Academic literature on the topic 'Vincenzo Cartari'

Este artigo tem o carácter de relatório sobre um grupo específico de livros da database construída no âmbito do projecto TRATADOS DE ARTE EM PORTUGAL sobre tratados de arte e literatura artística que foram importantes fontes para artistas e que se encontram nos fundos das bibliotecas portuguesas. O estudo de edições, versões e traduções dos mais, e menos, conhecidos mitógrafos em Portugal desde Boccaccio até Baltazar de Vitoria constitui o principal objectivo deste estudo. Depois de analisar quais os autores, os livros e línguas mais acessíveis aos portugueses, concluímos que depois da edição do Teatro de los Dioses de la Gentilidade (1620-23) da autoria do frei espanhol Baltazar de Vitoria, este livro era preferível à Imagini degli dei (1556) do italiano Vincenzo Cartari.

Este artigo tem o carácter de relatório sobre um grupo específico de livros da database construída no âmbito do projecto TRATADOS DE ARTE EM PORTUGAL sobre tratados de arte e literatura artística que foram importantes fontes para artistas e que se encontram nos fundos das bibliotecas portuguesas. O estudo de edições, versões e traduções dos mais, e menos, conhecidos mitógrafos em Portugal desde Boccaccio até Baltazar de Vitoria constitui o principal objectivo deste estudo. Depois de analisar quais os autores, os livros e línguas mais acessíveis aos portugueses, concluímos que depois da edição do Teatro de los Dioses de la Gentilidade (1620-23) da autoria do frei espanhol Baltazar de Vitoria, este livro era preferível à Imagini degli dei (1556) do italiano Vincenzo Cartari.

AbstractAmong the books in the sale catalogue of Pieter Saeraredam's library (Note I) was a virtually forgotten work on pagan mythology, Hcydensche afgoden, belden, tcmpcls en offerhanden, published in Haarlem in 1646 (Note 2). This rare book crops up again in the 1893 catalogue of Frederik Muller's stock, but the only known example appears to be in the Royal Library in Brussels (Note 3). Among the Dutch sources on the subject, most of which continue the tradition of such Renaissance mythologists as Giraldi, Conti and Cartari, the Haarlem work appears to be the least known and most curious (Note 8). It was published anonymously, bul is dedicated to the author's teacher's, the Haarlem Classicist painters Pieter Fransz. de Grebber (Note 15) and Willem de Poorter. In the dedication the author declares that he felt the lack of descriptions in Dutch of pagan temples, altars and images during his apprenticeship and delermined to make it good later, despite his failure to become an artist. The book was inlended for 'Painters, Poets and others'. It consists of two volumes. The first sections are devoled to pagan religion in general, to the idols mentioned in the Old Testament and to each of the antique gods individually. The second, divided up into countries, offers a kind of information that is rather unusual in the 17th century. Not much is known about the pupils of the two painters mentioned (Notes 10, 11), but among the names we do have (certainly not a complete list) that of Pieter Casteleyn is of unusual interest. He certainly did not become a painter, for in 1645, lert years after the beginning of his apprenticeship to De Poorter, he is recorded as apprenticed to his father Vincent, a well-known Haarlem printer, who in fact printed Heydensche afgoden. Pieter Casteleyn became a member of the Haarlem booksellers' guild in 1649 and from 1650 onwards he was to puhlish the famous Hollandsche Mercurius. In 1649 he printed Pieter de Grebber's 'rules of art', possibly as his masterpiece (Note 14). He may have found some consolation for his failure as an artist in the publication of notes on the gods, which would certainly have been of interest to his teachers, and there would have been time enough to gather the material between 1635 and 1646. He belonged to a relatively well-to-do Mennonite milieu, there is evidence to suggest that he and his brother Vincent probably attended the Latin School and the inventory of his estate made in 1676 included no fewer than 43 paintings, mythological scenes among them (Note 19), none of which contrardicts the hypothesis. If Pieter Casteleyn was indeed the author of the book, there would be some excuse for its weakness, as a youthful work by someone who had not yet found his metier. The book is a mishmash of arbitrary information presented in a totally uncritical and often muddle-headed manner. Casteleyn took over much from the 1581 Frenh edition of Cartari, with the great difference that he was not interested in the meaning, but only in the externals of the images he describes. In the case of Fortuna, f or example, Casteleyn gives a completely arbitrary list of attributes, possibly taken from the illustrations in Cartari (Fig. I), including that of Nemesis (Fig. 2), whose 'measure' he may have wrongly construed as the 'telescope' he so strangely refers to. The illustrations in the book, ten small and rathe primitive woodcuts, are not related to those in the French edition of Cartari. Indeed, in the case of that of Janus (Fig.3), it seems that the artist did not know Cartari's illustration (Fig. 4), since the rod shown there has been transformed, through a linguistic mistake, into a bundle of twigs. As, for the other illustrations (Figs. 5-10), some are of subjects not illustrated in Cartari, while the last one is a rendering in reverse of the illustration of the 'Abgott Jodute' in the Sächsisch Chronicon of 1596 (Note 24). In the title-page print (Fig. 11 ), on the other hand, which may be by Casteleyn himself, the statue of Mercury in the left foreground is a direct borrowing from Carlari (Fig. 12). Whether the Heydenschc afgoden was of any practical use to artists or had any influence on Dutch art seems doubtful, but it did have ils roots in the artistic milieu in Haarlem and as such it remains a highly curious phenomenon.

