said, “it has fi rst half century as the Harvard Uni- had a unique role in the promotion versity Center for Italian Renaissance of Renaissance studies, and I am truly Studies. I very much hope that as many honored to be given the opportunity to ‘Tattiani’ as possible will join us for the join this magnifi cent institution. My six celebrations next summer – 9 and 10 predecessors have taken Mr. Berenson’s June, 2011 – when we will also inau- bequest and fashioned a remarkable gurate the beautiful and long-awaited center of learning. I look forward to Deborah Loeb Brice Loggiato.” building on their endeavors and to Further details about the celebra- working with the staff and scholars to tions will be posted on the I Tatti web Mario Casari (VIT’09) & Lino Pertile at the burnish its reputation in the coming festivities in honor of Joseph Connors. site from time to time.

Continued from page 2. FORMER FELLOWS’ U PDATE Research Associate MASAKATA (ROGER) KANAZAWA FABRIZIO NEVOLA (VIT’05), INGRID BAUMGÄRTNER, Universität Kassel, History. “Text, Image and Space in Medi- (VIT’71), Professor Emeritus of Music Senior Lecturer and Postgraduate eval Cartography (12th-16th Centuries).” at the International Christian Univer- Director of Studies in Architectural sity in Tokyo, is currently president History and Theory at the University Senior Research Associates of the Associazione di Musica An- of Bath, won the Royal Institute of EVE BORSOOK, Villa I Tatti, Art History. tica Italiana in Giappone (AMAIG: British Architects’ 2008 Sir Nikolaus “Photographs of Medieval and Ancient http://music.geocities.jp/m_a_itali- Pevsner International Book Award Works of Art.” ana/) which was founded in 2007 to for Architecture for his Siena: ALLEN J. GRIECO, Villa I Tatti, History. promote Early Italian Music in Japan. Constructing the Renaissance City (Yale “A Brief History of Wine and Wine- The Association counts among its Univ. Press, 2007). He is the princi- making in Italy.” members a number of young Japanese pal investigator of a research project MARGARET HAINES, Opera di Santa on “Street Life and Street Culture: Maria del Fiore, Art History. “Studies performers, as well as musicians in in the Documentation on the Cupola Italy, and organizes a series of lecture Between Early Modern Europe and of Santa Maria del Fiore.” concerts and many other events. For the Present” fi nanced by the Arts MICHAEL J. ROCKE, Villa I Tatti, History. the last 25 years, Kanazawa has also & Humanities Research Council. “Edition and Translation of Italian Texts taught at the Shirakawa International Among others, the research team Related to Homoeroticism (14th-17th Italian Organ Music Academy which includes GEORGIA CLARKE (VIT’00, Centuries).” is co-sponsored by the city of Pistoia Courtauld Institute of Art) and GUIDO with which student exchanges are REBECCHINI (VIT’05, University of organized each year. Siena).

Autumn 2010 Continued from page 1.

For fi ve years, the Berenson Lectures Much work was done on the in the Italian Renaissance have enlivened properties before my time, but much the community with syntheses by was done under me as well. The Villa major senior scholars of vital questions windows have been double-glazed, the of Renaissance art and history: Edward New Library has been repainted and Muir (VIT’73) on libertinism and opera re-roofed, six Fellows’ apartments have in the Venice of Galileo and Monteverdi, been re-done, hundreds of meters of Dale Kent (VIT’78,’83,’07) on friendship rustic stone walls have been rebuilt with in Cosimo’s Florence, Charles Dempsey four new gates, a new vineyard has been (VIT’74) on vernacular culture in the planted, and countless sacrifi ces have art and literature of Lorenzo’s Florence, been laid on the altar of maintenance. Julian Gardner (VIT’06) on Giotto After more than a decade of and his publics, and fi nally, this year, as planning and three years of construction, a splendid cap to the series, Caroline the Deborah Loeb Brice Loggiato will Elam (VIT’82,’05) on the image of be ready in the autumn. It will be and on Bernard Berenson. His eagle Florence in maps and panegyric. dedicated in June 2011, at the same time eye helped immensely with the Sassetta 4 Under the guidance of Kathryn as the 50th anniversary celebrations of project and with the publication of the  Bosi, F. Gordon and Elizabeth Morrill the Harvard Center. The Loggiato has Acts of conferences on Desiderio da Music Librarian, the series Early Music at been my doppelgänger for eight years, Settignano and Bernardino da Sahagùn. I Tatti reached its 16th concert in June, the permission process my Iliad and the With Robert Gaston (VIT’82,’08), he with a program focusing on baroque fi nances my Purgatorio, but in the end organized I Tatti’s largest research project Rome by the Ensemble Elyma. More it will be a beautiful building and we to date, on the church of San Lorenzo, intimate concerts have been a feature will all be proud of it, especially Nelda the results of which will appear in two of life every year. Over the past four Ferace, Allen Grieco, the generous volumes in 2012. By sheer force of will, or fi ve years, we have enabled young donors, and the distinguished architect, he got I Tatti Studies into JSTOR and, Charles Brickbauer. working with Caroline Elam, he has L: Matteo Duni and the accelerated publication from bi-annual speakers on the afternoon to annual. Living proof that erudition for Joseph Connors. and style can go hand in hand, Lou will R: Françoise & Joseph Connors. be remembered by many for a quality that was best expressed by one of our The cataloguing of hosts during the visit to Bologna: “Lou, the library has been sei un vero gentiluomo.” entirely incorporated into The best news of all this year was the HOLLIS system the appointment of Lino Pertile as the and Harvard’s electronic seventh director of Villa I Tatti, the resources are available fourth to be called from the Harvard everywhere over the professoriate. As someone who has wireless network. The followed the Harvard Center for years Berenson Archive has from the vantage of the Advisory and received new fondi and the Executive Committees, and has visited harpsichordists from the Moscow march toward digitization has begun in often, he knows I Tatti extremely well. Conservatory to play on historic the Fototeca, which has made signifi cant There will be continuity but also new instruments in Tuscany and especially new acquisitions. The IT offi ce has been directions and ideas. His life will be on the splendid harpsichord donated by put on a permanent, full-time basis, and enormously facilitated by the wit and Frederick Hammond (VIT’72). computer lessons are off ered throughout wisdom of his wife, Anna Bensted, and Always treasured, the Berenson the year. by the appointment, just announced, of Collection will be better known The position of Assistant Director Jonathan Nelson (VIT’02) as the new when the catalogue being prepared by for Programs, recommended in the Assistant Director for Programs. To all Carl Strehlke (Philadelphia Museum of fi ve-year review of 2006, was fi lled with three, I off er warmest complimenti ed Art) and Machtelt Israëls (VIT’05), along éclat by Louis Waldman, a specialist in auguri. Françoise and I will think often with many collaborators, is published in Cinquecento sculpture with a doctorate of them, and of the warm friendships 2011-12. Like Dr. Israëls’ splendid vol- from the Institute of Fine Arts of New we have made with a wonderful staff , umes published in October by Harvard York University, who was generously with generous supporters, and with the along with Primavera Press in Leiden, seconded by the University of Texas 227 appointees as well as spouses and Sassetta: The Borgo San Sepolcro Altarpiece, at Austin for a three-year term, 2007- companions, and with countless visitors the catalogue will exemplify the mar- 10. Lou organized countless visits in who have come to I Tatti in our eight riage of art history and conservation Florence and other Renaissance sites, magic years. science at the highest level, thanks to ran the shoptalks, and co-organized Deep darkness is now closing in the enthusiastic collaboration of its conferences on the Renaissance in around the Berenson bench, and it’s editors with the Opifi cio delle Pietre Hungary (with Péter Farbaky, VIT’02), time to go. Dure, especially Cecilia Frosinini and on Tuscan sculptors at the Tudor court Joseph Connors Roberto Bellucci. (with Cinzia Sicca, University of Pisa), Director, 2002-2010

Villa I Tatti A Day and a Book for Joe

n the occasion of Joseph Connors’ of the eight Oleave-taking after eight years at Connors years, I Tatti’s helm, the community that many of them formed under his directorship gathered co-editors of the to celebrate his leadership and scholar- Festschrift, pre- ship through a book and a party. On sented impres- 10 June 2010, Joe was presented with sions of the Toward a Festschrift: Renaissance Studies in importance of Honor of Joseph Connors (Florence, Leo their time at S. Olschki, 2010). The volume contains I Tatti under 5 tributes by colleagues from Harvard Joe’s aegis, which  and Columbia Universities and by the ranged from directors and staff of I Tatti’s sister memories of institutions in Florence, Rome, and the impressive Budapest, along with a photo docu- handshake Joe mentary of a Connors year at I Tatti and gave their chil- the list of the 176 essays that will appear dren to his probing questions and addi- Lou Waldman as Master of Ceremonies in the eventual Festschrift. tions during shoptalks, to the penchant & Machtelt Israëls lauding Thanks to Françoise, the Festschrift for beards among great architectural outgoing director Joseph Connors. had truly remained a secret, and Joe historians, to a wish for inter-assuredness program of Roman Baroque music that was surprised and moved by the book of the mind based on Donne’s “A was a subtly threaded tribute to Joe and and the celebration. Diana Sorensen, Valediction: Forbidding Mourning.” his interest in the echoes of music in Harvard’s Dean of the Humanities, and Speakers were Marica Tacconi architecture. Lino Pertile, I Tatti’s director designate, (VIT’03,’11), Guido Guerzoni (VIT’04), We thank the many generous donors who have contributed to the special Connors Festschrift Fund, and, in particular, the Florence Gould Foundation, the Malcolm Hewitt Wiener Foundation, the Amici del Museo degli Strumenti Musicali di Firenze, Virgilia and Walter Klein, and George Labalme Jr. Next year, the three-volume Festschrift – edited by the undersigned and by a fel- low from each Connors year: Marica had conspired to make the meeting of Matteo Duni (VIT’05), Marco Gentile Tacconi (VIT’03,’11), Guido Guerzoni I Tatti’s Executive Committee coincide (VIT’06), Estelle Lingo (VIT’07), Guido (VIT’04), Giuseppe Gerbino (VIT’05), with the Festschrift feast. At the end of Beltramini (VIT’08), Jaynie Anderson Alison Frazier (VIT’06), Estelle Lingo the morning, they maneuvered Joe to (VIT’09), and Anthony D’Elia (VIT’10). (VIT’07), Guido Beltramini (VIT’08), the giardino pensile, where David Staff , In addition, Diana Sorensen spoke Bianca De Divitiis (VIT’09), and with a fanfare on his baroque trumpet, about how Joe had brought the institute Anthony D’Elia (VIT’10) – will roll announced Joe’s arrival to a group of to its academic golden age and Lino from Olschki’s presses. The Festschrift some 150 friends, who had quietly Pertile about how Joe had developed the will stand as a multi-voiced tribute to assembled on the azalea terrace. Berensonian spirit of liberty. Françoise Joe and will serve as a tool and a point The undersigned organizers read a poem extolling the beauty of the of departure for new Renaissance schol- addressed Joe with a laudatio of his cycle of nature and of the development arship in the years to come. It is our scholarship and the res gestae of his of a fellowship year at I Tatti. Geneviève hope that Joe and Françoise will spend directorship and gave him the Festschrift- Connors, Joe and Françoise’s daughter many happy hours reading it, either in-a-nutshell, celebrating the sixth good who had come from India, wittingly in their new home in Williamstown, “duke” of the villa whose “librarie was linked intense looking during family MA, or when they return to Florence, dukedom large enough.” Françoise and holidays to the vision and transformative reminiscing about eight golden years at the household staff had prepared a gor- work of both her parents in Florence. I Tatti. geous buff et lunch over which gathered For the concert “Il Giardino di Louis A. Waldman (VIT’06) many Tattiani from far and near. Armida” by the Ensemble Elyma later Assistant Director for Programs (2007-2010) In a second session, representatives that day, Kathryn Bosi had composed a & Machtelt Israëls (VIT’05)

Autumn 2010  THE BIBLIOTECA BERENSON 

he pace and character of activity in the Berenson Library Music Librarian, Kathryn Bosi, enjoys a refurbished and slightly Treturned this year to a more normal routine, once the enlarged offi ce, and the sizable music CD collection now disruptions associated with the large-scale building works go- resides in specially-designed vertical drawers. The layout of ing on for over a year at the library’s center came to an end the bookshelves in the new wing, in successive bays on either last fall. On 16 October 2009, with a fi ne and well-attended side of a central corridor, makes the most effi cient use of the ceremony (see page 11), we inaugurated the splendid new small space available. As a result, we doubled the area’s old Craig and Barbara Smyth Library. This transformation of the shelving capacity and also gained space for an impressive dis- old 1950s wing represents the most important addition to the play of oversize books. Additionally, this layout permitted the Biblioteca Berenson since the opening in 1985 of the Paul realization of eight semi-secluded reader’s carrels (increased E. Geier Library, which was one of the crowning achieve- from two workspaces previously) in front of the grand new ments, appropriately enough, of Craig Smyth’s 12-year tenure windows. The study carrels and the Morrill Music Library 6 as director of I Tatti. Coincidentally, but no less fi ttingly, the are now outfi tted with custom-made desks and tables, good  unveiling of the new Smyth Library also marked the exact desk lamps, electrical outlets for laptops, and comfortable seats. centenary of the completion of Bernard and Mary Berenson’s Predictably, these new workstations are in great demand! original library, with its lavish walnut bookcases, high vaulted Finally, we created desperately needed growth space ceiling, and massive fi replace, in throughout the entire library and have been able to reorganize the autumn of 1909. both the overall layout by subject and the sequential progres- A century has passed since sion within sections in a more rational way. Some 120,000 the Berenson Library had its books were moved and replaced on the shelves by a special- beginnings, then, yet what ized fi rm, miraculously, in just six days last August. For those Craig Smyth said 25 years ago of us accustomed for years to seeing the bookshelves bulging about the luminous stone and nearly to their limit, the sudden spa- metal Geier Library, in relation ciousness was rather disorienting! to the historical nucleus, Among the benefi ts, our historically seems just as valid now for important the library’s latest com- collection of ponent: it successfully 15,000 auc- and beautifully realizes “a tion cata- modern design to com- logues was plement the old I Tatti transferred Top to bottom: in new terms, not trying to the Smyth Bob La France, Serena Ferente to match it in old ones.” Library and & Chris Carlsmith; is now, for Intelligently designed by the Roman architectural team of John Najemy & Amy Bloch; the fi rst time Francesco Garofalo and Sharon Miura, the Smyth Library is Michael Cuthbert, Anthony D’Elia at once contemporary and classic, combining an emphasis on & Eliane Roux; in many years, available to readers natural light and crisp, clear lines with rigorous symmetry of Justin Grosslight. in the open stacks. layout and the warmth of cherry-wood bookshelves and wall The Smyth Library is the cladding. Though very diff erent from the old-world elegance product of the professionalism, creativity, and hard work of of the original rooms adjacent to it, the contrast is harmonious many diff erent people, and I’d like to take this opportunity to and suggestive of a kind of ideal dialogue across the century convey my compliments and deep gratitude, on behalf of the that separates the oldest and newest parts of the library. entire I Tatti community, to everyone who had a hand in making The new wing was designed, of course, to be used, not it such a success. In addition to Francesco Garofalo and just admired for its aesthetic. The renovation fulfi lled its more Sharon Miura, together with project architect Floriana Taddei functional goals superbly. The entire structure was reinforced and the other skilled members of their studio, the design in compliance with seismic regulations and to support sig- team included structural engineer Luciano Sforza and, for the nifi cantly increased loads of furnishings and books. Traffi c mechanical and electrical systems, the fi rm TechniConsult patterns have improved by moving the main stairway close to represented by technical director Pier Angelo Galligani. On the front door, and the upper fl oor has fi nally become wheel- site, TechniConsult had engineer Riccardo Cungi. The build- chair accessible with the installation of an elevator. Large, ver- ing works contractor was the fi rm S.I.R.E., headed by Stefano tical, fl oor-to-ceiling windows, outfi tted with heavy thermal Fani, with architect Domenico Tufaro and foreman Domenico and anti-UV glass, together with full glass doors, maximize the Ricciardi on site. Other contractors included the fi rms G. amount of natural light coming in while protecting against Balloni (mechanical), SIMPEL (electrical), and Falegnameria harmful ultra-violet rays and provide unobstructed views out- Scala (carpentry), with their heads Graziano Balloni, Stefano side as well. An energy-saving artifi cial lighting system fur- Leonessi, and Gianfranco Scala on site. Alessandro Becherucci nishes uniform light throughout the new wing. A sophis- was responsible for the work safety plan, and Marcello ticated air-treatment and climate-control system maintains Bevignani was consultant for fi re safety. The Bolognese fi rm temperature and humidity levels, giving optimum comfort for Premio, headed by Massimo Miani, moved the books in record readers as well as helping to preserve our books. The Morrill time. The realization of this complex project was characterized

