La fama di Francesco Melzi, che ha affiancato Leonardo a Milano, a Roma e in Francia e ne ha ered... more La fama di Francesco Melzi, che ha affiancato Leonardo a Milano, a Roma e in Francia e ne ha ereditato le carte e i disegni ricavandone il Libro di Pittura , e indiscussa. Tuttavia la storia inizia solo ora a chiarirsi: inediti documenti provano che Francesco risiedette per lunghi periodi dell’anno non a Vaprio d’Adda, come avevano tramandato alcune fonti tarde, bensi presso la canonica di San Giovanni Evangelista di Canonica di Pontirolo, dove mori nel 1567. Questa data costituisce una nuova acquisizione, cosi come il suo testamento del 1565, qui pubblicato per la prima volta.
ceSarina caSanova Mogli e vedove di condottieri in area padana fra Quattro e Cinquecento eLena Pa... more ceSarina caSanova Mogli e vedove di condottieri in area padana fra Quattro e Cinquecento eLena PaPagna Tra vita reale e modello teorico: le due Costanze d'Avalos nella Napoli aragonese e spagnola gabrieLLa zarri Caterina Cibo duchessa di Camerino Letizia arcangeLi Un'aristocrazia territoriale al femminile. Due o tre cose su Laura Pallavicini Sanvitale e le contesse vedove del parmense 595 roSSana Sacchi Caterina Bianca Stampa Petra e poi Lodrone micheLe caSSeSe Giovanna e Maria d'Aragona: due sorelle napoletane «doppio pregio ad una etade» e il rapporto con il potere nel '500 SuSanna PeyroneL I carteggi di Giulia Gonzaga bruce L. eDeLStein Eleonora di Toledo e la gestione dei beni familiari: una strategia economica? monica miretti Mediazioni, carteggi, clientele di Vittoria Farnese,
Acme Annali Della Facolta Di Lettere E Filosofia Dell Universita Degli Studi Di Milano, 2012
to the fact that he was Jewish) and while there he formed a large number of pupils. today his act... more to the fact that he was Jewish) and while there he formed a large number of pupils. today his activity as a teacher and divulgator has to be regarded as more important than his scholarly one: starting in the mid-1920s D'ancona, who until then had focused mainly on the History of illumination, devoted himself especially to the divulgation of art History, constantly updated and expounded in a very clear manner in schoolbooks and printed works that were meant to have a large circulation. this article is centered mostly around a brief foreword to Benvenuto cellini's Vita (Milano, cogliati, 1925), in which D'ancona drifts away from adolfo Venturi's and igino Benvenuto Supino's well-established critical patterns in order to define the artist's Mannerism in very modern terms, also by accurately appraising his sculptures, that he came to fully appreciate for their formal and intentionally refined elegance. the echo of this short, yet very appropriate art History lesson cannot be found in contemporary art literature, but only in the pages by the philologists and scholars that from that moment on wrote a foreword to cellini's Vita: enrico carrara, Bruno Maier, ettore Bonora, carlo cordié. D'ancona owes the surprisingly modern interpretation of these works of art to honest pedagogical practice, rather than to rigorous disciplinary orientation: he was strongly influenced by the personality of his father, alessandro D'ancona (1835-1914), an italian literature professor at the normale di Pisa for almost half a century, and followed his model by taking cues from the method of the faded historical school and by updating it thanks to the warm bond he had struck up with lionello Venturi as well as with other scholars of his time. *) a elisa Benaim Sarfatti, con stima e riconoscenza; grazie a leonardo andreoli,
La fama di Francesco Melzi, che ha affiancato Leonardo a Milano, a Roma e in Francia e ne ha ered... more La fama di Francesco Melzi, che ha affiancato Leonardo a Milano, a Roma e in Francia e ne ha ereditato le carte e i disegni ricavandone il Libro di Pittura , e indiscussa. Tuttavia la storia inizia solo ora a chiarirsi: inediti documenti provano che Francesco risiedette per lunghi periodi dell’anno non a Vaprio d’Adda, come avevano tramandato alcune fonti tarde, bensi presso la canonica di San Giovanni Evangelista di Canonica di Pontirolo, dove mori nel 1567. Questa data costituisce una nuova acquisizione, cosi come il suo testamento del 1565, qui pubblicato per la prima volta.
ceSarina caSanova Mogli e vedove di condottieri in area padana fra Quattro e Cinquecento eLena Pa... more ceSarina caSanova Mogli e vedove di condottieri in area padana fra Quattro e Cinquecento eLena PaPagna Tra vita reale e modello teorico: le due Costanze d'Avalos nella Napoli aragonese e spagnola gabrieLLa zarri Caterina Cibo duchessa di Camerino Letizia arcangeLi Un'aristocrazia territoriale al femminile. Due o tre cose su Laura Pallavicini Sanvitale e le contesse vedove del parmense 595 roSSana Sacchi Caterina Bianca Stampa Petra e poi Lodrone micheLe caSSeSe Giovanna e Maria d'Aragona: due sorelle napoletane «doppio pregio ad una etade» e il rapporto con il potere nel '500 SuSanna PeyroneL I carteggi di Giulia Gonzaga bruce L. eDeLStein Eleonora di Toledo e la gestione dei beni familiari: una strategia economica? monica miretti Mediazioni, carteggi, clientele di Vittoria Farnese,
Acme Annali Della Facolta Di Lettere E Filosofia Dell Universita Degli Studi Di Milano, 2012
to the fact that he was Jewish) and while there he formed a large number of pupils. today his act... more to the fact that he was Jewish) and while there he formed a large number of pupils. today his activity as a teacher and divulgator has to be regarded as more important than his scholarly one: starting in the mid-1920s D'ancona, who until then had focused mainly on the History of illumination, devoted himself especially to the divulgation of art History, constantly updated and expounded in a very clear manner in schoolbooks and printed works that were meant to have a large circulation. this article is centered mostly around a brief foreword to Benvenuto cellini's Vita (Milano, cogliati, 1925), in which D'ancona drifts away from adolfo Venturi's and igino Benvenuto Supino's well-established critical patterns in order to define the artist's Mannerism in very modern terms, also by accurately appraising his sculptures, that he came to fully appreciate for their formal and intentionally refined elegance. the echo of this short, yet very appropriate art History lesson cannot be found in contemporary art literature, but only in the pages by the philologists and scholars that from that moment on wrote a foreword to cellini's Vita: enrico carrara, Bruno Maier, ettore Bonora, carlo cordié. D'ancona owes the surprisingly modern interpretation of these works of art to honest pedagogical practice, rather than to rigorous disciplinary orientation: he was strongly influenced by the personality of his father, alessandro D'ancona (1835-1914), an italian literature professor at the normale di Pisa for almost half a century, and followed his model by taking cues from the method of the faded historical school and by updating it thanks to the warm bond he had struck up with lionello Venturi as well as with other scholars of his time. *) a elisa Benaim Sarfatti, con stima e riconoscenza; grazie a leonardo andreoli,
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