IN QUESTO STATO Da spread a spread il trompe loeil del governo Monti (Italian Edition)

Esto dize Pierio Valeriano,40 trastocando ciertas palabras de Fulgencio. Universidad Complutense de Madrid, , vol. El gigante Ticio fue castigado por haber intentado violar a Leto, amante de Zeus: Contenant cent emblemas moraux. Alciati, denuo ab ipso autore recognita, ac, quae desiderabantur, imaginibus locupletata, de Andrea Aliciato, Lyon: Voy a centrarme en dos de ellos.

El primero, el unicornio: El mismo personaje fue representado en el primer arco del Recebimiento a Felipe II: Plinio, Naturalis Historia 8, Eliano, Historia animalium 3, Cristoph Froschauer, , LIB. Quibus etiam quinta additur imperfecta. Officina Frobeniana, , adagio Index auctorum et librorum prohibitorum, qui ab officio Sanctae Romanae et Vniversalis Inquisitionis caveri ab omnibus Su vida y sus obras.

Emblemi e imprese fra antico e moderno. Frobe, , publicados como addendum a los de Erasmo. Officina Frobeniana, , adagio Herculei labos: Angelic music in Marian iconography. A visual discourse about the hope of salvation Abstract This article aims to provide an in-depth study of the meaning of angelic music in Marian iconography.

In what are called apocryphal gospels, the canticles of the angels are associated for the first time in the history of Christ and his mother, Mary, appearing thus in the key moments of the history of human salvation. The first representations alluding to this question arise in the ecclesiastical intellectual elite, but in the early Middle Ages, with the diffusion of hagiographic literature and the increase in Marian worship, the music of the angels comes to form part of the shared imaginary world.

During the Renaissance period this salvational meaning becomes even more intense, new variants emerging more in line with the devotional interests of the time. Musical iconography, angelic music, Virgin Mary, Christ, human salvation. Studies in musical iconology. In Illud Omnia mihi tradita sunt, 6; P. Untersuchungen zur Musikanschauung des Mittelalters.

Sin embargo, las posteriores traducciones y reelaboraciones pueden situarse en los siglos v, vi e incluso en el ix; Santos Otero, A. Evangelio armenio de la infancia 5, Evangelio del Pseudo Mateo 13,6. Evangelio de Nicodemo 2,8, 2; Evangelio de Nicodemo 2 red. Este concepto no era enteramente nuevo. Venter enim tuus gaudium habuit cum omnis celestis symphonia de te sonuit.

Libro de San Juan Evangelista 44, 48 y Caso excepcional es el del llamado Hildergardis Codex c. Nassauische Landesbibliothek, Wiesbaden, fol. The context of her thought and her art. La Escuela de Chartres fue fundada por el obispo Fulberto c. En su tabla central, llamada de la Sacra Estirpe, se representa a la Alianza, [], vol. Maestro del altar Ortenberg Natividad, detalle del Altar Ortenberg, c.

De laudibus Virginis Matris 1, 5; P. Racconto di immagini e di idee. La Virgen mira a su hijito, consciente de su destino. Tras los sacros personajes, un muro se desmorona dejando ver los peores males de los hombres: Veo que menciona dos instrumentos, pero el cuerpo de Cristo es uno solo. Museo di Castelvecchio, Verona. Luego, obrando la carne cosas divinas, es salterio. De esta manera no solo se significa el sacrificio de Cristo Koninklijk Museum voor Schone Kunsten, Amberes. Unde, o salvatrix, que novum lumen humano generi protulisti, collige membra filii tui ad celestem armoniam Symphonia 54, vv.

Trigeminal trinity and Joachimite millenarianism Abstract In this paper we propose a hypothesis regarding the possible theological and political meaning of the images of the trigeminal trinity that arose, fundamentally in the colony during the 16th to 18th centuries. The hypothesis relates this iconographic, spatial, element with the philosophy and theology of history, of Joachimite tradition, which the Franciscans and Jesuits spread around America during these years, with adornments close to heresy. The study is articulated in three parts; the first a succinct presentation is made of the Theology of the Trinity until the period dealt with; the second part provides a brief revision of Franciscan and Jesuit millenarianism that spread throughout America in these centuries; finally, the third part presents the central hypothesis of the study that articulates its different parts, namely, the possible connection between the trigeminal Trinity and Joachimite millenarianism on interpreting this type of heretic representation of the Trinity as a spatial, synchronic representation of the three Ages, that of the Father, the Son and the Holy Ghost, a diachronic display of the theology of history based on how certain monks understood the conquest of the New World.

The results of this study are proposed as a hypothesis to be verified, which requires continuing the search for documental evidence that can confirm the relationship between the circles that the two painters of these heterodox Trinities moved in and the Joachimism as theology of history also with heterodox aspects.

La unicidad personal de Dios Padre se corresponde con la unicidad de la naturaleza en la persona de Cristo. Se trata de apariciones o disposiciones, no de naturalezas. Dios tiene varias esencias. Servet destaca las diferencias entre proceder y ser engendrado: El Hijo es constituido por la esencia pero no compuesto, como dicen los ortodoxos. El Verbo es el principio o inicio de un empezar y no el nombre de sustancia alguna. Cristo fue en otro tiempo Verbo, pero ahora es Hijo.

Cristo estaba con el Padre desde el principio, en persona de Verbo. Cristo es un modo de actuar Dios mismo. Prensas Universitarias de Zaragoza, El Hijo procede a modo de naturaleza como Hijo y a modo de entendimiento como Verbo.

