DOCSLIB.ORG

Francesco Sansovino's Editorial Additions As a Form of Authorship

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Francesco Sansovino's Editorial Additions As a Form of Authorship Renaissance 2/2017 - 1 Zoe Langer 5ore is 5ore6 $rancesco %ansovino(s 7ditorial Additions as a $or" of Authorship on 'ante(s )o""edia 81*+,9 Figure 10 Title !age. 'ante con l(espositione di )hristoforo 4andino, 7t di Alessandro &ellvtello, %opra la %ua )omedia dell(In- ferno, del !urgatorio, ; del !aradiso. )on tavole, argomenti ; allegorie, ; rifor"ato, riueduto, ; ridotto alla sua uera lettura, !er $rancesco %ansovino Fiorentino. In &enetia, Appresso <iovambattista, 5archiò %essa, ; fratelli0 1*+,0 &enice, 1*+,0 Folio. >oughton 4ibrary, >arvard ?niversity 8Typ *2* +,0@1+90 Introduction 'ante(s )o""edia in 1*+, 1*7- and 1*.+ /$ig0 110[1] %ansovino(s edition not only offered After successfully venturing into the business of an abundance of parate#tual "aterial such as a literary publishing with editions of Boccaccio glossary, frontispiece portrait biographies, !etrarch Ariosto and !ietro Be"bo polygraph tables illustrations, and su""aries, but also in- e#traordinaire $rancesco %ansovino collabor- cluded – for the first ti"e in the )o""edia(s his- ated with the &enetian publishing fa"ily, the tory 2 a double co""entary that brought to- %essa to produce a su"ptuous folio edition of gether the "ost illustrious co""entators of the 3oe 4anger More is More Aunstte#te0de 2/2017 - 2 own authorship as an editor and intellectual0 >is visual and verbal interventions further illu"inate how editors and publishers defined their prac- tice and status through the presentation of the booA0[5] :herefore %ansovino(s visual strategies for presenting 'ante(s )o""edia contribute to our knowledge about the publication and recep- tion of the poet(s works in the "id-si#teenth century.[6] :he critical literature on %ansovino is varied and wide-ranging appearing in studies of literature booA history, portraiture politics, and &enetian history.[7] :his perhaps reflects the prolific nature of %ansovino(s editorial activities. Recent studies have concentrated on two "ain lines of inFuiry: the editor(s relationship to liter- ary and editorial networks in &enice and his his- torical works, such as his very popular &enetia )itta Bobilissi"a 81*-190[8] 7lena Bonora has written an i"portant "onograph on %ansovino(s early for"ation and the factors that led to his en- trance into the world of publishing in "id-si#- teenth century &enice0[9] %he shows how %anso- vino(s personal and co""ercial relationships in- $igure 20 'ialogue for"at with 4andino 84AB'09 and &ellutello fluenced his historical writings and served as an 8&74409 in the left "argin and one &7440 in the right "argin0 'etail from !urgatorio CI in 1*7- edition0 Dohn >ay 4ibrary, inspiration for the %ecretario (1*+,9[10] a worA in Brown ?niversity 8>ay 'ante )ollection 1-%iEe B 1*7-9 the genre of Il )ortegiano and Il <alateo0 Adri- 20@r0 ano 5oz provides a good general background to %ansovino(s biography and publications, high- 'ay 2 )ristoforo 4andino and Alessandro &ellu- lighting his histories of &enice and the Otto"an tello0[2] 7"pire0[11] Along these lines, !aul Grendler has Although %ansovino rigidly adhered to also written about %ansovino(s contribution to the "edieval co""entary layout with a blocA of what he calls H!opular >istory.I[12] :his article te#t surrounded by co""entary, he also crafted along with his "ore general observations on a highly original approach to the arrange"ent of Hpopular books” i"portantly show how editors each author(s contribution0 :he editor presented such as %ansovino used the booA(s "aterial each co""entator as though in a dialogue even for" and organization of content to reach broad though their interventions were "ore than si#ty and varied audiences.