DOCSLIB.ORG

Ficino En Het Voorstellingsvermogen : Phantasia En Imaginatio in Kunst En Theorie Van De Renaissance Van Den Doel, M.J.E

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Ficino En Het Voorstellingsvermogen : Phantasia En Imaginatio in Kunst En Theorie Van De Renaissance Van Den Doel, M.J.E UvA-DARE (Digital Academic Repository) Ficino en het voorstellingsvermogen : phantasia en imaginatio in kunst en theorie van de Renaissance van den Doel, M.J.E. Publication date 2008 Link to publication Citation for published version (APA): van den Doel, M. J. E. (2008). Ficino en het voorstellingsvermogen : phantasia en imaginatio in kunst en theorie van de Renaissance. St. Hoofd-Hart-Handen. General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl) Download date:01 Oct 2021 223 6. ALBERTI,BARTOLI,COMANINI: HET VOORSTELLINGSVERMOGEN IN VROEG- MODERNE KUNSTTHEORIE Kunsttheorie als emancipator van de schilderkunst E KRUISBESTUIVING tussen de ontdekkingen van humanisten en de technische vernieuwingen van schilders en beeldhouwers ten tijde van de DItaliaanse Renaissance - het kwam al eerder aan bod827 - had tot gevolg dat binnen het milieu van kunstenaars, naast technische, ook filosofische vragen steeds belangrijker werden. Vooral binnen de ateliers werd voor het eerst de theoretische vraag geformuleerd wat kunst nu eigenlijk is. Door middel van een groeiend aantal teksten binnen het genre van de kunstliteratuur, werd door de auteurs naarstig gezocht naar antwoorden hierop. Om de status van het kunstenaarsschap te verhogen werden beschrijvingen van kunstwerken uit de Klassieke Oudheid verzameld en vaak verbeeld en er werd gezocht naar inhoudelijke relaties tussen de schilderkunst en de theorie van de artes liberales, zoals die van de geometria of de retorica.828 Ook de filosofische theorievorming over creativiteit en inspiratie kon werden ingezet om Vrouwe Pictura met gepaste waardigheid te bekleden.829 Ficino’s opvattingen over het voorstellingsvermogen maakten deel uit van de genoemde theorievorming. In dit hoofdstuk zal worden nagegaan op wat voor manier de auteurs van kunstliteratuur gebruik maakten van Ficiniaanse opvattingen voor hun eigen doelstellingen, veelal de emancipatie van de schilderkunst. Martin Kemp onderzocht al eerder hoe de begrippen ‘imaginatio’ en ‘phantasia’ in de vijftiende eeuw vorm kregen in de kunsttheorie. Hij stelt dat de naklank van Ficino’s opvattingen over het voorstellingsvermogen in de kunsttheorie vooral een zestiende-eeuws fenomeen is en dat het een zeer omvangrijk studie-object is.830 Het aantal passages uit zestiende-eeuwse kunsttheoretische teksten waarin de termen ‘phantasia’ (of ‘fantasia’) en 827 Zie hoofdstuk 1, 11vv. 828 M. Kemp, ‘From “Mimesis” to “Fantasia”; the Quattrocento Vocabulary of Creation, Inspiration and Genius in the Visual Arts’, Viator; Medieval and Renaissance Studies 8 (1977), 347-405, m.n. 347; Van den Doel, Nach den Reglen wohlgegründete Naturlichkeit, 73-80. 829 Kemp, ‘From “Mimesis” to “Fantasia”’, 347; Williams, Art, Theory and Culture in Sixteenth-century Italy, passim. 830 Kemp, ‘From “Mimesis” to “Fantasia”’, 348: ‘Ficino’s own impact is a predominantly cinquecento phenomenon which warrants a full-scale study in its own right.’ 