Acta Artis, 1, 2013

El Padre es principio y no causa de las otras dos personas. En la Trinidad hay cuatro relaciones, dos de origen —paternitas y spiratio— y dos de procedencia —filiatio y processio—. No es otro ser sustancial —aliud—, y, sin embargo, es otro —alius—. No es cierto que el Padre sea algo —aliquid— de la Trinidad, sino que el Padre es alguien —aliquis— de la Trinidad. En Dios el esse se identifica con aquello por lo que es —quo est—, lo que es —quod est— y quien es —qui est.

El misterio de la Trinidad [Cruz Cruz, J. Cuando se omite la cruz y el cuerpo del Hijo muerto reposa directamente sobre el Padre, se denomina Paternidad o Compassio patris. Del Serbal, [], vol. Encuentro, [], vol. Espasa Calpe, []; Phelan, J. Servicio de Publicaciones de la Universidad de Navarra, , vol. Sobre el joaquinismo entre los jesuitas se puede consultar Milhou,A. Trinidad trifacial y milenarismo joaquinita — 61 Edad Dorada de la virgen Astrea. El autor retoma la idea de las tres edades, cada una de las cuales acaba con un diluvio: Nos vamos a limitar a explorar esta posibilidad en los dos casos en los cuales tenemos autores conocidos de las Trinidades trifaciales: Sesenta signos del Anticristo.

El ciclo mural del Chiostro degli Aranci: The mural cycle of Chiostro degli Aranci: Post-Masaccio Florentine painting and the Flemish influence Abstract This article presents the basic research results of our investigation into the mural cycle of the Chiostro degli Aranci at the Badia Fiorentina in Florence. Furthermore the study of the various stylistic influences of the mural cycle allows us to suggest a hypothetical participation of the painter in the European travel of the Infante Dom Pedro of Portugal.

Florencia, Quattrocento, pintura mural Keywords: Florence, Quattrocento, mural painting. Un ciclo que consta de trece lunetos y dos grandes franjas decorativas basamentales. Asimismo se conservan diez sinopias, no todas expuestas en el claustro, que se corresponden con los diez lunetos pintados por el primer pintor del claustro. Los documentos distinguen a dos pintores en el claustro: Stamperia di Pietro Gaetano Viviani, , vol.

Aggiunte al Catalogo della II Mostra del The Great Age of the Fresco: Giotto to Pontormo; an exhibition of mural paintings and monumental drawings at the Metropolitan Museum of Art, cat. Il Fiorino ; Procacci,U. Rijksmuseum, ; Procacci, U. Imprimerie Erasmus, ; Procacci,U. Mostra di affreschi staccati, cat.

Les Presses Artistiques, ; idem, Affreschi da Firenze dal xiii al xvi secolo, cat. Gli affreschi del Chiostro degli Aranci in Badia Fiorentina, 3 vols.

Macro: Museo díArte Contemporaneo di Roma

Novas Perspectivas celebrado en diciembre de en Lisboa. Art and Observance in a Renaissance Monastery. Indiana University Press, Departamento de Historia del Arte, Universidad de Barcelona, Estos documentos forman parte del libro llamado Memoriarum [Archivio di Stato di Firenze asfi: En una de estas Archivio Fondazione Horne: Como de todos modos, la primera noticia que se tiene de las posibles investigaciones de Poggi es la de Giuseppina Fontanesi, se puede poner en duda que fuera Poggi el que encontrara los documentos referentes a Consalvo.

A pesar de ello, en Sousa Viterbo28 cita un documento del 17 de di Entre los documentos de la Chancelaria de D. Casa do Livro, ; Leite,D. As minhas teses e as teses de Duarte Leite. Yale University Press, Pedro de Meneses, Lisboa: Pero, por otra parte, en un documento36 de c. Livro da Casa dos Contos. Es, pues, en este punto concreto en el que cabe entender el ciclo del Chiostro degli Aranci. Un semblante propio de la Virgen en las anunciaciones a la Virgen de fray Angelico, pero que aparece repetido casi como un icono en otras obras como por ejemplo en el ciclo de Paolo Uccello en Prato, en la Pala de Santa Lucia dei Magnoli de Domenico Veneziano40 o en el ciclo mural del mismo Uccello en el claustro de San Miniato al Monte Valori Plastici, ; Wohl,H.

Phaidon Press, ; Bellosi,L. Luce, colore e prospettiva nella formazione fiorentina di Piero della Francesca, cat. El ciclo es hoy fragmentario y se encuentra muy deteriorado, lo que dificulta la 3. Franco y Stefano Borsi Borsi,F. Florenz zwischen Gotik und Renaissance. Belser, datan el ciclo entre y Harvard University Press, ; Paviot, J. El ciclo mural del Chiostro degli Aranci — 81 4.

Por otra parte, es probable que el pintor de la Badia en ya no estuviera en Portugal. El influjo flamenco en el ciclo de la Badia se concreta en tres elementos recurrentes: Kunstmuseum Basel - Hatje Cantz, De izquierda a derecha y de arriba abajo: Pero el recurso de los reflejos en el agua no aparece en Konrad Witz hasta obras posteriores, y principalmente cabe preguntarse sobre la dificultad de que el pintor de la Badia hubiese podido conocer el arte de Witz. Probablemente se trate de una vista de la ciudad de Lisboa, pero en todo caso fruto de El ciclo mural del Chiostro degli Aranci — 83 6.