Villa I Tatti News from the Berenson Archive by a strong spirit of collaboration and good cheer among all the participants, and personally it was a pleasure as well as a his year, the Berenson Archive became more visible to good learning experience for me to work together with this Tthe I Tatti and Harvard communities thanks to the new outstanding group. The new Library will stand for decades to collection records made by Monica Steletti in the HOLLIS come as a tribute to Craig and Barbara Smyth and as a fun- catalogue, which provide detailed information on the vari- damental contribution to scholarly life and research at I Tatti. ous collections held in our repository. In a similar vein, we Now briefl y on to more basic news. Acquisitions this have joined SIUSA (Sistema Informativo Unifi cato per le year remained at roughly the same level as in recent years, with Soprintendenze Archivistiche), the census of the archives a total of some 3,600 volumes added, between monographs of cultural personalities in Tuscany between the 20th and serials. Subscriptions were begun to 16 new journals (and and 21st centuries, adding to its database records for our some old ones dropped), bringing the total number of peri- archival collections, for our repository, and for authorized odicals currently received to 622. New journals include 1492, forms of personal names. Our collections include the papers of Bernard and Mary Berenson, Giorgio Castelfranco, Atti e memorie della società istriana di archaeologia e storia patria, La Kenneth Clark, Frederick Hartt, Emilio Marcucci, Beidana, I Beni culturali, Bollettino della Società Roberto Papini, Nicky Mariano, Laurence 7 di Studi Valdesi, Bollettino dell’atlante lessicale and Isabel Roberts, and Stanislaus Eric  degli antichi volgari italiani, Cassirer Studies, Stenbock. Medicina & storia, Moderni e antichi, Montaigne The Berenson Archive celebrated a Studies, Physis, Rechtsgeschichte, Renaissance very important milestone this year with and Reformation Review, Romagna arte e storia, the conference “Bernard Berenson at Studia Ambrosiana, and Tipofi lologia. Serials Fifty” held in October. Every speaker librarian Scott Palmer has completed an made insightful use of the material kept extensive, two-year project to review the in the archive, underscoring the rich and important uses of archival documentation. entire periodical collection, improve bib- One of the many wonderful examples liographic records, perfect hold- of this research was Kathryn Brush’s ings and items records, weed out Top to bottom: Kate Lowe & Eugene McLaughlin; Laura (University of Western Ontario) presen- anomalies, and systematize proce- tation regarding the personality of the dures for managing the collection. Moretti; Michael Rocke at the art historian Arthur Kinsley Porter and I Tatti appointees have benefi tted opening to the Smyth Library. the relationship he and his wife had for some time from the huge num- with Bernard and Mary Berenson: their ber of online journals off ered by the correspondence, their travels together, Harvard library system, and this year the photographs taken by Linda Porter, gained long-distance access as well to and the medieval works of art studied by the two scholars. a vast range of other print resources Our archival heritage was also signifi cantly enriched in Harvard’s magnifi cent collections this year thanks to many generous exchanges and gifts. through the new “Scan & Deliver” As part of an exchange with the John F. Kennedy Library in program. As a result of the major Boston, we received copies of 27 of Berenson’s letters to the project fi nished last fall to barcode American writer Ernest Hemingway written between 1949 all of the library’s books and periodicals, beginning this sum- and 1956. (The relationship between the two men was the mer internal loans and circulation of books will henceforth be subject of Louis Waldman’s [VIT’06] lecture in the Berenson managed through the HOLLIS/Aleph system and no longer conference.) A generous gift from the heirs of Carlo Foresti, with the old manual card system. the Italian art dealer and collector who lived in Carpi, has Looking ahead to developments in the near future, I’m also brought us copies of Mr. Berenson’s correspondence to him (dated 1932-1942). happy to report that we are currently working with the Offi ce For conservation purposes linked to the handling of the of Information Systems to upload bibliographic records for material for the preparation of the conference, we decided two large and important collections that we hold in microfi lm to make microfi lm and digital copies of some groups of fre- or microfi che and that have never been catalogued here be- quently consulted letters, such as the 83 letters from Paul fore: the Cicognara Library: Literary Sources in the History of Art Sachs to Berenson (1916-1955) consulted by David Alan and Kindred Subjects, nearly 5,000 works printed before 1820 Brown (VIT’70) for his paper “Berenson and Paul Sachs: and held at the Biblioteca Vaticana that focus mainly on the Teaching Connoisseurship.” fi ne arts and antiquities, and Italian Books Before 1601, over Another benefi cial consequence of the frequent and 3,000 works printed in Italy in the 15th and 16th centuries. repeated use of the Berenson archival material has been the Both projects should be carried out in the coming months. decision to re-house all the photographs of the Berenson Archive and, above all, the images of Bernard Berenson Finally, we are also moving ahead with an initiative to transfer during his life – alone , with parents, relatives, wife, and bibliographic records for our auction catalogues to the HUL friends. All these photographs have been placed in albums Aleph system and display them in the HOLLIS catalogue, like in acid-free envelopes, in chronological order, thanks to the the rest of the Berenson Library’s catalogued holdings. precious help of Courtney Harris, an intern from Syracuse University, who also inserted the relevant information into Michael Rocke the inventory of photographs of the Biblioteca Berenson. Nicky Mariano Librarian Ilaria Della Monica Director of the Biblioteca Berenson Archivist Senior Research Associate: History

Autumn 2010 News from the Berenson Fototeca  & Collection

hanks to the contribution of many new collaborators, and white prints but also the relevant negatives. We hope these Tmuch of this year’s activity has concentrated on the on- photographs will be part of our cataloguing projects in the near going cataloguing and digitization projects that have been future. mentioned in previous issues of this Newsletter. Several important gifts of photographs have been received The project, “Homeless Paintings of Italian Renaissance” including those generously given by Louis Waldman (VIT’06), (regarding the cataloguing of images of artworks whose cur- outgoing Assistant Director for Programs. These images, which 8 rent locations are unknown), has made substantial progress and refl ect his expertise on Florentine Renaissance art, illustrate a  was recently awarded a generous grant by the Samuel H. Kress rich documentation of sculptures by Vincenzo de’ Rossi and Foundation. We are grateful to several scholars who helped paintings by lesser-known, 16th-century Florentine artists. update the information on “homeless” paintings and draw- Another addition was a second installment of the Giuseppe ings: Isabella Tronconi, Alberto Lenza, Andrea Staderini and Marchini bequest: some 2,600 photographs of, in particular, Sanne Wellen (Florentine section), Gabriele Fattorini (Sienese), Renaissance architectural and sculptural treasures from Prato. Matteo Mazzalupi (Central Italian), Anchise Tempestini In the last Newsletter we mentioned that the major col- (Venetian), Mattia Vinco (Northern Italian), and Elisabetta lection of visual material gathered by Mario Di Giampaolo, an Sambo (Emilian). Sanne Wellen continued her thorough cata- expert on Italian drawings, was being processed. At the pre- loguing of the Florentine images and was joined by Andrea sentation of the volume of Di Giampaolo’s reprinted writings, Staderini last February, while Elena Stolfi , who since September held at the Biblioteca Marucelliana last May, we were delighted 2009 has been cleaning and preparing the photographs for dig- to announce that the entire collection of some 10,000 photo- itization, began to catalogue the Venetian section last June. graphs (plus a large amount of non-photographic material), is In the meantime, Tiziana Resta, who works for Centrica, now available for consultation in the Fototeca Berenson thanks an important Florentine imaging fi rm, and is an excellent spe- to the dedicated work of sorting and fi ling by Eve Borsook cialist in the preservation and restoration of digital images, has (VIT’82-’11). Even before the news spread, this amazing col- digitized almost 11,000 prints – both recto (500 dpi) and verso lection was being consulted by a number of young scholars. (300 dpi) – of the Florentine and Venetian “homeless” paint- Quite unexpectedly, the Fototeca has enriched its hold- ings and drawings. On the invaluable advice of Vitaly Zakuta ings with a gift from the estate of Giorgio and Elizabeth (Harvard University Library Offi ce for Information Systems) MacGillivray Voli which includes some 20 albums of historical and William Comstock (Head of Imaging Services), it was photographs, stereoscopic pictures, and two stereoscope view- decided to deposit these digital images at Harvard’s Digital ers. (I Tatti also received books and some small pieces of furni- Repository Service (DRS). ture from the estate.) Finally, with the help of Rosa Fry and the persistence * * * of Jennifer Chen, both interns from Syracuse University, the Fototeca’s fi rst cataloguing project has been completed: 1,500 The preparation of the new catalogue of the Berenson photographs taken by Bruno Zanardi during the 1974-1983 Collection is approaching its fi nal stages. Carl Strehlke (Editor- restoration of the frescoes in the Basilica Superiore of Assisi. in-Chief, Philadelphia Museum of Art), Machtelt Israëls These digital images, purchased in 2003 (see I Tatti Newsletter, (VIT’05, Associate Editor), and their collaborators continue to vol. 23, Autumn 2003, page 7), are now published in VIA (the unearth new information regarding the provenance and attri- Visual Information Access of Harvard University Library) and butions of the paintings and hope to have their texts completed are available to anyone with Internet access (http://via.lib.har- by the end of the year. The Berenson Archive is, of course, an vard.edu/via/deliver/advancedsearch?_collection=via). We inexhaustible source of information. Discussions with Cecilia wish to thank Fra Carlo Bottero, Frosinini and Roberto Bellucci from the Opifi cio delle Pietre Library Director at the Convent Dure are proving fundamental in clarifying technical aspects of San Francesco in Assisi, for his and in unveiling some of the secrets heretofore hidden in this generous collaboration. fascinating collection. We are especially indebted to Roberto The campaign to photograph Bellucci who is carrying out a light surface cleaning on a large the more than 250 paintings in the number of the paintings before taking digital photographs to Galleria dell’Accademia, begun in be used in the forthcoming catalogue. 2001 and mentioned in previous issues of this newsletter, has been Giovanni Pagliarulo completed by Antonio Quattrone, Agnes Mongan Curator of the Berenson Fototeca and who has taken some 1,500 shots. Curator of the Berenson Collection I Tatti owns not only the black & Anne Dunlop, Manuela Michelloni Elisabetta Cunsolo & Gábor Buzási. Assistant Curator of the Berenson Fototeca

Villa I Tatti NEWS FROM THE MORRILL MUSIC LIBRARY

masses, psalms, lamentations, and hymns later published in Venice in 1549, with that concludes with a hymn in praise signifi cant changes made to its text of St. Evasius, patron saint of Casale for political reasons. The copy in the his year has seen many events of sig- Monferrato. This recently recovered Casale partbook, with its references 9 Tnifi cance in the Music Library. We manuscript, which is described neither to the Marchese di Pescara, leader of  were delighted to return to the newly in the Census Catalogue of Manuscript the Spanish-Neapolitan contingent, renovated premises in the Smyth Library, Sources of Polyphonic Music 1400-1550 and “Georgio Alemano,” head of the with elegant sliding drawers for the CD nor in David Crawford’s detailed study German Landsknechte, derives from the collection and ample space for future of the choirbooks of Casale Monferrato, earlier edition. holdings. To commemorate the open- is an important addition to the corpus The fi fth year of our project with ing of the new wing, the Morrill Music of Renaissance polyphony in Casale. the State Conservatory of Moscow Library commissioned vocal works in We also included in this year’s brought talented young Russian memory of Craig Hugh Smyth from project a little-known Cantus part- musicians to Tuscany to gain experience the English composer Gavin Byrars. book in the Biblioteca Civica of Casale on historic keyboard instruments. We were honored by his presence at the Monferrato, copied in northern Italy ca. We are proud to report the success of concert (see pages 11 & 16) and by his 1545-1550. It is predominantly a collec- two students, who have regularly fre- gift of the original manuscript. Top to bottom: quented our masterclasses, in the The most exciting acquisition of Ensemble Elyma First International Volkonsky the year comprised two partbooks with Joseph Connors Harpsichord Competition held in published by the inventor of & Gabriel Garrido; Moscow in February 2010, judged Jamey Graham, music printing, Ottaviano Petrucci: Emily Zazulia & by a formidable international jury. the Altus partbook of the Motetti C, Michael Cuthbert; Alexandra Nepomnyaschaya gained dated 1504, and the Contratenor Jesse Howell, First Prize and Gran Prix, while Una D’Elia, Olga Pashchenko was awarded Francesca Fiorani & Amy Bloch; Second Prize and Special Prize for Françoise Connors the Best Performance of a Russian & Christiane Harpsichord Composition. We Klapisch-Zuber. have heard Alexandra and Olga tion of villanelle, perform in the Big Library on many many of which occasions. Warmest congratulations to seem not to both, and to their teachers – in particu- survive in printed lar, to Ella Sevskaya, who has tutored sources. This them with devotion. partbook, again I am indebted to Fellow not described Michael Cuthbert and Harvard Reader in the Census Catalogue, includes some Emily Zazulia for identifying uncata- French chansons and motets, but also logued items in the Carapetyan col- two notable battle pieces: Janequin’s La lection. Sincere thanks also to Emily guerrre of 1528, celebrating the Battle and to Readers Jamey Graham and primus partbook of the Motetti a cinque of Marignano (1515), and Matthias Jesse Howell for their invaluable help libro primo, dated 1508. These partbooks, Hermann Werrecore’s lesser known and magnifi cent support during prepa- which were bound together in the Bataglia Taliana, celebrating the defeat rations for the concluding concert in fi rst half of the 16th century, were held of France at the Battle of Pavia (1525). honor of Joseph Connors, which cele- until recently in a private collection in Werrecore, who was maestro di cappella brated his profound love of early music northern Italy. at Milan cathedral from 1522, fi rst pub- and his generous support of musicolog- We continued our digitalization lished his battle piece in Nuremberg in ical activities at I Tatti. project with the Archivio Capitolare of 1544, declaring that he had been pres- Kathryn Bosi Casale Monferrato, copying Choirbook ent on the scene of the battle and had F. Gordon & Elizabeth Morrill FM 8, a collection of magnifi cats, witnessed its worst miseries. It was Music Librarian

Autumn 2010 Lila Acheson Wallace ~ Reader’s Digest Special Grants

ormer I Tatti Appointees are eligible to apply for two kinds Fof grants to promote their scholarship. The LILA A CHESON WALLACE - READER’S DIGEST PUBLICATIONS GRANTS provide subsidies for scholarly books on the Italian Renaissance. These can be a monograph by a single author or a pair of authors, or a collection of essays by autori varii. Books that grow directly out of research carried out at I Tatti are especially appropriate. In addition, SPECIAL PROJECT GRANTS are occasionally 10 available to former Appointees who wish to initiate, promote,  or engage in an interdisciplinary project in Italian Renaissance studies such as a conference or workshop. Further information can be found on our web site: http://www.itatti.it/ under the Fellowship page. The applica- tion deadline is 1 November each year.