[13] Jith the e#ception of years apart0[3] %ansovino devised a layout in %ansovino(s editions of Boccaccio(s 'eca"e- which each co""entary was labelled with the rone current scholarship has overlooked the ed- na"e of the author in the "argins, such that it itor(s contribution to the publication of si#teenth- appeared that they were speaking to each other century literary editions of "edieval authors.[14] across ti"e /$ig0 210[4] An e#a"ination of %anso- 5ost scholars agree that %ansovino(s )o"- vino(s use of the dialogue for"at along with "edia was a successful worA having been pub- other editorial additions in all three editions re- lished three ti"es in ,0 years. 'espite this as- veals how he used these features to clai" his sessment a detailed analysis of this edition or of 3oe 4anger More is More Aunstte#te0de 2/2017 - @ the factors that led to its success has not yet "edia ca"e at a pivotal "o"ent in %ansovino(s been undertaken0 career0 By 1*+0 %ansovino had already pub- By placing his activities within the con- lished the works of Boccaccio and !etrarchL[18] te#t of other poligrafi co""entators, and edit- however what corpus would be co"plete ors in &enice and $lorence Brian Richardson without 'anteM :hrough the )o""edia %anso- and 'eborah !arker(s analyses provide a start- vino sought to achieve eFual status with the pre- ing point fro" which to understand %ansovino(s vious "asters in the editorial profession such as "otivations for editing vernacular te#ts and pub- Aldo 5anuzio Alessandro !aganini and the Gi- lishing the 1*+, edition of the )o""edia0[15] unti and Giolito presses, who had all curated %ansovino felt strong ties to &enice having their own collections of vernacular classics.[19] "oved there fro" Ro"e at a young age with his 7ach series, consisting of different authors, thus father the fa"ous architect Jacopo %ansovino reflected a specific interpretation of the canon and subseFuently having "ade a na"e for hi"- and an evaluation of 'ante(s place within it0 self by working with other &enetian publishers Jhile Aldo included 'ante and !etrarch a"ong and founding his own press. It is for this reason ancient authors &irgil and >orace eFuating the that he is pri"arily considered a &enetian pub- poe" to the 4atin classics, the Giolito press lisher in the critical literature0 >owever %anso- chose instead to include 'ante a"ong conte"- vino also strongly e"phasizes his $lorentine ori- porary authors interpreting the )o""edia as a gins, often referring to hi"self as H$iorentino I as "ore "odern worA0 &ellutello started his career on the title page of the )o""edia0[16] Jhile he with his edition of !etrarch(s Ri"e 81*2@9 and possibly spent so"e years in $lorence his once he established hi"self published his edi- chosen epithet was largely opportunistic as it al- tion of the )o""edia in 1*,,0 :herefore the lowed hi" to clai" the legacy of his father and )o""edia provided the opportunity for %anso- to capitalize on $lorence(s political and cultural vino to "ake his career serving as the crowning influence in this era0 achieve"ent of a decade-long traKectory of liter- Although there were nu"erous ap- ary editions. proaches to editing the )o""edia the &enetian >owever the act of publishing 'ante in and $lorentine publishers "onopolized the in- and of itself was not enough to rival his prede- dustry and were often in co"petition0 %anso- cessors. %ansovino thus crafted a "onu"ental vino(s "ultiple affiliations 2 Ro"an &enetian edition of the poe" one that would be e#ceptio- $lorentine 2 perhaps infor"ed the way he "edi- nal in both its for"al and te#tual properties. :he ated between these views in the )o""edia and present study begins, to show how the publicati- how he appealed to "ultiple reading publics. on of 'ante(s poe" was crucial to %ansovino(s :he glossary, or :avola delle voci oscure be- ai"s for authorial personal co""ercial politi- ca"e a hall"arA of %ansovino(s editions. :he cal and literary success in the co"petitive and tavola was Kust one of "any features that al- high stakes environ"ent of publish- ing in early lowed %ansovino to specialize in literary editions "odern &enice0 :he e#a"ination of the booA(s and appeal to both niche and "ore general "ar- for"al presentation allows us to understand Aets. %cholars have also noted that %ansovino "ore fully how %ansovino and other editors of rarely e"ployed a si"ple presentation for his the ti"e asserted their authorship and could publications and built his reputation on produ- achieve success through both the for" and con- cing rich and beautiful books.