224 ‘im(m)aginatio’ een rol spelen loopt in de honderden,831 zodat het binnen het kader van dit onderzoek te ver voert om deze allemaal de revue te laten passeren. Ik beperk me daarom tot een selectie van representatieve ontleningen. Daarbij moet worden opgemerkt, dat het niet altijd duidelijk is of het hierbij om directe verwijzingen naar Ficino’s werken gaat. Gezegd kan worden dat er sprake is van receptie in een brede, algemene zin. Hiertoe behoren ook passages die van de oorspronkelijke Ficiniaanse intenties ver afstaan. Er zijn echter ook ontleningen, waarbij de auteur direct aan Ficino refereert, of waarbij de formulering zodanig is, dat van een verwijzing naar Ficino’s werk met grote zekerheid sprake is. In dit hoofdstuk zal ik vooral aan die referenties aandacht besteden. Bij het bepalen van de receptie van Ficino’s opvattingen in kunsttheoretische teksten doet zich een ander probleem voor. De anachronistische term ‘kunsttheorie’ verwijst naar een veelheid aan tekstuele genres: traktaten, lofredes, beeldgedichten, biografieën, reisgidsen, gepubliceerde brieven en dialogen. Deze teksten werden geschreven door kunstenaars, kunstliefhebbers, geletterde amateurs, of literaten; zij waren bestemd voor schildersateliers, voor educatieve doeleinden of hadden een zuiver literair of retorisch oogmerk. Zoals Robin Williams opmerkte: [T]hough they vary as greatly in sophistication as they do in purpose and form, and though even the best are highly derivative, some, at least are impressively complex structures of ideas that integrate a wide range of sources in imaginative ways.832 Deze variëteit aan intenties van schrijvers en lezers maakte een veelheid aan routes voor het doorwerken van opvattingen mogelijk, die niet altijd meer traceerbaar zijn. Toch zal ik in het navolgende enkele mogelijke routes in grote lijnen in kaart proberen te brengen. Verspreidingsroutes van Ficino’s gedachtegoed De meest directe omgeving waar Ficino’s opvattingen door kunsttheoretici konden worden gerecipieerd, is die van zijn tijdgenoten Leon Battista Alberti (1404-1472) en Antonio di Tuccio (di Marabottino) Manetti (1423-1497). Ficino moet Alberti persoonlijk hebben gekend want hij nam hem op in zijn lijst met correspondenten.833 831 Deze aantallen zullen nog worden gespecificeerd; zie voetnoten 927, 928 en 1002. 832 Williams, Art, Theory, and Culture in Sixteenth-Century Italy, 1. 833 Ficino maakte een lijst met namen van zijn leerlingen en correspondenten in 1492. Zie voetnoot 51. 225 Cristoforo Landino, met wie Ficino zeer goed bevriend was, laat Ficino en Alberti optreden in zijn Disputationes Camaldulenses (1472-1480), waar zij beiden, samen met onder andere Lorenzo en Giuliano de’ Medici en Federico da Montefeltro, aanzitten bij een (mogelijk fictief) banket om te spreken over de vita activa en de vita contemplativa.834 Inhoudelijk zijn er veel overeenkomsten tussen de Disputationes en Ficino’s brief De divino furore.835 Omdat het onduidelijk is of deze ontmoetingen echt plaats gevonden hebben en omdat het niet een kunsttheoretische tekst betreft, laat ik de Disputationes verder buiten beschouwing; op Alberti kom ik nog terug. Manetti wordt vermeld als ‘civis et architectus’ onder hen die werden gevraagd om te adviseren over de voltooiing van de gevel van S. Maria del Fiore (de Dom) in Florence; ook werkte hij aan de Spedale degli Innocenti.836 Samen met Bernardo del Nero verzocht deze bouwmeester Lorenzo il Magnifico om een Italiaanse vertaling van De amore, waarna Ficino deze tekst zelf vertaalde.837 Manetti ging uiteindelijk ook een briefwisseling aan met Ficino en schreef een biografie van Brunelleschi.838 Of Manetti goed bekend was met Ficino’s opvattingen over het voorstellingsvermogen valt moeilijk te achterhalen. Kemp brengt naar voren dat Manetti in Brunelleschi’s Vita, overigens net zoals Alberti dat veelvuldig deed, niet zozeer de term ‘imaginazione’ hanteert, als wel vaak gebruik maakt van de term ‘invenzione’, een aan de retorica ontleend begrip