Giuseppe Capriotti | University of Macerata (original) (raw)

Books by Giuseppe Capriotti

On the high altar of the church of Saint Blaise in Ancona, the painting conceived by Domenico Sim... more On the high altar of the church of Saint Blaise in Ancona, the painting conceived by Domenico Simonetti, called Magatta, between 1748 and 1752, features two relevant figures: Saint Blaise, dressed as a bishop and identifiable by a nearby carding comb, and a young man, wearing the habit of a confraternity, pouring water from a vase onto the souls in Purgatory. In the eighteenth century, this saint and this young man were merely a distant reminder of the long history of events recounted in this book. In 1444, a group of migrants Schiavoni, or Sclavi, Slavi (Slavs), went to Ancona from Sclavonia (mainly from the Dalmatian coast of current Croatia), where they founded a long-lived confraternity dedicated to Saint Blaise. Its members held processions to the church on specific occasions, assisted and supported the infirm, made decent funeral arrangements for the indigent and so on. Although establishing a confraternity was an effective integration strategy used by the Schiavoni to achieve acceptance and inclusion within their new social context, the ‘foreigners’ never forgot their origins and, through their artistic patronage, promoted the cults of Saint Blaise, the patron saint of Dubrovnik, and Saint Jerome, the national saint of Illyrian peoples. Drawing extensively on archive material, this book analyses the artistic patronage of the confraternity of Saint Blaise of Ancona between the fifteenth and eighteenth centuries.

Il tempo delle fenici e degli unicorni è il tempo speso da Giulia Farnese a Carbognano, in provin... more Il tempo delle fenici e degli unicorni è il tempo speso da Giulia Farnese a Carbognano, in provincia di Viterbo, orientativamente dal 1505 fino alla fine della sua vita, nel 1524. Dopo gli anni che l’hanno vista essere la giovane moglie di Orsino Orsini, l’influente concubina di papa Alessandro VI Borgia o la chiacchierata sorella del cardinal Alessandro, futuro Paolo III, Giulia è finalmente la signora del suo castello e del vetusto borgo. Risposatasi nel 1509 col nobile napoletano Giovanni Maria Capece Bozzuto, Giulia a Carbognano è libera e padrona del suo tempo, un tempo che torna ad essere quello fantastico e sospeso delle fenici e degli unicorni di cui riempie la sua casa. La fenice è l’uccello della rinascita, l’unicorno rappresenta la purezza. Attraverso loro Giulia dimostra agli illustri ospiti del suo castello che la sua vita è cambiata, che un processo di purificazione sta per compiersi o si è compiuto grazie alle ardenti fiamme del fuoco della fenice, le quali permettono alla donna di essere oramai avvicinata dall’unicorno. Insieme a questi animali da bestiario e a una foresta di simboli, nella quale sfilano ermellini, tartarughe, struzzi e falchi, compaiono nel ciclo anche gli stemmi araldici della sua dinastia (da quello del fondatore Ranuccio a quelli dell’amatissimo fratello Alessandro, fino ai matrimoni più recenti della famiglia), attraverso i quali si mettono in scena la storia e i successi dei membri della propria stirpe, ma anche le attese per futuri e migliori raggiungimenti. Sicura di sé, Giulia lascia nelle decorazioni delle sue stanze un’impronta della sua nuova vita a Carbognano. Il ciclo del castello è un singolare e finora poco studiato caso di committenza, promosso da una donna laica del Rinascimento.

In uno scomparto di predella della Madonna del Pergolato, venduta nel 1447 da Giovanni Boccati al... more In uno scomparto di predella della Madonna del Pergolato, venduta nel 1447 da Giovanni Boccati alla confraternita dei Disciplinati di Perugia, il personaggio che sta puntando la lancia alle spalle di Cristo, percuotendolo e incitandolo a camminare, porta sul petto un grosso scorpione nero, che campeggia su una vistosa casacca gialla: lo scorpione è il simbolo del popolo ebraico, il giallo è per eccellenza il colore dell'infamia. Grazie a questi e ad altri attributi, come ad esempio il naso adunco, il cappello a punta, il segno giallo, la scarsella da usuraio, il tallit o la lunga barba, è possibile identificare con chiarezza nella pittura tra ‘400 e ‘500 la figura dell'ebreo, effigiato in genere in modo peggiorativo, talora con tratti del volto deformi e ripugnanti, mentre compie gesti oltraggiosi nei confronti della Cristianità o mentre riceve un'esemplare punizione per la sua azione profanatoria.
Questo libro illustra una serie di soggetti iconografici antiebraici, diffusi su un territorio che solo orientativamente coincide con le attuali regioni Umbria e Marche. Analizzate nei loro contesti e per la loro funzione d'uso, tali fonti iconografiche divengono uno straordinario documento, finora scarsamente utilizzato, che permette di indagare come gli ebrei e l'ebraismo fossero guardati e interpretati dalla prospettiva cristiana. Dietro l'origine e lo sviluppo di questi soggetti iconografici c'è in genere un'acquisizione di ordine dottrinale, morale o economico, che deve essere promossa e difesa. L'ebreo diviene dunque l'incarnazione paradigmatica dell'incredulità e dell'alterità religiosa, utile a risolvere problemi interni al cristianesimo e a definirne la forza identitaria. L'avversario fittizio ritratto nell'immagine rimanda però immediatamente alle reali collettività giudaiche che, spesso soggette a rigide prescrizioni, abitano le città interessate dalla «pittura antiebraica».