[17] tent of their editions. :he )o""edia was by far the "ost "o- nu"ental of his literary editions due to its size il- lustrations, co""entaries, and decorative divi- sions. :he uniFue presentation of the )o"- 3oe 4anger More is More Aunstte#te0de 2/2017 - , Authorship and Authority in the 1*+, )o"- lar writers, co""entators, editors, and ulti- "edia "ately, as Hauthorities” on 'ante and his poe"0 An author 2 by which I "ean any person Before analyzing the edition in detail a definition that intervened in the worA including publishers, of authorship "ust be established0 %ansovino(s editors, artists, co""entators, translators, and )o""edia by virtue of its being a co""entary, readers 2 shaped the way the )o""edia was still depended heavily on "edieval conceptions presented to different audiences.[28] In contrast of authorship0 In the "edieval period an author to "odern concepts of authorship which gener- 8auctor9 both possessed authority and was an ally rest upon ideas of individuality and original- authority 8auctoritas90[20] As Albert Ascoli ity, the concept of authorship as e#pressed in notes auctoritates consisted of a li"ited nu"- the 1*+, edition of the )o""edia was pre"ised ber of classical and religious te#ts that Hhad ac- upon collaboration and collective participation0 crued cultural capital and with it the status of Authorship was in fact shared and dispersed guarantors of truth and "odels for i"itation over a"ong the volu"e(s contributors.
Load more

Recommended publications
  • Stony Brook University
    SSStttooonnnyyy BBBrrrooooookkk UUUnnniiivvveeerrrsssiiitttyyy The official electronic file of this thesis or dissertation is maintained by the University Libraries on behalf of The Graduate School at Stony Brook University. ©©© AAAllllll RRRiiiggghhhtttsss RRReeessseeerrrvvveeeddd bbbyyy AAAuuuttthhhooorrr... The Civic Virtue of Women in Quattrocento Florence A Dissertation Presented by Christine Contrada to The Graduate School in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in History Stony Brook University May 2010 Copyright by Christine Contrada 2010 Stony Brook University The Graduate School Christine Contrada We, the dissertation committee for the above candidate for the Doctor of Philosophy degree, hereby recommend acceptance of this dissertation. Dr. Alix Cooper – Dissertation Advisor Associate Professor, History Dr. Joel Rosenthal – Chairperson of Defense Distinguished Professor Emeritus, History Dr. Gary Marker Professor, History Dr. James Blakeley Assistant Professor, History St. Joseph’s College, New York This dissertation is accepted by the Graduate School. Lawrence Martin Dean of the Graduate School ii Abstract of the Dissertation The Civic Virtue of Women in Quattrocento Florence by Christine Contrada Doctor of Philosophy in History Stony Brook University 2010 Fifteenth century Florence has long been viewed as the epicenter of Renaissance civilization and a cradle of civic humanism. This dissertation seeks to challenge the argument that the cardinal virtues, as described by humanists like Leonardo Bruni and Matteo Palmieri, were models of behavior that only men adhered to. Elite men and women alike embraced the same civic ideals of prudence, justice, fortitude, and temperance. Although they were not feminists advocating for social changes, women like Alessandra Strozzi, Margherita Datini, and Lucrezia Tornabuoni had a great deal of opportunity to actively support their own interests and the interests of their kin within popular cultural models of civic virtue.