2009/2010 GRANT RECIPIENTS

CARMEN BAMBACH (VIT’97,’09) towards the publication of Leonardo and His Drawings (Yale Univ. Press). GIOVANNA BENADUSI (VIT’05) and GIULIA CALVI (VIT’87) joint award towards the publication of The Last of the Medici: A Dynasty of Women in Grand Ducal Tuscany (Centre for Reformation and Renaissance Studies, Toronto). KATHLEEN CHRISTIAN (VIT’09) towards the publication of Empire without End: Antiquities Collections in Renaissance Rome, c. 1350-1527 (Yale Univ. Press, London). ANTHONY COLANTUONO (VIT’03) towards the publication of Titian, Colonna and the Renaissance Science of Procreation: Seasons of Desire (Ashgate Publishing Company). ANTHONY M. CUMMINGS (VIT’90) towards the publication of The Lion’s Ear: Pope Leo X, the Renaissance Papacy, and Music (The Univ. of Michigan Press). STEFANO DALL’AGLIO (VIT’06) towards the translation into English of Savonarola e il savonarolismo (Centre for Reformation and Renaissance Studies, Toronto). ANDREW DELL’ANTONIO (VIT’02) towards the publication of Listening as Spiritual Practice in Early Modern Italy (Univ. of California Press). SILVIA FIASCHI (VIT’05) towards the publication of Francesco Filelfo, “Satyrae II Decadi VI-X” (Edizioni di Storia e Letteratura, Roma). EDWARD GOLDBERG (VIT’84) towards the publication of The Secret World of Benedetto Blanis: Jews and Magic in Medici Florence (Univ. of Toronto Press). MARCIA HALL (VIT’72) towards the publication of The Sacred Image in the Renaissance (Yale Univ. Press). ANDREW HOPKINS (VIT’04) towards the publication of Baldassare Longhena (Yale Univ. Press). ROBERT KIELY (VIT’91,’09) towards the publication of Blessed and Beautiful: Rereading the Saints with a Little Help from the Italian Masters (Yale Univ. Press). GUIDO REBECCHINI (VIT’05) towards the publication of Un altro Lorenzo. Il cardinale Ippolito de’Medici tra Firenze e Roma – 1511-1535 (Marsilio Editore SPA). NICHOLAS TERPSTRA (VIT’95,’09) towards the publication of Lost Girls: Sex and Death in Renaissance Florence (The Johns Hopkins Univ. Press).

Villa I Tatti THE CRAIG AND BARBARA SMYTH LIBRARY the aims of the renovation project and s Michael Rocke mentioned on the design of the new wing, and about Apage 6, the beautiful, newly-reno- the cast of characters that made up the vated wing dedicated to former I Tatti wonderful building team and the spirit Director Craig Hugh Smyth (VIT’74- of cooperation that ensured not only ’86) and his wife, Barbara, was splendidly an outstanding result, but one delivered inaugurated on a brilliant, crisp Friday, on schedule. Finally, my own words last October. After a year of planning emphasized the Smyths’ remarkable and another of partial closure and con- “people skills,” which struction work, dozens and dozens of among other things friends gathered on the azalea terrace helped build a large to hear brief addresses chronicling the network of friends President Emeritus genesis and development of the renova- and benefactors that Derek Bok & 11 tion project and underlining the lasting enabled I Tatti to sur- Joseph Connors  contributions to I Tatti, both as an vive and fl ourish. To (top); institution and as a community of people, the accompaniment Composer made by Craig and Barbara Smyth. In of a prosecco toast, Gavin Bryars introducing the event, Joseph Connors President Bok then ceremoniously cut & Sandy Smyth recalled Bernard Berenson’s passion the ribbon at the giardino pensile door (left); for his library, summarized how the to the library, and the whole assembly Architect Sharon Miura (bottom). idea for renovating the old 1950s wing fi nally had the opportunity to visit the John Najemy (VIT’70,’71,’75,’99), came about and was realized, and impressive new library space. Bruce Edelstein (VIT’02), and Francesca acknowledged many who made it hap- The afternoon continued with a Fiorani (VIT’10) – whose knowledge pen. Sandy Smyth, Craig and Barbara’s splendid concert performed by the of the building and its history brought daughter, who represented the family at ensemble Singer Pur in a packed Myron the imposing rooms to life. Derek and the event, read a lovely note of thanks and Sheila Limonaia (see page 16). Sissela Bok then hosted a light lunch at and congratulations from her mother. The program presented early music by the Casa Morrill on Costa San Giorgio, Harvard President Emeritus Derek Bok Adriano Willaert and Andrea Gabrieli and, to conclude the festivities, at the recounted his meeting with Craig to and contemporary music by Arvo Pärt, end of the afternoon, Donald Campbell off er him the directorship of I Tatti in Ivan Moody, Hans Schanderl, and Gavin and I gave an informal reception in our 1973 and characterized the challenges Bryars. Among the modern pieces were home in via del Porcellana, which many he faced during his highly successful ten- Four I Tatti Madrigals, commissioned from friends both old and new attended. ure. Michael Rocke focused Gavin Bryars by Villa I Tatti in In last year’s Newsletter, the cam- on why it was so appropriate memory of Craig Hugh Smyth. paign co-chairs – Melvin R. Seiden, to commemorate the Smyths A beautiful reception on the Susan M. Roberts, and William E. Hood by naming the new wing – listed the very many friends whose after them. He evoked Craig’s generosity made possible the building untiring dedication to the of the Craig and Barbara Smyth Library library during his director- in the Biblioteca Berenson. I thank ship, in particular his eff orts them all again today and, in particu- lar, thank Mel, Susan, and Bill for their extraordinary eff orts on our behalf. I also wish to thank all those who designed, dug, chiseled, sawed, planed, hammered, wired, plumbed, cleaned, cooked, swept, waxed, paid bills, guarded, and suff ered the noise and confusion during the construction. None of this would have been possible without the combined to strengthen the library’s eff orts of many. What a team! fi nances, especially for acqui- Alexa M. Mason sitions, to develop its book Assistant Director for External Aff airs and photograph collections, top terrace was followed and to provide much-needed space for by a lovely dinner in the Big Library for L-R: Anne Dunlop, Claudia Chierichini & growth by turning a spacious farmhouse our most generous donors and out-of- Joseph Smith; Sissela Bok; Angela Lees, Susan Bates & Graziella Macchetta; into the present Paul E. Geier Library. town guests. The following morning, Prudence Steiner & Elizabeth Hayward; Architects Francesco Garofalo and this group was guided through Palazzo Margaret & Price Zimmermann (VIT’71) Sharon Miura spoke respectively about Vecchio by three I Tatti scholars – with Nelda Ferace.

Autumn 2010 Lectures & Programs with support from the Lila Wallace - Reader’s Digest Endowment Fund and the Scholarly Programs and Publications Funds in the names of Malcolm Hewitt Wiener, Craig and Barbara Smyth, Jean-François Malle, Andrew W. Mellon, and Robert Lehman.

A chronological listing follows of lectures, concerts, conferences, and Shoptalk - The Other Counter Reformation: Ambiguity and what are known here as “shoptalks” – in-house discussions of work Invention in Cinquecento Art and Literature. in progress – held at I Tatti during the 2009/2010 academic year. Papers by: ABIGAIL BRUNDIN: “Rewriting Trent”: Innovation Institutional affi liation is not given for members of I Tatti’s 2009/2010 or Stagnation in Florentine Counter Reformation Poetry? & academic community, L-R: Duncan Bull; Una D’Elia; UNA D’ELIA: Raphael’s Ostrich: Allegory and Ambiguity in Claudia Bolgia; Cinquecento Rome and Florence. Marc Schachter; Christine Shaw. 12 

Left: Chris Carlsmith was nominated “socio corrispondente della Classe di Scienze Morali e Storiche del Ateneo di Scienze, Shoptalk - CHRIS CARLSMITH: To Live and To Study: Colleges Lettere ed Arte di Bergamo” last April. in Early Modern Italy. Shoptalk - ANTHONY D’ELIA: Pagan Culture and the Humanist Public Lecture - CLAUS-PETER HAASE, Former Director, Portrait of Sigismondo Malatesta. Museum für Islamische Kunst, Staatlichen Museen zu Shoptalk - CHRISTIANE KLAPISCH-ZUBER: Fra testi, immagini e Berlin, Honorarprofessor, Kunstgeschichtliches Institut der realtà vissute: i due ladroni della Crocifi ssione. FU Berlin: Djem Sultan, Son of Mehmed the Conqueror: The First Shoptalk - SERENA FERENTE: Bartolus on Political Passions. Turkish European? Conference - Bernard Berenson at Fifty: to commemorate the Shoptalk - ANNE DUNLOP: Materials, the Imagined World, and 50th anniversary of Mr. Berenson’s death on 6 October Trecento Artistic Change. 1959. Shoptalk - Image and Meaning in 16th-Century Italy: the Concert (Early Music at I Tatti, XV) - “Musica nova” from Congrega dei Rozzi of Siena and Timoteo Viti of Urbino. Adriano Willaert to Gavin Bryars, Singer Pur. Papers by: CLAUDIA CHIERICHINI: “Rude mechanicals” in 16th- Shoptalk - LORENZO CALVELLI: The Roman Stones of Venice. Century Siena: the Congrega dei Rozzi, 1531-1552 & Shoptalk - CHRISTINE SHAW: “Libertà” and “protection” during ROBERT G. LA FRANCE: Timoteo Viti: Artist, Courtier, Musician. the Italian Wars. Shoptalk - DANIEL B ORNSTEIN: Civic Christianity in Renaissance Shoptalk - MICHAEL CUTHBERT: Credo Scabioso: Italian Sacred Cortona. Music in the Age of Plague and Schism. Shoptalk - FRANCESCA FIORANI: Leonardo’s Shadows: Images of Shoptalk - AMY BLOCH: Lorenzo Ghiberti’s “Gates of Paradise” Knowledge in Renaissance Art and Culture. and the Renaissance Biblical Imaginary. Shoptalk - CARLO TAVIANI: Biografi e dell’esilio tra Urbino, Roma Shoptalk - MARC SCHACHTER: Metamorphoses of the Golden e Genova: Ottaviano e Federico Fregoso. Ass: Apuleius in Word and Image. Shoptalk - DONAL COOPER: Images of St. Francis in Tuscany and Babette Bohn & Elisabetta Cunsolo led a Umbria, c. 1340-c. 1420. trip to Bologna in February which took Shoptalk - CLAUDIA BOLGIA: The “Long” Trecento: Rome with- in such highlights as piazza Maggiore out the Popes (c. 1305-1420). with San Petronio, the Archiginnasio, the Shoptalk - BABETTE BOHN: Federico Barocci: Reinventing Disegno Collegio di Spagna, Palazzo Magnani, in Post-Tridentine Urbino. the International Music Museum, the Discussion with MARTIN KEMP: Multispectral Scanning and the Fondazione Zeri, San Michele in Bosco, New Leonardo Portrait. Palazzo Poggi, & the Oratorio di San The Bernard Berenson Lectures: CAROLINE ELAM Colombano. Many thanks to all who (VIT’82,’85): Firenze bella: The Renaissance City View; Urban shared their knowledge of these sites Encomia; Surveying the City. including Pietro Bellettini, Sergio Bettini, Concert (Early Music at I Tatti, XVI): “Il giardino di Armida:” Anna Cavina, Anna Viganò, Patrizia La gerusalemme liberata in Music, from Giaches de Wert to Domenico Tomba, Elisabetta Sambo & Erika Giuliani. Mazzocchi. Ensemble Elyma directed by Gabriel Garrido.

Villa I Tatti All Roads Lead to Rome

rom 1-3 October 2009, JOSEPH we toured the building and grounds FCONNORS led the Fellows on a shaped by Cardinal (later Grand Duke) magnifi cent excursion to the eternal Ferdinando de’ Medici. city. The trip began with an exploration On day three we marched into the of the Constantinian basilica of St. Paul’s Baroque period with three Borromini Outside the Walls as it sheds light on the masterpieces, which included a breath- form of Old Saint Peter’s, followed by taking view of the interior of the church 13 a trip to the Centrale Montemartini, of Sant’Ivo from a balcony, Sant’Agnese  where industrial archeology and ancient in Piazza Navona, and the Oratory Library for the followers of St. Philip Neri at the Chiesa Nuova (Santa Maria in Vallicella). The visit concluded with a detailed investigation of the medieval fabric of Santa Maria in Aracoeli guided by CLAUDIA BOLGIA, and an over- view of the treasures of the Capitoline Museums led by LORENZO CALVELLI, who ended the day with a post-classi- cal reinterpretation of the Latin text of the bronze tablet of Vespasian (Lex de Imperio Vespasiani), encircled by Fellows seated on the marble gallery fl oor. Roman art mix in the city’s fi rst power Robert G. La France station. Hannah Kiel Fellow Day two started underground, with Clockwise from left: Joseph Connors & a stroll through the ancient Roman ne- Joanna Woods-Marsden check the map; cropolis unearthed beneath St. Peter’s Outside the Vatican Excavations; in the 1939 Vatican excavations, a close Suzanne Boorsch on the Tabularium; look at the church’s fourth-century Donal Cooper and Christiane Klapish-Zuber; foundations, and a glimpse of the red Gábor Buzási at the Villa Medici; wall over the saint’s tomb. The day con- Lorenzo Calvelli and the Spinario at the tinued with an inspection of the 16th- Capitoline Museums. century Salone Sistino in the Vatican (Many thanks to Bob La France for these Library, and fi nished at the French photos, and several others framed in color, Academy at the Villa Medici, where scattered throughout the Newsletter.)

