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Gli Ignudi e i Medaglioni della Volta della Cappella Sistina
... Se transforma en un género pictórico propio: "el desnudo". Ver MacanLukavecki, Valerija (2005). Gli Ignudi e i Medaglioni della Volta della Cappella Sistina DOI:10.13140/RG.2.2.31198.84804 ...
La conmemoración de los ochocientos años de la Universidad de Salamanca gatilló una serie de debates, exposiciones, actos y publicaciones por todo el mundo, especialmente iberoamericano. En este marco, una de esas iniciativas estuvo ligada, tanto al rescate de la obra de Francisco de Vitoria, como del catedrático e historiador español Luciano Pereño (1920–2007), quien, proponiendo la noción de “Paz dinámica para el siglo XXI”, buscó proyectar la obra de Vitoria a este nuevo siglo. Como es sabido, este derrotero históricolegal, originado en la presencia española en América, ya con obra de Fray Bartolomé de Las Casas, desencadenó agitadas e intensas reflexiones y discusiones dentro la Escuela Salmantina desde fines del siglo XVI, influyendo decisivamente para sentar las bases de lo que hoy es la Declaración Universal de Derechos Humanos de la ONU y su misión. En su obra, Pereña resume y propone doce principios de la obra de Vitoria, que buscan proyectar su influencia de estos valores en el presente siglo XXI. Además, Pereña se dedicó a la revisión y compilación del códice más extenso sobre la presencia americana en el Nuevo mundo, conocido como el Corpus Hispanorum de Pace3, el cual consiste en un inventario de fuentes y documentos, principalmente del siglo XVI y XVII, dirigido por el propio Pereña en la Universidad de Salamanca, que resultan claves para la interpretación histórica de este período. Junto a esta monumental obra, en sus notas y estudios personales, anotados y recuperados por el autor, poco antes de la muerte de Pereña durante sus estudios tutoriales, se presenta un pequeño y especial estudio, a la puesta en valor de la obra del pintor español José María Sert y Badia en la Mural de 1936, titulado Los cinco colosos, la cual destaca por su alta carga alegórica y simbólica de la historia humana, como por sentido humanista-modernista, y que aún se encuentra en la Sala del Consejo de la Liga de las Naciones (Sala Francisco Vitoria) en Ginebra, La Haya.
The discourse of Giles of Viterbo (1469–1532) on the Golden Age is here published for the first time. It is edited from what seems to be the only extant version, found in manuscript in the Biblioteca Pública e Arquivo Distrital of Évora, Portugal. The discourse was delivered by Giles in a somewhat different form in Saint Peter's basilica in Rome on Dec. 21, 1507, at the request of Pope Julius II and in his presence. The king of Portugal, Manuel I (1495–1521), had written to Julius from Abrantes under date of Sept. 25, 1507, to announce to him some great news. The king, recently informed of three important events regarding his interests in the Far East, now wanted to communicate his information to the pope: the Portuguese, under the leadership of Lourenço de Almeida (?-1508) had landed in Ceylon and obtained from the most powerful ruler there an agreement to pay an annual tribute to the Portuguese crown; on March 18, 1506, de Almeida won an important naval victory over the Zamorin of Calicut; and in the same year another Portuguese fleet discovered the island of Madagascar.
In a recent article I pointed out certain discrepancies between the interpretations adduced by Mr. Edgar Wind in support of a theory regarding the meaning of the cycle of ancestors of Christ in the lunettes of the Sistine Chapel and the relevant texts as they are actually to be encountered.1 Mr. Wind has replied by means of a comprehensive attack upon my article, closing with a renewed invitation to read the Isagogae of Sante Pagnini, which his “full bibliographical reference” and description “in detail … should enable any serious student to consult” (WAB, p. 46 n. 34). I have recently consulted the Isagogae,2 and am enabled to confirm the propriety of a celebrated quotation adopted by Mr. Wind to describe the relation between Pagnini and the Sistine Ceiling—“S'il n'existait pas, il faudrait l'inventer” (WGBA, p. 232).
