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Re: The Devil

Ross wrote: on 18 May 2010, 10:24 That's an interesting comparison, Mike. I have trouble imagining such a reversal of the meaning of the figure, though. The Cary Sheet Devil also looks nothing like this. Just conceptually, in order to imagine illustrations of Petrarch's Fama being the source for th...

Re: Casa del Petrarca

by Ross G. R. Caldwell on 21 Sep 2012, 16:23 Phaeded wrote: Not to lose sight of the key point here: Anghiari was a Medici triumphal celebration. If so, how was the allied Anghiari notary's trionfi deck not taking its cue from a Medici artistic precedent that followed the battle? Ross wrote: Unless...

Re: Casa del Petrarca

..., also by Vasari, but the Hanging Man scene of 1440 is missing. Instead: In S. Miniato fra le Torri in Florence Andrea painted a panel containing the Assumption of Our Lady, with two figures; and in a shrine in the Nave a Lanchetta, without the Porta alia Croce, he painted a Madonna. In the hous...

Re: Casa del Petrarca

Huck wrote: The participation of the Albizzi seems to be a minor detail (Piccinino worked mainly for Filippo Maria Visconti). On what report to do you base the importance of the Albizzi in this event? The only commissioned art we know about in connection with the Anghiari triumphal celebrations (al...

Re: Casa del Petrarca

Huck, More info from King on Marcello: The Fortebraccio was indeed Carlo, who wrote a consolatory dialgue ( Dialogus consolatorius ) - one of many authors who similar onr the death of Marcello's son Valerio: "He will display to Marcello his 'triumphs,' the author exclaims, in order to lessen his sor...

Re: Casa del Petrarca

Ross, Wish I could help you out on the 1418 refenece but I was just assuming Lorredan’s reference was correct. At all events the trajectory of this thread has veered far from the question of Marcello/Monselice/Petrarch (which was a dead end) and is headed…where? The relevant attributes that appear i...

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