FORMER FELLOWS’ U PDATE

WLODZIMIERZ OLSZANIEC (VIT’04) issue, vol. LIII, 2009, of “Odrodzenie has recently concluded his year as the I Reformacja w Polsce” [Renaissance Fowler Hamilton Visiting Research & Reformation in Poland], a jour- Fellow at Christ Church, Oxford. nal published annually by the Polish He and PIOTR SALWA (VIT’84) Academy of Science. organized an international conference, GEORGES DIDI-HUBERMAN (VIT’88), “Volgarizzamenti e traduzioni nell’età professor of art history and philoso- del Rinascimento,” which took place phy and art history at the École des in May 2009 at Warsaw University Hautes Etudes en Sciences Sociales with the assistance of an I Tatti Lila in Paris, is the 2009 winner of the Acheson Wallace – Reader’s Digest Distinguished Lifetime Achievement Special Project Grant. The Acts of Award for Writing on Art given by the conference (in Italian and English) the College Art Association. have been published in a special

Autumn 2010 Djem Sultan: The First Turkish European? jem Sultan, the younger son of Mehmed the Conqueror, had a storied career. His father apparently groomed him for suc- Dcession to the Ottoman throne, seeing to it that Djem received an education in all the arts deemed suitable for a cultured ruler. His own poetry provides evidence of his knowledge of Persian literature and Arabic theology, while his actions after the death of his father in 1481 suggest he possessed fi ne military skills and an idiosyncratic political vision. In the civil war with his brother, Bayezid, Djem won some initial victories and declared himself sultan of Anatolia. But when he fl oated the unusual idea of dividing the Ottoman realm with his brother, an infuriated Bayezid rallied and defeated Djem’s forces. Rather than renounce his dreams of rule, Djem sought refuge with the Knights of St. John on the island of Rhodes, off ering perpetual peace with the Ottoman Empire in exchange for European assistance in establishing him on the throne. The Knights instead accepted a bribe from Bayezid to keep his brother securely captive, and Djem spent the remainder of his life, until his death in 1495, as a well- 14 tended “guest” in the custody fi rst of the Knights, in France, and then of the pope in Castel Sant’Angelo. Throughout the twelve  years he spent in exile, Djem never mastered Latin, French, or Italian, always conversing through interpreters; and he resisted papal blandishments to convert to Christianity, remain- ing a devout Muslim all his life. Such is the story that CLAUS-PETER H AASE, former director of the Museum für Islamische Kunst, Staatlichen Museen zu Berlin, and Honaraprofessor at the Kunstgeschichtliches Institut der Freie Universität Berlin, recounted at I Tatti on 1 December 2009, illustrating his lecture with images of Djem Sultan drawn both from contemporary sources and from highly romanticized retellings of his history. In the end, the question posed in the title of his talk – “Djem Sultan, Son of Mehmed the Conqueror: The First Turkish European?” – remained an open challenge, given Djem’s abiding attachment to his cultural heritage despite the diffi cult circumstances of his European sojourn. Daniel & Jane Bornstein at Thanksgiving lunch Daniel Bornstein with Eliane Roux & John Najemy (VIT’70,’71,’75,’99) in the background. Robert Lehman Visiting Professor

IN MEMORIAM .W. (BILL) KENT (VIT’78,’83,’87,’96, I Tatti records with sorrow the following deaths: F‘97), Emeritus Professor of History and Australian Professorial Fellow at Monash University, where he had taught DOARDO SACCONE (VIT’80), profes- in Minneapolis in 1943, he was educated at Yale University and the Courtauld for more than 40 years, died 30 August Esor of Italian literature at University 2010. One of the most respected College Cork and an authority on the Institute of Art. After two years as an I Tatti Fellow working on the Mannerist and beloved members of the I Tatti 20th-century Italian novel as well as community, Bill Kent was a Fellow in Italian Renaissance literature, died 2 painter Jacopo Zucchi, he returned to Yale where he later became the fi rst 1977/78, returned as a Visiting Professor December 2008. Born in Aversa, Italy, in four times, and served on the I Tatti 1938, he was educated at the University director of the Yale Center for British Art in 1976. As founding chairman of the Advisory Committee (2000-2003). He of Pisa and the Scuola Normale was educated at Melbourne University Superiore. He joined the Johns Hopkins Villa I Tatti Council (1979-84), Pillsbury worked closely with then I Tatti direc- and the University of London (Ph.D. University as assistant professor in 1966, 1971). Widely published in the social the same year he joined the edito- tor Craig Hugh Smyth (VIT’73-’85) to create a group of concerned friends history of Italian, especially Florentine, rial board of Modern Language Notes, Renaissance culture, he explored the and became full professor in 1973. He to assist the Center with its fi nancial problems and to broaden its support. importance of families and clans, and remained in Baltimore and with MLN patronage as a social and political sys- until he moved to Cork in 1994. In Ted Pillsbury’s enthusiasm was conta- gious. During his tenure, the Council tem. As well as being a founding and addition to his editorial work with continuing editor of I Tatti Studies: Essays MLN, he was a member of the advisory grew extensively, found external sup- port, and gave generously to increase in the Renaissance, he co-authored with boards of the Stanford Italian Review, of Dale Kent (VIT’78,’83,’07) Neighbours Italian Culture, of Spunti e Ricerche, and I Tatti’s endowment and to cover any budgetary shortfall. From 1980 to 1998, and Neighbourhood in Renaissance Florence: Rivista d’Italianistica. An I Tatti Fellow The District of the Red Lion in the Fifteenth in 1979/80 and a member of the I Tatti Pillsbury was director of the Kimbell Art Museum in Fort Worth where he was Century (Locust Valley: JJ Augustin, 1982), Advisory Committee (1992-1997), the sixth volume in the I Tatti publica- Saccone was best known and admired responsible for several outstanding exhi- bitions and the acquisition of a signifi - tion series. With vision and tremendous for his work on Ariosto, Castiglione, drive, he founded the Monash University Svevo, and Tozzi. His most recent book cant number of European masterpieces. He went on to the Pillsbury & Peters Centre in Prato in 2000. Two years later, was a critical edition of Federigo Tozzi’s he became general editor of the multi- Il podere (Ravenna: Longo, 2003). Fine Art Gallery, Dallas, the directorship of the Meadows Museum at Southern volume critical edition of the Lorenzo Methodist University, and the Heritage de’ Medici letters, published under the DMUND P. P ILLSBURY (VIT’68,’69), auspices of I Tatti et al. In the last year, he connoisseur, scholar, and museum Auction Galleries in Dallas where he was E chairman of the fi ne arts department. was completing his forthcoming book, professional, died 25 March 2010. Born The Young Lorenzo de’ Medici, 1449-1472.

Villa I Tatti Bernard Berenson at Fifty

O mark the half century of its University of London) traced the roots Umberto Morra, when, as detailed Tfounder’s death in 1959, I Tatti of Berenson’s fundamental theory of by ROBERT and CAROLYN CUMMING hosted a major international confer- “tactile values” back to the work of his (Boston University, London), the young ence lasting two and a half days in Harvard professor, Henry James, and the Morra came to I Tatti with a quixotic October 2009. Organized by Director sculptor Adolf von Hildebrandt. scheme to smuggle the anti-fascist poli- JOSEPH CONNORS and myself, “Bernard KATHRYN BRUSH (University tician Gaetano Salvemini out of Italy Berenson at Fifty” revealed the star- of Western Ontario) recounted the on Berenson’s passport. MINA GREGORI tling richness and depth of current re- enduring friendship between Berenson (VIT’64,’65, Fondazione Roberto search on Berenson and his intellectual and Arthur Kingsley Porter, the great Longhi), herself one of the earliest world. Nearly all the papers drew heav- medievalist who mapped the Romanesque Fellows of I Tatti, compared the critical ily on unpublished material from the churches of the pilgrimage roads to approaches of Berenson and his some- Berenson Archive and Fototeca. L-R: Willy time friend/enemy Roberto Longhi In the plenary lecture that opened Mostyn-Owen in the interpretation of Caravaggio’s 15 the conference, Bernd Roeck of the between Jerry & paintings.  Universität Zürich masterfully recon- Isabelle Hyman; Berenson’s involvement with the structed the Romano Nanni art of the East was the subject of papers & Lou Waldman; cultural world by MARIO CASARI (VIT’09, Università of Florence in Michael Tworek; Amanda Smith & di Roma), who traced his activity as a 1900, with close Michael Rocke. collector of Islamic manuscripts and his attention to the points of con- tact, and disso- Compostela. nance, between So intense was the friend- ship between the scholar of Renaissance painting and the student of medieval architec- ture that, after World War I, Berenson tried to convince Porter to move to San Martino and continue his studies at I Tatti, but the plan came to nothing after Paul Sachs recruited lifelong interest in early and contem- Porter to Harvard. porary Near Eastern culture, and by The role of Berenson’s research CARL STREHLKE (Philadelphia Museum assistants at I Tatti was the focus of Art), who followed an intricate web of papers by DAVID ALAN BROWN linking BB’s interest in Asian art to his (VIT’70, National Gallery of Art) and contacts with D’Annunzio, Fenellosa, Berenson and Aby Warburg around this WILLIAM MOSTYN-OWEN (London). Coomaraswamy, and Osvald Sirén. time. DIETRICH SEYBOLD (Bottmingen) Brown explored the role of Paul Sachs CONNORS and I told the stories of reconstructed BB’s relationship with the in recruiting as Berenson’s research as- two unlikely but intense friendships dealer and Leonardo expert Jean Paul sistant the young John Walker, who was that grew up during Berenson’s fi nal Richter, and, in the process, reconstructed BB’s personal choice for the fi rst direc- years, with the African-American cho- the provenance of one of Berenson’s tor of Villa I Tatti. Mostyn-Owen, who reographer, dancer, and anthropolo- earliest acquisitions, the St. Michael by was himself Berenson’s research assistant gist Katherine Dunham and with the Michele Giambono, that now presides in the 1950s, drew on a rich font of per- novelist Ernest Hemingway. A fi tting over the I Tatti dining room. PATRIZIA sonal memories and archival documen- conclusion to these studies was a deeply ZAMBRANO (Università del Piemonte tation and spoke movingly about his moving paper by JANET COX-REARICK Orientale “Amedeo Avogadro”) ana- predecessor in that role, Kenneth Clark. (VIT’62,’63,’76,’91, Graduate Center, lyzed the impact exerted over Berenson ISABELLE HYMAN (VIT’73, New CUNY), a member of the very fi rst by the great 19th-century connoisseur York University) presented her class of I Tatti Fellows, who traced the Giovanni Battista Cavalcaselle. The story research into the friendship between evolution of I Tatti from private home of a very diff erent painting that was the Berensons and Archer Huntington, to research institute, drawing on unpub- once in Berenson’s collection, Trees Near the New York collector, poet, and lished reminiscences that were specially Melun by Matisse, was the subject of a founder of the Hispanic Society of contributed by many of the surviving contribution by the Gardner Museum’s America, which led in later years to a Fellows from the early 1960s. The Acts Chief Curator, ALAN CHONG, who close friendship between Berenson and of the conference are being edited for proved that Berenson donated the paint- Huntington’s nephew, the distinguished publication and are expected to appear ing to Prince Paul of Yugoslavia several print connoisseur A. Hyatt Mayor. next year. years later than BB would subsequently An unlikely but enduring friendship Louis A. Waldman claim. ALISON BROWN (VIT’86,’91,’98, arose between Berenson and Count Assistant Director for Programs (2007-2010)

Autumn 2010 why the fortepiano was not an immediate success.) Hammer’s Villa I Tatti: performance was strong throughout, but particularly excelled in the faster passages of A Year in sonatas by Chelleri and Ugolini. If these names are not familiar, there is a reason: the concert Sound dug deep into unknown and unpublished literature. Some pieces, such as the Chelleri and Sborgi’s Sonata III, were eye- opening discoveries worthy of repeated hearing. Others, such as Rutini’s Sonata in F, were al- The ensemble Singer Pur with composer 16 f the performance and study of early most laughably formulaic but interest- Gavin Bryars on the far right. ing by typifying amateur music compo-  Imusic was not one of Berenson’s per- objects telling the history of the musical sonal concerns, the imbalance has been sition in the 18th century. One of the key events in the fall Renaissance and Baroque. Later, an more than remedied by both the music informal session gave scholars of all disci- and musicology conducted here since was the concert coinciding with the Berenson conference. The German plines an overview of musical styles from his donation. While the Morrill Music 1000 to 1650. And the Fellows showed sextet SINGER PUR presented two Library provides for the needs of Fellows their courage in turning the holiday and visitors with interests in musicology kinds of “new music:” selections from Adriano Willaert’s Musica Nova, pub- party into a musical parody, bring- on a daily basis, events throughout ing new and Tattiani-oriented lyrics to the year brought our attention to the lished in 1559, and newly composed pieces, including the premier of Gavin familiar tunes. The group celebrated importance of music in the Renaissance. Harvard’s new article delivery service The musical year started on an inti- Bryars’ Four I Tatti Madrigals, his second set of works premiered at the Villa. Far by replacing “Jingle Bells” with “PDF, mate note with a recital of post-Renais- PDF, Scan and Delivery. Oh what joy it sance music by CHRISTOPH HAMMER. removed from his revolutionarily simple works of the 1970s such as Jesus’ Blood is to get our papers from the Net!” His performance highlighted Florentine The year-end concert brought a composers’ adaptation of compositional Never Failed Me Yet, Bryars’ madrigals set texts by Bronzino and Battiferri, group whose size and use of instruments styles to the arrival of the fortepiano, the let them better tame the diffi culties of forerunner of the modern piano that, weaving stylistic elements from the Renaissance, such as disarming disso- the hall. ENSEMBLE ELYMA performed nances on “piango,” with purely mod- settings of Tasso’s Gerusalemme liberata ern textures such as placing a single from the late Renaissance and the early soprano voice far above densely packed Baroque. Eschewing Monteverdi’s male voices. Though the unforgiving masterful but overplayed Combattimento acoustics of the limonaia—better suited di Tancredi e Clorinda, their selections for lectures and lemon growing than a emphasized the Garden of Armida, capella concerts—caused the ensemble especially those by lesser-known composers. to strain their voices to be heard, the Though some of the purely vocal works of the Renaissance were swallowed by the space, larger baroque works, such as Domenico Mazzocchi’s Dialogo and Biagio Marini’s La bella Erminia, rang Joseph Connors introducing the Ensemble clearly and beautifully. Elyma (above) and (right) Luciana Elizondo Excellent program notes and & Diana Fazzini (of the Ensemble Elyma) interesting and unifi ed themes have been tuning for “Il giardino di Armida.” consistent I Tatti traditions since EARLY MUSIC AT I TATTI was initiated at the unlike the harpsichord or the organ, start of Connors’ directorship. This year opened up the possibility of contrast- was no exception. KATHRYN BOSI’S ing loud melodies with soft, bubbling notes were engaging and informative accompaniments. As Hammer noted, to musical novices and initiates alike, like all new technologies, the fortepiano quality of both performers and music enriching the experience of the concerts required new skills from the performer, and demonstrating their intimate con- namely necessitating playing each note carried through. Musical events in the winter and nection to the scholarly activities of the with exacting pressure. (If you can Villa. imagine someone trying to sell you a early spring were less formal. A trip to Michael Scott Cuthbert new laptop keyboard that types three Bologna included a visit to the Museo Ahmanson Fellow times as fast but needs to have each key Internazionale della Musica, one of the hit with identical pressure, you can see best collections of musical books and

