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Dispacci Da Roma, 19 Gennaio
Omaggio della Giunta regionale del Veneto Centro Studi Veneziani I curatori del volume esprimono la loro gratitudine al Centro Studi Ve- neziani Donatus, al suo Presidente, Nicolò Donà dalle Rose, appartenen- te allo stesso ramo familiare dell’ambasciatore Girolamo, per aver favori- to la stampa dell’opera, e ad Antonio Foscari Widmann Rezzonico per il costante aiuto. Ringraziano altresì l’Associazione Nobiliare Regionale Veneta per il patrocinio. GIROLAMO DONÀ DISPACCI DA ROMA 19 GENNAIO - 30 AGOSTO 1510 Trascrizione di VIOLA VENTURINI Introduzione di MARINO ZORZI Venezia 2009 Direttore della collana FERIGO FOSCARI Venezia La Malcontenta 2009 Tutti i diritti riservati INDICE INTRODUZIONE, di Marino Zorzi XI REGESTI DEI DISPACCI, a cura di Marino Zorzi LIII I DISPACCI DI GIROLAMO DONÀ. Trascrizione di Viola Venturini NOTA ARCHIVISTICA 3 FONTI ARCHIVISTICHE 5 I DISPACCI 7 INDICI INDICE DEI NOMI DI PERSONA CONTENUTI NEI DISPACCI 417 INDICE DEI NOMI GEOGRAFICI CONTENUTI NEI DISPACCI 427 INDICE DEI DISPACCI NON NUMERATI 434 INTRODUZIONE 1. Girolamo Donà, umanista e uomo di stato I dispacci che qui si pubblicano sono opera di Girolamo Donà, no- bile veneziano, figura di rilievo nella vita politica e culturale del suo tempo. Nacque a Venezia nel 1456, figlio di Antonio e di Lucia Balbi; il padre, uomo politico e diplomatico, era figlio di Andrea e di Camil- la Foscari, figlia del doge Francesco. Il suo ramo è detto « dalle rose », per le tre rose che figurano nell’arma. Si laureò in artibus a Padova nel 1478; come di regola per i patrizi dottori, fu impiegato senza posa dalla Repubblica in missioni diplomatiche all’estero e nel governo di città e terre appartenenti al dominio veneto; tra un incarico e l’altro fe- ce parte degli organi centrali dello stato in posizioni adeguate alla sua cultura e alla sua conoscenza del mondo. -
Cna85b2317313.Pdf
THE PAINTERS OF THE SCHOOL OF FERRARA BY EDMUND G. .GARDNER, M.A. AUTHOR OF "DUKES AND POETS IN FERRARA" "SAINT CATHERINE OF SIENA" ETC LONDON : DUCKWORTH AND CO. NEW YORK : CHARLES SCRIBNER'S SONS I DEDICATE THIS BOOK TO FRANK ROOKE LEY PREFACE Itf the following pages I have attempted to give a brief account of the famous school of painting that originated in Ferrara about the middle of the fifteenth century, and thence not only extended its influence to the other cities that owned the sway of the House of Este, but spread over all Emilia and Romagna, produced Correggio in Parma, and even shared in the making of Raphael at Urbino. Correggio himself is not included : he is too great a figure in Italian art to be treated as merely the member of a local school ; and he has already been the subject of a separate monograph in this series. The classical volumes of Girolamo Baruffaldi are still indispensable to the student of the artistic history of Ferrara. It was, however, Morelli who first revealed the importance and significance of the Perrarese school in the evolution of Italian art ; and, although a few of his conclusions and conjectures have to be abandoned or modified in the light of later researches and dis- coveries, his work must ever remain our starting-point. vii viii PREFACE The indefatigable researches of Signor Adolfo Venturi have covered almost every phase of the subject, and it would be impossible for any writer now treating of Perrarese painting to overstate the debt that he must inevitably owe to him. -
Venere Et Un’Altro Baccho, Con Certe Teste Pur Antiche
L’attacco di Giovanni Francesco Pico della Mirandola alla “Venus felix” e alla Stanza della Segnatura Luiz Marques HOME Universidade Estadual de Campinas - UNICAMP Il 19 settembre 1512, Giovanni Francesco Pico[1] (1469-1533), Signore di Mirandola e conte di Concordia, firma a Roma una celebre epistola indirizzata a Pietro Bembo (1470-1547). Se il destinatario era una delle personalità più brillanti delle corti italiane e, con Erasmo, il più influente letterato della sua generazione, il mittente era un filosofo che godeva di una posizione di grande prestigio nei circoli umanistici, essendo considerato dotato di una erudizione e di un sapere non inferiori a quelli di suo zio, Giovanni Pico della Mirandola (1463-1494), della cui “Opera omnia” (1496) era stato editore e principale biografo[2]. Anche Paolo Giovio[3], nonostante la sua proverbiale malignità[4], riconosceva che: “La memoria e le prodigiose capacità di linguaggio di Giovanni Francesco Pico (…) lo distinsero nettamente tra tutti coloro che si dedicavano alle arti liberali e ambivano a scrivere”. Una testimonianza più vicina, quella di Fra Leandro Alberti[5], che lo aveva conosciuto bene, racconta che il conte portava incastonato in un anello un cammeo antico trovato nei suoi domini, con l’immagine suggestiva di Mercurio, nume tutelare degli eruditi: “tra li quali ne fu ritrovata una [corniola], ove era scolpito Mercurio, et presentata al di felice memoria signore Giovan Francesco Pico sìgnore della Mirandola, e Conte della Concordia, il quale per la pretiosità et bellezza sua, legara in oro la portava ne la mano, come io più volte ho veduto”. E Leandro Alberti compiange la sua morte con queste parole: “Certamente fu gran danno la perduta di tanto huomo alli litterati, concio fusse cosa che era peritissimo in ogni grado di dottrina, e in Greco, Hebreo, Caldeo e Arabico, in Humanita, Poesia, Logica, Philosophia, e Theologia, come chiaramente dall’opere da lui scritte, vero giuditio dar si può”. -
Domenichino's Scenes from the Life
DOMENICHINO’S SCENES FROM THE LIFE OF ST. CECILIA: ARTISTIC INTERPRETATION AND THE COUNTER-REFORMATION by Emily Freeman Bachelor of Arts, 2005 The University of Texas at Austin Austin, Texas Submitted to the Faculty Graduate Division of the College of Fine Arts Texas Christian University in partial fulfillment of requirements for the degree of MASTER OF ARTS May 2008 DOMENICHINO’S SCENES FROM THE LIFE OF ST. CECILIA: ARTISTIC INTERPRETATION AND THE COUNTER-REFORMATION Thesis approved: Major Professor, Dr. Babette Bohn Dr. Mark Thistlethwaite Dr. Nadia Lahutsky Graduate Studies Representative For the College of Fine Arts ii Copyright © 2008 by Emily Freeman All Rights Reserved iii TABLE OF CONTENTS List of Illustrations.................................................................................................. v Introduction............................................................................................................. 1 St. Cecilia and the Revival of Her Cult................................................................... 4 St. Cecilia in Art and Literature............................................................................ 13 Early Life and the Carracci Academy................................................................... 22 Conclusion ............................................................................................................ 43 Images................................................................................................................... 45 Bibliography ........................................................................................................ -
{Download PDF} Michelangelo and the Popes Ceiling Ebook, Epub
MICHELANGELO AND THE POPES CEILING PDF, EPUB, EBOOK Ross King | 384 pages | 08 May 2006 | Vintage Publishing | 9781844139323 | English | London, United Kingdom Michelangelo and the Pope's Ceiling by Ross King A panorama of illustrious figures converged around the creation of this magnificent work-from the great Dutch scholar Erasmus to the young Martin Luther-and Ross King skillfully weaves them through his compelling historical narrative, offering uncommon insight into the intersection of art and history. Four years earlier, at the age of twenty-nine, Michelangelo had unveiled his masterful statue of David in Florence; however, he had little experience as a painter, even less working in the delicate medium of fresco, and none with the curved surface of vaults, which dominated the chapel's ceiling. The temperamental Michelangelo was himself reluctant, and he stormed away from Rome, risking Julius's wrath, only to be persuaded to eventually begin. Michelangelo would spend the next four years laboring over the vast ceiling. He executed hundreds of drawings, many of which are masterpieces in their own right. Contrary to legend, he and his assistants worked standing rather than on their backs, and after his years on the scaffold, Michelangelo suffered a bizarre form of eyestrain that made it impossible for him to read letters unless he held them at arm's length. Nonetheless, he produced one of the greatest masterpieces of all time, about which Giorgio Vasari, in his Lives of the Artists, wrote, 'There is no other work to compare with this for excellence, nor could there be. Battling against ill health, financial difficulties, domestic problems, inadequate knowledge of the art of fresco, and the pope's impatience, Michelangelo created figures-depicting the Creation, the Fall, and the Flood-so beautiful that, when they were unveiled in , they stunned his onlookers. -
A Florentine Diary
THE LIBRARIES A FLORENTINE DIARY A nderson SAVONAROLA From the portrait by Fra Bartolomeo. A FLORENTINE DIARY FROM 1450 TO 1516 BY LUCA LANDUCCI CONTINUED BY AN ANONYMOUS WRITER TILL 1542 WITH NOTES BY IODOCO DEL B A D I A 0^ TRANSLATED FROM THE ITALIAN BY ALICE DE ROSEN JERVIS & PUBLISHED IN LONDON IN 1927 By J. M. DENT & SONS LTD. •8 *« AND IN NEW YORK BY « « E. P. DUTTON & COMPANY TRANSLATOR'S PREFACE ALTHOUGH Del Badia's ample and learned notes are sufficient for an Italian, it seemed to me that many allu sions might be puzzling to an English reader, especially to one who did not know Florence well; therefore I have added short notes on city-gates, churches and other buildings which now no longer exist; on some of the festivals and customs; on those streets which have changed their nomenclature since Landucci's, day; and also on the old money. His old-fashioned spelling of names and places has been retained (amongst other peculiarities the Florentine was in the habit of replacing an I by an r) ; also the old calendar; and the old Florentine method of reckoning the hours of the day (see notes to 12 January, 1465, and to 27 April, 1468). As for the changes in the Government, they were so frequent and so complex, that it is necessary to have recourse to a consecutive history in order to under stand them. A. DE R. J. Florence 1926. The books to which I am indebted are as follows: Storia della Repubblica di Firenze (2 vols.), Gino Capponi. -
Lives of the Most Eminent Painters Sculptors and Architects
Lives of the Most Eminent Painters Sculptors and Architects Giorgio Vasari Lives of the Most Eminent Painters Sculptors and Architects Table of Contents Lives of the Most Eminent Painters Sculptors and Architects.......................................................................1 Giorgio Vasari..........................................................................................................................................2 LIFE OF FILIPPO LIPPI, CALLED FILIPPINO...................................................................................9 BERNARDINO PINTURICCHIO........................................................................................................13 LIFE OF BERNARDINO PINTURICCHIO.........................................................................................14 FRANCESCO FRANCIA.....................................................................................................................17 LIFE OF FRANCESCO FRANCIA......................................................................................................18 PIETRO PERUGINO............................................................................................................................22 LIFE OF PIETRO PERUGINO.............................................................................................................23 VITTORE SCARPACCIA (CARPACCIO), AND OTHER VENETIAN AND LOMBARD PAINTERS...........................................................................................................................................31 -
How Formalism and Connoisseurship Shaped the Aesthetic of the Sketch*
The ‘value of drawing’ and the ‘method of vision’. How formalism and connoisseurship shaped the aesthetic of the sketch* Elvira Bojilova What is the most genuine quality of drawing? In accordance with his profession, connoisseur Antoine-Joseph Dezallier d’Argenville offered a clear answer about an admittedly problematic question that is even nowadays, although not rendered obsolete, at its core predominantly confined to his area of expertise – judging an artwork’s quality (‘le bon & le mauvais d’un ouvrage’).1 Despite connoisseurship being ‘superseded by iconographical studies’ in the second half of the twentieth century, it was ‘the exclusive analytical tool in the study of Italian drawings [even two decades ago]’,2 and the judgment of artistic quality, however undefined the term may be, remained a vital part. Dezallier d’Argenville’s definition of such artistic qualities, for instance, extended well beyond whether a work of art was ‘good’ or ‘bad’,3 and was largely dependent on what he quite simply referred to as a ‘tasteful’ drawing. According to him, these drawings consist of ‘[invention], correctness, good taste, grand judgment, expression of emotions, higher thoughts, a spiritual touch, & a free hand […]’.4 His assessment certainly mirrored certain ideas of Giorgio Vasari’s concept of disegno as an immediate manifestation of intellectual * Transcriptions and translations are mine unless stated otherwise. – I would like to thank Hubert Locher for his close reading of the text. 1 Antoine-Joseph Dezallier d’Argenville, Abregé De La Vie Des Plus Fameux Peintre, Paris: De Bure [1745] 1755, vol. 1, xxij. – However, there are even scholars who claim that connoisseurship follows no goal at all: Hal Opperman, ‘The Thinking Eye, the Mind That Sees: The Art Historian as Connoisseur’, Artibus et Historiae, 11:21, 1990, 10. -
The Medici Popes (Leo X and Clement Vii) by Herbert M
www.cristoraul.org THE MEDICI POPES (LEO X AND CLEMENT VII) BY HERBERT M. VAUGHAN 1 www.cristoraul.org LEO X, CARDINAL GIULIO DE' MEDICI (CLEMENT VII) AND CARDINAL DE' ROSSI 2 www.cristoraul.org ALTHOUGH the names of the two great Popes of the House of Medici loom large in the annals of the Italian Renaissance, yet the private side of their lives and conduct has naturally been dwelt upon with less insistence by the papal historian than the leading part they took in the development of Italian politics or in the course of the Reformation throughout Europe. Even in William Roscoe’s elaborate biography of Leo X, the figure of that famous pontiff is largely overshadowed by the momentous episodes of his reign both within and without Italy; “one cannot see the wood for the intervening trees!” In the present volume, therefore, I have made the attempt of presenting to the reader a purely personal study, from which I have excluded, so far as was practicable, all reference to the burning theological questions of the Reformation, and have also avoided any undue amount of dissertation on the tortuous and complicated policy pursued by these Popes of the House of Medici. For I hope that a simple account of the personal career and character of Leo X (with whom of necessity my work chiefly deals) will prove of some value to the historical student of the Renaissance, who may thereby become better able to comprehend the varying part played by the former of the two Medicean pontiffs in the political and religious struggles during the opening decades of the sixteenth century. -
Best Student Essays of the University of North Carolina at Pembroke at Carolina North of University the of Essays Student Best Revisions
ReVisions Best Student Essays of The University of North Carolina at Pembroke Volume 7 Spring 2007 EACHUM B OEL J ReVisions: Best Student Essays is a publication designed to celebrate the finest nonfiction work composed by undergraduate students at The University of North Carolina at Pembroke. This issue was copyedited, designed, and produced by the students in PRE 345: Computer-Assisted Editing and Publication De- sign. Antoinette Balfour Heather Cagle Chris Frease Chelsea Prior Ricky Tyree Sara Oswald, Instructor Editor Susan Cannata Front: Chris Frease, Chelsea Prior; back: Sara Oswald, Ricky Tyree, Antoinette Balfour, Heather Cagle Dept. of English, Theatre, and Languages All submissions must be nominated by a UNCP faculty member. Students who believe that they Managing Editor have a strong essay for submission are encouraged to ask a faculty member to sponsor that essay. A nomi- Sara Oswald nation form is included on page xx of this issue; forms are also available in the English, Theatre, and Dept. of English, Theatre, and Languages Languages Department in Dial Humanities Building. Forms may be photocopied. Selection Committee Papers may cover any topic within any field of study at UNCP. We do not publish fiction or poetry. Will Collier We encourage submissions from all fields and majors. Dept. of Psychology All submissions must be accompanied by a nomination form. Students should fill out the nomina- Jeff Frederick tion form completely and sign it, granting permission to the editors to edit and publish the essay if ac- Dept. of History cepted. Faculty members should comment briefly on the merits of the essay and any other elements that Anita Guynn Dept. -
I U' H.) 11 2 Abstract
LAVINIA FONTANA; AN ARTIST AND HER SOCIETY IN LATE SIXTEENTH-CENTURY BOLOGNA by Caroline Patricia Murphy Submitted for a Phi) in the History of Art, University College, London, March, 1996 I u' H.) 11 2 Abstract This thesis is a study of the career of one of Europe's first truly successful female painters with the largest attributable oeuvre of any woman artist before the 18th century. It incorporates an analysis of the tastes and consumption patterns, lifestyles and mentalities of the patriciat clergy and scholars of Counter Reformation Bologna who were her patrons. The intent is to identify and categorise her patrons and to explore her artistic appeal to them and to explain the work opportunities created by Counter Reformation initiatives including church refurbishment and charity institutions. It breaks down into six chapters: the first concerns family background, how and why Fontana's painter father Prospero trained her as a painter, the circumstances surrounding her marriage and how it contributed to her career: The second is about her initial clientele of scholars and intellectuals connected with the University at Bologna whose portraits she painted and the Europe-wide cult of collections of images of uomini famosi which helped to give her an international reputation. The three middle chapters deal with the group of Bolognese noblewomen who were undoubtedly Fontana's most significant and high spending patrons, for whom she painted altarpieces, portraits and private devotional works and to whom she became personally connected through godparentage (she had eleven children). One of these chapters looks at these patrons in general terms, the next concerns Laudomia Gozzadini, for whom Fontana painted an enormous family portrait that had very special significance and resonance in the lives of both patron and painter. -
Raphael's “St. Cecilia”. an Iconographical Study
Originalveröffentlichung in: Zeitschrift für Kunstgeschichte, 31 (1968), Nr. 1. S. 1-26 S t a n i s 1 a w Mossakowski Raphael’s “St. Cecilia”. An Iconographical Study From the time when in 1550 Giorgio Vasari praised in his Lives of the Artists the St. Cecilia by Raphael (Pi. 1) the famous work has been many times the subject of interest not only of critics and historians of art but also of musicians and musicologists and even philosophers, whose attention was most often drawn by its many sided subject matter, puzzling, and still not explained. The authors of particular works have reached various conclusions, sometimes contradicting each other, one of the reasons for this being the fact that their investigations were as a rule based on source material to a small degree only. Reexamination of the sources, at the same time taking into consideration to a greater extent those intellectual and religious trends under whose influence were the persons connected with the creation of the work, might lead to a better knowledge and more correct interpretation of the theme of the picture This picture by Raphael, which has been in the Pinacoteca in Bologna since 1815, was ordered by a patrician of Bologna known for her piety and later beatified, Elena Duglioli dall’Olio, through the agency of Antonio Pucci, her friend, a Florentine canon and later Bishop of Pistoia, and his uncle Lorenzo Pucci, cardinal and at the same time papal datario, to the chapel of St. Cecilia erected by Elena in her natal town adjoining the church of San Giovanni in Monte2.