Lodovico Dolce e Giovanni Antonio Rusconi, due autori per un best seller del Cinquecento: le Tras... more Lodovico Dolce e Giovanni Antonio Rusconi, due autori per un best seller del Cinquecento: le Trasformationi, ovvero una volgarizzazione illustrata delle Metamorfosi di Ovidio. Dolce traduce in volgare, Rusconi traspone in immagini. Affiatati colleghi nella prestigiosa stamperia veneziana di Gabriel Giolito de’ Ferrari, in questo comune progetto editoriale essi restituiscono due diversi sguardi su un medesimo e fluttuante Ovidio.

Protagonists of this essay are the Florentine sculptor Benvenuto Cellini, his beloved shop boy Fe... more Protagonists of this essay are the Florentine sculptor Benvenuto Cellini, his beloved shop boy Fernando da Montepulciano and three marble statues the master raised in the middle of the Sixteenth century: Ganymede, Apollo and Hyacinth and Narcissus, now at the Bargello Museum in Florence. Going through the story of their conception and achievement, along with an accurate reading of the artist’s poems and biography, the survey about the employ of ancient myths by Cosimo de Medici’s magnificent court meets Cellini and his illegal love affairs, born in a crowded and busy Florentine workshop.

I protagonisti di questo saggio sono lo scultore fiorentino Benvenuto Cellini, il suo amato garzone Fernando da Montepulciano e tre sculture di marmo realizzate alla metà del Cinquecento: il Ganimede, l’Apollo e Giacinto e il Narciso, oggi al Museo del Bargello di Firenze. Nel racconto dell’ideazione e della gestazione di queste tre statue, lette anche alla luce della produzione poetica dell’artista, l’indagine sugli usi del mito greco nella lussuosa corte di Cosimo I de’ Medici s’intreccia con la storia di un maestro e dei suoi amori illeciti, nati in un’affollata e operosa bottega scultorea fiorentina.

Papers by Giuseppe Capriotti

in Un Mar de Objectos, un Mar de Personas. El Mediterráneo en las Edades Media y Moderna, 2024

in FONTES. Rivista di iconografia e storia della critica d’arte, 4, 2023

The aim of this essay is to analyze the reasons why Bernardino Tisi, known as Garofalo, reused th... more The aim of this essay is to analyze the reasons why Bernardino Tisi, known as Garofalo, reused the iconographic program of a fresco, created between 1522 and 1523 in the refectory of the Augustinian convent of Sant’Andrea in Ferrara (now in the Pinacoteca Civica in Ferrara), in a canvas which was painted a few years later for the refectory of the observant Franciscan nuns of San Bernardino, also in Ferrara (today in the Hermitage of St. Petersburg). The identification of some small differences between the two paintings and the analysis of the new female Franciscan context can help us to understand the meaning of this iconographic reuse, while some details lost due to the detachment of the fresco, but still legible in the canvas of the Hermitage, allow us to grasp the general meaning of the original figurative program even better.

in Storie dell’arte. Studi in onore di Francesco Federico Mancini, a cura di Fabio Marcelli. Tomo II, 2020

* Ringrazio di cuore la dott.ssa caterina Fiorani della Fondazione camillo caetani di Roma per la... more * Ringrazio di cuore la dott.ssa caterina Fiorani della Fondazione camillo caetani di Roma per la competente disponibilità e per aver facilitato le mie ricerche sull'Archivio Giustiniani bandini, e il prof. ettore Orsomando, già responsabile della Fondazione Ma.So.Gi.ba., grazie al quale, prima del terremoto del 2016-2017, potei realizzare la campagna fotografica nella Galleria di Lanciano. Le foto sono di Roberto Dell'Orso, che ugualmente ringrazio.