Giovanni di Consalvo Milagro del falcastro detalle de la supuesta vista de Lisboa , , pintura mural, Chiostro degli Aranci, Badia Fiorentina, Florencia. La influencia del ciclo en el periodo formativo de Piero en Florencia ya fue puesta de manifiesto por Luciano Bellosi en Gomes Eannes y Ambrogio Traversari: En el mundo benedictino de la Florencia de el principal conocedor de los escritos de los padres del Fiorentina, ; Wedgwood Kennedy,R.

El ciclo mural del Chiostro degli Aranci — 85 7. Manoscritti e incunaboli di testi patristici da Francesco Petrarca al primo Cinquecento, cat. De izquierda a derecha: El ciclo mural del Chiostro degli Aranci — 87 9. Giovanni di Consalvo El monje tentado por el demonio detalle del posible retrato de Ambrogio Traversari , , pintura mural, Chiostro degli Aranci, Badia Fiorentina, Florencia.

Biblioteca Medicea Laurenziana, Florencia. Harvard University Press, ; Paviot,J. Francis Millet Rogers Rogers, F. Recursos que no pueden entenderse sin un conocimiento directo de la pintura flamenca, materializado en una obligada estancia en Flandes. La fecha surge de un documento asfi, Monte , fol. Otro documento del 18 de mayo de aportado por Richard Fremantle Fremantle, R. El ciclo mural del Chiostro degli Aranci — 89 Un tiempo suficiente para aprender las novedades de la pintura florentina que son la base de sus frescos.

Una posibilidad nunca propuesta en los estudios hechos sobre el ciclo y que esperamos poder solidificar en las conclusiones del doctorado. Las partes en blanco han desaparecido o son ya Abad Moyses Arriba [Per has quatuor] r[es] passio gignitur: Per has quatuor res passio gignitur: Abad Muthius Arriba Qui iuftus fine culpa patitur [Christum? Qui in flagellis a culpa corrigitur latronem bonum.

Qui ergo justus patitur, Christum imitatur; qui in flagellis corrigitur, latronem, qui in cruce Christum cognovit [ Qui nec inter flagella desistit a culpis, sinistrum imitatur latronem P. Sermo erat fratris qui me contristaverat, et repugnavi ut non illum dicerem, sed petivi Dominum, ut tolleret a me et factus est ille sermo sanguis in ore meo, et postquam exspui, requievi. Cum venisset quidam de patribus ad abbatem Achillam vidit eum sanguinem exspuentem, et requisivit quid hoc esset P. Brepols, Patrologiae cursus competus. Series latina , []. El ciclo mural del Chiostro degli Aranci — 91 5.

Abad Hor Arriba [ Dicebant de abbate Hor [ Quia neque mentitus est unquam, neque juravit, neque maledixit hominem, neque necesse non fuit, locutus est alicui P. Nunquam feci propriam voluntatem, nec aliquem docui quidquam, quod ego prius ipse non fecerim P. Mentem nutantem vel errantem solidat lectio, et vigiliae, et oratio: Arriba Puto no[n] e[sse] alium laborem talem qualem orare deum.

XII De eo quoa sine intermissione et sobrie debet orori: Ignoscite mihi, quia puto non esse alium laborem talem qualem orare Deum; dum enim voluerit homo orare Deum suum semper inimici daemones festinant interrumpere orationem eius P. Observa hoc prae omnibus, ut qualis primo die ingredieris apud ipsos, talis etiam reliquos peragas dies cum humilitate P. Nos quidem mundo isti illusimus, vobis autem mundus illusit P. Frater venit ad abbatem Pastorem, et dicit ei: Multae cogitationes veniunt in anima mea, et periclitor in eis.

Calaméo - Acta Artis, 1,

Et ejecit eum senex sub aere nudo, et dicit ei: Expande sinum tuum et apprehende ventum. Non possum hoc facere. Et dicit ei senex: Si hoc non potes facere, nec cogitationes prohibere potes ne introeant, sed tuum est eis resistere P. Arseni, fuge, tace, quiesce; hae enim radices sunt non peccandi P. El ciclo mural del Chiostro degli Aranci — 93 Sicut pisces, si tardaverint in sicco, moriuntur; ita et monachi tardantes extra cellam, aut com viris saecularibus immorantes, a quietis proposito revolvuntur P.

Sicut enim piscis ex aqua eductus statim moritur; ita et monachus perit, si foris cellam suam voluerit tardare P. Nuove precisazioni e qualche scoperta sugli affreschi quattrocenteschi Sergio Rossi La Sistina ri-svelata? Nuove precisazioni e qualche scoperta sugli affreschi quattrocenteschi Riassunto In un suo recente volume, dal titolo perentorio anche se fin troppo definitivo: Ma con un distinguo determinante: New precisions and some discoveries about the fifteenth-century frescos Abstract In a recent study, with the peremptory but definitive title: La Sistina svelata, iconografia di un capolavoro,fatherHeinrichPfeifferoffersanewreading,stimulatingandinsomepartsabsolutely brilliant — although not completely shared — of the full cycle of paintings of the Sistine Chapel.

In this essay I specifically concern myself with the analysis that concerns some aspects of fifteenthcentury painting, showing total agreement with Pfeiffer when he identifies in these frescos specific historical references to the conspiracy of the Pazzi. With a decisive nuance, however: Iconografia di un capolavoro.