    [Show full text]
  • Paul F. Grendler, 1969 Sansovino and Italian Popular History
    www.anacyclosis.org THE INSTITUTE FOR ANACYCLOSIS EXCERPT FROM FRANCESCO SANSOVINO AND ITALIAN POPULAR HISTORY BY PAUL F. GRENDLER 1969 A.D. Note: This text, containing a brief sketch of Polybius’ Anacyclosis, describes Francesco Sansovino’s efforts to popularize Anacyclosis during the Italian Renaissance. Footnotes have been omitted. II. The popularizers occasionally pondered man and history. They wrote no formal treatises but they wrote many prefaces and dedicatory letters in which it was standard procedure to discuss briefly the purpose of a work and to reflect on man and history. … Influenced by the events of his century and the current discussions of man and history, Sansovino assigned limits to man’s participation in shaping his world. He believed that man could shape his political destiny in day-to-day affairs but that politics was in the long run subject to an inevitable cycle. Sansovino viewed the growth and decline of states in terms of Polybius’ anacyclosis. The initially good government of one man, monarchy, became a tyranny. Then the state was renewed by the efforts of a few good men who made it an aristocracy. This in turn decayed into oligarchy and was replaced by democracy which became mob rule which, in turn was supplanted by one-man rule as the cycle continued. Sansovino noted that worthy men attempted unsuccessfully to establish principates or republics to endure a thousand years. The reasons for failure were twofold. By their nature all human institutions carried within themselves the seeds of corruption which were human excesses and disorders. Second, one could not provide for everything.
    [Show full text]
  • Leonardo Da Vinci on Nature Alessandro Nova E Gerhard Wolf Knowledge and Representation
    kunsthistorisches institut in florenz kunsthistorisches institut in florenz max-planck-institut max-planck-institut Direttori leonardo da vinci on nature Alessandro Nova e Gerhard Wolf Knowledge and Representation edited by Fabio Frosini and Alessandro Nova Marsilio frank fehrenbach Rather than painting, though, it is music that would represent the tempo- francesca borgo ral structure of nature in the most accurate way. The polyphonic units cre- ated «in un medesimo tempo» mirror the transitoriness of natural objects THE IMPETUS OF BATTLE: perfectly – they are virtual «bodies» whose limbs are united in harmony but VISUALIZING ANTAGONISM IN LEONARDO inevitably doomed to pass and perish («costrette a nascere e morire in uno o più tempi armonici»)50. Painting is different from both nature and music because it virtually eternalizes the temporal existence of things and bodies «in un medesimo tempo». Therefore, it is «piu degna l’opera del pittore che della natura»51, a remarkable statement for a writer who never ceases to celebrate nature as the undisputed «maestra» of painting, the paradigm of human art52. Painting, triggered by the power of nature to impress or imprint its own images in the mind of man, emerges as a «second nature», Comme si les variations des choses lui paraissaient dans le calme trop lentes, an expression of the first nature’s longing to maintain the existence of every il adore les batailles, les tempêtes, le déluge. Il s’est élevé à les voir dans leur product, suspending the fugacity of time. While the first nature struggles ensemble mécanique et à les sentir dans l’indépendance apparente ou la vie de leurs fragments, dans une poignée de sable envolée éperdue, dans l’idée égarée de to overcome death through procreation, pittura «doesn’t have children» chaque combattant où se tord une passion et une douleur intime1.