Villa I Tatti The Berenson Lectures in the Italian Renaissance

CAROLINE ELAM (VIT’82,’05) former Editor, The Burlington Magazine Firenze bella: The Renaissance City View 1. Urban Encomia (13 April) 2. Surveying the City (15 April) 3. World and Image (20 April)

aroline Elam delivered the fi fth precise topographical relief and a great Cseries of Berenson Lectures to packed work of art, displays with unprece- audiences in April. Entitled “Firenze dented clarity the urban history of bella: The Renaissance City View,” they Florence, from Roman castrum through 17 charted the image of Florence in liter- the medieval circuits of walls. We were  ary as well as visual sources. The fi rst off ered acute observations on the model lecture, “Urban Encomia,” dealt with in cork made by Tribolo and Benvenuto city panegyrics from Greek rhetoric to della Volpaia for Clement VII during Leonardo Bruni’s “mock” (that is, never his siege of Florence in 1529-30; the delivered) oration, the Laudatio Urbis plan of Peruzzi and others, hitherto Florentiae, and Goro Dati’s description assumed to be based on measurements Caroline Elam & Peggy Haines. of the city. The famous (but seldom by spies in the beleaguered city, was Lorraine, which sets forth everything a seen) Rustici Codex was paired with the shown to derive instead from the Chain grand duchess should know about the Theotokon of Domenico da Corella, a Map. There were observations also on city her husband rules. text in which devotion, patronage, and Benedetto Varchi’s meticulous descrip- Montaigne, reluctant in the fi rst artistic imagination all combine in a tion of the walls and gates of Florence lecture to admit that Florence might description that was the fi rst to pro- and its relationship to Vasari’s fresco of be bella, returned at the end, won over claim Brunelleschi’s cupola the eighth the siege in the Palazzo Vecchio. The by its beauty, while the audience was wonder of the world. lectures ended with textual descrip- won over by a very special marriage of The second lecture, “Surveying the tions of Florence from the 16th cen- erudition and eloquence. The lectures City,” explored the “furor geographicus” tury by Anton Francesco Doni, Leandro will be published by Harvard University in 15th-century Florence, beginning Alberti, and Francesco Bocchi, as well as Press. with the city maps included by the the account of Florence written in 1592 Joseph Connors illuminator Piero del Massaio in by Giovanni de’ Bardi for Christina of Director, 2002-2010 manuscript translations of Ptolemy’s Geography. Francesco Rosselli, operat- ing between Florence, Buda, and Venice, FORMER FELLOWS’ U PDATE produced the most original of any of the Quattrocento maps of Italian cit- GIANCARLA PERITI (VIT’08), who the Artist from God to Picasso (Penn State ies, the Pianta della Catena, which we was the Sylvan C. Coleman & Pamela Univ. Press, 2010), which he com- were encouraged to think of as the Coleman Fellow at the Metropolitan pleted in the I Tatti gardens where he Pianta del Lucchetto, the Padlock Plan, Museum of Art in 2008/2009, and a spent more than a few hours dreaming with the lock in the margin being the Visiting Lecturer at Yale University up its conclusion. veiled signature of Luca (“lucchetto”) in 2009/2010, has been appointed CAMMY BROTHERS (VIT’02), Antonio degli Uberti, the printmaker Assistant Professor of Italian Associate Professor of Architectural who copied the original engraving into Renaissance Art at the University of History at the University of Virginia, the woodcut medium. Elam rounded Toronto as of the fall of 2010. Her will be a senior Fellow at the Center the lecture out with a little-known book, In the Courts of Cloistered Ladies: for the Advanced Study of the Visual painted version of the Chain Map in Subjectivity and Gender in Conventual Arts, National Gallery, Washington the Fitzwilliam Museum, which distorts Art (1450-1550), will soon be pub- DC for the spring of 2011. Her book, the original in meaningful ways and lished by Yale Univ. Press. Michelangelo, Drawing, and the Invention shows how maps entered interior PAUL BAROLSKY (VIT’81,’87,’91, of Architecture (New Haven: Yale Univ. design in many Renaissance households. ‘95,’08), Commonwealth Professor Press, 2008), won the 2010 Charles The third lecture dwelt on the of Art History (and Cavalier Distin- Rufus Morey Book Award from the fi nest of all Italian city maps, the 1584 guished Teaching Professor 2009- College Art Association and the 2010 Nova Pulcherrimae Civitatis Florentiae 2011) at the University of Virginia, Alice Davis Hitchcock Book Award Topographia Accuratissime Delineata by explores the ways in which fi ction from the Society of Architectural the Olivetan monk and cartographer shapes history and history informs fi c- Historians. Stefano Buonsignori. This map, both a tion in his new book, A Brief History of

Autumn 2010  18 T Update Loggiato new problems andcomplicationsthat have beenoccasionalconsultantsfor even an agronomist. Inaddition, there neers, airconditioning engineers, and the teamofarchitects, engi- structural have allworked onsite, nottoforget ling assemblers, andair ductassemblers ers, stonecutters, acousticwood panel- plumbers, tilelayers, carpenters, join- layers, drywallers, painters, electricians, ofthesummer,course masons, parquet a whirlwind ithasbecome. Inthe activity. Itisnoteasyto convey what theplaceintoabeehivehas turned of Work in June ontheLoggiato andJuly that would beonsite simultaneously. ber ofworkers teams andconstruction tion tocoordinate theincreased num- ing together, calledforsomereorganisa- stage, wheneverything would becom- obvious thatthelastand inevitably hectic end of April), itbecameincreasingly with NeldaFerace (whoretired atthe After anoverlap ofacouplemonths one.the new garden tothe historical a new building forthegarden staff agreenhouse,area comprising asmall entrance,to thelibrary andanew work new garden connectingtheLoggiato room foranaudienceof99people, a ing with15new studiesandalecture distinct areas: build- themainLoggiato responsible forthewholewithitsthree ect, thegardeners’ work area, tobeing ofthebuilding proj-only onesmallpart togofromlenging beinginchargeof it willalsobemy last. Ithasbeenchal- and, withthegoodprogress beingmade, his the Deborah Loeb Brice Loggiato Loggiato the DeborahLoebBrice pietra serena ismy fi rst report onthestateof report rst staircase connecting aswell as many workmen worked onthe various build- - andwomen ing sitesthis - who have Some ofthe year.

the Loggiato andthegardeners’the Loggiato area the traditionalItalian However, asthings looknow, justbefore match thedarker ceilingandfurniture. ing todye thelight-coloured parquet to table last-minute hitches, suchashav- the fi and theworkmen are gettingaround to process hasreached thefi reasonable predictions canbemade. tion ofthismarathon, althoughafew to hazard anexactdateforthecomple- long anddiffi fi ished? Even thoughthe enddoesseem forward: befi whenwilltheLoggiato the answer) isvery simpleandstraight- anymore (but everybody wants toknow the questionthatnobodydares toask at timesresembled aminiature Babel. the confusion. The entire building site to sional linguisticissuescontributed from Alto Adige, andyet others, occa- Kosovars), aGreek, German-speakers Europeans (Albanians, Romanians, also Calabresi, Pugliesi, andeastern Florentines noreven all Tuscans, but thatthey arethe fact by nomeansall to thisheterogeneous groupofpeople input.need expert Ifyou thenadd nally tobeinsightafterfourandahalf Despite the fact thatthebuilding Despite thefact But togetbackthemainissue, nishing touches, there are inevi- cult years, itisstillnoteasy Ferragosto nl stretch nal holidays, n- Studies on9and10June 2011. Harvard Center forItalianRenaissance the 50thanniversary ofI Tatti asthe inauguration whichwillcoincidewith intimeforitsoffi theLoggiato grace these three gardens shouldbeready to completed inthespring. Nevertheless, winter weather andthuscanonlybe have lullsinthe tobe laid outduring slow landscapingwork. The gardens will and theNovember rainswillprobably is beinggiven towork onthebuildings dens, willbeready forthisvisit. Priority entrance, northetwo other, smallergar- tothelibrary to connecttheLoggiato garden (withfountain)thatisdestined to visitI Tatti at Thanksgiving. Drew Faust, scheduled whoiscurrently for avisitby thePresident ofHarvard, end ofNovember, more orlessintime below shouldbecompletedtowards the Council chairman Debby forwhom the Council chairman Brice Unfortunately neitherthenew Unfortunately Architect Charles Brickbauer & Brickbauer Charles Architect Loggiato willbenamed. Gardens andGrounds and Assistant Director for Lila Acheson Wallace Scholarly Programs  Villa I Tatti Allen Grieco cial

© ALLEN GRIECO COUNCIL NOTES French Consulate’s beautiful ballroom made available to us, once again, by ith the generosity of the I Tatti edited by Machtelt Israëls (VIT’05). The Honorable Philippe Lalliot, whom WCouncil and other friends and Deborah Brice warmly welcomed we heartily thank for his kindness and the dedication of campaign Co-Chairs I Tatti’s new director, LINO PERTILE, and his welcome. Machtelt recounted the WILLIAM HOOD, SUSAN M. ROBERTS, his wife, Anna Bensted. complexities of an international col- and MELVIN R. SEIDEN, the campaign Joseph Connors expressed his grat- laboration to reconstruct the Sassetta to renovate the Library Annex, which itude to the members of the Council Altarpiece in its full historical context. was started two years ago in a chal- for their support of Villa I Tatti, and to Post-lecture comments attest to the fact lenging economic climate, culminated the directors of the Florentine museums that Machtelt’s knowledge, brilliance, in the inauguration, in October 2009, and research institutes. He reported on grace, and sense of humor made for a of the beautiful Craig and Barbara the construction of the Scholars’ Court, truly memorable event. Smyth Library. We wish to give a special a project conceived under the director- On 15 June, Council members “thank you” to Melvin Seiden for his ship of WALTER KAISER, and said that he met at the Metropolitan Museum of expects the new building to be fi nished 19 exceptional leadership during this cam- Art to view An Italian Journey: Drawings  paign. Council members TREACY and in late September, while the garden will from the Tobey Collection, Correggio to DARCY BEYER, DEBORAH LOEB BRICE, be planted this fall and in the spring Tiepolo, with the Curator, Linda Wolk- William Hood, FREDERICK KOONTZ, of 2011. Simon. Over the past 20 years, Julie and David M. Tobey have assembled a preeminent col-

L-R: Tony & Susan Roberts at the Smyth Library inauguration, Treacy & Darcy Beyer at the Berenson @ 50 conference, Lino Pertile & Sylvia Scheuer at Joseph Connors’ leave-taking party.

He announced the appointment of lection of Old Master drawings that was MARY GIBBONS LANDOR, Jonathan Nelson (VIT’02) as Assistant presented to the public for the fi rst time. Susan Roberts and her husband, Director for Scholarly Programs and The drawings range across the sixteenth, Anthony, and SYLVIA SCHEUER traveled talked about the progress of the cata- seventeenth, and eighteenth centuries, to Florence to attend the inauguration loguing of the Berenson collection. and represent all the principal centers of ceremony. Among the highlights of With collaboration from the Opifi cio Italian art. these festive days was a tour of Palazzo delle Pietre Dure, and under the di- Finally, it is with sadness that we Vecchio from the standpoint of archi- rection of Carl Strehlke, Curator of record the death of EDMUND P. PILLSBURY tectural history, and a visit to view the the John G. Johnson Collection at the (VIT ’68, ’69), founding chairman of Fra Angelico frescoes at San Marco Philadelphia Museum of Art, the proj- the Villa I Tatti Council (see page 14). under the expert guidance of Bill Hood. ect is proceeding on schedule. His leadership in the early days was We thank Susan Roberts for spon- Later that afternoon, members of invaluable as the Council defi ned its soring the Villa I Tatti Council meet- the Villa I Tatti Council, friends of I Tatti, role and helped to solve innumerable ing, which was held on 13 May at the donors, and former Fellows enjoyed a fi nancial problems. Cosmopolitan Club in New York City. splendid lecture, “The Subtle Genius of Graziella Macchetta Council Chairman Deborah Brice Sassetta,” given by Machtelt Israëls in the Development Associate opened the meeting by recording the retirement of ROSEMARY WEAVER and thanking her for her generosity  THE 2010 VILLA I TATTI COUNCIL  and enthusiastic support since joining Deborah Loeb Brice, Chairman the council in 1997. She also thanked Joseph Connors (2009/2010) - Director - Lino Pertile (2010/2011) JOSEPH CONNORS for his eight years at the helm of Villa I Tatti. She spoke of Darcy Beyer William Hood Marilyn Perry his numerous accomplishments, includ- Treacy Beyer Walter Kaiser Susan M. Roberts ing the creation of the Craig Smyth Jean A. Bonna Virgilia Pancoast Klein Neil L. Rudenstine Fellowship, the Berenson Lectures given James R. Cherry, Jr. Frederick S. Koontz Sylvia Scheuer by distinguished Renaissance scholars, Anne Coffi n Mary Gibbons Landor Melvin R. Seiden and the blooming of the publication Robert F. Erburu Barnabas McHenry Sydney R. Shuman program that culminated in the splendid Gabriele Geier Joseph P. Pellegrino William F. Thompson Sassetta, The Borgo San Sepolcro Altarpiece, 