HORIZONS OF INTEREST, 2022

in The Wounded Body. Memory, Language and the Self from Petrarch to Shakespeare, 2022

in After Ovid. Aspects of the Reception of Ovid in Literature and Iconography, 2022

This essay analyses the success of the vernacular, illustrated editions of Ovid's Metamorphoses p... more This essay analyses the success of the vernacular, illustrated editions of Ovid's Metamorphoses published in Italy in the late 15th and early 16th century, starting with Giovanni Bonsignori's Ovidio Metamorphoseos Vulgare, written between 1375 and 1377 but published in Venice in 1497, and continuing with the translation drafted by Niccolò degli Agostini, published in 1522, again in Venice. For both of these editions, we analyse the impact of the text and images on artists, who would generally read editions in the vernacular and not in Latin. The second part of the essay focuses on the success in Italy and Spain of Lodovico Dolce's Trasformationi, published in 1553 in Venice by Gabriel Giolito de’ Ferrari, analysing in particular the censuring of some images and an edition containing unusual annotations.

in Il Tempio delle Arti. Scritti per Lauro Magnani, 2022

Note su un (quasi) perduto affresco di Manfredino Boxilio in San Giacomo di Gavi Gianluca Ameri 3... more Note su un (quasi) perduto affresco di Manfredino Boxilio in San Giacomo di Gavi Gianluca Ameri 30 Galeazzo visto da Giorgio. Qualche commento dalla breve biografia di Alessi nelle Vite vasariane Maria Giulia Aurigemma 37 "Il corso del prof. Toesca di Storia dell'Arte". Postilla per Il canto decimo dell'Inferno di Antonio Gramsci

in Motion: Transformation (35th Congress of the International Committee of the History of Arts Florence, 1-6 September 2019), 2021

in Venere. Natura, Ombra e Bellezza, 2021

in Nackte Gestalten. Die Wiederkehr des antiken Akts in der Renaissanceplastik, 2021

The aim of this paper is to demonstrate how the “rebirth” of the adolescent male nude in the myth... more The aim of this paper is to demonstrate how the “rebirth” of the adolescent male nude in the mythological sculpture by Benvenuto Cellini is mainly due to three factors: the familiarity of the sculptor with the ancient marbles and bronzes, thanks to his work as a restorer at the court of the Duke Cosimo I de’ Medici (we think especially to the ancient torso restored as Ganymede); his knowledge about ancient mythology, mainly through the reading of Ovid’s Metamorphoses (from which he takes the features of his Perseus); the use of real models, that the artist in the Life and in his Rimes explicitly called “libri”: his models, portrayed “dal naturale” are, therefore, the books from which he learned how to sculpt anatomy. Between 1548 and 1557, the model for his main mythological works (Perseus, Apollo and Hyacinth and Narcissus) is Fernando da Montepulciano, his apprentice, with which Cellini had a stable homoerotic relationship.

The Reception of the Printed Image in the Fifteenth and Sixteenth Centuries. Multiplied and Modified, 2020

The aim of this paper is to analyze the ambiguous reception of woodcuts that decorate some printe... more The aim of this paper is to analyze the ambiguous reception of woodcuts that decorate some printed editions of Ovid’s Metamorphoses, published in Italy between the 15th and the 16th centuries. Some blocks of prints were arbitrarily reused in different editions, other times they were reproduced with slight modifications or in some cases colored with watercolor. In particular, we intend to examine the complex phenomenon of the modification of images, generated by public and private censorship as for the prints regarded as erotic. A few days before the publication of the first illustrated edition of Ovid’s Metamorphoses, printed in Venice in 1497, the patriarch of the city threatened that he would excommunicate the publisher and the printer, if they published those woodcuts portraying male and female nudes. In this first edition which had already been printed, the publisher was forced to modify the prints, by covering up the nudities manually, with a strange dark color, while he had to change the wooden mold in all the following editions. Despite the amendments required by public censorship, these woodcuts subsequently became victims of private censorship when they entered libraries: in some books, decorated with the series of 1497, the prints were covered or defaced with showy signs of Indian ink. This same phenomenon can also be found in some specimens of the Trasformationi by Lodovico Dolce (1553), in which some prints made by Giovanni Antonio Rusconi and considered erotic prints, were covered with black spots. Within this phenomenon, a sample of the Metamorphoses edited by Raffaele Regio (1505) together with one of them translated by Niccolò degli Agostini (1522) are mentioned as notable exceptions: many prints, instead of being censored, are made more sexually explicit by a mysterious reader by means of some funny insertions in Indian ink.