E per dirla con lo stesso Pfeiffer: Ma vediamo ora gli antefatti di tutta la vicenda: Maria del Fiore una messa solenne: Bernardo Bandini, riuscito a fuggire a Costantinopoli, fu catturato e giustiziato anche lui, anche se solo il 29 dicembre del Tutta la vicenda si era comunque risolta in un vero e proprio boomerang per Sisto IV. Si tratta della scritta leggibile, sui due archi di trionfo, nello sfondo della Consegna delle chiavi affrescata dal Perugino. Sulla sinistra, in primo piano, tre persone molto vicine tra loro, che indossano vesti preziose e dai colori vivaci, stanno dialogando.

Al proposito si veda ibidem, pag. Institutio novae regerenationis a Christo in baptismo Istituzione della Nuova Legge da parte di Cristo attraverso il Battesimo. Promulgatio evangelicae legis per Christo Promulgazione della legge evangelica attraverso Cristo. Replicatio legis scriptae a Christo Conferma della Legge evangelica da parte di Cristo.

Io concordo infatti con lo studioso gesuita nel cogliere anche in questa scena un preciso riferimento alla congiura dei Pazzi, ma non nei termini da lui indicati in questo brano: Giuliano pertanto, contrariamente a quanto pensa Su una parete infatti tre persone stanno, senza ombra dubbio, tramando una congiura e su quella di fronte la congiura si compie con gli esiti che conosciamo: E ci chiediamo come tutto questo possa considerarsi puramente casuale. Anzi altre due domande ci sorgono a questo punto spontanee. La seconda risposta a me appare altrettanto ovvia, eppure nessuno finora vi aveva mai pensato.

Ma anche in occasione della congiura dei Pazzi il della Rovere aveva manifestato la sua avversione alle condanne a morte, proprio invocando i principi sopra ricordati: Non ci interessa evidentemente, in questa sede appurare se queste parole fossero sincere, ma constatare che Sisto IV faceva professione di questi principi. Sisto IV, dunque, a mio modo di vedere, compie un vero capolavoro politico: Non sono i fiorentini, intende egli dire, probabilmente, ma il papa e la sua famiglia ad avere bisogno di purificazione e, prima tra tutte, le due persone col vestito rosso: Ma anche Lorenzo ne esce in qualche modo riabilitato.

Per quel che riguarda Botticelli, ad esempio, mentre non mi pare di poter scorgere la sua immagine in nessuna delle figure che compaiono nella scena de la Punizione di Core, Datan e Abiron, con. O piuttosto solo ad un anticipo, visto che pare poi che essi siano stati saldati solo nel ? A proposito dei ritratti, la Cavallaro ne ha individuati, con relativa sicurezza, solo un paio: Su Antoniazzo Romano si veda Rossi,S. E per gli studi precedenti, Cavallaro, A. Una generazione di pittori nella Roma nel Quattrocento. Campanotto, ; e Rossi, S; Valeri, S.

Lithos, , in particolare Rossi, S. Al dipinto ha dedicato un accurato studio Cavallaro, A. Venendo agli affreschi del Duomo di Prato e sempre per restare nel campo negli autoritratti, ve ne sono due assolutamente inconfutabili. Da Lorenzo Monaco a Paolo Uccello. William Stirling [-Maxwell] Velazquez and his Works. Parker and Son, , portada. Parker and Son, Literatura de viajes e hispanismo en lengua inglesa. Entre y , cuando Alleyne FitzHerbert, lord St.

En este caso, la literatura de viajes del Setecientos puede estar presente, pero a veces solo tangencialmente. Actas del Simposium, de septiembre de De Christopher Hervey a Richard Ford Harding, on the Pavement in St. Lorenzo El Real del Escorial [ The Escurial, or, A description of that vvonder of the vvorld [ Laurence, Called The Escurial [ Laurence, Called The Escurial […]. Translated From the Spanish by George Thompson.

Dryden Leach, , portada. A pesar de lo que acabamos de comentar, a Clarke no parece que el arte le interesara especialmente. Translated from the Spanish by George Thompson. Longmans, Green and Co. Complete Illustrated Catalogue [Baker, C. Todos los pintores son tratados de manera similar, estuvieran sus obras expuestas en el Palacio Real, en El Escorial o en colecciones privadas —de las que proporciona interesantes noticias—.

El esquema para referirse a las obras es casi siempre el mismo: Museo Nacional del Prado, Madrid. Comentario copiado del que John Henry hace sobre la misma obra en el manuscrito contenido en Ponz, tomo ii Henry Swinburne Travels through Spain in the years and , 2 vols. Davis, [], portada del vol. Wellington Museum, Apsley House, Londres. Talbot Dillon reconoce en el prefacio que, por el itinerario de su viaje, transcurrido en , le fue de mucha utilidad el Viaje de Es Uno parece dignificar la naturaleza, y el otro embellecerla. Letters from Barbary, France, Spain, Portugal.

These rustic Bacchanalians are evidently sketched from nature: Its architect, however, is unknown. This paper, an anticipation of a book on the subject, ascribes the design of the infirmary to Giovanni Giocondo da Verona, a humanist-architect of the highest caliber, a close associate of Leon Battista Alberti and the author of the first illustrated edition of Vitruvius. He enjoyed enormous reputation among contemporaries, but no buildings have thus far been securely attributed to him. Scholars generally have taken this treatise as an accurate representation of the early modern pilgrimage experience.