In an essay on “Sante Pagnini and Michelangelo A Study in the Succession of Savonarola,”1 I observed some years ago that the Genealogy of Christ, the representation of which in the Sistine Ceiling poses an iconographical problem of difficulty, forms the subject of a large group of Renaissance sermons, tracts, and anthologies. Among these I mentioned the sermons collected in the Renaissance Homeliarius (1506), the commentary of St. Antonine of Florence in his Summa (1480), the debate on the Genealogy between Annius of Viterbo (1498) and Samuel of Cassino (1502),2 and the summation of these tendencies in the Isagoge (1536) of Sante Pagnini, Savonarola's pupil.3 I notice that in Mr. Hartt's article on the Sistine Ceiling,4 in which this subject is discussed at length (pp. 201-213), no mention is made anywhere of the existence of these Renaissance sermons and tracts, and that the Isagoge of Sante Pagnini is dismissed without even a record of its title.5 From Mr. Hartt's own arguments it is evident that these sources were not consulted by him, which may be owing to the fact that accessible libraries are not always equipped for the study of Renaissance theology. Yet this hardly suffices to excuse the extraordinary action of avoiding any reference to the existence of so large a body of relevant Renaissance literature, or of substituting for it quotations from Hrabanus Maurus who wrote in the ninth century. Among the many mediaeval commentaries of Matthew 1, which offer a mystical interpretation of the names in the Genealogy, the text of Hrabanus is not outstanding either for the singularity or the wealth or the influence of its propositions,6 and it does not fit Michelangelo's pictures.
Čísl. arab. Písmo lat., antikva, kurs., všechno minusk. Index ve 2 sl. Kust. Margin. po obou str. textu. Titul vsazen do renes. rámce z dřevořezů s bibl. scénami. Vazba: vepřovice, s renes. intarz. Zbytky 2 mosaz. spon
Ignudo a sinistra sopra il Profeta Esaias
- Michelangelo
- Disegno Buonarroti
- Della Testa E Mano
- Dell
MICHELANGELO BUONARROTI, Disegno della testa e mano dell'Ignudo a
sinistra sopra il Profeta Esaias, Paris, Louvre, Inv.n.860 r (foto in: DE
TOLNAY 1975, fig. 143 r ).
Venetiis, per Simonem de Luere, 1519. Concordia Novi ac Veteris Testamenti 1964
- Joachim De
- Concordia Novi Ac Veteris Testamenti
- Joachim Von
- Fiore
JOACHIM
DE
FLORE,
Concordia Novi ac Veteris Testamenti, Venetiis, per
Simonem de Luere, 1519.
Concordia Novi ac Veteris Testamenti 1964.
JOACHIM VON FIORE,
Concordia Novi ac Veteris Testamenti, Venetiis, per
Simonem de Luere, 1519 (stampa anastatica: Frankfurt
a.M. 1964).
La volta restaurata: il trionfo del colore
- Cappella Sistina
- La
Cappella Sistina (La). La volta restaurata: il trionfo del colore, De Agostini,
Novara 1992.
PASTOR 1932 PASTOR Ludvig von, Storia dei Papi nel periodo del Rinascimento dall'elezione di Innocenzo VIII alla morte di Giulio II, trad. it. MERCATI Angelo Achte und neunte
- Parroni Parroni G
- Di Michelangelo
PARRONI 1934.
PARRONI G, Il vero volto di Michelangelo, Roma 1934.
PASTOR 1932.
PASTOR Ludvig von, Storia dei Papi nel periodo del
Rinascimento dall'elezione di Innocenzo VIII alla morte
di Giulio II, trad. it. MERCATI Angelo, Roma 1932. (=
Storia dei Papi dalla fine del Medio Evo,
vol.III)(tit.orig.ted: Geschichte der Päpste seit dem
Ausgang des Mittelalters. Mit Benutzung des
Päpstlichen Geheim-Archives und vieler anderer
Archive bearbeitet von Ludwig Freiherrn von Pastor.
Dritter Band: Geschichte der Päpste im Zeitalter der
Renaissance von der Wahl Innozenz´VIII. Bis zum Tode
Julius´IIJulius´II(1484-1513). Achte und neunte, unveränderte
Auflage, Freiburg im Breisgau 1926).