Gli occhi di Argo. Un’indagine sugli sviluppi testuali e iconografici di un mito ovidiano a partire dalle Trasformationi di Lodovico Dolce e Giovanni Antonio Rusconi, 2022

A partire dalle xilografie prodotte da Giovanni Antonio Rusconi per illustrare le Trasformationi ... more A partire dalle xilografie prodotte da Giovanni Antonio Rusconi per illustrare le Trasformationi di Lodovico Dolce, un volgarizzamento delle Metamorfosi di Ovidio uscito in prima edizione nel 1553, il saggio analizza la fortuna iconografica e letteraria di Argo raffigurato con gli occhi su tutto il corpo. Mentre Ovidio descrive infatti il custode di Io come un pastore con cento occhi sul capo, numerose altre fonti letterarie e iconografiche, dall’antichità al Rinascimento, presentano Argo come un guardiano dal
corpo tempestato di occhi. Il saggio propone di leggere questa ed altre discrepanze iconografiche presenti nelle stampe di Rusconi come il portato del riattivarsi di una forte immagine antica, capace di vivere di vita propria.
Starting from the woodcuts produced by Giovanni Antonio Rusconi to illustrate the Trasformationi by Lodovico Dolce (a vulgarization of Ovid’s Metamorphoses, released in the first edition in 1553), the essay analyses the iconographic and literary fortune of Argus depicted with his eyes all over his body. While Ovid describes Io’s keeper as a shepherd with a hundred eyes on his head, numerous other literary and iconographic
sources, from antiquity to the Renaissance, present Argus as a guardian with a body studded with eyes. The essay proposes to read this, and other iconographic discrepancies present in Rusconi’s prints, as the result of the reactivation of a strong ancient image, capable of living a life of its own.

EDUCATION SCIENCES AND SOCIETY

Knowing and orienting oneself on a reference territory is a challenge that crosses different pers... more Knowing and orienting oneself on a reference territory is a challenge that crosses different perspectives and ways of interpreting times and living spaces. For this reason, an intercultural pedagogist and an art historian, expert in iconology and cultural heritage, decided to work on the exploration of the city of Macerata, through the development of the Urban Ticass and Urban Ticass 2.0 projects. These activities have promoted the cooperation of the university and schools, looking for details and significant contexts within the city walls, as well as in meaningful places for those involved. The initiatives carried out have verified the centrality of the notion of detail and context in the cultural heritage sector, fuelling reflection also in a pedagogical perspective. Starting from the meanings emerged, historical reconstructions in an educational key have been developed, relying on laboratory and experiential teaching. At the end of both projects, the students involved the territo...

in IKON; 13, Turnhout, Brepols; pp. 199 - 212, 2020

In the early modern period Greek myths and their figurative translations were sometime employed t... more In the early modern period Greek myths and their figurative translations were sometime employed to legitimise behaviours considered socially irregular. In this case, we can include in particular some myths telling the homoerotic loves between gods and heroes, such as Zeus and Ganymede, Apollo and Hyacinth, Apollo and Cypress, which humanists, artists and patrons have often used to justify and in a sense ennoble a sentiment rejected by the society. Similarly, the Ovidian myths of Hermaphroditus and Iphis also explore irregular erotic situations. Using current categories, we might state that they tell the mythical foundation of intersexuality and a case of transgenderism, respectively. In spite of the ancient tradition, which counts numerous examples of Hermaphroditus sculptures with male and female sexual attributes, the early modern iconographic tradition removes the visualisation of what is disturbing and prefers the illustration of the heterosexual encounter between Hermaphroditus and Salmacis, sometimes with tones so explicit as to raise censorship. While this myth enjoyed figurative popularity as early as in the classical age, the same does not apply to the Iphis and Ianthe story, of which an iconographic representation (in Greek and Latin areas) is almost non-existent, since in the modern age, as in the classical one, the relationship between two women appeared inconceivable because it did not contemplate the act of penetration. The aim of this paper is to analyse how modern European culture has used images and texts of these two Ovidian myths to visualize the issue of sexual ambiguity, before the invention of our current categories of intersexuality and transgenderism.

in Un Mar de Objectos, un Mar de Personas. El Mediterráneo en las Edades Media y Moderna, 2024

in FONTES. Rivista di iconografia e storia della critica d’arte, 4, 2023

in Storie dell’arte. Studi in onore di Francesco Federico Mancini, a cura di Fabio Marcelli. Tomo II, 2020

HORIZONS OF INTEREST, 2022

in The Wounded Body. Memory, Language and the Self from Petrarch to Shakespeare, 2022

in After Ovid. Aspects of the Reception of Ovid in Literature and Iconography, 2022

in Il Tempio delle Arti. Scritti per Lauro Magnani, 2022

in Motion: Transformation (35th Congress of the International Committee of the History of Arts Florence, 1-6 September 2019), 2021

in Venere. Natura, Ombra e Bellezza, 2021

in Nackte Gestalten. Die Wiederkehr des antiken Akts in der Renaissanceplastik, 2021

The Reception of the Printed Image in the Fifteenth and Sixteenth Centuries. Multiplied and Modified, 2020

Gli occhi di Argo. Un’indagine sugli sviluppi testuali e iconografici di un mito ovidiano a partire dalle Trasformationi di Lodovico Dolce e Giovanni Antonio Rusconi, 2022