En 1890, Frank Vincent publicó un libro acerca de Centroamérica titulado In and Out of Central America and Other Sketches and Studies of Travel. El capítulo sobre Costa Rica no se publicó ni en Costa Rica en el siglo XIX, de Ricardo Fernández Guardia, ni en Entre Silladas y Rejoyas: Viajeros por Costa Rica de 1850 a 1950, del autor Miguel Ángel Quesada. Por primera vez, aparece aquí traducido al español para aquellos lectores centroamericanos de relatos de viajes de norteamericanos. Vincent, quien viajó por Costa Rica, Guatemala, Nicaragua, Honduras y El Salvador en 1887, arriba a Puntarenas y sigue su camino a través de Esparta y Atenas hacia San José y, finalmente, Cartago, al mismo tiempo que detalla los lugares que visita.

Fifty specimens of five strains (10 per strain) of Helisoma duryi from Lima (Peru), St. Croix (Virgin Islands), Formosa (Brazil), Cartago (Costa Rica) and St. Vincent (Lesser Antilles), reared in isolation for about 150 days, laid 103 eggs. The numbers of eggs laid by the 10 specimens of each strain were respectively (viable eggs in parenthesis): 44(26), 1 (1), 5(0), 15 (7) and 38 (0). Egg production widely varied between the individuals of each strain, there being in all strains,except St. Vincent, a number of specimens (3 to 9) which did not lay any eggs. After the observation period the isolated specimens, including those that laid no eggs, readily engaged in cross-breeding when mated and brought forfh large numbers of eggs. Self-fertilized F 1s are fully interfertile, producing normal cross-fertilized offspring. Ten specimens of Helisoma trivolvis (strain from Zempoala, Mexico), also reared in isolation for about 120 days, laid 646 eggs, of which 74 were inviable. our data, added to those from a few ´revious studies cited in the text, show that self-fertilization is not so efficient an alternative mode of reproduction in H. duryi as in many other planorbids (it is a little more efficient in H. trivolvis than in H. duryi). Thus, H. duryi benefits much less from functional hermaphroditism which, besides other advantages, enables a single virgin individual to found a new population.

