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ANALECTA ROMANA INSTITUTI DANICI XLIV © 2020 Accademia Di Danimarca ISSN 2035-2506 ANALECTA ROMANA INSTITUTI DANICI XLIV ANALECTA ROMANA INSTITUTI DANICI XLIV 2019 ROMAE MMXX ANALECTA ROMANA INSTITUTI DANICI XLIV © 2020 Accademia di Danimarca ISSN 2035-2506 SCIENTIFIC BOARD Mads Kähler Holst (Bestyrelsesformand, Det Danske Institut i Rom) Jens Bertelsen (Bertelsen & Scheving Arkitekter) Iben Fonnesberg-Schmidt (Aalborg Universitet) Karina Lykke Grand (Aarhus Universitet) Thomas Harder (Forfatter/writer/scrittore) Morten Heiberg (Københavns Universitet) Hanne Jansen (Københavns Universitet) Erik Vilstrup Lorenzen (Den Danske Ambassade i Rom) Mogens Nykjær (Aarhus Universitet) Vinnie Nørskov (Aarhus Universitet) Niels Rosing-Schow (Det Kgl. Danske Musikkonservatorium) Erling Strudsholm (Københavns Universitet) Lene Østermark-Johansen (Københavns Universitet) EDITORIAL BOARD Marianne Pade (Chair of Editorial Board, Det Danske Institut i Rom - 31.08.19) Charlotte Bundgaard (Chair of Editorial Board, Det Danske Institut i Rom) Patrick Kragelund (Danmarks Kunstbibliotek) Sine Grove Saxkjær (Det Danske Institut i Rom) Gert Sørensen (Københavns Universitet) Anna Wegener (Det Danske Institut i Rom) Maria Adelaide Zocchi (Det Danske Institut i Rom) Analecta Romana Instituti Danici. — Vol. I (1960) — . Copenhagen: Munksgaard. From 1985: Rome, «L’ERMA» di Bretschneider. From 2007 (online): Accademia di Danimarca. ANALECTA ROMANA INSTITUTI DANICI encourages scholarly contributions within the Academy’s research fields. All contributions will be peer reviewed. Manuscripts to be considered for publication should be sent to: [email protected] Authors are requested to consult the journal’s guidelines: www.acdan.it Contents SIGNE BUCCARELLA HEDEGAARD & CECILIE BRØNS: Lost in Translation: An Introduction to the Challenging Task of Communicating Long-lost Polychromy on Graeco - Roman Marble Sculptures 7 LÆRKE MARIA ANDERSEN FUNDER: Continuity and Reception: The Life of the Spinario 29 CLAUS ASBJØRN ANDERSEN: What is Metaphysics in Baroque Scotism? Key Passages from Bartolomeo Matri’s Disputations on Metaphysics (1646-1647) 49 COSTANTINO CECCANTI: “Andre udmærkede Bygmestre”: Hermann Baagøe Storck e lo stile toscano nella Danimarca dell’Ottocento 73 Philology Then and Now Proceedings of the Conference held at the Danish Academy in Rome, 16 July 2019 INTRODUCTION: Making Sense of Texts: From Early Modern to Contemporary Philology 95 MINNA SKAFTE JENSEN: The Emic-Etic Distinction: a Tool in Neo-Latin Research? 99 ŠIME DEMO: Getting Help from a Daughter: Linguistic Methodology and Early Modern Philology 113 PAOLO MONELLA: A Digital Critical Edition Model for Priscian: Glosses, Graeca, Quotations 135 JOHANN RAMMINGER: Stylometry in a Language without Native Speakers: A Test Case from Early Modern Latin 151 MARIANNE PADE: Imitation and Intertextaulity in Humanist Translation 169 JULIA HAIGH GAISSER: Philology and Poetry in the Humanism of Giovanni Pontano 187 KAREN SKOVGAARD-PETERSEN: Philological Pessimism: Henrik Ernst’s Treatise on Textual Criiticism (1652) 205 TRINE ARLUND HASS: The Meaning of Jul (Christmas) according to Pontanus, Vedel and Worm: Etymology, Controversy, and Foundation Myths of the Danes 217 Report JAN KINDBERG JACOBSEN, CLAUDIO PARISI PRESICCE, RUBINA RAJA & MASSIMO VITTI: Excavating Caesar’s Forum: Present Results of the Caesar’s Forum Project 239 PHILOLOGY THEN AND NOW Proceedings of the Conference held at The Danish Academy in Rome, 16 July 2019 Philology and Poetry in the Humanism of Giovanni Pontano by JULIA HAIGH GAISSER Abstract. This paper considers the Neapolitan humanist Giovanni Pontano (1429-1503) as a philologist. It explores the range and depth of his philological interests by considering several representative examples of different kinds, including his technical works, De aspiratione and the long treatise on the hexameter ( De numeris poeticis) in the Actius, his transcriptions of Propertius and Tibullus, and some of his poetry and poetic criticism. I will suggest that his philology was always actively engaged with the classical past— that he wanted not merely to study the ancient texts, but to understand the elements (both technical and aesthetic) underlying their production and to make use of that understanding in creating his own works. The Neapolitan humanist Giovanni Pontano successful than most. He was a serious stu- (1429-1503), like his fellow humanists, was dent of ancient authors. He transcribed, cor- deeply engaged in the study of ancient texts rected, and annotated their texts, wrote trea- and the effort to understand the history and tises on Latin orthography and metrics, and culture that produced them. It is fair to call took issue on points of style with ancient crit- these scholars philologists, although some ics and on Latin syntax with modern gram- would limit the title to a tiny number like marians. These activities, diverse as they are, Angelo Poliziano, Lorenzo Valla, or Ermo- all clearly fall under the heading of philology. lao Barbaro, whose