EDUCATION SCIENCES AND SOCIETY

in IKON; 13, Turnhout, Brepols; pp. 199 - 212, 2020

URBAN VISUALITY, MOBILITY, INFORMATION AND TECHNOLOGY OF IMAGES, 2020

One of the most interesting aspects of the culture of the Kenyan coast, between Malindi and Momba... more One of the most interesting aspects of the culture of the Kenyan coast, between Malindi and Mombasa, is the extraordinary production of images that inhabit and invade urban spaces. Most of the shops, restaurants, and hotels are characterized by images created by three types of decorators: the brand painters at the service of Kenya's major companies, who fill the walls of the city with hand-painted advertising; the artists painting hotels and restaurants for western tourists, who mainly realize decorations of high technical expertise with African animals and safari scenes (“tourist art”); those who paint signs, for shops and homes of local people, who produce figures characterized by a language that is more cursive and elementary, but equally effective in communicating the message. The images created by this last category of artists are particularly ephemeral, as they are subject to destruction, depending on the rapid change of destination of some spaces. All these artists tend to sign their works by calling themselves “artists” and leaving the telephone number to be contacted by new customers. Most of them prefer to work for large companies or for European clients, who are able to understand the artistic value of their work.
Through the analysis of a sampling of images and of interviews with those who act in the complex artistic situation of the coast, the purpose of this paper is to define the role of “artists,” “clients,” and “users” in building, within a context made intercultural by tourism, peculiar and typical urban spaces, sometimes halfway between store and market, where the traditional western categories of “inside” and “outside,” “domestic,” “private,” and “public” are redefined.

The Reception of the Printed Image in the Fifteenth and Sixteenth Centuries. Multiplied and Modified, 2020

The aim of this paper is to analyze the ambiguous reception of woodcuts that decorate some printe... more The aim of this paper is to analyze the ambiguous reception of woodcuts that decorate some printed editions of Ovid’s Metamorphoses, published in Italy between the 15th and the 16th centuries. Some blocks of prints were arbitrarily reused in different editions, other times they were reproduced with slight modifications or in some cases colored with watercolor. In particular, we intend to examine the complex phenomenon of the modification of images, generated by public and private censorship as for the prints regarded as erotic.
A few days before the publication of the first illustrated edition of Ovid’s Metamorphoses, printed in Venice in 1497, the patriarch of the city threatened that he would excommunicate the publisher and the printer, if they published those woodcuts portraying male and female nudes. In this first edition which had already been printed, the publisher was forced to modify the prints, by covering up the nudities manually, with a strange dark color, while he had to change the wooden mold in all the following editions. Despite the amendments required by public censorship, these woodcuts subsequently became victims of private censorship when they entered libraries: in some books, decorated with the series of 1497, the prints were covered or defaced with showy signs of Indian ink. This same phenomenon can also be found in some specimens of the Trasformationi by Lodovico Dolce (1553), in which some prints made by Giovanni Antonio Rusconi and considered erotic prints, were covered with black spots. Within this phenomenon, a sample of the Metamorphoses edited by Raffaele Regio (1505) together with one of them translated by Niccolò degli Agostini (1522) are mentioned as notable exceptions: many prints, instead of being censored, are made more sexually explicit by a mysterious reader by means of some funny insertions in Indian ink

HERAKLES INSIDE AND OUTSIDE THE CHURCH: FROM THE FIRST APOLOGISTS TO THE END OF THE QUATTROCENTO, 2020

The aim of this essay is to investigate the meaning and function that the tales of Hercules acqui... more The aim of this essay is to investigate the meaning and function that the tales of Hercules acquired in Italian culture between the fourteenth and fifteenth century, especially in the translation of Ovid’s Metamorphoses completed by Giovanni dei Bonsignori between 1375 and 1377. This translation was published for the first time in Venice in 1497, illustrated with numerous woodcuts. In this edition the endeavours of Hercules are narrated with the addition of allegorical comments to the text and four prints composing a sort of iconographic cycle of Hercules. Those elements provide the image of a hero that embodies the virtues of the perfect Christian, although without becoming an explicit symbol of the Redeemer, as happens in other texts and contexts in the same period, such as the contemporary Ovide moralisé.