    [Show full text]
  • Simonetta Cattaneo Vespucci: Beauty. Politics, Literature and Art in Early Renaissance Florence
    ! ! ! ! ! ! ! SIMONETTA CATTANEO VESPUCCI: BEAUTY, POLITICS, LITERATURE AND ART IN EARLY RENAISSANCE FLORENCE ! by ! JUDITH RACHEL ALLAN ! ! ! ! ! ! ! A thesis submitted to the University of Birmingham for the degree of DOCTOR OF PHILOSOPHY! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! Department of Modern Languages School of Languages, Cultures, Art History and Music College of Arts and Law University of Birmingham September 2014 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ABSTRACT ! My thesis offers the first full exploration of the literature and art associated with the Genoese noblewoman Simonetta Cattaneo Vespucci (1453-1476). Simonetta has gone down in legend as a model of Sandro Botticelli, and most scholarly discussions of her significance are principally concerned with either proving or disproving this theory. My point of departure, rather, is the series of vernacular poems that were written about Simonetta just before and shortly after her early death. I use them to tell a new story, that of the transformation of the historical monna Simonetta into a cultural icon, a literary and visual construct who served the political, aesthetic and pecuniary agendas of her poets and artists.
    [Show full text]
  • Inventaire Des Livres Italiens Conservés Dans Les Départements De L’Eure Et De La Seine-Maritime
    INVENTAIRE DES LIVRES ITALIENS CONSERVÉS DANS LES DÉPARTEMENTS DE L’EURE ET DE LA SEINE-MARITIME par Gaëlle Thomasset de Longuemare, 1er avril 2015 Introduction Le programme Routes du livre ancien italien en Normandie est un projet international et pluridisciplinaire qui entre dans un programme plus large de valorisation du livre italien dans le cadre de l'axe Valorisation du patrimoine littéraire et esthétique du LASLAR de l'Université de Caen Basse-Normandie. Développé dans le cadre du Contrat Projet État-Région 2008-2011, ce projet a jusque là connu plusieurs phases : d'abord l'élaboration d'une première version de la base RDLI à partir de la rétro-conversion du catalogue d'Alain Girard (Livres imprimés en Italie de 1470 à 1600 conservés dans les bibliothèques publiques de la région Basse-Normandie, Caen, Bibliothèque de la ville de Caen, 1982), puis l'enrichissement de ces notices. Ces deux étapes réalisées, le programme étend désormais ses recherches aux livres italiens conservés dans les départements de l'Eure et de la Seine-Maritime. À ces fins, nous avons réalisé un inventaire recensant les livres anciens italiens publiés, quelle que soit la langue, depuis les débuts de l’imprimerie jusqu’à 1600 et conservés dans les établissements des département de l’Eure et de la Seine-maritime. En effet, si le catalogage des livres italiens Bas-Normands a pu être facilité par le catalogue Girard et la première base RDLI qu'il s'agissait d'enrichir, il n'existe pas de telles sources pour la région Haute-Normandie. Il fallait donc, avant toute nouvelle opération de catalogage, identifier quels établissements étaient susceptibles d'être concernés par notre nouvelle campagne, mais aussi situer et quantifier les collections.
    [Show full text]
  • Studio Bibliografico Apuleio Libriantichionline.Com
    Studio Bibliografico Apuleio Via Caio Valerio Mariano, 6 38122 Trento Catalogo 14 Studio Bibliografico Apuleio 3. Apicius 15. Bonanni Catalogo 14 40. Ghirardelli 117. Zonca Studio Bibliografico Apuleio Libriantichionline.com In caso di mancato recapito inviare al C.P.O. di Trento per la restituzione al mittente previo pagamento resi 1. Alighieri 194. Grotius 77. Pignoria 105. Valvasone Responsabile dott. Roberto Sbiroli Via Caio Valerio Mariano, 6 - 38122 Trento - P. Iva 01825860222 Tel e fax 0461/420360 - Cell. 347/3105640 - Conto corrente postale: 42097394 Sito internet: www.libriantichionline.com - E-mail: [email protected] Orario di ricevimento telefonico: da lunedì a sabato 9:30-12.30 / 14:30-18:30 In nostra assenza è sempre attiva la segreteria telefonica Condizioni di vendita - I prezzi sono fissi per tutti, invio dei volumi in contrassegno o dietro pagamento anticipato previa con- ferma della disponibilità dei volumi stessi. - Spese di spedizione a carico del committente. La merce viaggia a rischio e pericolo del committente stesso. - Per ogni controversia è competente il Foro di Trento. - Altre condizioni di vendita conformi all’uso delle librerie antiquarie. I dati personali in nostro possesso saranno gestiti con la massima riservatezza ai sensi della legge n. 675 del 31.12.1996 e delle successive integrazioni legislative. Vendita per corrispondenza (proposta, accettazione, invio della merce e pagamento attraverso i servizi postali) Catalogo periodico maggio 2015 - Stampato da Grafica ,5 Arco (Tn) - Spedizione PostaTarget Si ringrazia per il supporto informatico e per la creazione web MACCOM sas Viale Verona, 190/11 - 38123 Trento - Tel. 0461 402017 - [email protected] - www.maccom.it 90.