Indeed, his work is now mainly consulted for descriptions of now lost buildings and objects. But careful reading reveals both inaccuracies and surprising lacunae. For example, why did Mariano—the prolific promoter of Franciscan history—not mention the Pinturicchio frescoes of Bernardino of Siena in the Aracoeli? This paper will examine his discussions of several sites in order to discuss how Mariano experienced the city, evaluate its role in Franciscan history, as well as consider how he wanted other visitors to respond.

It also promised 13 more volumes to reconstruct the urban development of ancient Rome and to document all its buildings, all architectural details and ornaments, all instruments, all inscriptions, all coins and medals, all reliefs, tombstones and statues, all vases and decorative objects, all paintings, all aqueducts and all reconstructable machines. The aim of all this was to understand Roman architecture comprehensively and, by doing so, to re-awake it: Leone, Boston College The history of art and architecture in baroque Rome has essentially been told through singular relationships between powerful patrons and great artists, with Urban VIII Barberini and Bernini as the paradigm.

But Innocent X accomplished a great amount of building in a short amount of time, including the nave decoration of St. I propose a new model for understanding his contribution to the arts in midth- century Rome by focusing on how he accomplished these building projects: But how did these networks impact specific events and were they able to maintain relevance under different Papacies?

For centuries Artemisia Gentileschi has been reputed to be the only woman Roman artist of her times and her crucial role has been deeply investigated Garrard, Christiansen, Mann. Recent studies have revealed instead the presence of many women artists in Rome which function was particularly significant in the first half of the seventeenth century Lollobrigida. For instance, two portraits of Virginia da Vezzo and Maddalna Corvina depict the artists while proudly wearing their pearls necklaces. An etching represents Anna Maria Vaiani with earrings pearls. The choice of a pearls necklace was consciously made.

Symbols of purity and love pearls were also topics in literature. Oste e taverniere si nasce o si diventa? Alcuni nodi storiografici e alcune osservazioni sulla categoria: It explores the relationship between the papacy and the city by focussing on the representation of architecture in painting rather than on built architecture, as most scholarship has tended to do. Not Just for Men. Many of the litigants were male, too, but far from all of them.

Although Italian scholarship has not yet given them much attention, early modern women actively brought cases to civil courts in many places, including Rome. Among the services of the charitable confraternities, as stated in their statutes, was assistance to the needy in conducting lawsuits. The proposal focuses on the first steps of legal procedure that were notably difficult for a woman alone — looking for a lawyer, paying taxes and fees, and asking the for documents necessary to initiate proceedings.

The gap between these two experiences was sometimes bridged by poets who carried out their performances on both sides, reciprocally influenced. Copisti, miniatori, librai, cartolai e legatori.

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Gli artigiani del libro e la biblioteca di S. Inoltre gli stessi frati prestano la loro opera come copisti. Tra i codici commissionati ci sono anche quelli necessari alle celebrazioni religiose, che vengono conservati nella sacrestia, e che molto spesso sono realizzati grazie a lasciti e disposizioni dei laici devoti. Poetry and religion in Rome in the first half of the XVI century: Among the vast influence of this attraction of reformation, that Vittoria spread among various poets and artists, the paper will focus on the multifaceted intellectual Luca Contile, who wrote his Dialogi spirituali Roma, Cartolari, as the result of a visit to Vittoria Colonna in Rome in The image of the city before that, thus, is often portrayed as a repository of antiquities that would only later become an important centre for artists and intellectuals.

One step of this development, however, is not greatly discussed: In this paper I investigate how the arrival of Baccio Pontelli from Urbino represented the possibility of modernizing Rome through an alternative cultural paradigm, despite the obvious Florentine dominance in the artistic scenario.

In fact, many of these traditions dated back only a few centuries or even less, and the Quattrocento popes were assiduous in creating even newer ones — often intended to support their own political or ecclesiastical agendas. This paper explores how popes, curialists, clerics, and scholars used the new technology of print to further codify, publicize, and spread newly invented institutions as though they had existed since time immemorial.

From diplomatic ceremonies like the ambassadorial obedience, to the cult of new relics and saints, to indulgences to promote sacred institutions and projects, print lent antiquity and authority to papal innovations both within the city and abroad in the wider world. During his time in Rome, he was involved in numerous duels, brawls, ambushes, and murders. However, Cellini did not simply narrate these events to create an honest retelling of events; rather, Cellini consciously constructed and embellished his accounts of violence.

Some of these constructs bolstered his own reputation, others intended to attack the reputations of his victims, and some simply followed the mode of popular literature in Italy at the time. In my proposed paper I will discuss one of these reliefs, the one dedicated to St. Cecilia, in terms of narrative. I analyze the ways in which the relief tells its story.

Although here I report on only one sculptural group, the church as a whole is filled with narratives, from the frescoed domed to the painted pendentives, the several large free-standing statues, and five monumental reliefs. My intention is to demonstrate how, by creating a powerful bond between words and images the discourse of narratology serves the interests of art historians.

Molto meno indagati sono stati invece i sentimenti del Caro in materia di fede, anche a causa della sua riservatezza religiosa, da ricercarsi nel suo ruolo pubblico di segretario alla corte dei Farnese. Making Friends in Rome: This was sometimes complicated by political or religious issues: Using mainly correspondence, we will see a few examples of network strategies set up by humanists at that time to secure help and support in Rome in the middle of the 16th century.

Clarice Orsini ca. A Reappraisal Ronald G. Commissioned and displayed on the Capitoline, in St. It is also one of the most overlooked sources for trecento art. The Portuguese in Rome could not have remained aloof from the goings on in their homeland and the Eternal City became a theatre for the dramatic events which pitted different factions among themselves. How did they go about presenting themselves in Rome during the union of the two powers, the rebellion against Spain and its aftermath, especially since the Holy See did not recognize Portuguese independence until ?