Con le "Imagini degli dei degli antichi", pubblicate a Venezia nel 1556 e poi in più edizioni arricchite e illustrate, l’impegnato gentiluomo estense Vincenzo Cartari realizza il primo, fortunatissimo manuale mitografico italiano in lingua volgare, diffuso e tradotto in tutta l’Europa moderna. Cartari rimodula, secondo accenti divulgativi ma fedeli, fonti latine tradizionali: come le ricche "Genealogie deorum gentilium" di Giovanni Boccaccio, l’appena precedente "De deis gentium varia et multiplex historia" di Lilio Gregorio Giraldi, i curiosi "Fasti" ovidiani, da lui stesso commentati e tradotti. Soprattutto, però, introduce il patrimonio millenario di favole ed esegesi classiche, di aperture egiziane, mediorientali, sassoni, a una chiave di lettura inedita, agile e vitalissima: l’ecfrasi. Le divinità e i loro cortei di creature minori, aneddoti leggendari e attributi identificativi si susseguono secondo un taglio iconico e selettivo. Sfilano, in trionfi intrisi di raffinato petrarchismo neoplatonico e di emblematica picta poesis rinascimentale, soltanto gli aspetti figurabili e distintivi dei personaggi mitici: perché siano «raccontate interamente» tutte le cose attinenti alle figure antiche, «con le imagini quasi di tutti i dei, e le ragioni perché fossero così dipinti». Così, le "Imagini" incontrano il favore di lettori colti e cortigiani eleganti, di pittori e ceramisti, di poeti e artigiani. Allestiscono una sorta di «manuale d’uso» pronto all’inchiostro del poeta o al pennello dell’artista, una suggestiva raccolta di «libretti figurativi» ripresi tanto dalla maniera di Paolo Veronese o di Giorgio Vasari, quanto dal classicismo dei Carracci e di Nicolas Poussin. Si rivelano, infine, summa erudita capace di attirare appunti e revisioni: l’antiquario padovano Lorenzo Pignoria, nel 1615 e di nuovo nel 1626, vi aggiunge appendici archeologiche e comparatistiche, interessate al remoto regno dei faraoni quanto agli esotici idoli orientali e dei Nuovi Mondi.
With his work "Imagini degli dei degli antichi" published in Venice in 1556 and, later, in multiple extended and illustrated editions, the committed Vincenzo Cartari, protégé of the Este dukes, created the first Italian mythographic volume in vulgar language, circulated and translated in all modern Europe. Cartari revised the traditional Latin sources with educational intents and accuracy towards the sources: like the detailed "Genealogie deorum gentilium" by Giovanni Boccaccio, the previous "De deis gentium varia et multiplex historia" by Lilio Gregorio Giraldi, the remarkable "Fasti" by Ovid, which he also commented and translated. Above all, he introduced the fantastic heritage of fables and commentaries of the Classics, with Egyptian, Middle-Eastern, Saxon influences to a bright and lively original interpretation: the Ekphrasis. The Gods and the procession of inferior creatures, the legendary tales and their attributes follow one another with an iconic and selective approach. In a triumph of refined Neoplatonic Petrarchism and classic Renaissance picta poesis, he represented only the conceivable and distinctive attributes of these mythical figures: so that all matters relevant to the ancient figures are «thoroughly explained», «with images of almost all the gods and the reasons they were thus depicted». Hence, "Imagini" was favoured by elegant educated courtiers as well as artists and writers, ceramists and artisans. It staged a sort of «user manual» ready for the ink of the poet or the brush of the painter, an evocative collection of «figurative booklets» evoked by Paolo Veronese and Giorgio Vasari, the Carracci and Nicolas Poussin. Finally, it proved to be an erudite summa that attracts criticism and revisions: the antiquarian Lorenzo Pignoria from Padua, in 1615 and again in 1626, added archeological and comparative appendices with regard to the Ancient Reign of the Pharaohs and the exotic idols of the Orient and the New World.