Autumn 2010 News of the I Tatti Staff

ne of the things one can say about study it has become. She has been, as Othe I Tatti staff is that they know WALTER KAISER (VIT’89-’02) has said, a good thing when they see it. Few “not only the defi ning and shaping workplaces can boast of such a low spirit, but also the sustaining spirit of staff turnover as the Harvard Center for all that is best about this beloved place Italian Renaissance Studies. Directors during its fi rst half century.” The young come and go, but the staff remains Smith College graduate who took the and provides continuity from year to train from Naples to Florence brought Alexa Mason & Nelda Ferace. year, from generation to generation. If with her three extra senses that would you didn’t know them, you might say help in her day-to-day dealings with the 20 that someone who stays in the same hundreds of people with whom she has Liviana, who had earlier worked for  job all her working life lacks imagina- worked and made friends over the years: Stanford University in Florence, dili- tion. But no one would think that of a sense of style (she arrived in a little gently served with grace and goodwill FIORELLA GIOFFREDI SUPERBI, who re- black dress and white gloves in the fash- both at table and in keeping I Tatti spot- tired in 2008 after more than fi fty years ion of Jackie Kennedy), a sense of humor less. She has no time to relax now, how- working at I Tatti (see 2008 Newsletter), (she was highly amused when her chic ever, with several grandchildren to care Liliana Ciullini, the last of the staff who Jackie Kennedy outfi t was mistaken for for. One of the jobs that Donatella per- worked for Mr. Berenson and who still widow’s weeds by those sharing the car- formed with precision and care was the comes to work for a couple of hours riage with her!), and abundant common reshelving of the books in the library, each day, or NELDA FERACE, who retired sense. She leaves a legacy of warmth something that she obviously enjoyed at the end of April 2010. and welcome, care and consistency, gen- judging by her cheerful humming. She Nelda stepped off the transat- erosity, and unfailing dedication. also substituted for Patrizia Carella at lantic ship in Naples in August 1962 AURELIANA ANGINI, L IVIANA the desk from time to time, and we to start a new job as secretary to BARTOLOZZI, and DONATELA PIERACCI hope she might come out of retirement KENNETH MURDOCK (VIT’62-’64), the also retired this year after 16, 21, and occasionally to help there again. Harvard Center’s fi rst director. A year 13 years, respectively. Aureliana’s At the end of June, three staff later, MYRON GILMORE (VIT’65-’73) expert cooking is responsible for many members were honored for 25 years of took over as director and in loco pa- an increased waistline and for numerous dedicated service to Harvard and I Tatti: rentis gave Nelda Cantarella away to Tuscan recipes entering the repertoire PATRIZIA CARELLA, B EPPINA BONGINI, Sandro Ferace when they were mar- of Fellows returning home. She took and GIANLUCA ROSSI. Patrizia’s warm ried in 1967. CRAIG HUGH SMYTH special courses in pasticceria, produced smile and friendly voice has welcomed (VIT’74-’85) recognized that he needed innumerable, refi ned dishes for dinner Fellows, library readers, and callers to the a second in command and promoted her parties and working lunches, and shared Harvard Center since 1984. Beppina to Assistant Director for Administration, her knowledge with all who were Bongini joined the house staff in 1983. a position she held through three sub- interested in learning about Italian food. Like Liviana, Beppina has served at ta- sequent directors until 2005 when, as ble and swept and polished. Living in Assistant Director for Special Projects, Settignano, she is a fount of knowledge she devoted her time to the Scholars’ of the local lore. Gianluca Rossi was Court Project. Craig also installed Nelda just 18 in 1984 when he started help- and Sandro in San Martino where they ing Gigi Brandi and Bruno Ciullini have welcomed generations of Fellows (who respectively retired in 1993 after to living on the property. With Nelda at 48 years and in 1995 after 23 years) in his or her elbow, each successive direc- the I Tatti garden. In tor has continued to fashion I Tatti into those days the hedges the inestimable institute of advanced were clipped by hand, the lemon trees were moved in and out of the limonaia by hand – a terrifying sight as (L-R): Angela Dressen, Rosanna Papi & Beppina Bongini; Patrizia Carella, Giovanni Pagliarulo & Marco Pompili; Anne Hepper & Donatella Pieracci; Liliana Ciullini & Aureliana Angini.

Villa I Tatti under Miklòs Boskovits (VIT’71,’72,’73) and Luciano Bellosi, he is a special- You might like to know ist in Florentine painting of the 15th that I Tatti Council member century. ELENA STOLFI began work in Melvin R. Seiden has, the Fototeca in September 2009. She over the years, established is studying art history in Florence with Biblioteca Berenson book funds Alessandro Guidotti and is also help- in the names of a number of staff ing to develop the Opifi cio delle Pietre members including: Joseph Connors Dure’s new database. presenting the STEFANIA GITTO con- FIORELLA SUPERBI, promise of a cluded a ten-month contract LILIANA CIULLINI Harvard chair to in December 2009 during & NELDA FERACE. Gianluca Rossi, which she worked in the Patrizia Carella Morrill Music Library cata- You can honor their contribution to & Beppina loguing CD recordings. The your career by giving to their book Bongini. CD holdings are now vis- funds. For details, contact 21 ible in the Hollis catalogue [email protected]  and the discs themselves are beautifully these large and heavy pots were man- housed in custom built cabinets in the Music Library. handled down the steep steps – and lived in Florence since his doctoral there were no automatic irrigation We are happy to welcome SILVIA VESTRI, who joined the house staff research as a student of Sir John Pope- systems. Hennessey at New York University’s We are also pleased to announce two in January 2010 and who will be work- ing closely with ALESSANDRO FOCOSI, Institute of Fine Arts. In addition to his promotions during the year: GIOVANNI and STEFANO BARBIERI who joined teaching duties, he has written about PAGLIARULO, who remains Curator of the house staff in June 2010 when and organized exhibitions on Botticelli, the Berenson Collection, has also been Filippino Lippi, Michelangelo, and promoted to Agnes Mongan Curator of EMILIANO PERNICE transferred to the kitchen staff . Robert Mapplethorpe and has crossed the Fototeca Berenson. Giovanni, an art disciplinary boundaries with The history graduate from the University of LOUIS A. WALDMAN (VIT’06) has returned to the University of Patron’s Payoff - Conspicuous Commissions Florence (1994) specializing in Tuscan in Italian Renaissance Art (Princeton: painting and drawing of the late 16th Texas at Austin after three years as Assistant Director for Programs (see Princeton Univ. Press, 2008), writ- and 17th centuries, joined the Fototeca ten with Harvard economist Richard staff in 1988 where he worked closely Letter from Florence on page 4). JONATHAN K. NELSON (VIT’02), who is Zeckhauser. with Fiorella Superbi, the previous Alexa M Mason Mongan Curator. Tra Controriforma on secondment from Syracuse University in Florence, has taken up this position Assistant Director e Novecento: Saggi per Giovanni Pratesi for External Relations (Firenze, Giovanni Pratesi Antiquario, for the next three years. Jonathan has 2009), edited by Giovanni Pagliarulo and Riccardo Spinelli (VIT’94), is his most recent book. FORMER FELLOWS’ U PDATE ANGELA DRESSEN, who has been reference librarian and assistant cata- EDWARD MUIR (VIT’73), a lead- the inaugural Regents’ Outstanding loguer in the Biblioteca Berenson ing historian of early modern Italy Teaching Award, University of Texas since 2005, has been promoted to and Clarence L. Ver Steeg Professor in System, and was also honored with the Andrew W. Mellon Librarian. With a the Arts and Sciences at Northwest- annual excellence in teaching award PhD in art history from Trier University ern University, received one of three by Phi Beta Kappa - Alpha of Texas (2005) and an MA in Library and Distinguished Achievement Awards in 2010. His monograph, Listening as Information Science from the Humboldt presented in 2010 by The Andrew Spiritual Practice in Early Modern Italy, University of Berlin (2006), she is a W. Mellon Foundation. Intended to the culmination of work begun dur- specialist in the history of architecture underscore the decisive contributions ing his I Tatti Fellowship, is forthcom- and sculpture. Her Pavimenti decorati del the humanities make to the nation’s ing from the University of California Quattrocento in Italia (Venezia: Marsilio; intellectual life, the awards honor schol- Press with the assistance of an I Tatti Centro internazionale di studi di ar- ars who have made signifi cant contri- Lila Acheson Wallace – Reader’s chitettura Andrea Palladio, 2008) won butions to humanistic inquiry. Muir is Digest Publications Grant. the 2007 prestigious James Ackerman currently working on a synthetic his- RICHARD GOLDTHWAITE (VIT’74), Award in the history of architecture. tory of the Italian Renaissance. Professor Emeritus, the Johns Hopkins ANDREA STADERINI, on leave from ANDREW D ELL’ANTONIO (VIT’02) University, received the 2010 Phyllis the Florentine Galleria dell’Accademia, will be William David Blunk Professor Goodhart Gordan Book Prize for joined I Tatti as a photograph cata- at the University of Texas in 2011- The Economy of Renaissance Florence loguer last February. A graduate of the 2012, his fi rst year of full profes- (Baltimore, Johns Hopkins University University of Florence where he studied sor rank. In 2009, he was named to Press, 2009).

Autumn 2010 with support from the Lila Wallace – Reader’s Digest Endowment Fund, the Scholarly Programs Publications and Publications Funds in the names of Malcolm Hewitt Wiener, Craig and Barbara Smyth, Jean-François Malle, The Andrew W. Mellon Foundation, and the Robert Lehman Foundation, A COMPLETE and the Myron and Sheila Gilmore Publication Fund. LIST OF ALL I TATTI

PUBLICATIONS CAN BE FOUND I TATTI RENAISSANCE LIBRARY (Cambridge, MA: Harvard Univ. Press): ON OUR WEB SITE AT Recent: WWW.ITATTI.IT ITRL 37. Pietro Bembo, History of Venice, Volume 3: Books IX-XII, ed. & trans. Robert W. Ulery, Jr. ITRL 41. Francesco Filelfo, Odes, ed. & trans. Diana Robin. I TATTI STUDIES: ITRL 42. Antonio Beccadelli, The Hermaphrodite, ed. & trans. Holt Parker. ESSAYS IN THE RENAISSANCE ITRL 43. Florentius de Faxolis, Book on Music, ed. & trans. Bonnie J. Blackburn, Florence: Leo S. Olschki Leofranc Holford-Strevens. 22 Executive Editor: ITRL 44. Federico Borromeo, Sacred Painting. Museum, ed. & trans. Kenneth S. Rothwell,  Caroline Elam Jr. Editors: Forthcoming: Alison Brown ITRL 45. Humanist Tragedies, trans. Gary R. Grund. Joseph Connors ITRL 46. Giovanni Boccaccio, Genealogy of the Pagan Gods, Volume 1, Books I-V, ed. Elizabeth Cropper & trans. Jon Solomon. Iain Fenlon F. W. K e n t I TATTI STUDIES IN ITALIAN RENAISSANCE HISTORY (Cambridge, MA: Lino Pertile Harvard Univ. Press): David Quint Recent: 2. Alison Brown, The Return of Lucretius to Renaissance Florence, 2010. Associate Editors: 3. Stephen D. Bowd, Venice’s Most Loyal City: The Formation of Civic Identity in JONATHAN K. NELSON Renaissance Brescia, 1426-1530. Louis A. Waldman Forthcoming:  Gary Ianziti, Writing History in Renaissance Italy: Leonardo Bruni and the Uses of the Past.

I TATTI RENAISSANCE LIBRARY Cambridge: Harvard Univ. Press THE BERENSON LECTURES AT I TATTI (Cambridge, MA: Harvard Univ. Press): General Editor: Forthcoming: James Hankins Charles Dempsey, Renaissance and Renovatio: The Importance of Vernacular Culture in Associate Editor: Earlier Renaissance Art. Martin Davies Julian Gardner, Giotto and His Publics: Three Paradigms of Patronage. Editorial Board: Caroline Elam, Firenze bella: The Renaissance City View. Michael J.B. Allen Brian Copenhaver T HE V ILLA I TATTI SERIES: Vincenzo Fera Forthcoming: Julia Haig Gaisser ~ Italy and Hungary: Humanism and Art in the Early Renaissance, ed. Péter Farbaky and Claudio Leonardi Louis A. Waldman (Florence: Leo S. Olschki). Walther Ludwig ~ Colors Between Two Worlds: The Codice Fiorentino of Bernardino de Sahagún, ed. Joseph Nicholas Mann Connors and Louis A. Waldman. Silvia Rizzo ~ Bernard Berenson at Fifty, acts of a conference at Villa I Tatti, October 2009, ed. Joseph Connors and Louis A. Waldman.  ~ San Lorenzo, A Florentine Church, ed. Robert Gaston and Louis A. Waldman.

I TATTI STUDIES IN JOINT VENTURES: ITALIAN RENAISSANCE HISTORY Forthcoming: Cambridge: Harvard Univ. Press ~ Desiderio da Settignano: Atti del Convegno internazionale, Firenze, Museo Nazionale General Editor: del Bargello, Kunsthistorisches Institut in Florenz, Max-Planck-Institut, Villa I Tatti: The Edward Muir Harvard University Center for Italian Renaissance Studies, 9-12 maggio 2007 a cura di Board of Editors: Beatrice Paolozzi Strozzi, Alessandro Nova, Gerhard Wolf, Joseph Connors & Louis James Hankins A. Waldman. Carol Lansing ~ Henrici-Medici: Artistic Links between the Early Tudor Courts and Medicean Florence. John M. Najemy Acts of the international symposium at Villa I Tatti, 19-20 September 2007 (jointly spon- Katharine Park sored with the Paul Mellon Centre, London), edited by Cinzia Sicca and Louis A. Waldman, Studies in British Art, vol. 21 (New Haven & London: Yale Univ. Press).

Villa I Tatti Orders for any volume in the I Tatti series may be placed directly with the publisher or with Casalini Libri, 3 via Benedetto da Maiano, 50014 Fiesole FI, Italy. Tel: +39 055 Publications 50181; Fax: +39 055 501 8201. Information and general correspondence: info@casalini. it. Orders by e-mail: [email protected]. Web site: www.casalini.it. A COMPLETE LIST OF ALL I TATTI The Villa I Tatti Series: PUBLICATIONS CAN BE FOUND ON OUR WEB SITE AT 25. Sassetta: The Borgo San Sepolcro Altar- WWW.ITATTI.IT piece, edited by Machtelt Israëls. 2 vols. (Leiden: Primavera Press, 2009).

assetta, the subtle genius from Siena, I TATTI STUDIES IN ITALIAN Srevolutionized Italian painting with RENAISSANCE HISTORY an altarpiece for the small Tuscan town 23 of Borgo San Sepolcro in 1437-1444. This publication series, of mono-  Originally standing some six yards high, graphs and interpretive studies that double-sided, with a splendid gilt frame concern the history of the Italian over the main altar of the local Franciscan Renaissance from the 13th to the church, it was the Rolls Royce of early 17th centuries, will publish one or Renaissance painting. But its myriad fi g- two volumes per year of the highest ures and scenes tempted the collectors of quality. All books in the series will the 19th and 20th centuries, and today be published in English by Harvard its disassembled panels can be found in University Press. 12 museums throughout Europe and the United States. Inquiries should be addressed to This book solves the three-dimen- Edward Muir, Editor, sional jigsaw puzzle of this masterwork’s I Tatti Studies in Italian Renaissance reconstruction and, on a fi rm scientifi c foundation, restores it to its vivid histori- History cal context. To produce this landmark volume, experts in art and of history, paint- at ing technique and conservation, woodworking, architecture, and liturgy have joined [email protected] forces across the boundaries of eight diff erent nations. A model of collaboration, it opens new windows onto the creative process of the artist as he confronted a late-  medieval church at a crossroad of cultures, the miracle-working body of a holy man, and a community of Franciscan friars breathing the exhilarating air of reform. To I TATTI STUDIES: E SSAYS IN THE confront such challenges, Sassetta raised the most spiritual school of early Italian art, RENAISSANCE the Sienese, to a higher level of understanding, grace, and splendor. Readers of this Newsletter, whether or not they are former Fellows, are I Tatt i Studies: strongly encouraged to submit Essays in the Renaissance material. Manuscripts should be Now Available on ewsbriefs about 7,000 to 10,000 words long, and should be as accessible as possible N in style, with minimum use of tech- nical terminology. An important criterion in assessing a manuscript e are delighted to announce the is that it should have the character ack issues of I Tatti Studies are Wfollowing new arrivals: Filippo, of an essay or “saggio,” and interdis- B now available on JSTOR, a second child for Alessandro Superbi, ciplinary explorations are strongly the not-for-profi t online digital Assistant Director for Administration, encouraged. Essays in languages archive. Users at institutions that and Valeria Beldon, who was born on other than English or Italian are participate in JSTOR’s Arts & 14 January 2010; Sofi a Grace, also a sec- welcome. Sciences V Collection are now ond child, was born on 25 January 2010 able to browse, search, download, to Janie Cole (VIT’06) and Lorenzo Inquiries should be addressed to and print the full-text PDF Grassi; Lian Nicolas was born on 5 April Editorial Administrator versions of all past articles from 2010 to Kathleen Christian (VIT’09) I Tatti Studies: Essays in the the fi rst year of publication in and Andreas Bäder; Henny Rebecca, a Renaissance 1985 until the most recent by second daughter for Katrin Grote and at visiting the I Tatti Studies journal Patrick Baker (VIT’05). [email protected] page on www.jstor.org.

Autumn 2010 BOOKS BY FORMER FELLOWS mong the many recent additions to the Library, whether purchased by one of the endowed book funds, from donations given A by the Friends of the Biblioteca Berenson, or given directly, are the following recent publications by former Fellows. Please forgive us if, due to space limitations or an oversight, your volume is not listed.  ANTONELLA A STORRI (VIT’95). Cellole: JAN CHLÍBEC (VIT’88,’97). Savonarola Arnolfo’s Moment: Acts of an International Un Castello della Val Di Pesa (Firenze: a Florencie: jeho pusobení a estetické názory Conference, Florence, Villa I Tatti, May 26-27, Polistampa; Gaiole in Chianti): Centro (Praha: Artefactum, 2008). 2005 (Florence: L.S. Olschki, 2009). di Studi Storici Chiantigiani, 2009). GIOVANNI CIAPPELLI (VIT’94). Fisco e PAUL F. G RENDLER (VIT’71,72). The CARMEN C. BAMBACH (VIT’97,’09), società a Firenze nel Rinascimento (Roma: University of Mantua, the Gonzaga & the JANET COX-REARICK (VIT’62,’63,’76,’91), Edizioni di storia e letteratura, 2009). Jesuits, 1584-1630 (Baltimore: Johns and George R. Goldner.The Drawings FEDERICA CICCOLELLA (VIT’06). Donati Hopkins Univ. Press, 2009). of Bronzino, with contributions by Graeci: Learning Greek in the Renaissance JULIA HAIRSTON (VIT’01) and WALTER PHILIPPE COSTAMAGNA (VIT’99), (Leiden; Boston: Brill, 2008). E. STEPHENS (VIT’88) eds. The Body in 24 Marzia Faietti, and ELIZABETH Early Modern Italy (Baltimore: Johns  PILLIOD (VIT’92); edited by With many thanks to those of you who sent us Hopkins Univ. Press, 2010). CARMEN C. BAMBACH. (New York: a copy of your book. This is a wonderful way of GABOR HANOJCZI (VIT’86,’04) ed. Il Metropolitan Museum of Art; New sharing your work with your I Tatti colleagues and Palazzo Falconieri e il palazzo barocco a Haven: Yale Univ. Press, 2010). of helping us stretch our acquisitions funding. Roma (Soveria Mannelli: Rubbettino, MARIA C RISTINA B ANDERA (VIT’76). 2009). Caravaggio, Lotto, Ribera: quattro secoli MACHTELT ISRAËLS (VIT’05) ed. di capolavori dalla SAMUEL K. COHN (VIT’89,’94). Sassetta: The Borgo San Sepolcro Altarpiece Fondazione Longhi Cultures of Plague: Medical Thinking at the (Florence: Villa I Tatti; Leiden: Primavera a Padova (Milano: End of the Renaissance (Oxford: Oxford Press, 2009). F. Motta, 2009). Univ. Press, 2010). RACHEL JACOFF (VIT’82) ed. The F LAMINIA BRIAN CURRAN (VIT’06) (et al.). Obelisk: A Cambridge Companion to Dante (New B ARDATI History (Cambridge, MA: MIT Press, 2009). York: Cambridge (VIT’05). Il bel ANTHONY F. D’ELIA (VIT’10). A University Press, palatio in forma di Sudden Terror: The Plot to Murder the Pope 2007). castello: Gaillon tra in Renaissance Rome (Cambridge, MA: KATHERINE L. fl amboyant e rinas- Harvard Univ. Press, 2009). JANSEN (VIT’03), Mary-Michelle DeCoste. cimento (Roma: MATTEO DUNI (VIT’05) & Dinora Joanna Drell, & Campisano, 2009). Corsi eds. Non lasciar vivere la malefi ca: le FRANCES ANDREWS PAUL BAROLSKY (VIT’81,’87,’91,’95,’08). streghe nei trattati e nei processi, secoli XIV- (VIT’05,’11) eds. A Brief History of the Artist from God to XVII (Firenze: Firenze Univ. Press, Medieval Italy: Picasso (University Park, PA: Penn. State 2008). Texts in Translation Univ. Press, 2010). ANNE DUNLOP (VIT’10). Painted Zsombor Jékely who, along (Philadelphia: FRANCESCO BAUSI (VIT’94). Dante fra Palaces: The Rise of Secular Art in Early with Gábor Buzási and Univ. of Pennsyl- scienza e sapienza: esegesi del canto XII del Renaissance Italy (University Park, PA: Péter Farbaky (VIT’02), vania Press, 2009). Paradiso (Firenze: L.S. Olschki, 2009). Penn. State Univ. Press, 2009). organized a trip to ZSOMBOR JÉKELY SUZANNE BOORSCH (VIT’10) & John SILVIA EVANGELISTI (VIT’04) & Sandra Hungary in May. (VIT’10). Fal- Marciari. Master Drawings from the Yale Cavallo eds. Domestic Institutional festészeti emlékek University Art Gallery (New Haven, CT: Interiors in Early Modern Europe a középkori Magyarország északkeleti Yale Univ. Press, in association with Yale (Burlington, VT: Ashgate, 2009). megyéiből (Budapest: Teleki László Ala- University Art Gallery, 2006). GIOVANNI MARIA FARA (VIT’11). Dürer, pítvány, 2009). ANNA MARIA BUSSE BERGER Albrecht, 1471-1528. Institutiones geometricae STEFANO JOSSA (VIT’03). Ariosto (Bologna: (VIT’93,’06) & MASSIMILIANO ROSSI (Torino: N. Aragno; Firenze: Ist. Nazionale Il Mulino, 2009). (VIT’93,’98-’03) eds. Memory and di Studi sul Rinascimento, 2008). PAVEL KALINA (VIT’00). Benedikt Ried: Invention: Medieval and Renaissance Maria Rosa Cortesi & SILVIA FIASCHI a počátky záalpské Renesance (Praha: Literature, Art and Music: Acts of an (VIT’05) eds. Repertorio delle traduzi- Academia, 2009). International Conference, Florence, Villa oni umanistiche a stampa: secoli XV - XVI MARTIN KEMP (VIT’10). Leonardo da I Tatti, May 11, 2006 (Florence: L.S. (Firenze: SISMEL edizioni del Galluzzo, Vinci, “La Bella Principessa”: The Profi le Olschki, 2009). 2008). Portrait of a Milanese Woman (London: LORENZO CALVELLI (VIT’10). Cipro FRANCESCA FIORANI (VIT’10). Carte dip- Hodder & Stoughton, 2010). e la memoria dell’antico fra Medioevo e inte: arte, cartografi a e politica nel Rinascimento VICTORIA KIRKHAM (VIT’78,’89,’96) & Rinascimento: la percezione del passato (Modena: F.C. Panini, 2010). Armando Maggi eds. Petrarch: A Critical romano dell’isola nel mondo occidentale RICCARDO FUBINI (VIT’65,’66-’73). Guide to the Complete Works (Chicago: The (Venezia: Istituto Veneto di Scienze, Politica e pensiero politico nell’italia del Univ. of Chicago Press, 2009). Lettere ed Arti, 2009). Rinascimento: dallo Stato territoriale al CAROL LANSING (VIT’95,’08) & EDWARD CHRISTOPHER CARLSMITH (VIT’10). Machiavelli (Firenze: Edifi r, 2009). ENGLISH (VIT’08) eds. A Companion to A Renaissance Education: Schooling in JULIAN GARDNER (VIT’06), DAVID the Medieval World (Malden, MA: Wiley- Bergamo, 1500-1650 (Toronto: Univ. of FRIEDMAN (VIT’70,’71,’77,’89) & Blackwell, 2009). Toronto Press, 2009). MARGARET HAINES (VIT’76,’88-’11) eds.

Villa I Tatti PIETRO MARANI (VIT’82). Il Cenacolo MARIA ANGELA NOVELLI (VIT’77). Opus and its Reception (Vienna: Verlag di Leonardo (Milano: Skira, 2009). Scarsellino (Ferrara: Fondazione Carife; der Österreichischen Akademie der PAOLA MARINI (VIT’09) ed. Museo di Milano: Skira, 2008). Wissenschaften, 2010). Castelvecchio: catalogo generale dei dipinti LOREDANA OLIVATO (VIT’80) & Gian MARC D. S CHACHTER (VIT’10). e delle miniature delle collezioni civiche Maria Varanini eds. Palazzo Giuliari a Voluntary Servitude and the Erotics of veronesi (Cinisello Balsamo, Milano: Verona: da residenza patrizia a sede universi- Friendship: From Classical Antiquity to Silvana, 2010). taria (Verona: Università di Verona, 2009). Early Modern France (Burlington, VT: SARA F. M ATTHEWS-GRIECO (VIT’94) NUCCIO ORDINE (VIT’87). Teoria della Ashgate, 2008). ed. Erotic Cultures of Renaissance Italy novella e teoria del riso nel Cinquecento. MARCO SPALLANZANI (VIT’82-’03). (Burlington, VT: Ashgate, 2010). (Napoli: Liguori, 2009). Metalli islamici a Firenze nel Rinascimento RITA MAZZEI (VIT’74). La trama nas- IVANO PACCAGNELLA (VIT’90) & (Firenze: S.P.E.S., 2010). costa: storie di mercanti e altro (secoli XVI- Elisa Gregori eds. Mimesis: l’eredità di SHARON T. S TROCCHIA (VIT’85). Nuns XVII) (Viterbo: Sette Città, 2006). Auerbach: atti del XXXV Convegno in- and Nunneries in Renaissance Florence TIMOTHY J. MCGEE (VIT’94). The teruniversitario (Bressanone-Innsbruck, 5-8 (Baltimore: Johns Hopkins Univ. Press, Ceremonial Musicians of Late Medieval luglio 2007) (Padova: Esedra, 2009). 2009). Florence (Bloomington: Indiana Univ. KATHARINE PARK (VIT’01,’05) & Lorraine CARLO TAVIANI (VIT’10). Superba dis- Press, 2009). Daston eds. The Cambridge History of Science. cordia: guerra, rivolta e pacifi cazione nella 25 Brenda Bolton and CHRISTINE E. MEEK Genova di primo Cinquecento (Roma:  (VIT’96) eds. Aspects of Power and Authority Viella, 2008). in the Middle Ages (Turnhout: Brepols, 2007). T. B ARTON THURBER (VIT’96,’07). LEATRICE MENDELSOHN (VIT’86). European art at Dartmouth: Highlights from Bronzino in Pesaro and After: The Impact the Hood Museum of Art (Hanover, NH: of Raphael and Raphaelism on Bronzino’s Univ. Press of New England, 2008). Florentine Manner (Leuven: Peeters, 2007). NICHOLAS TURNER (VIT’77). Drawn to GERRY MILLIGAN Italian Drawings: The Goldman Collection (VIT’08) and Jane Serena Ferente & Ann Moyer. (Chicago: Art Institute of Chicago, 2009). Tylus eds. The Poetics Krzysztof Fordoński & PIOTRURBAŃSKI of Masculinity in Early Vol. 3, Early Modern Science (VIT’99) eds. Maciej Kazimierz Sarbiewski, Modern Italy and Spain (Cambridge: Cambridge Univ. 1595-1640. Casimir Britannicus: English (Toronto: Centre for Press, 2008). Translations, Paraphrases, and Emulations of Reformation and MARCO PELLEGRINI the Poetry of Maciej Kazimierz Sarbiewski Renaissance Studies, (VIT’98). Le guerre d’Italia: (London: Modern Humanities Research 2010). Christine Shaw, Abigail Brundin, 1494-1530 (Bologna: Il Association, 2008). Daniel Arasse & PHILIPPE Annette Wickham Mulino, 2009). GUIDO VANNINI (VIT’76). Archeologia MOREL (VIT’92,’93,’99) & Donal Cooper. MARZIA PIERI (VIT’78) dell’insediamento crociato-ayyubide in eds. Décors italiens de la ed. Niccolò Campani, Lo Transgiordania: il progetto Shawbak (Borgo Renaissance (Paris: Hazan, 2009). Strascino da Siena e la sua opera poetica e San Lorenzo: All’Insegna del Giglio, 2007). Anne Hardcastle, ROBERTA MOROSINI teatrale (Pisa: ETS, 2010). TIMOTHY VERDON (VIT’87). L’arte (VIT’04), Kendall Tarte eds. Coming of YOLANDA PLUMLEY (VIT’03) & ANNE nella vita della Chiesa (Città del Vaticano: Age on Film: Stories of Transformation in STONE (VIT’01). A late Medieval Libreria Editrice Vaticana, 2009). World Cinema (Newcastle: Cambridge Songbook and its Context: New Perspectives LOUIS WALDMAN (VIT’06) & Scholars, 2009). on the Chantilly Codex (Bibliotheque CAROLINE ELAM (VIT’82,’05) eds. ROBERTA MUCCIARELLI (VIT’09). du Chateau de Chantilly, Ms. 564) Craig Hugh Smyth: In Memoriam Magnati e popolani: un confl itto nell’Italia (Turnhout: Brepols, 2009). (Florence: L.S. Olschki, 2009). dei comuni, secoli XIII-XIV (Milano: B. MARCO PRALORAN (VIT’92). Le lingue WILLIAM E. WALLACE (VIT’91). Mondadori, 2009). del racconto: studi su Boiardo e Ariosto Michelangelo: The Artist, the Man, and his MAURO MUSSOLIN (VIT’03) ed. (Roma: Bulzoni, 2009). Times (Cambridge: Cambridge Univ. Michelangelo architetto a Roma (Cinisello LIONELLO PUPPI (VIT’69) ed. Tizianello, Press, 2010). Balsamo Milano: Silvana, 2009). ca. 1570-1650, Breve compendio della vita di RONI WEINSTEIN (VIT’01). Juvenile JOHN L. NÁDAS (VIT’88) & MICHAEL Tiziano, 1622 (Milano: Il Polifi lo, 2009). Sexuality, Kabbalah, and Catholic SCOTT CUTHBERT (VIT’10) eds. Ars ODILE REDON (VIT’91,’94). Des forêts Reformation in Italy: Tiferet Bahurim by Nova: French and Italian Music in the et des âmes: espace et société dans la Toscane Pinhas Barukh ben Pelatiyah Monselice Fourteenth Century (Burlington, VT: médiévale / Odile Redon; études rassem- (Leiden; Boston: Brill, 2009). Ashgate, 2009). blées par Laurence Moulinier-Brogi (Saint EDWARD D. R. WRIGHT (VIT’71). Il LODI NAUTA (VIT’08). In Defense of Denis: PU Vincennes, 2008). De pictura di Leon Battista Alberti e i suoi Common Sense: Lorenzo Valla’s Humanist EILEEN A. REEVES (VIT’89). Galileo’s lettori, 1435-1600 (Firenze: L.S. Olschki, Critique of Scholastic Philosophy (Cambridge, Glassworks: The Telescope and the Mirror 2010). MA: Harvard Univ. Press, 2009) (Cambridge, MA: Harvard Univ. Press, Franca Falletti & JONATHAN NELSON 2008).  (VIT’02) eds. Robert Mapplethorpe: Peter Noever, ARTUR ROSENAUER Perfection in Form/La perfezione nella forma (VIT’69,’77,’98), Georg Vasold eds. (Kempen, Germany: teNeues, 2009) Alois Riegl, Revisited: Contributions to the