IKON Journal of Iconographic Studies, 2019

According to Aby Warburg, Ovid and his epigones (translators and illustrators) acted as vehicles ... more According to Aby Warburg, Ovid and his epigones (translators and illustrators) acted as vehicles for the passionate nature of ancient times, passing it on through generations of readers, and allowing it to survive into the Modern Age: he is able to arouse pathos in readers of all ages and therefore to revive ancient emotionality through his words. Besides being the most significant poem of eroticism, the Metamorphoses are loaded with images of violence and pain, from which not even the main deities of the ancient pantheon are spared. Between the end of the 15th and the 16th century, the bestselling editions of Ovid’s Metamorphoses (which was repeatedly republished, including as Italian translations) were those illustrated with woodcuts, in which the main myths told by the Latin poet were translated into images. In most cases, illustrators chose to portray myths staging the pain caused by the loss of a loved one. The aim of this paper is to analyse the strategies Giovanni Antonio Rusconi used to convey pain in his xylographs for the Trasformationi by Lodovico Dolce (a vernacular edition of Ovid’s Metamorphoses), where the small dimensions of the format did not allow for detailed representations of facial expressions. To compensate, the artist frequently portrayed his characters making strongly emotive gestures, reactivating ancient pathos formulas and disseminating them to a modern audience. In particular he used the ancient themes of raised arms and garments flowing as their wearer runs, to express the desperation of gods and heroes who have lost their loves, of nymphs forced to undergo painful metamorphoses or heroes that are condemned to die. A comparison between text and image also makes it possible to understand Rusconi’s logic in choosing to rekindle the relatable emotionality that exudes from the Latin poem.

Jews and Muslims made visible in Christian Iberia and beyond, 14th to 18th centuries : another image, edited by Borja Franco Llopis, Antonio Urquízar-Herrera, Leiden; Boston: Brill, 2019., 2019

The aim of this paper is to analyze the historical reasons for the use of the image of the Turkis... more The aim of this paper is to analyze the historical reasons for the use of the image of the Turkish slave (that was created in the late 16th century in Venice, after the battle of Lepanto) in two altarpieces realized in the second half of the 18th century in the Marche region, that is, a periphery of the Papal States. The first work is an Our Lady of the Rosary, preserved in the Santissimo Sacramento church of Petriolo, in the province of Macerata, while the second picture is an Our Lady of the Victory, exposed in the church of St. Pius V of Grottammare, in the province of Ascoli Piceno. After analyzing the historical differences between these two iconographies, both related to the victory of Lepanto, this essay will discuss the attribution of the two paintings, based on a rich hitherto unpublished archival documentation. These documents also enable us to partly understand the causes of the humiliating staging of the defeated Turkish enemy, such a long time after the victory of Lepanto, and in a time when all major Mediterranean forces seek, on the contrary, to establish peace agreements with the Ottoman Empire.

“Il capitale culturale. Studies on the Value of Cultural Heritage”, Supplementi 08, 2018, pp. 335-367., 2018

Lo scopo di questo saggio è analizzare i fregi delle stanze che, nell’appartamento nobile di Pala... more Lo scopo di questo saggio è analizzare i fregi delle stanze che, nell’appartamento nobile di Palazzo Buonaccorsi, precedono la Galleria dell’Eneide, al fine di avanzare un’ipotesi sull’originario programma iconografico della stessa galleria. Si intende in particolare indagare il ruolo che in questi ambienti ricoprono due figure del mito (Ercole e Bacco), cui la committenza sembra attribuire una specifica importanza. In continuità tematica con i fregi delle stanze del palazzo, l’allestimento della galleria, dalla volta all’apparato decorativo delle pareti, risulta essere in realtà centrato sulla celebrazione di Bacco, compiuta attraverso la raffigurazione di menadi e satiri danzanti, pantere e caproni sacrificali, agghindati di edera, pampini e uva, e guidati da putti baccheggianti. Benché tutto sembri predisposto ad ospitare un ciclo di tele dedicate alla vita di Bacco, Enea prende alla fine il sopravvento, portando a compimento un programma encomiastico familiare più esplicitamente indirizzato verso Roma.

The purpose of this essay is to analyze the friezes of the rooms which, in the noble floor of Palazzo Buonaccorsi, precede the Gallery of the Aeneid, in order to propose a hypothesis on the original iconographic program of the same gallery. In particular, we intend to investigate the role played by two figures of the myth (Hercules and Bacchus), which seems to have a specific importance for the client. In thematic continuity with the friezes of the rooms of the palace, the set-up of the gallery, from the vault to the decorative apparatus of the walls, is actually centred on the celebration of Bacchus; this celebration is accomplished through the depiction of dancing maenads and satyrs, panthers and sacrificial goats, dressed up with ivy, vine-leaves and grapes, led by drunk putti. Although everything seems designed to host a series of canvases dedicated to the life of Bacchus, Aeneas eventually takes over, bringing to completion an encomiastic family program that is more explicitly addressed to Rome.

Eloquent Images. Evangelisation, Conversion and Propaganda in the Global World of the Early Modern Period, 2022

Drawing on original research covering different periods and spaces, this book sets out to appreci... more Drawing on original research covering different periods and spaces, this book sets out to appreciate the specific place of images in the history of evangelisation in the long modern period. How can we reconceptualise the functions of the visual mediation of the gospel message, both in terms of the production and reception of this message and in terms of its effective mediators, artists, religious, and cultural ambassadors? The contributions in this book offer multiple geographical and historical insights regarding the circulation of the image on the global scale of the Christianised world or the world in the process of being Christianised, from China to Iberia. Combining the contribution of historians and art historians, the authors highlight the points of intercultural encounter and tension around preaching, catechesis, devotional practices, and the propagandistic use of images.