Con le "Imagini degli dei degli antichi", pubblicate a Venezia nel 1556 e poi in più edizioni arricchite e illustrate, l’impegnato gentiluomo estense Vincenzo Cartari realizza il primo, fortunatissimo manuale mitografico italiano in lingua volgare, diffuso e tradotto in tutta l’Europa moderna. Cartari rimodula, secondo accenti divulgativi ma fedeli, fonti latine tradizionali: come le ricche "Genealogie deorum gentilium" di Giovanni Boccaccio, l’appena precedente "De deis gentium varia et multiplex historia" di Lilio Gregorio Giraldi, i curiosi "Fasti" ovidiani, da lui stesso commentati e tradotti. Soprattutto, però, introduce il patrimonio millenario di favole ed esegesi classiche, di aperture egiziane, mediorientali, sassoni, a una chiave di lettura inedita, agile e vitalissima: l’ecfrasi. Le divinità e i loro cortei di creature minori, aneddoti leggendari e attributi identificativi si susseguono secondo un taglio iconico e selettivo. Sfilano, in trionfi intrisi di raffinato petrarchismo neoplatonico e di emblematica picta poesis rinascimentale, soltanto gli aspetti figurabili e distintivi dei personaggi mitici: perché siano «raccontate interamente» tutte le cose attinenti alle figure antiche, «con le imagini quasi di tutti i dei, e le ragioni perché fossero così dipinti». Così, le "Imagini" incontrano il favore di lettori colti e cortigiani eleganti, di pittori e ceramisti, di poeti e artigiani. Allestiscono una sorta di «manuale d’uso» pronto all’inchiostro del poeta o al pennello dell’artista, una suggestiva raccolta di «libretti figurativi» ripresi tanto dalla maniera di Paolo Veronese o di Giorgio Vasari, quanto dal classicismo dei Carracci e di Nicolas Poussin. Si rivelano, infine, summa erudita capace di attirare appunti e revisioni: l’antiquario padovano Lorenzo Pignoria, nel 1615 e di nuovo nel 1626, vi aggiunge appendici archeologiche e comparatistiche, interessate al remoto regno dei faraoni quanto agli esotici idoli orientali e dei Nuovi Mondi.
With his work "Imagini degli dei degli antichi" published in Venice in 1556 and, later, in multiple extended and illustrated editions, the committed Vincenzo Cartari, protégé of the Este dukes, created the first Italian mythographic volume in vulgar language, circulated and translated in all modern Europe. Cartari revised the traditional Latin sources with educational intents and accuracy towards the sources: like the detailed "Genealogie deorum gentilium" by Giovanni Boccaccio, the previous "De deis gentium varia et multiplex historia" by Lilio Gregorio Giraldi, the remarkable "Fasti" by Ovid, which he also commented and translated. Above all, he introduced the fantastic heritage of fables and commentaries of the Classics, with Egyptian, Middle-Eastern, Saxon influences to a bright and lively original interpretation: the Ekphrasis. The Gods and the procession of inferior creatures, the legendary tales and their attributes follow one another with an iconic and selective approach. In a triumph of refined Neoplatonic Petrarchism and classic Renaissance picta poesis, he represented only the conceivable and distinctive attributes of these mythical figures: so that all matters relevant to the ancient figures are «thoroughly explained», «with images of almost all the gods and the reasons they were thus depicted». Hence, "Imagini" was favoured by elegant educated courtiers as well as artists and writers, ceramists and artisans. It staged a sort of «user manual» ready for the ink of the poet or the brush of the painter, an evocative collection of «figurative booklets» evoked by Paolo Veronese and Giorgio Vasari, the Carracci and Nicolas Poussin. Finally, it proved to be an erudite summa that attracts criticism and revisions: the antiquarian Lorenzo Pignoria from Padua, in 1615 and again in 1626, added archeological and comparative appendices with regard to the Ancient Reign of the Pharaohs and the exotic idols of the Orient and the New World.

L'elaborato si propone di analizzare le relazioni economiche e commerciali tra Cina e Colombia, con uno sguardo alle prospettive future in particolare al progetto di investimento cinese in Colombia: il "dry canal".