Like other national communities in the city the Portuguese had various means to represent themselves there at their disposal: Parceling the Old Basilica of St. Although not always in their early modern contexts, the fragments still survive. I propose looking at the meaning of the dispersed monuments from old St. Churches were proto-museum spaces in the early modern period. Inscriptions, display tactics, and guidebooks called attention to their prestigious origins. The destruction of the old basilca of saint Peter generated new meaning.

Within their new settings, the objects were conspicuous signs of political gift giving, interest in preservation, and pairing sacred material culture with ideologically appropriate locations. Blood, Tears, and Devotion: This talk will explore how the holy stairs and their architectural encasement promoted a spatio-temporal, multi-sensory experience.

Using as a starting point the recent book on the Scala Santa by Nadja Horsch and the discussion of the somaesthetic devotion of Renaissance pilgrims by Allie Terry-Fritsch, the paper will be particularly concerned with the spatial dimension and materiality of religious experience as well as the use of bodily performance to engage with the Passion. Generali agerent, ut in urbem vocaveris, donec vivo, res mihi esset gratissima. Noyes, Wesleyan University The proposed paper plots networks of Counter-Reformation science, gift exchange, and patronage, against material and print culture in Rome ca.

In , Maelcote published in Rome his treatise Astrolabiorum treating his own astrolabium aequinoctiale, containing engraved printed designs that could be fashioned into a working instrument, and dedicated to teenage Italian Prince Francesco Damasceni. Meanings of Manhood in 17th-Century Aristocratic Households Laurie Nussdorfer, Wesleyan University This paper explores interactions among men and boys of different status who lived together in noble households.

Using family correspondence it focuses on the relations, spaces and objects that constructed notions of male identity in Baroque Rome Because of the disproportionate size of the male population papal Rome had many households composed largely of men. Patriarchal ideology dictated a clear hierarchy not only between men and women but also between men, but peculiarities of Roman politics and society inflected household hierarchies in unusual ways.

Using the correspondence of Ferdinando Orsini of the Bracciano line and Orazio Spada , both with sizeable numbers of brothers and sons but also large numbers of male servants, the paper will analyze the texture of interactions that helped to constitute notions of gender in Baroque Rome. His aristocratic fellow countryman Michel de Montaigne, on the other hand, provided a more sardonic view of the ceremonial context in which such music was practiced during the s.

Cipriano de Rore and Giovanni Brevio: His authorship, concealed in the print itself, became evident when he published the poems in his Rime et prose volgari Rome: Blado, , with a dedication to Cardinal Alessandro Farnese. Their prominent position in the madrigal book serves as a kind of signature and suggests that Brevio could have collaborated with the composer in the selection and ordering of the contents.

This paper 1 reports on newly discovered documents that place Brevio in Rome in the household of Cardinal Domenico Grimani; 2 explores Roman connections between Brevio and several of the poets in the madrigal book; and 3 identifies two manuscripts as Brevio autographs. Gli editti e bandi a stampa. This statement also regards the history of the Roman Jews, especially after the creation of the ghetto in under the papacy of Paul IV. The paper will provide an overview on the sixteenth-century dispositions and limitations against Roman Jews, with a special focus on the decrees issued by the Congregation of Roman Inquisition or Holy Office.

Sebastiano del Piombo e le fonti della Cappella Borgherini: La bibliografia comprende numerosi saggi scientifici dedicati dapprima al Medio Evo e al Quattrocento, e negli ultimi anni al Cinque e Seicento. Le fonti di grandi capolavori del primo Cinquecento, quali la Trasfigurazione di Raffaello, la Resurrezione di Lazzaro di Sebastiano del Piombo e la Visione di Ezechiele, ancora di Raffaello si trovano in alcuni trattati teologici, pervasi tutti da fermenti profetici, a partire dalla ben nota Apocalypsis Nova.

Inoltre nella cerchia di Leone X e di suo cugino Giulio particolarissima importanza avevano gli studi cabbalistici degli ebraisti Egidio da Viterbo e Pietro Galatino. Inoltre, essendo San Pietro in Montorio di patronato della corona spagnola, di particolare rilievo per questa committenza sono i coevi rapporti con il mondo iberico. Il crocevia della diplomazia internazionale: Lo stesso scopo, ma per ragioni diverse, era perseguito anche dalle maggiori monarchie europee che temevano lo scoppio di una guerra in Italia di cui si sarebbero potuti avvantaggiare i Turchi per creare basi militari nella penisola.

Patronage, Piety and Politics Peter S. Poulos, University of Cincinnati The emergence of Genoa as an economic power in the sixteenth century saw a diaspora of its citizens, many of whom settled in Rome. The significant contributions of these Genoese to early modern Rome are today still not well understood. Through their influence within the papal curia, and religious and artistic patronage this cohort of Roman society constituted an extension of Genoese politics, culture and taste.

This paper provides a glimpse into this 'Genoese Nation' in Rome through the reconstruction, from contemporary witnesses, of the life and endeavors of G. De Marini and his circle of relatives. A poet, author, and governor of the politically aligned confraternity of San Giovanni Battista dei Genovesi in Rome, De Marini was also a protector of musicians, artists, nuns and of Genoese religious interests in the confraternities of Santa Maria sopra Minerva that helped to preserve a Genoese identity away from his homeland.