dat veelal met het vinden van een (nieuwe) onderwerpskeuze te maken heeft. Zo beschrijft hij dat Brunelleschi (wat betreft zijn ontwerp voor de S. Maria degli Angeli) uitblonk in ‘invenzioni di qualità’.839 Manetti verwijst slechts éen keer naar de ‘imaginatio’; als het gaat om Brunelleschi’s ervaring met bijvoorbeeld klokken en mechanische snufjes, spreekt hij over ‘gli detto grandissimo aiuto al potere immaginare diverse macchine’.840 Eerder werd opgemerkt dat Ficino’s persoonlijk netwerk, waartoe Alberti en Manetti behoorden, en zijn vele brieven, bijgedragen hebben tot de verspreiding van 834 C. Landino, Disputationes Camaldulenses, P. Lohe (ed.), Firenze 1980. 835 Zie hoofdstuk drie, 87vv. 836 G. Vasari, Le vite de’ più eccellenti pittori, scultori ed architettori, G. Milanesi (ed., comm.), 9 vols., Firenze 1878-1885, deel IV, 304vv. 837 Jayne, ‘Introduction’, 27. 838 A. di Tuccio Manetti, The Life of Brunelleschi, H. Saalman (ed.), C. Enggass (transl.), London 1970. 839 Manetti, The Life of Brunelleschi, 103; Kemp, ‘From “Mimesis” to “Fantasia”’, 350. 840 Manetti, The Life of Brunelleschi, 50-53, Kemp, ‘From “Mimesis” to “Fantasia”’, 364. 226 zijn opvattingen,841 evenals enkele van zijn werken; vooral De amore bleef langdurig populair. Met name in hoofdstuk drie is al duidelijk geworden dat Ficino’s filosofische opvattingen vanaf het begin van de zestiende eeuw niet alleen waren doorgedrongen in filosofische teksten, maar ook in verhandelingen over hoofse liefde, schoonheid, geneeskunst, de natuurwetenschappen en magie. Dit geldt ook voor de kunstliteratuur, zo zal blijken. In de vijftiende eeuw waren het (Neo-)Platonisme in het algemeen, en Ficino’s opvattingen in het bijzonder, vooral populair in specifieke centra: naast Ferrara, Urbino en Rimini,
Load more

Recommended publications
  • Otras Fuentes De La Ética Aristotélica De Pedro Simón Abril: Las Traducciones Latinas Y Bernardo Segni*
    Fecha de recepción: 03/04/2017 Fecha de aprobación y recepción de la versión final: 04/06/2017 Otras fuentes de la Ética aristotélica de Pedro Simón Abril: las traducciones latinas y Bernardo Segni* ANTONIO ESPIGARES PINILLA Universidad Complutense de Madrid [email protected] Resumen: El trabajo muestra las diferencias entre el texto griego y la versión castellana de la Ética de Aristóteles realizada por Pedro Simón Abril. Analiza su posible origen en las cinco traducciones latinas más difundidas en el Renacimiento: las de Leonardo Bruni, Juan Argirópulos, Joachim Périon, Giovanni B. Feliciano y Nicolas de Grou- chy. Por último, demuestra su gran dependencia de la versión italiana de Bernardo Segni (Florencia, 1550, y Venecia, 1551), que estaba basada también en algunas de esas traducciones. Por lo tanto, su valoración como primera traducción castellana realiza- da «fiel y originalmente del mismo texto griego» debe ser reconsiderada. Palabras clave: Simón Abril; Bernardo Segni; Ética; Aristóteles; traducción latina. Other sources of Aristotle’s Ethics translated by Pedro Simón Abril: Latin translations and Bernardo Segni Abstract: This paper shows the differences between the Greek text of Aristotle’s Eth- ics and the Spanish translation made by Pedro Simón Abril. It analyzes as possible sources of Abril’s translation the five Latin translations that were the most common in the Renaissance: Leonardo Bruni, John Argyropoulos, Joachim Périon, Giovanni B. Feliciano and Nicolas de Grouchy. The study proves the strong dependence of Abril on the Italian translation made by Bernardo Segni (Florence, 1550, and Venice, 1551), which was based on some of these five Latin translations.
