In the monastic reform’s project promoted by Ambrogio Traversari (General of Camaldulensian Order between 1431 and 1439) are included the visits to San Vito in Vicenza, a monastery founded at the beginning of XIIIth century and in decadence after few decades. These visits show that in the Venetian area, and in the case of San Vito, Traversari was compelled to deal with the private interests and his wish to carry out the reform here with the aid of Paolo Venier, Abbot of San Michele di Murano, and Francesco Sandelli, Abbot of Santa Maria delle Carceri near Padua. In the Appendix are edited the testament of Marco da Venezia, Prior of San Vito, and a letter in Traversari’s own hand with which Bernardo da Rimini is named new Prior of San Vito.
Bibliography on the personal library of the humanist Lianoro Lianori (ca. 1425-1478) lists 23 surviving manuscripts both in Greek and Latin. The present paper offers an addition, a copy of the works of Raymond of Penafort (Citta` del Vaticano, Arch. Cap. di S. Pietro, G 26). Besides, the witness of Politian on Lianoro’s library, which the poet inspected in Bologna in 1491, is discussed, as well as the dispersal of Lianoro’s books towards the end of the XVth century.
Ariosto did not know ancient Greek. However, some passages in Orlando Furioso explicitly refer to the Iliad. Hence, we have reconstructed the framework of the Latin translations of the epic poem available at the beginning of the 16th century. Furthermore, textual comparisons of Ariosto’s Orlando Furioso and Latin renditions of the Iliad are carried out in order to ascertain the exact translation adopted by the author. Although far from indisputable, results seem to converge on Lorenzo Valla’s and Francesco Griffolini’s work.
This article aims at describing the literary career of Cesare Della Porta, starting from a curious episode happened in 1576, when the young author was arrested for writing some anonymous poems (‘‘pasquinate’’) against the Jews. In 1578 Della Porta translated into vernacular the first canto of Jacopo Sannazaro’s De partu Virginis, while in 1580 he looked after an edition, probably the princeps, of Torquato Tasso’s Aminta. Four years later, the writer published a collection of poems about the Rosary (Stanze sopra i quindeci misteri del santissimo Rosario, reprinted in 1595) and a long hagiographic poem concerning the life of Saint Omobono, patron of Cremona (Vita, morte, e miracoli di santo Huomobono, dedicated to the bishop Nicolo` Sfondrati). His last and best known work was the tragedy Delfa, printed in 1587 but written twelve years earlier.
This article provides an in-depth and comprehensive analysis of Filippo Alberti’s Rime, published in 1602. Once fairly well-known, Alberti’s literary output has hitherto received little scholarly attention by today’s research. This work substantially extends previous knowledge on his collection of poems and reconstructs the author’s biography and bibliography. The analysis proceeds by identifying the main topics of the Rime (love, dedication, death, occasional and spiritual poems) and the author’s choice of form and meter with respect to contemporary tendencies. In addition, attention is given to lyrics intertextuality in the aim of determining Alberti’s main poetic models. As the article shows, his vibrant but balanced poetry was profoundly influenced by classical authors (Anacreon, Horace), Petrarch and, lastly, coeval poets, such as Giuliano Goselini and Torquato Tasso, that were both Alberti’s correspondents.
Seventeenth-century sources describe a lost edition of Dracontius, Eugenius of Toledo and other poems with notes of commentary produced by Miguel Ruiz de Azagra, an almost unkown Spanish scholar, editor of Corippus (1589). This lost edition would have been previous to the editio princeps of Eugenius published in 1619 by the efforts of Jacques Sirmond. The part concerning Dracontius has been discussed some years ago («Aevum», 80, 2006). The present article marks the discovery of the complete edition in a manuscript (Sevilla, Biblioteca Capitular, 58-1-3). Had it been printed, it would have been a milestone in the editorial history of late-antique and early-medieval authors in Spain. It shows Ruiz de Azagra as a skilled editor and scholar.
One of the largest 18th-century treatises of epistolography is Francesco Parisi, Istruzioni per la gioventu` impiegata nelle Segreterie specialmente in quelle della Corte romana (Rome 1781). A chapter of the book discusses the problem of a national language, to be shared by all the Italian secretaries of that time. Since the language used in letter-writing had to be close to spoken language, the real point was to agree on a standard language commonly understood in the main Italian courts and able to meet the needs of an exchange of letters, which had immensely grown in the 18th Century. For this reason Parisi selected a series of new and largely used words, which, in his opinion, had to be accepted for inclusion in the Crusca.
Pavia, 1854. The dogmatic proclamation of the Immaculate Conception by Pope Pious IX gives rise to a lively theological debate in the local Pavian clergy about the Pope’s prerogatives: on the one hand, a small group of priests are critical towards the papal right to proclaim ex cathedra truths of Faith, while on the other most Pavian clergymen support the Pope’s conduct. In order to put an end to a debate that has come to involve the whole Lombard clergy, in the 1885 the Bishop of Pavia Angelo Ramazzotti suspends four ‘maculate’ priests who have become the leaders of a group of believers opposed to the dogma of the Immaculate Conception. The suspension, followed by the excommunication proclaimed by the Roman Inquisition in 1857, doesn’t put an end to the protest, which generates a vast corpus of writing, both published and unpublished, from the 1880s on. The analysis of some of those writings and of their context may show how the anti-papal protest that had been troubling the Catholic world for centuries was interpreted during the Italian Risorgimento (the struggle for national unity).
The subject of the article is the reconstruction of part of the draft of the novel Suo marito, as a result of two precious findings emerged during the philological work carried out on Luigi Pirandello’s papers: the Taccuino di Harvard and the Taccuino di Coazze. First of all, we carefully consider the planning of the novel through the notes of the first notebook, focusing on the author’s modus operandi. This thing leads to discredit the idea of a Pirandello not too careful about the form of his works. Besides, punctual checks on the second notebook support the thesis of the ‘‘coazzese novel’’. Most of chapter IV and all chapter VII, fundamental parts of the novel, are set in the village of the Val Sangone where Pirandello spent his holiday writing down lots of details later used in Suo marito.
The Liceo ‘‘Cesare Beccaria’’ of Milan is heir to the old public schools Arcimbolde founded in 1609 and managed by the religious order of the Barnabiti until 1810, when the Arcimbolde became a state secondary school, later called Liceo di S. Alessandro and, in 1865, named after Cesare Beccaria. Documents for the history of the Liceo are preserved in several archives of Milan (chiefly the state archives, archives of the city and of the diocese), and in the school archives, housed in the school building itself. The school keeps registers starting from the late XVII century and other documents (in folders) from 1809. There are 900 registers (17th century - 1974) and 103 folders (1809-1970). Records concern mainly the school teachers and students, subjects of teaching and their schedule, textbooks; registers concern attendance, examinations, admissions of students, and include protocol books, minutes of teachers’ meetings, property inventories.
This is a speech delivered by invitation at the Cattolica on November 28th 2013 in the commemorative seminar ‘Nel centenario della nascita di Giuseppe Billanovich (1913-2000)’. It appears here with footnotes but no other changes. The closing pages concern the transmission of the Livian Periochae.