methods have been seen He also wrote reams of Latin poetry in virtu- as anticipating those of later centuries.1 But ally every genre and metre, an endeavor that I take a broader view. There were many hu- also deserves to be called philological since manist philologists, and of different kinds, his poetry imitates, builds on, and interprets working with various aims and methods and its ancient models, often in very specific and interests and differing in the quality of their even technical ways. results. What they had in common is the in- In what follows I will look at several prod- tellectual activity described as philology by ucts of Pontano’s philology – especially his two of its modern practitioners. The Sanskrit treatises on the letter aitch in De aspiratione and scholar Sheldon Pollock defines philology as on the Latin hexameter in his dialogue Actius, “the discipline of making sense of texts”, the his manuscripts of Propertius and Tibullus, medievalist Eckehard Simon as “the study of and some of his poetry and poetic criticism. I the written record in its cultural context”.2 In am concerned with what interested him, how this activity Pontano was more versatile and he approached his material, and what kinds of 1 Reynolds & Wilson 1991, 140-146, 275-277; Graf- Linde 2010. ton 2015. For Poliziano’s method see Grafton 2 Pollock 2009, 934; Simon 1990, 18-19. For a more 1977; Pyle 1996. For Valla see Camporeale 1996; general treatment, see Pollock et al., ed. 2015. 188 JULIA HAIG H G AISSER information he brought to bear on his subject. Musarum citharae et Lyaei puellae. I will suggest that Pontano aspired not just to (Parthenopeus 1.28.4-14)4 know about the ancients, but to emulate them (Surely you won’t have seen – to speak their (Latin) language, and in some Anyone naughtier since Catullus, sense even to think like them. or who has more wantonness – He and his fellow humanists wanted to re- to say nothing of being more elegant? vive classical Latin not just to read the ancient But surely this little book of mine authors as we do, but to use the ancient lan- follows its learned Catullus alone guage with perfect mastery in their own fif- and Calvus and the ancient discipline. teenth-century world. This was a general goal It is not much less than the new poets. of the humanists, but an obsession for Pon- It dances, singing in tiny verses this strain tano, and it is worth noting that in his writings that the Muses’ lyres and the girls of Bac- he used Latin alone. He also had a consuming chus ambition to make a major place for himself in have not sounded for a thousand years.) the Latin poetic tradition. This ambition, like his preoccupation with the nuts and bolts of The “tiny verses” (versiculis. .minutis, line 12) the Latin language, began early and continued that Pontano refers to are hendecasyllables, throughout his life. In what is perhaps its ear- Catullus’s most famous meter.5 His claim that liest expression, he claims to be the successor “the strain has not sounded for a thousand of Catullus. It appears in Parthenopeus 1.28, years” is correct, for he is the first poet of the a program poem dated before 1458 from his Renaissance to master it.6 first widely circulated collection.3 Here are the relevant verses: Pontano and Poliziano on Catullus Pontano’s philological methods range from ...Nunquid a Catullo the intuitive and literary to the systematic. Two quenquam videris esse nequiorem, examples from his early interpretations of Ca- aut qui plus habeat procacitatis, tullus show them at work and let us compare non dico tamen elegantiorem? his approach with that of Poliziano, whose Sed certe meus hic libellus unum name has become virtually synonymous with doctum post sequitur suum Catullum the term “philological method”. et Calvum veteremque disciplinam. Our first example is the interpretation of Non multo minor est novis poetis. Catullus’s sparrow. Catullus wrote two poems Saltat versiculis canens minutis on Lesbia’s famous sparrow ( Cat. 2 and 3).7 hoc, quod non sonuere mille ab annis Here is how the first begins. 3 Pontano’s first collection, Pruritus (“Urges”), pro- bus minutis, / his olim quibus et meus Catullus / et Calvus duced in 1449, is not preserved as a distinct col- veteresque. lection. See note 10 below. In its original version 6 As far as I know, he is only the third to use it. Leon- Parthenopeus book 1 opened and closed with two ardo Bruni (1370?-1444) wrote an obscene pastiche program poems dedicated to Pontano’s friend of Cat. 41-43 sometime between 1405 and 1415; Lorenzo Bonincontri (1.1 and what is now 1.28); see Hankins 1990 and Gaisser 1993, 211-215. Cris- Ludwig 1989, 173 n.47. Like Parth. 1.1, Parth.1.28 toforo Landino (1424-1503) used hendecasyllables celebrates the affectionate marriage of Bonincontri in two poems in the first collection of Xandra, and his wife Cecilia (called Cicella (Parth. 1.1.19, 26, completed in 1443/44 (1.16 and 1.26); see Ludwig 31; 1.28.24). Cecilia died of the plague in 1458; see 1989, 170-72 and Gaisser 1993, 215-216.
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