    [Show full text]
  • Sansovino Editore Di Dante: La Commedia Del 1564 Gaia Tomazzoli
    Sansovino editore di Dante: la Commedia del 1564 Gaia Tomazzoli To cite this version: Gaia Tomazzoli. Sansovino editore di Dante: la Commedia del 1564. Luca D’Onghia; Daniele Musto. Francesco Sansovino scrittore del mondo. Atti del convegno internazionale di studi Pisa, 5-6-7 dicembre 2018, Edizioni di Archilet, pp.147-178, 2019, 978-88-99614-05-8. hal-02539854 HAL Id: hal-02539854 https://hal.archives-ouvertes.fr/hal-02539854 Submitted on 23 Apr 2020 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. FRANCESCO SANSOVINO SCRITTORE DEL MONDO Atti del convegno internazionale di studi Pisa, 5-6-7 dicembre 2018 a cura di LUCA D’ONGHIA e DANIELE MUSTO EDIZIONI DI ARCHILET MMXIX Edizioni di Archilet 2019 Edizione digitale Gratis Open Access 2019 Il volume è pubblicato con il contributo del Ministero dell’Uni- versità e della Ricerca (progetto PRIN 2015EYM3PR_007) e della Scuola Normale Superiore Edizioni di Archilet via della Chiesa, 15 24067 Sarnico (BG) Direzione: Clizia Carminati, Paolo Procaccioli, Emilio Russo Comitato Scientifico: Eliana Carrara, Giuseppe Crimi, Luca D’Onghia, Roberta Ferro, Enrico Garavelli, Riccardo Gualdo, Carlo Alberto Girotto, Paolo Marini, Paola Moreno, Matteo Residori, Ste- fano Telve, Franco Tomasi, Massimo Zaggia ISBN: 978-88-99614-05-8 INDICE PAOLO PROCACCIOLI, Francesco Sansovino.
    [Show full text]
  • Philip Sidney's Book-Buying at Venice and Padua, Giovanni Varisco's Venetian Editions of Jacopo Sannazaro's Arcadia
    This is a repository copy of Philip Sidney's Book-Buying at Venice and Padua, Giovanni Varisco's Venetian editions of Jacopo Sannazaro's Arcadia (1571 and 1578) and Edmund Spenser's The Shepheardes Calender (1579). White Rose Research Online URL for this paper: http://eprints.whiterose.ac.uk/136570/ Version: Accepted Version Article: Brennan, MG orcid.org/0000-0001-6310-9722 (2018) Philip Sidney's Book-Buying at Venice and Padua, Giovanni Varisco's Venetian editions of Jacopo Sannazaro's Arcadia (1571 and 1578) and Edmund Spenser's The Shepheardes Calender (1579). Sidney Journal, 36 (1). pp. 19-40. ISSN 1480-0926 Reuse Items deposited in White Rose Research Online are protected by copyright, with all rights reserved unless indicated otherwise. They may be downloaded and/or printed for private study, or other acts as permitted by national copyright laws. The publisher or other rights holders may allow further reproduction and re-use of the full text version. This is indicated by the licence information on the White Rose Research Online record for the item. Takedown If you consider content in White Rose Research Online to be in breach of UK law, please notify us by emailing [email protected] including the URL of the record and the reason for the withdrawal request. [email protected] https://eprints.whiterose.ac.uk/ 1 Philip Sidney’s Book-Buying at Venice and Padua, Giovanni Varisco’s Venetian editions of Jacopo Sannazaro’s Arcadia (1571 and 1578) and Edmund Spenser’s The Shepheardes Calender (1579)1 [Abstract] This essay traces Philip Sidney’s involvements with the book trade at Venice and Padua during his residence there from November 1573 until August 1574.