The Sante vergini romane as Protestant Invention Elisabeth Priedl, Academy of Fine Arts, Vienna The martyr has always been and still is an extremely ambivalent figure, and this is even more so with female martyr. In periods of political and social upheaval, the figure of the female martyr became stylized as a heroic figure transgressing the border between female and male behaviour.

In late 16th century Rome, the Catholic Church cultivated the veneration and the representation of virgin martyrs, sante vergini romane, as the spearhead of the Counter Reformation and, as is generally assumed, in marked contrast to the Lutheran church, which is well known for its depreciation of both virginity and sanctity. Nel segno di Raffaello: Partendo dai fondamentali studi di Shearman sulle dinamiche della tarda bottega raffaellesca, risulta infatti interessante approfondire l'analisi dei rapporti che il Sanzio intrattenne con i suoi collaboratori, chiamati a supportarlo nelle prime importanti committenze romane.

Il Sanzio aveva potuto conoscere il valore artistico del Viti durante i suoi frequenti soggiorni nel borgo natio Mochi Onori , grazie al proficuo sodalizio che era nato tra lo stesso Timoteo ed Evangelista da Piandimeleto, erede della bottega feltresca di Giovanni Santi Crescentini But she was also one of the most prolific women writers of her generation, sending to press at least fourteen solo volumes in a variety of literary genres and styles, from baroque grotesque and bawdy comedy to sacred narrative poetry.

My presentation will focus on how Costa, a woman denounced by contemporaries as morally suspect because of her public performances, sought Barberini patronage by fashioning her literary persona in the most unlikely of ways — by aligning herself with the figure of Saint Cecilia, the most Roman of saints and the patron saint of music.

Marco, sede della residenza estiva del pontefice e caposaldo della renovatio Paolina, sarebbe stata distribuita verso zone da tempo abbandonate, dando luogo ad un vero e proprio processo di rivitalizzazione del tessuto urbano. Extraordinarily, the tomb employs perspectival illusion to suggest an open grave or burial chamber.

The paper discusses the tomb in terms of late medieval and Renaissance funerary art and other imagery associated with death.

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From Capriccioso to Capricieux: Translating Francesco Borromini's Capriciousness at S. Carlo alle Quattro Fontane S. Carlino as the major drawback of the church. In this paper I argue that Labat radically transformed what "capricious" meant in this context: Carlino, and melding it with notions of the French "caprice", a term of disapprobation in late-seventeenth-century French architectural theory, Labat effectively inverted Borromini's capriciousness at S.

Carlino from a highly positive attribute to a decidedly negative one. Such play with critical terminology is significant to consider as it is characteristic of the way in which critics of the period manipulated language in order to ever intensify their denouncements of Borromini. This talk focuses on two decades of possesso iconography, ca.

By comparing prints to paintings and replacing images in their viewing contexts, artistic choices like format and composition can be better understood and interpreted. Also scrutinized is the plethora of details such as sumptuous textiles, ceremonial objects, and captions for prints. These minutiae are often lost to the present-day beholder.

They conjure an ideal processional performance while supporting the political agenda of the ritual. They depict the moving symbols [pun intended] that took center stage in advertising rank, precedence, and power.

This paper is part of a co-authored book project. Returning to his long-neglected argument, this paper examines garden fountains created in the Lazio region between and as aesthetic and experimental harbingers of the baroque. Their projects entirely overlooked by historians of science and technology , parallel contemporaneous theoretical and laboratory work undertaken by natural philosophers and engineers who began to see results only after Whether successful or not the fountain experiments, with powerful jets, artificial streams, and billowing basins gave impetus to the new baroque aesthetic—only fully realized in the buildings of Francesco Borromini— characterized by movement and flow.

Agostino Chigi and Jakob Fugger Ingrid Rowland, University of Notre Dame, Rome Writing in , Austrian-American economist Joseph Alois Schumpeter assured the readers of his Capitalism, Socialism, and Democracy that the political weight exerted by sixteenth-century bankers like Jakob Fugger of Augsburg and Agostino Chigi of Rome was minimal, and that the bankers themselves eventually paid dearly for their close associations with powerful political figures. Furthermore, the two bankers followed remarkably similar patterns as patrons of the arts, endowing chapels, constructing palaces, but also creating pioneering housing for workers and the poor.

Their interwoven financial networks, often involving the same people, bankers, metalworkers, and artists, suggest that they were collaborators rather than rivals, with commercial networks that stretched from the New World to India. Il castello di Bracciano: Il monumento, sebbene descritto in molte pubblicazioni, risulta relativamente poco indagato: Un libro e la storia: Tuttavia il mondo immaginario ed evocativo del mito non esonera anche gli altri generi di musica vocale, meno indagati eppure ugualmente pregni di ispirazione classica.

Tra questi, il repertorio della cantata da camera, che trova nella Roma fervente del XVII secolo il suo principale luogo di sviluppo. Gli amori libidinosi di Marte e Venere. Da un punto di vista iconografico sembra molto anche la riscoperta della Domus Aurea. La visione di una pittura raffigurante gli amori di Marte e Venere colpisce il fiammingo van Heemskerck, a tal punto da riproporla in diverse sue opere.

As the first comet sighted and studied using the modern telescope, this celestial event garnered much speculation—from the superstitious to the religious and scientific—about observation, perspective, and truth. In Rome, much of the resulting intellectual activity was gathered by Giovanni Giacomo Komarek c. Competition, Camaraderie, and Communal Burial: Moreover, communal burial proved to be especially important for professional bonding. While Seicento principe Pietro da Cortona attempted yet failed to create the largest memorial to date, he succeeded in creating another locus for artist burial in SS.