Through its aesthetic and social study of the image, and by examining the inner and outer borders of Europe and the mission lands, Eloquent Images contributes significantly to the history of evangelisation, one of the major dynamics of the first European globalisation.

Contributors: Pierre-Antoine Fabre (EHESS, Paris), Clara Lieutaghi (EHESS Paris), Silvia Notarfonso (Università di Macerata), Silvia Mostaccio (UCLouvain), Mauro Salis (Università di Cagliari), Valentina Borniotto (Università di Genova), Gwladys Le Cuff (Paris-Sorbonne – EHESS Paris), Mauricio Oviedo Salazar (Rijksuniversiteit Groningen), Maria João Pereira Coutinho (IHA/FCSH/NOVA Lisbon), Sílvia Ferreira (IHA/FCSH/NOVA Lisbon), Paulo De Campos Pinto (Universidade Católica Portuguesa), Lorenzo Ratto (Università di Genova), Stephanie Porras (Tulane University), Arianna Magnani (Università Ca’ Foscari di Venezia), Michela Catto (Università di Torino), Federico Palomo (Universidad Complutense de Madrid), Roberto Ricci (Istituto storico italiano per l’età moderna e contemporanea, Roma), Francesco Sorce (independent scholar), Maria Vittoria Spissu (Università di Bologna).

This publication is GPRC-labeled (Guaranteed Peer-Reviewed Content).

Images in the Borderlands. The Mediterranean between Christian and Muslim Worlds in the Early Modern Period, 2022

This volume offers a unique exploration into the cultural history of the Mediterranean in the Ear... more This volume offers a unique exploration into the cultural history of the Mediterranean in the Early Modern Period by examining the region through the prism of Christian-Muslim encounters and conflicts and the way in which such relationships were represented in art works from the time. Taking images from the period as its starting point, this interdisciplinary work draws together contributors from fields as varied as cultural history, art history, archaeology, and the political sciences in order to reconstruct the history of a region that was often construed in the Early Modern period as a ‘borderland’ between religions. From discussions of borders as both physical construction and mental construct in the Mediterranean to case studies exploring the Battle of Lepanto, and from analyses of art work produced from the fifteenth to eighteenth centuries to a consideration of the influence of the Ottoman Empire in the Mediterranean Basin, the chapters gathered together in this insightful volume provide a new approach to our understanding of Early Modern Mediterranean history.

Il Capitale culturale. Studies on the Value of Cultural Heritage, 2017

Testimonianze della cultura ebraica: ricerca, valorizzazione, digitale. Il progetto Judaica Europeana, a cura di Giuseppe Capriotti, Pierluigi Feliciati, Macerata, EUM, 2011., 2011

Incontri. Storie di spazi, immagini, testi, a cura di Giuseppe Capriotti, Francesco Pirani, Macerata, EUM, 2011, 2011

Antigiudaismo, Antisemitismo, Memoria. Un apprioccio pluridisciplinare, a cura di Giuseppe Capriotti, Macerata, EUM, 2009., 2009

in «Il capitale culturale», n. 22, 2020, pp. 421-425, 2020

in Il Capitale culturale. Studies on the Value of Cultural Heritage, 21, 2020, 2020

Book Review of Katarina Horvat-Levaj, edited by (2019), The Collegiate Church of St. Blaise in Du... more Book Review of Katarina Horvat-Levaj, edited by (2019), The Collegiate Church of St. Blaise in Dubrovnik, Dubrovnik: The Dubrovnik Diocese – The Collegiate Church of St Blaise; Zagreb: Institute of Art History; Zagreb: ArTresor Publishers, 460 pp.

«Il capitale culturale», n. 20, 2019, pp. 429-431, 2019

In recent years, one of the major interests of the scientific community is to analyze the multicu... more In recent years, one of the major interests of the scientific community is to analyze the multicultural European Society. In the Early Modern period, Muslims, Jews, Protestants and Catholics were living together, but their coexistence produced several polemical encounters that were represented in different ways. The aim of this panel is not only to analyze how the “other” is pictured in the artworks but also how its representation mutated depending on the historical background of each area or the cultural or commercial contacts held during these centuries. Christians dressed like Turks, Turks introduced in Biblical themes, Muslim with Hebrew features, etc. will be studied in order to map the mutations of the alterity and their reasons.

Organisées dans le cadre du nouveau Master franco-italien en Histoire de l'art et Management des ... more Organisées dans le cadre du nouveau Master franco-italien en Histoire de l'art et Management des biens culturels de l'UPMF (Grenoble) et de l'UNIMC (Fermo), ces rencontres proposent une réflexion sur l'actualité des pratiques et des stratégies de gestion des biens culturels.

