The Harvard University Center for Italian Renaissance Studies Villa I Tatti Via di Vincigliata 26, 50135 Florence, Italy Volume 22 E-mail: [email protected] / Web: http://www.itatti.it—,m— Telephone: +39-055-603-251 / Fax: +39-055-603-383 Autumn 2002 t has been a month since Françoise and promises a lecture on the erotic ele- Iand I were driven up the tortuous First Impressions ment in religious art; each of the thirty- curves of the Via di Vincigliata, not for P seven Madonnas who look down on the first time, but for the first time as me as I wander through the house home. Memories of these warns me against the temp- thirty days, each at first so dis- tations that might arise tinct, are beginning to coalesce from Bette’s slides. Nicholas into one vast and variegated Eckstein will come from first impression. As always Sydney in the spring semester when one arrives in Italy there to preside over a symposium is the assault on the senses, but he is organizing on the more pronounced than ever, Brancacci Chapel for the first and on all five of them. On week of June. This will be an taste, of course, from the wine interdisciplinary experience, to and olive oil produced on the be sure, but I wonder what farm. On smell, from the could be more interdis- breezes that blow up in waves ciplinary than the I Tatti from the late-blooming roses lunches, especially if Salvatore and olea fragrans trees in the Camporeale, Eve Borsook, or garden, lately mixed with pun- Peggy Haines, our Senior gent smoke from autumn Incoming director Joseph Connors talking to Research Associates, or Allen burnings on the neighboring Shirley Hazzard Steegmuller and Fausto Calderai. Grieco or Michael Rocke sit farms. On touch, the sensa- within earshot. tions can be either cold and smooth, series, Early Music at I Tatti. Perhaps it is Walter Kaiser left I Tatti in a superb from the rotund Japanese elephant at under hearing that one might mention state; buildings, gardens, library, and the foot of the stairs, which no one can the two minutes of silence observed by patrimony. No one who has visited help patting, or soft and velvety, from the Fellows and staff, out in the garden, after a long absence has failed to remark the moss on the trunks of the cypresses on September 11th, so very moving to on this. And a wonderful staff, who has at the foot of the great allee. The cham- this New Yorker. But as Berenson taken us generously into the extended pion Florentine mosquitoes also see would have wished, it is the sense of family of I Tatti, is part of his gift to us to it that this sense is not under- sight that is most exercised when one too. Of the rich legacy left by his pre- represented. The assault on hearing arrives at I Tatti: by the exquisite flower decessors, Françoise and I constantly begins gently, with the vesper bell of arrangements Margrit places in every think as well of the example of Craig S. Martino, but picks up at night, from room, by the view down the enfilade of and Barbara Smyth, and of their wise the many species of birds, the lone the garden from the piano nobile, by the observation, made over lunch just night-owl, and the squealing piglets in glow of the fondi d’oro, at their brightest before we left New York, that it had the boar troop whose latest transhu- in early evening when the rest of the been exhilarating to work so closely as a mance has brought them to I Tatti, house sinks into darkness. couple. where they live off the grapes. To these Fifteen Fellows have now arrived: Behind every painting, behind the memory now adds the haunting voices five American, six Italian, two British, house and gardens, behind half of the of La Reverdie, the north Italian group one French, and one Czech. I Tatti is as books, lurks the endlessly fascinating who performed a few days ago to a full international as ever. Bette Talvacchia figure of the founder. When we arrived has begun her year as Visiting Professor Limonaia in the first concert in a new Continued on back page Cambridge Office: Villa I Tatti, Harvard University, 124 Mt. Auburn Street, Cambridge, MA 02138-5762 Telephone: +1 617 496-8742 or +1 617 495-8042 / Fax: 617 495-8041 Web: http://www.itatti.it VILLA I TATTI COMMUNITY 2001-2002 Fellows ROBERTO LEPORATTI, Lila Wallace – Research Associates Reader’s Digest Fellow, Scuola Media “A. URT ARSTOW, Ahmanson Fellow, J. Paul K B Lorenzetti,” Monticiano (SI), Literature. FABIO BISOGNI, Università di Siena, Art Getty Museum, Art History. “Art in the Age of “Ricerche sulla figura e l’opera di Girolamo History. “Rifacimento della sezione iconografica Mantegna.” Benivieni (1452-1542).” della Bibliotheca Sanctorum.” ANDREW C. BLUME, Rush H. Kress Fellow, CHRISTIAN R. MOEVS, Andrew W. Mellon LINA BOLZONI, Scuola Normale Superiore, Harvard University, Art History. “Sixtus IV and Fellow, University of Notre Dame, Literature. Pisa, Literature. “Prediche in volgare e uso delle his Palace Chapel: the Sistine Chapel in the 15th “Landino’s Dante: The Spiritual-Philosophical immagini dalle origini al Savonarola.” Century.” Interpretation of the Comedy in the EVE BORSOOK, Villa I Tatti, Art History. CAMMY BROTHERS, Hanna Kiel Fellow, Renaissance.” “Medieval Mosaic Technology” and “Life & University of Virginia, Art History. “Memory CAROLINE P. MURPHY, Melville J. Kahn Letters of Filippo Strozzi the Elder.” and Invention in Michelangelo’s Architectural Fellow, University of California, Riverside, Art SALVATORE I. CAMPOREALE, The Johns Drawings.” History. “Artistic Patronage of Felice della Hopkins University, History. “Uno studio sul De MARILINA CIRILLO FALZARANO, Jean- Rovere Orsini, Daughter of Julius II.” libero arbitro di Lorenzo Valla.” François Malle Fellow, Liceo Classico Tito Livio, 2 JONATHAN NELSON, Robert Lehman Fellow, GINO CORTI (Emeritus), Villa I Tatti, Sant’Agata dei Goti (BN), Literature. “Metodi e f Syracuse University in Florence, Art History. Paleography and History. “Lorenzo de’ Medici, tecniche del tradurre nei volgarizzamenti trecen- “The Definition, Analysis, and Reception of collezionista di antichità.” teschi pisani.” Michelangelo’s Female Nudes.” LAURA CORTI, Istituto Universitario di SUZANNE G. CUSICK, Frederick Burkhardt DEANNA M. SHEMEK, Hanna Kiel Fellow, Architettura, Venezia, Art History. “Le genealo- Residential Fellow, New York University, University of California, Santa Cruz, Literature. gie degli scalpellini fiesolani.” Musicology. “The Seicento Musician Francesca “Critical Book on the Letters of Isabella d’Este.” Caccini: Gender, Power, Vocality.” ALLEN GRIECO, Villa I Tatti, History. “A Social and Cultural History of Alimentary Habits NDREW ELL’ NTONIO, Andrew W. Guest Scholar A D A in Renaissance Italy.” Mellon Fellow, The University of Texas at Austin, GÉRALDINE ALBERS, Florence Gould Guest Musicology. “Changing Models of Listening MARGARET HAINES, Opera di Santa Maria Scholar, Art History. “Histoir de la dépose des Practice in Italy, 1580-1630.” del Fiore, Art History. “Edition and Database of peintures murales en Italie. Mémoire des lieux, the Documentation of the Florentine Opera del RUCE . DELSTEIN, Jean-François Malle B L E voyage des oeuvres.” Duomo during the Cupola Period.” Fellow, New York University in Florence, “Eleonora di Toledo and the Early History of the Visiting Professors JULIAN KLIEMANN, Bibliotheca Hertziana, Boboli Gardens.” Art History. “Temi imperiali nell’iconografia ARTHUR FIELD, Indiana University, History. papale del Cinquecento.” PETER FARBAKY (2nd sem), Andrew W. “Francesco Filelfo’s School of Anti-Medici Mellon Research Fellow, Eötvös Loránd University, Rhetoric in Florence, 1429-1434.” ARNALDO MORELLI, Conservatorio Statale Art History. “Florentine Connections of Early di Musica ‘Ottorino Respighi,’ Latina, and CATHERINE GOGUEL (1st sem), Robert Renaissance Art in Hungary.” Università della Calabria, Arcavacata, Cosenza, Lehman Visiting Professor, Musée du Louvre, Art Musicology. “Tradizione scritta e non scritta ATHERINE . ILL, Francesco De Dombrowski K J G History. “Tuscan Drawings in the Louvre nella musica per strumenti da tasto nell’età mo- Fellow, Hill Monastic Manuscript Library, Saint Collections, from Renaissance to Baroque,” and derna,” e “Ritratti di musicisti nel Cinquecento John’s University, History. “The Expansion of “Gender Iconography: The Woman Spinning in Italia: modelli, significati, autenticità.” Women’s Monasticism in late Medieval Italy.” with the Distaff.” MICHAEL ROCKE, Villa I Tatti, History. AROLYN AMES, Deborah Loeb Brice Fellow, C J PAUL HILLS (2nd sem), Robert Lehman Visiting “Edition and Translation of Italian Texts related Monash University, History. “Politics and Professor, University College London, Art to Homoeroticism (14th-17th centuries).” Marital Strategies in the Correspondence of History. “Curtain and Veil in Renaissance Art.” Isabella d’Este.” MASSIMILIANO ROSSI, Università di Lecce, JANEZ HÖFLER (2nd sem), University of Art History. “Le genealogie ‘fantastiche’ dei . AWRENCE ENKENS, CRIA Fellow, A L J Ljubljana, Art History. “The Montefeltro Palace Medici: politica letteraria e figurativa granducale University of New Orleans, Art History. in Urbino (1376-1508).” tra Cinque e Seicento.” “Florentine Artists in Naples and the Formation CHRISTIANE KLAPISCH-ZUBER, École of a Neapolitan Court Style, 1450-1500.” SILVANA SEIDEL-MENCHI, Università des Hautes Études en Sciences Sociales, History. di Trento, History. “Storia interna della ETER AUTNER (2nd sem), Andrew W. P L “The Florentine ‘Magnates’ at the End of the Congregazione dell’Indice” e “I processi matri- Mellon Research Fellow, Hungarian Academy of 14th Century.” moniali degli archivi ecclesiastici italiani.” Sciences, History. “The Influence of Simplicius OLGA PUJMANOVÀ (1st sem), National and Philoponus on Zabarella’s Commentary on MARCO SPALLANZANI, Università di Gallery in Prague, Art History. “Italian Gothic and Aristotle’s De Anima.” Firenze, History. “Hispano-Moresque Pottery in Renaissance Paintings in the Czech Republic.” Renaissance Florence.” Fellows Andrew Blume and Kurt Barstow. Fellows Cammy Brothers and Suzanne Cusick with Margaret McFadden.