    [Show full text]
  • Notes on the Presence of Boccaccio in Cristoforo Landino's <I>Comento
    Notes on the Presence of Boccaccio in Cristoforo Landino's Comento sopra la Comedia di Danthe Alighieri Simon A. Gilson Italian Culture, Volume 23, 2005, pp. 1-30 (Article) Published by Michigan State University Press DOI: https://doi.org/10.1353/itc.2006.0012 For additional information about this article https://muse.jhu.edu/article/204837 [ This content has been declared free to read by the pubisher during the COVID-19 pandemic. ] Notes on the Presence of Boccaccio in Cristoforo Landino’s Comento sopra la Comedia di Danthe Alighieri ———————— simon a. gilson recent years have seen a resurgence of critical interest in cristoforo Landino’s celebrated and widely influential Dante commentary, the Comento sopra la Comedia di Danthe Alighieri, which was first printed in late August 1481 and underwent some 20 reprints, in various formats, before the end of the sixteenth century (see Cardini 1973, 1974, 1990; Dionisotti 1965, 1972; Field 1988, 231–49; Gilson 2003a; 2003b; 2005, 163–230; Haywood 2004; La Brasca 1985, 1986, 1987; Lentzen 1971; Parker 1993, 76–85; Procaccioli 1989). Scholarly inquiry has focused upon the ideological qualities of the Comento, in particular its proemio, or prologue, as well as upon its extensive body of glosses, or chiose, which has received particular attention with respect to Landino’s interest in allegory and Platonism, his indebtedness to the trecento tradition of Dante commentary, and his reliance on his own earlier activities both as teacher of vernacular and classical poetry at the Florentine Studio and as author of the Latin dialogues, the De anima (c. 1471) and the Disputationes Camaldulenses (c.
    [Show full text]
  • Marsilio Ficino, Philosopher, and Head of the Platonic Academy of Florence
    Ho\oler Thef,, mutilation, and underlining of books '''«'P""<'^y action and may Zl',rTresult m dismissal from the University BUILDING US|E ONLY PEB-|6 1974 /£B . 6 197^ BUlLDlNcj USE ONLY 0CTi9|l979 OCT 131 L161 — O-I096 MARSILIO FICINO, PHILOSOPHER, AND HEAD OF THE PLATONIC ACADEMY OF FLORENCE BY HARRIET WELLS HOBLER A. B. Rockford College, 1882 THESIS Submitted in Partial Fulfillment of the Requirements for the Degree of MASTER OF ARTS IN HISTORY IN THE GRADUATE SCHOOL OP THE UNIVERSITY OF ILLINOIS 1917 H^^ UNIVERSITY OF ILLINOIS THE GRADUATE SCHOOL i -^^ .9. 7 I HEREBY RECOMMEND THAT THE THESIS PREPARED UNDER MY SUPER- VISION BY ____ ENTITLED BE ACCEPTED AS FULFILLING THIS PART OF THE REQUIREMENTS FOR THE DEGREE OF In Charge of Thesis Head of Department Recommendation concurred in :* Committee on Final Examination* ^Required for doctor's degree but not for master's. 376559 UlUc' . TABLE OF CONTENTS PROLOG: Two portraits of Marsilio Ficino. INTRODUCTION: The study of Greek in the fifteenth century CHAPTER I: Ficino' s early dedication to the study of Plato; his education; devotion to the work; Cosmo de' Medici's gifts to him; his study of Greek; his letters; his friends; intimate friendships; loyal- ty to Medici family; habits; personal appearance; character; his father, who lived with him; foreign friends; offers of honor and homes; death and burial CHAPTER II: The Florentine Academy; banquets, Landino' description of them; course of instruction in Acad emy; description of assembly rooms; importance; spread of movement. CHAPTER III: Ficino' s works; produced under Lorenzo's patronage; Dialogues of Plato; Enneads of Plotinus Teologica Platonica; Orphic Hymns; other writers of Neo-Platonic School; St.