Autumn 2010  Gardens  Grounds  with support from the Lila Acheson Wallace - Reader’s Digest Endowment Fund.

t has been a challenge, this past aca- case in point is a wall in the Myron and I reported that a new vineyard had Idemic year, to maintain the normal Sheila Gilmore Limonaia which was just been planted and, after just a few rhythm of planting, maintenance, threatening to collapse because the root months, was growing spectacular, long innovation, and restoration in the gar- system of a magnifi cent Mediterranean shoots. This year the vines were already dens and grounds. This is primarily due to pine was growing right next to it and bearing so much fruit that the farmers the fact that I have been increasingly exerting tremendous force on one of the had to remove more than half of it in involved in the Scholar’s Court build- limonaia’s bays. In record time, an engi- July, the so-called vendemmia verde, so that ing site, culminating with my assuming neer came to advise, the wall was de- the young vines could manage to ripen responsibility for this project last May molished, and a new one was built with the remaining grapes. Unfortunately, (see page 18). In addition, activity has iron reinforcing bars running through it the tender leaves of the vines and the 26 continued in the newly-constructed from one end to the other. But largely tempting grapes have also attracted both  gardeners’ work area, written about in this year, projects undertaken in the gar- boar and deer, which are increasingly last year’s Newsletter. Despite the fact dens and grounds have been more con- becoming a problem at I Tatti and else- that the fi nal plumbing and electri- tained in scope even though there have where. Last year, these animals managed cal work had to be routed through the been some innovations. to do damage for a total of no less than main Loggiato building site and the In the garden, for example, Margrit 350 million Euros in Tuscany alone. concomitant hold-up prevented the Freivogel and I fi nally decided to recy- One of the projects this year was thus new buildings from being fi nished, we cle the handsome terracotta oil contain- to build fencing that would keep them were delighted to be able to use the new ers from the Berenson farm that have out of the vineyards, although the battle greenhouse over the winter. Late last not been used for many years due to is still ongoing. Andrea Laini, the head spring, after months of patient waiting, their lead-based lining, a characteristic farmer, reported that had he not wit- construction fi nally resumed, and all that of these urns from Roman times to the nessed it, he would not have believed is now left is some house painting, the 1960s when it was outlawed. Although what he saw: a mother deer lying on the surfacing of the access road, and some it really has nothing to do with this electrifi ed wire to hold it down long cosmetic work on the cement walls report, I cannot resist saying that this lin- enough to let her young through into that need to be faced with local fi laretto ing had a measurable infl uence on late their favorite pasturing area!! stone to make them look like the walls imperial demography. Lead from such Finally, the success we have had that used to be there. containers is held responsible for having with our wine has led us to expand Thanks to the support, and, above lowered the fertility of the population, the vineyard. In July of this year, we all, the expertise, of Head Gardener as has now been shown conclusively by prepared yet another plot of land, just Margrit Freivogel, Head Farmer the paleo-pathologist Gino Fornaciari. below the new vineyard, to be planted Andrea Laini, and the rest of the gardens Out of harm’s way, these ca. 1900 conche with grape varieties we are deciding and grounds staff , we have managed on as I am writing. Unfortunately, this to work around the builders, main- addition will be our last as it uses up tain the annual cycle of scheduled our vineyard expansion rights, which activity, and keep various other pro- are closely controlled from Brussels. jects on track. Yet the more time- Allen Grieco L-R: Lila Acheson Wallace Andrea Bendoni & Assistant Director for Bruno Messini; Gardens and Grounds and Andrea Laini & Margrit Scholarly Programs Freivogel; Claudio Bresci & Gianluca Rossi.

(the technical term for wide-mouth pots as opposed to the narrow-mouthed orci), as well as some pietra serena sinks that were on the property, have been consuming restoration work that is always converted into a miniature water gar- necessary in a historical garden – work den just below the azalea garden sitting that requires the consultation and coor- area. Aquatic plants were bought from dination of builders and restorers – has a specialized nursery in late spring 2010 had to be put on the back burner for and the plants are now happily growing the time being. Only the most urgent in this area and should start to bloom in items, those which could not be post- May-June 2011. poned, have been dealt with this year. A As for the farms, one year ago

Villa I Tatti VILLA I TATTI COMMUNITY 2010-2011

Fellows Medicine, and the Law in Italy, 1350- DÉBORAH BLOCKER, Florence J. Gould 1700.” Fellow, University of California, SIMONA MERCURI, Lila Wallace - Berkeley, Literature. “Art, Scholarship Reader’s Digest Fellow, (Università della and Politics in the Accademia degli Alterati Calabria), Literature. “Il Commento sopra (Florence and Pisa ca. 1570-1620).” una canzona d’amore di Giovanni Pico INGRID CIULISOVA (2nd sem), I Tatti della Mirandola. Storia della tradizione, Research Fellow, Slovak Academy of edizione e analisi del testo.” Sciences - Institute of Art History, Art PETA MOTTURE (2nd sem), Craig Hugh History. “Veit Stoss and the Taste for Smyth Visiting Fellow, Victoria and Gothic in Renaissance Florence.” Albert Museum, Art History. “Bronze SETH COLUZZI, Ahmanson Fellow, and Bronzes: Making and Meaning.” Brandeis University, Musicology. “Il DANIELA PARENTI (2nd sem), Craig pastor fi do and the Italian Madrigal.” Hugh Smyth Visiting Fellow, Galleria 27 Areli Marina & Bob La France. EVA DEL SOLDATO, Melville J. Kahn dell’Accademia, Firenze, Art History.  Fellow, Scuola Normale Superiore di “Antonio Veneziano.” Visiting Professors in Residence Pisa, History. “Reinventing Platonism: ANDREA RIZZI, Deborah Loeb Brice FRANCES ANDREWS (2nd sem), Lila Bessarion’s In calumniatorem Platonis.” Fellow, The University of Melbourne, Wallace - Reader’s Digest Visiting GERARDO DE SIMONE, Rush H. Kress History. “The Dynamics of Vernacular Professor, University of St. Andrews, Fellow, Università di Pisa, Art History. Translation in Renaissance Italian History. “Religion and Public Life in “Painting and Patronage in Rome and Courts (1420s-1480s).” Late Medieval Italy.” Latium between Calixtus III and Paul II JANET ROBSON, Deborah Loeb Brice LOUISE BOURDUA (2nd sem), Lila (1455-1471).” Fellow, Birkbeck, University of London, Wallace - Reader’s Digest Visiting GIOVANNI MARIA FARA, Hanna Kiel Art History. “Painted Narratives of Professor, University of Warwick, Art Fellow, (Istituto Nazionale di Studi sul St. Nicholas in Trecento Tuscany and History. “Giotto’s Legacy? Painting in Rinascimento di Firenze), Art History. Umbria.” Padua in the Long Fourteenth Century.” “Albrecht Dürer nelle fonti italiane DORA S ALLAY (2nd sem), ITatti Research SIMONA COHEN (1st sem), Lila Wallace antiche: 1508-1686.” Fellow, Szépmuvészeti Muzeum, Art - Reader’s Digest Visiting Professor, Tel MARGHERITA FRATARCANGELI (2nd History. “The Florentine Renaissance Aviv University, Art History. “The Ico- sem), Craig Hugh Smyth Altarpieces in Context: nography of Time in Renaissance Art.” Visiting Fellow, Bibliotheca Towards a Catalogue of the DIANA SORENSEN (1st sem), Harvard Hertziana, Roma, Art History. Szépmuvészeti Muzeum in Visiting Professor, Harvard University, “Cavalli e cavalieri nella trat- Budapest.” Literature. “Space, Mobility, and tatistica italiana del XVI JOAN THOMAS (2nd sem), Materiality in the Renaissance.” secolo.” Craig Hugh Smyth Visiting MARICA TACCONI (2nd sem), Robert ELIZABETH HORODOWICH, Fellow, Harvard Medical Lehman Visiting Professor, Pennsylvania Andrew W. Mellon Fellow, School, Literature. “Italian State University, Musicology. “The New Mexico State University, Renaissance Medical Rhetoric of Echo in Late Renaissance History. “Armchair Travelers Humanism.” Music.” and the Venetian Discovery Allen Grieco. PIER MATTIA TOMMASINO, BLAKE WILSON (2nd sem), Lila Wallace of the New World.” Francesco De Dombrowski - Reader’s Digest Visiting Professor, LISA KABORYCHA, Jean-François Malle Fellow, (Scuola Normale Superiore Dickinson College, Musicology. “The Fellow, (University of California, di Pisa), Literature. “Un martire do- Civic and Humanist Traditions of the Berkeley), History. “Desire and menicano tra Firenze e Tunisi: Antonio Florentine Improvvisatori, ca. 1400-1520.” Imagination in Renaissance Florentine Neyrot da Rivoli O.P. (c. 1426-1460).” Zibaldoni.” All Senior Research Associates are the same ARELI M ARINA, CRIA Fellow, University Readers in Renaissance Studies all from as for 2009/2010. (see page 2) of Illinois, Urbana-Champaign, Art Harvard University: History. “Sanctifi ed in Water, Sealed GORETTI GONZALEZ (2nd sem), in Stone: The Italian Baptistery from Literature. 1000-1500.” EVA HELFENSTEIN (2nd sem), Art MARCELLA MARONGIU, Hanna Kiel History. Fellow, Casa Buonarroti, Firenze, Art NADIA MARX (1st sem), Art History. History. “Per una biografi a di Tommaso CARA RACHELE (1st sem), Art History. de’ Cavalieri.” TIMOTHY MCCALL, Robert Lehman Fellow, Villanova University, Art History. “Art, Gender, and Chivalric Masculinity in Early Renaissance Italy.” ELIZABETH MELLYN, Francesco De Dombrowski Fellow, University of Patrizia Carella, Alessandro Superbi, New Hampshire, History. “Madness, Andrea Bendoni & Simonetta Pinto.

Autumn 2010 I Tatti Newsletter Non-Profi t U.S. Postage Harvard University PAID 124 Mt. Auburn Street Boston, MA Cambridge, MA 02138-5762 Permit No. 1636

FORMER FELLOWS’ U PDATE

CHRISTOPHER S. CELENZA (VIT’00) PAVEL KALINA (VIT’00) received That same year he published Sarra has taken a three-year leave of absence tenure as a full professor of the history Copia Sulam, Jewish Poet and Intellectual from the Department of German and of architecture at the Czech Technical in Seventeenth-Century Venice, with a Romance Languages and Literatures at University of Prague in September full edition and translation of Copia’s Johns Hopkins University to become 2009, where he has taught since 1994, works in verse and prose along with the 21st director of the American at a ceremony full of medieval pag- writings by her contemporaries “in Academy in Rome where he was eantry presided over by the president of her praise, condemnation, or defense” a Fellow in 1993/94 and served as the Czech Republic, Václav Klaus. The (Chicago: Univ. of Chicago Press, director of the Summer Program in appointment followed several weeks 2009). Applied Palaeography (2002-2005). after the publication of his latest book VIRGINIA COX (VIT’97), profes- A well-known historian and Latinist, on Benedikt Ried and the origins of sor of Italian at New York University, Celenza counts among his many pub- transalpine Renaissance (Benedikt Ried has received two awards for her lications The Lost Italian Renaissance: a počátky záalpské renesance, Prague: book Women’s Writing in Italy (Johns Humanists, Historians, and Latin’s Legacy Accademia, 2009). Hopkins Univ. Press, 2008): the 2009 (Baltimore: Johns Hopkins Univ. DON HARRÁN (VIT’04), Artur Best Book Award from the Society for Press, 2004), which won the 2005 Rubinstein Professor Emeritus of the Study of Early Modern Women Phyllis Goodhart Gordan Prize of the Musicology at The Hebrew University and the 2008 PROSE Award for Best Renaissance Society of America. of Jerusalem, was named an Honorary Book in Language, Literature, and Member of the Associazione Italiana Linguistics from the Association of per lo Studio del Giudaismo in 2009. American Publishers.

The I Tatti newsletter is published once a year. ALEXA M. MASON, editor, writer, design, & layout; WORDTECH CORPORATION, printing & distribution. Photographs are by SUSAN BATES, NELDA FERACE, ROBERT LA FRANCE, SIMONETTA PINTO, GIANNI TRAMBUSTI, or ALEXA MASON, who apologizes to anyone whose photo she has used and whom she has not acknowledged. Former Fellows are indicated in the text with the initials “VIT” after their name followed by the year(s) of their appointment as Fellow, Visiting Scholar or Professor, or Research Associate. Many thanks to all who have contributed.