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Articolo uscito in "Ricerche di storia dell'arte", 123, 2017, pp. 59-73. Nuova analisi della disp... more Articolo uscito in "Ricerche di storia dell'arte", 123, 2017, pp. 59-73. Nuova analisi della disposizione degli scrittori nel "Parnaso" di Raffaello, con proposte inedite per l'identificazione e analisi delle motivazioni ideologiche nelle varie scelte.
The political interpretation of the iconography of Raphael's frescoes in the Stanza della Segnatura (Room of the Signatura) in the Vatican palace is strongly supported by a reassessment of the other three papal rooms, decorated during the pontificates of Julius II, Leo X and Clement VII. In the Stanza di Eliodoro (Room of Heliodorus), the Stanza dell'Incendio di Borgo (Room of the Fire in the Borgo) and the Stanza di Costantino (Hall of Constantine), the political significance of the frescoes is in fact indisputable: they celebrate the Roman papacy and the individual pontiffs who commissioned this cycle of paintings. In this contribution, we reassess the main theories put forward to identify the characters portrayed in the Parnassus (1510-1511), taking as a starting point the assumption that they are grouped according to the literary genres they practised: epic, lyric, tragedy and comic or elegiac literature. In the latter we would include two poets looking towards the spectator, probably two contemporaries of Raphael. After numerous comparisons, our conclusions confirm that one is Jacopo Sannazaro, whereas for the other we suggest a new hypothesis, i.e. that it is Jacopo Sadoleto. As a result, the Parnassus, too, aimed to reiterate, with its strategic choices of ancient, modern and contemporary poets, the celebration of the patronage of Giuliano della Rovere, which is the real central and unifying theme of the iconographic choices made in the Room of the Signatura: in this fresco, the pontiff is identified with Apollo, Achilles and Augustus, and is presented as a champion of literature and patron of the cultural revival in contemporary Rome.
Articolo uscito in "Ricerche di storia dell'arte", 123, 2017, pp. 59-73. Nuova analisi della disp... more Articolo uscito in "Ricerche di storia dell'arte", 123, 2017, pp. 59-73. Nuova analisi della disposizione degli scrittori nel "Parnaso" di Raffaello, con proposte inedite per l'identificazione e analisi delle motivazioni ideologiche nelle varie scelte.
The political interpretation of the iconography of Raphael's frescoes in the Stanza della Segnatura (Room of the Signatura) in the Vatican palace is strongly supported by a reassessment of the other three papal rooms, decorated during the pontificates of Julius II, Leo X and Clement VII. In the Stanza di Eliodoro (Room of Heliodorus), the Stanza dell'Incendio di Borgo (Room of the Fire in the Borgo) and the Stanza di Costantino (Hall of Constantine), the political significance of the frescoes is in fact indisputable: they celebrate the Roman papacy and the individual pontiffs who commissioned this cycle of paintings. In this contribution, we reassess the main theories put forward to identify the characters portrayed in the Parnassus (1510-1511), taking as a starting point the assumption that they are grouped according to the literary genres they practised: epic, lyric, tragedy and comic or elegiac literature. In the latter we would include two poets looking towards the spectator, probably two contemporaries of Raphael. After numerous comparisons, our conclusions confirm that one is Jacopo Sannazaro, whereas for the other we suggest a new hypothesis, i.e. that it is Jacopo Sadoleto. As a result, the Parnassus, too, aimed to reiterate, with its strategic choices of ancient, modern and contemporary poets, the celebration of the patronage of Giuliano della Rovere, which is the real central and unifying theme of the iconographic choices made in the Room of the Signatura: in this fresco, the pontiff is identified with Apollo, Achilles and Augustus, and is presented as a champion of literature and patron of the cultural revival in contemporary Rome.