    [Show full text]
  • Profiling Women in Sixteenth-Century Italian
    BEAUTY, POWER, PROPAGANDA, AND CELEBRATION: PROFILING WOMEN IN SIXTEENTH-CENTURY ITALIAN COMMEMORATIVE MEDALS by CHRISTINE CHIORIAN WOLKEN Submitted in partial fulfillment of the requirements For the degree of Doctor of Philosophy Dissertation Advisor: Dr. Edward Olszewski Department of Art History CASE WESTERN RESERVE UNIVERISTY August, 2012 CASE WESTERN RESERVE UNIVERSITY SCHOOL OF GRADUATE STUDIES We hereby approve the thesis/dissertation of Christine Chiorian Wolken _______________________________________________________ Doctor of Philosophy Candidate for the __________________________________________ degree*. Edward J. Olszewski (signed) _________________________________________________________ (Chair of the Committee) Catherine Scallen __________________________________________________________________ Jon Seydl __________________________________________________________________ Holly Witchey __________________________________________________________________ April 2, 2012 (date)_______________________ *We also certify that written approval has been obtained for any proprietary material contained therein. 1 To my children, Sofia, Juliet, and Edward 2 Table of Contents List of Images ……………………………………………………………………..….4 Acknowledgements……………………………………………………………...…..12 Abstract……………………………………………………………………………...15 Introduction…………………………………………………………………………16 Chapter 1: Situating Sixteenth-Century Medals of Women: the history, production techniques and stylistic developments in the medal………...44 Chapter 2: Expressing the Link between Beauty and
    [Show full text]
  • Coexistence and Contamination of Vernacular and Latin in Alessandro Braccesi's Bilingual Tribute to Camilla Saracini. the Sien
    Coexistence and contamination of vernacular and Latin in Alessandro Braccesi’s bilingual tribute to Camilla Saracini. The Siena and Florence of illustrious women and Neoplatonism.1 In October 1491 the Florentine envoy to Siena, Alessandro Braccesi (1445-1503), composed and dedicated two sonnets in the vernacular and one Latin carmen to Camilla Saracini, the most beautiful girl in the city, who had recently and suddenly become blind. While this may seem only occasional poetry by a lesser-known figure of fifteenth-century Tuscany, a closer look at both the texts and their context reveals that these poems mirror the social and artistic ambitions embedded into Florentine society and the cultural trends of two cities and two languages employed for different purposes. In Siena, where the poems were written, vernacular poetry was the norm, and the production of literary texts in Latin was progressively dying out. Braccesi, however, brought with him a multifaceted Florentine heritage; in his hometown, during the same century, the endorsement of the Tuscan vernacular as the language of literature, culture and philosophy, followed a tortuous path. Braccesi’s work did not stand out among that of his notorious contemporaries. Despite not achieving great success as an intellectual, both his prose and poetry are of great interest, especially in relation to the contamination of Latin and the vernacular. In the specific episode related to Camilla Saracini, it is worth looking into the reasons that moved him to communicate in both languages, when the status of the vernacular was changing side by side with a flourishing Neo-Latin literature.
    [Show full text]