Literatura académica sobre el tema "Francesco Marcolini"

Pietro Aretino intrattiene da Venezia diverse corrispondenze con personaggi di spicco del panorama politico e culturale, come traspare dai nomi altisonanti presenti nelle sue Lettere. Quando decide di rendere noti i suoi contatti epistolari e di includerli in un libro, ottiene un immediato successo che spinge il suo editore, Francesco Marcolini, a stampare nuove edizioni dell’opera. Con l’intento di ribadire il suo primato nell’epistolografia in volgare, Aretino biasima gli scrittori e i tipografi che pubblicano, subito dopo di lui, una moltitudine di libri di lettere, imitandolo. Dalla sua critica esonera però le persone più in vista di Venezia, tra cui Paolo Manuzio, prolifico autore ed editore di raccolte epistolari. Il presente lavoro si propone di analizzare quelle lettere che svelano il complesso meccanismo editoriale che sta dietro agli scambi epistolari del primo Cinquecento.

AbstractA painting by Gillis Coignet of I596 (fig. I) which recently appeared on the art market shows an allegory whose explicit meaning is unclear, there being no text in the cartellino in the lower left-hand corner. The representation is based on a type derived from Democritus of Time releasing Truth from oblivion, vainly obstructed by negative forces such as envy and falsehood. The type, which was illustrated previously by Coignet (fig. 4) is based on the vignette of the Venetian publisher Francesco Marcolini ("Veritas filia temporis") (fig. 3). In Coignets painting there can however be no question of Time, for the depicted figure, a winged grey-haired man, in goat-footed legs, which identifies him as Pan, who stands for the revealed universe but in Platos Kratylos 408 BC is interpreted as the language which indicates everything ("TO IIâν") both for good and evil, so that he is pictured from above as a human being and at the bottom as a goat. Although the two figures cannot be identified precisely, Coignet has evidently transformed an existing theme with the aid of mythographical interpretations into an allegory which may be understood in this sense: the naked female figure symbolises a pure principle (truth, righteous judgement, vita contemplativa), Pan, his head glowing golden from the sky above, indicates human understanding, i.e. human endeavour. Small scenes in the background indicate a religious context, which may be connected with the fact that Coignet had just moved house for the second time, probably for religious reasons.

Thesis--Philosophie--Cambridge, Mass.--Harvard Univ., 1998.
Contient l'inventaire des sources manuscrites des messes d'A. Willaert et une analyse de l'édition musicale à Venise au 16e siècle (l'éd. Francesco Marcolini est plusieurs fois cité). Bibliogr. p. 297-319.

Au xvie siecle, les manuels relatifs au type d'inter, rogation divinatoire que nous decrivons, sont generalement appeles +libri delie sorti;. Ce genre de livres, s'il a suscite la curiosite de grands historiens, n'a pas encore ete le sujet d'une etude approfondie. Ces livres repertorient des questions touchant tous les aspects de la vie quotidienne, avec pour chacune d'elles plusieurs reponses formulees en vers. On n'obtient pas tout de suite une reponse a la question choisie; il faut suivre d'abord un parcours, balise par des inscriptions et des illustrations. Celles-ci forment un "cadre referentiel" par lequel l'auteur decrit un systeme de causalite. Faute de mieux pouvoir cerner le systeme de causalite a l'oeuvre dans la creation, les auteurs de recueils de sorts le captent par le biais d'un imaginaire astrologique. Cependant les reponses ne confirment pas toujours le systeme de determination evoque par le "cadre referentiel"; comme si les auteurs des recueils de sorts suggerent qu'il est possible d'agir librement malgre un certain conditionne, ment. Par consequent, les recueils de sorts, bien qu'ils ne presentent pas une reflexion approfondie sur le theme du libre arbitre, ils nous permettent de repondre a la question comment un public non-savant recevait la problematique du libre arbitre. Nous presentons cinq recueils de sorts (spirito, 1482; fanti, 1527; danza, 1536; marcolini assiste par dolce, 1540 et parabosco, 1551), tous rediges afin de divertir (l'aspect ludique n'a pas d'emblee ete propre a ce type de divina, tion). Nous mettons en avant la dualite entre l'imaginaire du "cadre referentiel", evoquant des systemes de condition, nement astrologiques, d'une part, et, d'autre part, le message sous-entendu par le "texte" (l'ensemble des reponses), rappelant a la responsabilite individuelle, assumee en toute liberte
The +libri delle sorti; ("books of lots") determine a sub-category of the manuals related to future foretelling. Though "books of lots" defied many historians, they were never studied in detail. A "book of lots" collects at one hand questions about daily life and at the other hand for each of this interrogations many versified answers. One does not obtain immediately an answer. The course to a foretelling is subdivised in sequences by a number of references (iconographical or textual). In their entirety, these references suggest a system of causality. Failing to have a clear insight into the way how causality operates in (or: is transmitted through) the creation, the autors restrain usually the contents of those references to the field of astrology (people did still had a geocentric conception of the universe). In spite of this, the answers do not adhere without ado the astrological determination. On the contrary, they often contain allusions reminding the user of such books being responsible of his fate. So this books illustrate, even if they do not present a thoroug worked out reflection on the problem of free will, how such a problem has been received by a broad public. We present five "books of lots" (l. Spirito, 1482; s. Fanti, 1527; p. Danza, 1536; f. Marcolini cooperating with l. Dolce, 1540 and g. Parabosco 1551), allconceived as society gaies (the ludicrousness hasn't been at all times a feature proper to this kind of books). We focused on the duality between the imaginary of the references (generally containig indications that one's lot is appointed by the stars) and the answers, containiq claims to take up personal responsibility for one's acts

Grandi artisti della Maniera italiana come Peruzzi, Salviati, Vasari e Beccafumi hanno fornito i loro disegni per le illustrazioni a stampa dell'editoria veneziana nel Cinquecento. La ricerca ha inteso ricostruire il quadro di questi interventi ancora poco analizzati dagli studi ed evidenziare i rapporti con stampatori e poligrafi come Pietro Aretino