Esta tesis doctoral pretende estudiar la antología poética de un solo autor como vía de entrada de un poeta en el sistema literario de la cultura de llegada. Para ello, parte del análisis de la recepción en inglés y en castellano de un corpus de poetas del modernismo norteamericano, entendido en sentido amplio y «polifónico», y se detiene en el estudio de las antologías de poetas modernistas publicadas en castellano, relacionando el capital simbólico del autor con el del traductor-antólogo, en la línea de los estudios de sociología de la traducción. Por último, se propone introducir a la poeta Edna St. Vincent Millay en nuestro sistema literario a través del estudio de su poesía y de la presentación de una antología poética bilingüe que aplique los principios de la hermenéutica. La investigación aportará un análisis transnacional y diacrónico (ejes de la literatura comparada) de la recepción del movimiento modernista norteamericano y reivindicará tanto la importancia de la antología poética de un solo autor como la del traductor-antólogo que la crea.
This PhD research focuses on the study of a single author’s poetic anthology as a poet’s means of entry into the target culture’s literary system. Its starting point will be the analysis of the reception (in both English and Spanish) of a corpus of North American Modernist poets in the wide, «polyphonic» sense of the term. It will then look at anthologies of Modernist poets published in Spanish, relating the symbolic capital of the author with that of the translator-anthologist according to sociological translation studies. Finally, the project aims to introduce Edna St. Vincent Millay into our literary system through the study of her poetry and through the presentation of a bilingual anthology that applies hermeneutic principles. This research will provide a transnational and diachronic analysis—the axes of Comparative Literature— of the reception of the North American Modernist movement, vindicating the importance of an author’s poetic anthology as well as of the translatoranthologist who has created it.
Aquesta tesi doctoral té per objectiu estudiar l’antologia poètica d’un autor com a via d’entrada d’un poeta al sistema literari de la cultura d’arribada. A partir de l’anàlisi de la recepció en anglès i castellà d’un corpus de poetes del modernisme nord-americà, entès en sentit ampli i «polifònic», s’estudien en profunditat les antologies de poetes modernistes publicades en castellà i es relaciona el capital simbòlic de l’autor amb el del traductor-antòleg, d’acord amb la sociologia de la traducció. En darrer lloc, el projecte pretén introduir la poeta Edna St. Vincent Millay al nostre sistema literari mitjançant l’estudi de la seva poesia i la presentació d’una antologia poètica bilingüe que apliqui els principis de l’hermenèutica. La recerca oferirà una anàlisi transnacional i diacrònica (eixos de la literatura comparada) de la recepció del moviment modernista nord-americà i reivindicarà tant la importància de l’antologia poètica d’un autor com la del traductor-antòleg que la crea.

Questa tesi mira a fornire un nuovo catalogo dei dipinti di Bartolomeo Cesi (1556-1629). Il focus del lavoro sono le opere dell'artista, ma questi è stato indagato anche nei suoi aspetti biografici, recuperando le bozze manoscritte di Carlo Cesare Malvasia conservate all'Archiginnasio di Bologna (ms. B 16) o ricercando informazioni presso gli archivi di quella città. La considerazione corrente, da parte della critica, di Cesi come un artista dotto, così erudito da saper formulare anche programmi iconografici complessi, viene messa in dubbio proprio grazie alle fonti documentarie ritrovate. Non vi sono nuove acquisizioni di pitture, ma continue sono le proposte e le riflessioni condotte nell'ambito della loro cronologia, un campo non facile per via dello stile molto costante del pittore e per via della sua nota predilezione a ricopiare figure già inventate anche a distanza di decenni. In questo senso viene ribadita la tesi, già essenzialmente acquisita ma che mancava spesso di conferme, di riscontri con le opere, dell'avvio di una fase calante del pittore a partire dalla fine del primo decennio del Seicento. Un'attenzione particolare è stata rivolta alle commissioni di opere a tema profano, ovvero al ciclo dedicato alle Storie di Enea a Palazzo Fava a Bologna e a quello delle Storie di Annibale di Palazzo Albergati, quest'ultimo un inedito di straordinario interesse per via del tema, così raro, che è raffigurato, e per via dei numerosi quesiti che pone ancora.