    [Show full text]
  • Genealogical History of the Noble Families Fr Om Tuscany and Umbria Recounted by D
    A few days ago, our common friend and Guadagni historian Henri Guignard, from Boutheon, Lyon, France, has sent me by email an old book written in 1668, 202 years before Passerini’s book, on the history and genealogy of the noble families of Tuscany in 17th century Italian, with many pages on the history of the Guadagni. It is a fascinating document, starting to relate the family history before the year 1000, so more than a century before Passerini, and I will start translating it hereafter. GENEALOGICAL HISTORY OF THE NOBLE FAMILIES FR OM TUSCANY AND UMBRIA RECOUNTED BY D. Father EUGENIO GAMURRINI Monk from Cassino, Noble from Arezzo, Academic full of passion, Abbot, Counselor and Ordinary Alms Giver OF HIS VERY CHRISTIAN MAJESTY LOUIS XIV, KING OF FRANCE AND OF NAVARRE, Theologian and Friend of HIS VERY SEREINE HIGHNESS COSIMO III Prince of Tuscany dedicated to the SAME HIGHNESS, FIRST VOLUME IN FLORENCE, In Francesco Onofri’s Printing House. 1668. With license of the Superiors. Louis XIV, King of France, known as the Sun King, 1638-1715 Cosimo III, Granduke of Tuscany, 1642-1723 Cosimo III as a child (left) and as a young man (right) THE GUADAGNI FAMILY FROM FLORENCE The Guadagni Family is so ancient and has always been so powerful in wealth and men that some people believe that they could originate from the glorious family of the Counts Guidi, as the latter owned many properties in proximity of the large fiefs of the former; however, after having made all the possible researches, we were unable to prove this hypothesis; on the other hand, we can confortably prove that they originate from families now extinct; to illustrate this opinion we will now tell everything we found.
    [Show full text]
  • Sir John Hawkwood (L'acuto) Story of a Condottiere; Translated from The
    SIR JOHN HAWKWOOD. Only Five hundred copies have been printed of " " Sir John Hawkwood, one hundred reserved for presentation to the Public Libraries, the Press, and Friends and hundred , Four numbered copies for the Public of which this is N 5. \IHIh JMVSIAOtAETAIfc SIR JOHN HAWKWOOD (V ACUTO). STORY OF A CONDOTTIERE TRANSLATED FROM THE ITALIAN OF JOHN TEMPLE-LEADER, ESQ. & SIG. GIUSEPPE MARCOTT1 BY LEADKR SCOTT. Bonbon, T. FISHEE UNWIN 26, PATERNOSTER SQUARE. 1889. [All rights reserved.} ^. FLORENCE : PRINTED BY . BARBERA, VIA FAENZA, 66. H4-L4- PREFACE. Alius alio jdttra incenire potest, nemo ontnia. Ausomus. The history of the mercenary companies in Italy no longer re- mains to be told it been in 1844 Ercole Ricotti ; having published by ; however, several successive monographs on the same subject have produced such a wealth of information from new sources that Ri- cotti's work, estimable as it is, almost requires to be rewritten. The Archlvio Storico Italiano has already recognised this by dedicat- ing an entire volume to Documents for the history of Italian ivarfare, from the 13"1 to the 16"1 centuries collected by Giuseppe Canestrini. These are of but even all great importance ; taking into account we owe to them, and to all that later historical researches have brought to light, the theme is not yet exhausted : truth is like happiness, and though as we approach we see it shining more intensely, and becom- ing clearer in outline, yet we can never feel, that we have obtained full possession of it. One of the most celebrated condottieri
    [Show full text]
  • Sir John Hawkwood (L'acuto) : Story of a Condottiere
    ' - J~" - - - - |^l rirUfriiil[jiiTlffuflfim]f^ i i THE LIBRARIES 1 | i COLUMBIA UNIVERSITY [^I | 11 I i | 1 I i General Library s I i 1 SIR JOHN HAWKWOOD. Only Five hundred copies have been printed of Sir John Hawkwood, " one hundred reserved for presentation to the Public Libraries, the Press, and Friends .• and Four hundred numbered copies for the Public of which this is N° 336. jS^jA^Mfr S I It JOHN HAWKWOOD (/: act TO). STORY OF A CONDOTTIERE I'KANSLATKI' FROM 11IK ITALIAN JOHN TEMPLE-LEADER. Esq. & Sis. GIUSEPPE MARCOTTI BY LEADER SCOTT. ITonbon, T. FISHER UN WIN 26. PATERNOSTBB SQUARE. 1889. [AN rights reserved.] L / FLORENi i PRINTED BY <. BARBERA, VIA FAENZA, 66 ; PREFACE. nemo ami \v- 'INK'S. The hi orj of.the mercenarj companies in ttalj ao longer re- mains to be told; if having been published in 1844 by Ercole Ricotti howe sive monographs on the same subject hi ve produced such a wealth of information from new sources thai Ri- i • cotti's work, . dmosi requires to be rewritten. The Archicio Stortco Italiano has already recognised this by dedicat- ing an entire volume to Documents for the history of Italian war\ from tin 13"' to the 16"' centuries collected by Giuseppe Canestrini. These re oi Sfreat importance; but even taking into account all we owe to them, and to all thai later historical researches have brought to light, the theme is not yet exhausted: truth is like happiness, and though as we approach we see it shining mure intensely, and becom- ing clearer in outline, yel we can never feel, thai we have obtained full possession of it.
    [Show full text]
  • The Fresco Decoration of the Oratorio Dei Buonomini Di San Martino: Piety and Charity in Late-Fifteenth Century Florence a Thesi
    Birmingham City University The Fresco Decoration of the Oratorio dei Buonomini di San Martino: Piety and Charity in Late-Fifteenth Century Florence 2 Volumes A Thesis in Art History by Samantha J.C. Hughes-Johnson Submitted in Partial Fulfilment of the Requirements for the Degree of Doctor of Philosophy May 2016 Volume I Abstract Despite the emergence of various studies focusing on Florentine lay sodalities, the Procurators of the Shamed Poor of Florence, otherwise known as the Buonomini di San Martino, have received little attention from social historians and much less consideration from historians of art. Consequently, there are several distinct research gaps concerning the charitable operations of this lay confraternity and the painted decorations within its oratory that beg to be addressed. The greatest research breach pertains to the fresco decoration of the San Martino chapel as, despite the existence of various pre- iconographic descriptions of the murals, comprehensive iconographic and comparative analyses of these painted works have never before been carried out. Moreover, the dating of the entire cycle and the attribution of one of its lunette paintings is questionable. Accordingly, the present study addresses these deficiencies. Central to the current research is an original, in-depth art historical analysis of the frescoed paintings. Involving the methodologies of iconographic and comparative analyses alongside connoisseurship, the present investigation has allowed the researcher to establish the following: the art historical significance of the oratory murals; the dating of the fresco cycle; the attribution of an executor for the Dream of Saint Martin fresco; the identification of portraits of Lorenzo and Giuliano de’ Medici within the Buonomini cycle; the disclosure of the shamed poor as non-patrician representatives of Florence.
    [Show full text]
  • Chancery Officials and the Business of Communal Administration in Republican Florence
    Chancery Officials and the Business of Communal Administration in Republican Florence Ventura and Niccolò Monachi, Chancellors of Florence (1340-48/1348-75) by Leah Faibisoff A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Centre for Medieval Studies University of Toronto © Copyright by Leah Faibisoff 2018 ii Chancery Officials and the Business of Communal Administration in Republican Florence Ventura and Niccolò Monachi, Chancellors of Florence (1340-48/1348-75) Leah Faibisoff Doctor of Philosophy Centre for Medieval Studies University of Toronto 2018 Abstract This dissertation studies the chancery of the Florentine Republic by examining the administrative offices that constituted the institution and some of the notary-administrators who held principal positions within it. The scholarship on Florentine government often presupposes the existence of some kind of permanent bureaucratic workforce that provided stability for the city’s system of amateur, short-term political office. My dissertation instead suggests that the susceptibility to change in Florentine government extended also to its administrative organization. It can be found at the level of institutional dynamics, but it was also experienced by chancery officials themselves who continually had to negotiate the forces of instability in the performance of their duties, ultimately affecting their attitudes towards their work. The first half of this dissertation considers the institutional dynamics of impermanence within the chancery through an examination and description of the three main offices of the institution during the republican period: the notary of the priors, the notary of legislation, and the chancellor. The main contention of this section is that within the institution of the chancery there was an apparent tension between the semi-permanent, rationalizing force of a very few administrative agents and the impermanent destabilizing force of hundreds of administrative agents who cycled through the chancery.
    [Show full text]
  • Două Incunabule În Colecţia Bibliotecii Naţionale a Republicii Moldova Ex-Libris 43
    Ex-lliibrisis 43 Două incunabule în colecţia Bibliotecii Naţionale a Republicii Moldova Alexe RĂU, directorul general al Bibliotecii Naţionale a Republicii Moldova Chiar dacă nu deţine în fondurile sale tipărite pînă la 1500. Cărţile, tipărite pe mo- incunabule, BNRM este păstrătoarea a două delele incunabulelor sau apărute în primii ani cărţi străvechi care sunt legate, prin biografia de după 1500, se numesc paleotipice. Multă lor poligrafică, dar mai ales prin conţinutul, vreme însă în Europa a continuat dezbaterea autorii şi interpreţii lor, nu numai de vremea în cadrul căreia se propunea să fie conside- primelor cărţi scoase de sub tipar în Europa, rate incunabule şi cărţile apărute în anii urmă- dar si de timpurile antice cînd îşi creau opera tori lui 1500. Au fost promovate două opinii: lor părinţii filozofiei. Amîndouă cărţile se în- unii cercetători limitează această dată la anul scriu în bibliografia şi istoriografia aristote- 1480, cînd s-a produs o diferenţiere precisă a liană. Prima dintre ele, Kategoriile lui Aristo- tipurilor de literă şi o unificare a fiecărui carac- tel comentate de Simplicius, a fost tipărită la ter în parte. Alţii extind perioada pînă la Veneţia în 1551, în limba greacă. E o carte începutul sec. XVI, cînd noile tehnologii în ale paleotipică, ea fiind tipărită pe modelul volu- tiparului au permis tiraje mai numeroase şi o mului de categorii aristotelice, publicat în ieftinire relativă a cărţilor.[ 2 ] Dacă ne bazăm 1499, de asemenea, la Veneţia. În varianta din în exclusivitate pe catalogul lui Gesner şi luăm 1551 se păstrează prezentarea grafică, ductul în calcul şi cea de-a doua opinie menţionată literei, arhitectonica volumului din 1499.
    [Show full text]
  • Lorenzo Tanzini, Florence Et La Bourgogne. Relations Et Transformations De Deux États À La Fin Du Moyen Âge, In
    Lorenzo Tanzini, Florence et la Bourgogne. Relations et transformations de deux États à la fin du Moyen Âge, in: Werner Paravicini (Hg.): La cour de Bourgogne et l'Europe. Le rayonnement et les limites d’un mode`le culturel; Actes du colloque international tenu à Paris les 9, 10 et 11 octobre 2007, avec le concours de Torsten Hiltmann et Frank Viltart, Ostfildern (Thorbecke) 2013 (Beihefte der Francia, 73), S. 487-501. Herausgegeben vom Deutschen Historischen Institut Paris Copyright Das Digitalisat wird Ihnen von perspectivia.net, der Online-Publikationsplattform der Max Weber Stiftung – Deutsche Geisteswissenschaftliche Institute im Ausland, zur Verfügung gestellt. Bitte beachten Sie, dass das Digitalisat urheberrechtlich geschützt ist. Erlaubt ist aber das Lesen, das Ausdrucken des Textes, das Herunterladen, das Speichern der Daten auf einem eigenen Datenträger soweit die vorgenannten Handlungen ausschließlich zu privaten und nicht-kommerziellen Zwecken erfolgen. Eine darüber hinausgehende unerlaubte Verwendung, Reproduktion oder Weitergabe einzelner Inhalte oder Bilder können sowohl zivil- als auch strafrechtlich verfolgt werden. LORENZO TANZINI Florence et la Bourgogne Relations et transformations de deux E´ tats a`la fin du Moyen Aˆ ge Les relations entre la Bourgogne et Florence au XVe sie`cle sont un the`me tre`s e´lusif. Sur le plan diplomatique, les relations entre l’ambitieuse ville toscane et les ducs ont e´te´, sans aucun doute, tre`s sporadiques, et ont presque toujours duˆsubir l’interme´- diaire de la cour de France ou ont e´te´ conditionne´s par celle-ci. Contrairement aux se´ries documentaires bien connues qui attestent les liens e´tablis entre la Bourgogne et Milan1, on ne trouve pas pour Florence de te´moignages e´quivalents, exception faite de quelques allusions que l’on peut lire dans la correspondance de Laurent de Me´dicis pendant les anne´es 1475–14762.
    [Show full text]
  • Giorgio Vasari's Latin Works: Epitaphs on Stone and Paper in the Vite
    Epitaphs in Giorgio Vasari’s Lives* Maia Wellington Gahtan When Michelangelo died in Rome in 1564, his body was transported back to his native Florence for an honourable state funeral. The event was an extravagant multi-step affair because of the deep sentiments many Florentines genuinely felt for the master and also because of what Michelangelo—regularly identified as ‘il divino’—had come to symbolize to the artistic and cultural superiority of the Florentine state which only the year before had launched the Accademia del Disegno with Michelangelo at the spiritual helm. The funeral involved a procession and a rapid formal burial in Michelangelo’s own parish of S. Croce followed by a lengthy public mourning over an elaborately decorated catafalque set up in the Medici parish of San Lorenzo.1 Both the sepulchre and the catafalque received the attention of letterati in the form of verses in the Latin and Italian. About the S. Croce sepulchre, Vasari wrote, When the people had calmed down, it was ordered to place him in a sepulchre in the church next to the Cavalcanti altar, by the door that leads into the cloister of the chapter-house. While this was happening, the news had spread through the city, and such a multitude of young people came to see him that that it was difficult to close the sepulchre. And if it had been day, instead of night, they would have been forced to leave it open many hours in order to satisfy everyone. The following morning, while the painters and sculptors were beginning arrange for his honouring, great minds, of which there have always been many in Florence began to attach above the aforementioned sepulchre verses both Latin and in Italian, and thus it continued for some time; but those compositions that were printed at that time were only a small part with respect to the many which were written.2 * Earlier versions of this study were presented at the Cambridge Society for Neo-Latin Studies (Clare College, Cambridge University, 2001) and the Renaissance Society of America (Venice, 2010).
    [Show full text]
  • Quaritch Noember 2020
    Bernard Quaritch Ltd November New Acquisitions FROM THE BRIDGEWATER LIBRARY 1| ARISTOPHANES. Κωμωδίαι ‘ένδεκα … Comoediae undecim. Leiden, Christophe van Ravelinghen ‘ex officina Plantiniana’, 1600. 16mo, pp. [4], 297, 300-620; text in Greek, woodcut Plantin device to title; small wormhole to blank upper margin of a handful of final leaves, tear to q6 with no loss; a very good copy in contemporary calf over pasteboard, rebacked in calf with gilt red morocco lettering-piece, fore-edge lettered in ink, front guard of printed waste from a sixteenth-century English almanac printed in red and black; a few small scuffs; contemporary purchase price and ownership inscription of Thomas Baddeley to title, crossed out; boards initialled ‘TE’, most likely for Thomas Egerton (see below); nineteenth-century manuscript shelfmark label and armorial bookplate of the Bridgewater Library to inner board. £950 First Plantin edition to contain all eleven of Aristophanes’s surviving works, from the celebrated library of Thomas Egerton, first Viscount Brackley, which became known as the Bridgewater Library. Lord Keeper under Queen Elizabeth and Lord Chancellor under James I, Thomas Egerton (1540–1617) acquired books throughout his life, laying the foundations of the library which would be expanded until the end of the seventeenth century by his son and grandson, the first and second earls of Bridgewater. The collection, particularly notable for its contemporary English literature, remained among Egerton’s descendants until its purchase in 1917 by Henry E. Huntington, whereafter portions were dispersed by auction the following year, though the majority remains in the Huntington Library. Although bindings from the library of Thomas Egerton are usually found stamped with his crest (a lion rampant supporting an arrow in pale point downwards), it is likely that for such a small volume the tooling of the initials was preferred.
    [Show full text]
  • Convent Theatre in Early Modern Italy: Spiritual Fun and Learning for Women / Elissa B
    CONVENT THEATRE IN EARLYMODERNITALY spiritual fun and learning for women ELISSA B. WEAVER published by the press syndicate of the university of cambridge The Pitt Building, Trumpington Street, Cambridge, United Kingdom cambridge university press The Edinburgh Building, Cambridge cb22ru,UK 40 West 20thStreet, New York, ny 10011±4211, USA 477 Williamstown Road, Port Melbourne, vic 3207, Australia Ruiz de AlarcoÂn 13, 28014 Madrid, Spain Dock House, The Waterfront, Cape Town 8001, South Africa http://www.cambridge.org # Cambridge University Press 2002 This book is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. First published 2002 Printed in the United Kingdom at the University Press, Cambridge Typeface 11/12.5pt Bembo System 3b2 [ce] A catalogue record for this book is available from the British Library Library of Congress cataloguing in publication data Weaver, Elissa, 1940± Convent theatre in early modern Italy: spiritual fun and learning for women / Elissa B. Weaver. p. cm. ± /Cambridge Studies in Italian History and Culture) Includes bibliographical references and index. isbn 0 521 55082 3 1. Convent theater ± Italy ± History. 2. Italian drama ± To 1700 ± History and criticism. 3. Italian drama ± Women authors ± History and criticism. i. Title. ii. Series. pn3178.c64 w43 2001 792'022 ± dc21 2001025770 isbn 0 521 55082 3 hardback CONTENTS List of illustrations page viii
    [Show full text]
  • Western Manuscripts and Miniatures
    WESTERN MANUSCRIPTS AND MINIATURES MONDAY 7 DECEMBER 2020 WESTERN MANUSCRIPTS AND MINIATURES MONDAY 7 DECEMBER 2020 | 2pm AUCTION FORMAT: LIVE ONLINE AUCTION NO. 14297 BLOOMSBURY AUCTIONS: This is a live online auction with an auctioneer. Bidding is available online, by 16-17 Pall Mall telephone or commission (absentee) bids. If not bidding online, please contact St James's SPECIALISTS: Bloomsbury Auctions or Dreweatts to register all commission bids or telephone London Dr Timothy Bolton bids by 11am (local time) on Monday 7 December. SW1Y 5LU [email protected] FREE ONLINE BIDDING IS AVAILABLE AT BLOOMSBURYAUCTIONS.COM: Camilla Previté ENQUIRIES: The Bloomsbury Auctions bidding platform allows you to watch, listen and bid [email protected] + 44 (0) 20 7839 8880 with no additional online bidding fees applicable. [email protected] VIEWING AT bloomsburyauctions.com REGISTRATION: BLOOMSBURY AUCTIONS: We advise clients to register at least 48 hours in advance of the auction as you Viewing will be available by may be asked to provide documents to verify your identity. Registration for new appointment only and in strict Front cover: Lot 57 clients will close at 11am (local time) on Monday 7 December. accordance with government Covid-19 Inside front cover & page 1: Lot 64 regulations: Opposite: Lot 17 BUYER’S PREMIUM: Back cover: Lot 66 Buyer’s premium is charged per lot at 25% of the hammer price (30% including Thursday 3 December: 10am – 5pm VAT) up to and including £500,000, 20% (24% including VAT) of the hammer Friday 4 December: 10am – 5pm Catalogues £15 price from £500,001 up to and including £1,000,000, and 12% of the hammer Saturday 5 December: 11am – 4pm (£17.50 by post) price (14.4% including VAT) in excess of £1,000,001.
    [Show full text]