Academy leader Carlo Maratti followed suit with the erection of his self-aggrandizing wall tomb. This paper considers the development of the multi-faceted purposes of artist tombs in Early Modern Rome: It did this through the celebration of marriage alliances that linked their Venetian provenance to 17th-century aristocratic ancestry of the Colonna and Barberini families thereby mediating historical legacy.

There was another re-elaboration of the early modern past connected to these events. Matrimonium inter Magnates was memorialized through an opera: Using the case of La Rosaura, juxtaposed with Arcadian discourses, my presentation takes on the analytic challenge of grasping diverse temporalities that operate at such historiographical junctures.

Drawing on my long experience as a researcher on the Italian Academies Database a relational database in public access, based on prosopography, bibliography and hypertext, and hosted by the British Library: In my paper, I shall start by surfing Roman academies represented in the database and their cultural interests, such as publications and oral culture, and I shall comment on the networks created by academicians.

Finally, I shall concentrate on two case studies: Antiquarianism and Narrative in the De Varietate Fortunae Goda Thangada, University of Chicago In Book 1 of the De Varietate Fortunae, Poggio pairs antiquarian descriptions of the ruins of Rome with narratives of the reversals of fortune, prompted by observation of the ruins. My project is to examine how antiquarian structures permeated literary genres and interacted with narrative structures.

I characterize antiquarianism as a configuration of the past in non- narrative, object- based cognitive terms: I conceive of antiquarianism not as a genre, but as a structure of thought. To bridge between the past as organized on the page and stored in the mind, I draw an analogy between the antiquarian method and classical mnemotechnics. I argue that the antiquarianism and narrative are distinct forms of cognition that compete with and supplement each other. Giovanni Bussi and the Classical Text: A bishop by trade and a humanist by training, he became the papal librarian for a pope who, it was said, hated knowledge.

Yet Bussi, as the editor of the first printing press in Rome, dedicated his humanist editions of classical texts to both his humanist community and to the distrusting Pope. In my paper, I investigate how Bussi used the classical texts he edited and his personal prefaces to participate in and develop a humanist community in late s Rome, inside and outside the papal environment.

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Emphasizing book culture as well as the importance and danger of gift culture in Renaissance Rome, I argue that Bussi used his position and his prefazioni to reflect on and encourage a humanist community profoundly affected by the production, movement, gifting, and collecting of books.

Nemo alio loco vellet nasci et obire: The ambiguity of his epitaph —for loco refers at the same time to Florence and Rome — reflects the paradoxes of the integration of foreigners in the Roman society. This paper will focus on the interactions between the Roman society and the Florentine elites who settled in Rome during the second half of the 15th century: However a debate emerges between those who, like Stefano Infessura, value positively the presence of these alienigenae and a minority of the Roman nobility, such as Flaminio Tomarozzi, who despise them and constantly blame them for their own misfortune.

It became necessary, especially for the Italian artist, to have studied and worked, if only for a time, in that capital of the world. From Zuccaro to Bellori: The first director principe of the Accademia di San Luca, less than a century earlier, was Federico Zuccaro c. L'Idea de' Pittori, Scultori ed Architetti. From the end of the XVIth to the end of the XVIIth century, artistic practice evolved from mannerism to naturalism, the baroque and neoclassicim, but its theory seems to have remained attached to the notion of Idea, whose Roman history does not change at the same pace as European art history.

Women and Violence in Early Modern Rome, c. Nevertheless, the trial records for the first decades of the seventeenth century of the Tribunale criminale del governatore, the main criminal court in Rome, yield a number of cases of women accused of murder in other forms. A detailed analysis of the stories that emerge from the trials will pose questions about the motives and the means attributed to the accused women. Were they really moved by impulsive passions, or instead by the need to react against physical assaults or by other rational purposes?

Did they kill mainly by poison, or did they also use, as men generally did, bladed weapons? Did the community and the judicial process apply different standards to murderesses than to violent men? The paper opens by proposing that in writers as different as Joachim Du Bellay, Montaigne, Sir Thomas Wilson, and John Donne, encounters with Rome—whether literal or metaphorical—are to be interpreted as encounters with the self made strange. Rome, Attitudes Toward Nature, and the Loggia of Psyche Charles Whitney, University of Nevada Some of the most famous and beloved works of the High Renaissance, such as the Loggia of Psyche frescoes in the Villa Farnesina, are amenable to ecocritical perspectives, affording them new significance today.

The frescoes celebrate the wonder and variety of the natural world and the imbrication of the human world with it according to the universal neoplatonic erotic ladder. This perspective can be explored by considering the diverse contributions of those who influenced or participated in the project, having been drawn to the Roman scene from elsewhere. Finally is the crucial work of painter Giovanni Martini da Udine, whom Raphael assigned to thematize the intimate relation of human and natural worlds by framing the former within a structural web of leaf, fruit, flower, and fantastic beast.

All seem to have shared the assumption that Nature, including the natural world, humans, and the cosmos, is an organism, one that God created and endowed with purpose and agency. Thursday, October 5 9: Design and Renaissance Architecture Chair: Rhetoric and Triumph in Renaissance Architecture Chair: Roman Baroque Painting and Theory Chair: Economia e Finanza Chair: Women Writing, Composing, Painting Chair: