Altea Gallery Dolce Trasformationi

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Altea Gallery Ltd. 35 Saint George St,London W1S 2FN [email protected] - www.alteagallery.com Tel : +44(0) 20 7491 0010 An important Italian translation of Ovid's 'Metamorphoses' DOLCE, Lodovico. Le Trasformationi di M. Lodovico Dolce. In questa quarta impressione da lui in molti luoghi ricorrette. Venice: Gabriel Giolito de Ferrari, 1557. Fourth edition. 4to, C18th half calf with marbled boards and endpapers; pp. (xvi)+309+(i)+colophon; woodcut title and text illustrations throughout, incl. world map on p.3. £1,800 The fourth edition of Lodovico Dolce's translation of Ovid's 'Metamorphoses', first published 1553. It is illustrated with numerous woodcuts, including a world map which is an amalgam of Macrobius and Gastaldi: the shape is that of Macrobius, with the zones around the equator and windheads; however on North America are 'Terra del Bacalaosa' and 'Nueva Hispania' of Gastaldi. The Straits of Magellan also appear. Lodovico Dolce (c.1508-1568) was a prolific author: he wrote comedies, tragedies and histories; edited the works of Dante, Boccaccio and Tasso, among others; and translated Greek and Roman classics, including texts by Homer, Euripides Cicero and, of course, Ovid. Publius Ovidius Naso (43 BC-17/18 AD), better known as Ovid, published his Metamorphoses in 8 AD. A narrative poem, it contained over 250 myths relating to the world from its creation to the deification of Julius Cæsar. It was incredibly influential,influential, andand waswas oneone ofof thethe firstfirst booksbooks printedprinted inin English,English, byby WilliamWilliam CaxtonCaxton inin 1480.1480. Altea Gallery Ltd. 35 Saint George St,London W1S 2FN [email protected]@alteagallery.com -- www.alteagallery.comwww.alteagallery.com Tel : +44(0) 20 7491 0010 SHIRLEY: 95 for world map. Stock ID :15464 Powered by TCPDF (www.tcpdf.org) Powered by TCPDF (www.tcpdf.org).

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L Recensioni (82). Little is known about women's patronage because self-identification on com- missioned works was ofi:en not permitted: "Widows did not draw attention to themselves by including portraits on votive images," and "the opportunity to place her image on a large item of church embellishment, visible to all, was not often granted a widow" (184-85). And what of courtesans as patrons? King notes that documented evidence of their patronage is scant; but in northern Italy records are abundant of their commissioning funerary chapels for themselves, owning their earnings, beautiful homes, and being free of legal guardians. Patronage, the cre- ation and consumption of art, and architecture, then, was an essentially gendered activity, embracing all levels of economic and social standings. Though women as patrons only rarely worked with artists of Vasarian reach and scope, King argues that there remains, notwithstanding, a great deal to be discovered about the numerous, perhaps less stellar makers of Italian culture, whose works grace can- vases, churches, cemeteries, and cities. Women with disposable capital have played a very real role of leadership in this historical period in the broad definition of art history as it related to makers, buyers and users of art, as well as to later collectors and cultural consumers. For our own century when increasingly more women have disposable income. King offers inspiring examples of how Italy's lay and ruling women created indelible artistic imprints. This study makes a signal contribution by bringing to light the social religious and legal situations in which women could participate in the mak- ing of art and architecture, an area of research which has vast implications for stu- dents of art and cultural history, gender, and Italian studies.
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