«…si compiacque sopramodo delle historie degli animali…» Il convegno ha due principali obiettivi... more «…si compiacque sopramodo delle historie degli animali…»

Il convegno ha due principali obiettivi: presentare e confrontare i primi risultati della ricerca di Ateneo 2018 coordinata da Massimo Moretti (Roma e l’eredità culturale del ducato di Urbino prima e dopo la devoluzione del 1631: artisti, opere d’arte, biblioteche) e affrontare da diverse angolature il significato profondo delle pratiche venatorie e della historia animalium per le élite di età moderna, a partire dal caso urbinate. Le cacce e le loro rappresentazioni visive e letterarie, mitiche o reali, svolsero un ruolo importante nella vita culturale del ducato roveresco; vennero celebrate in quanto esercizio nobile riservato al Principe e alla sua corte, liturgia laica del possesso e del governo del territorio, manifestazione simbolica e archetipica di supremazia dell'uomo sul ferino. Passando in rassegna le fonti iconografiche, i componimenti poetici, le notizie tratte dalla diaristica o dai “sommari delle cacce” e gli appunti di studio conservati nelle raccolte librarie del duca di Urbino, il convegno intende fare luce sullo speciale rapporto che si andò a instaurare - già nella biblioteca di Federico da Montefeltro ereditata dall’ultimo dei Della Rovere - tra rappresentazione artistica, significato allegorico e studio scientifico della natura. Comparando i vasti interessi naturalistici di Francesco Maria II (da Aristotele a Pietro Candido Decembrio, da Conrad Gesner a Pierre Belon, Da Ulisse Aldrovandi a Pietro Andrea Mattioli) con quelli di personalità eminenti del suo tempo (Filippo II di Spagna, Federico Borromeo, Carlo Emanuele di Savoia, Federico Cesi, Cassiano dal Pozzo), ci si propone di valorizzare una tappa poco nota della storia dell’iconografia naturalistica che, transitando per il museo e la biblioteca di Athanasius Kircher, troverà compimento a metà del secolo XVIII nell’illustrazione enciclopedica delle tavole pubblicate da Diderot e D’Alembert.

Bartolomeo Georgijević è uno degli scrittori più singolari contra turcas del Cinquecento Europeo.... more Bartolomeo Georgijević è uno degli scrittori più singolari contra turcas del Cinquecento Europeo. Il suo avventuroso percorso, che potremmo definire “dalla fuga al viaggio”, abbraccia una vasta porzione d’Europa orientale, dell’Asia minore e dell’Africa berbera, per concludersi a Roma, non prima di aver attraversato l’Europa protestante.
Nel suo peregrinare si fa testimone di se stesso e della dura condizione dei prigionieri in Turchia. Attraverso la pubblicazione di Pamphlet illustrati esorta l’Europa tutta, impegnata nello scontro religioso e ideologico tra Cattolici e protestanti, a convertirsi e ad unirsi nel comune sforzo contro il nemico Ottomano, rispolverando antiche profezie di cui offre nuove edizioni scritte e figurate.
La relazione si propone di mostrare attraverso una selezione di stampe prodotte in Germania e in Italia la strategia persuasiva del “Pellegrino di Gerusalemme”, condotta in parallelo a una spudorata promozione di sé.

The mystical mind as a divine artist: visions, artistic production, creation of images through em... more The mystical mind as a divine artist: visions, artistic production, creation of images through empathy Call for papers: Descriptions of mystical experiences have been mostly analyzed to highlight the relation between visions and real images: in recounting their visions, in effect, mystics let their visual heritage emerge, that is, the images they love to use in their private meditation and the popular iconography of their territory: they see with their minds what they have already seen with their eyes. In this panel, however, we aim to investigate the figure of the mystic as an inspired artist, able to model and build his own work of art entering in empathy with his visual and intellectual heritage. Like a painter or a sculptor, the mystical mind selects literary sources and stylistic and iconographic models to build the mental image and create his work of art. Recently, in effect, such mystical experiences have been interpreted as the extreme outcome of an ability to look deep down, learned through practice, through a look educated in the use of images and a mind skilled in " inner visualization ". Going beyond this perspective and analyzing the production of images through empathy, should be possible also to verify if and how the " embodied simulation " works not only in the fruition of a work of art, but also in the field of the production of images, originated from the mystical experience. Therefore, for this panel, we intend to collect papers that investigate the figure of the mystic as a " divine " artist, able to product effective mental images (often linked to real pictures), which are often described in reports of visions or in devotional writings. The themes and subjects for discussion could be:-visions and the visual arts-the meaning of the visions and mental images in hagiographic literature-transformation and censorship of works of art in visions-visions and vivification of works of art-visions and " inner visualization "-visions and mnemonic technique-visions, embodiment, embodied simulation-comparative studies on visions between different religious cultures

Center for Iconographic Studies, University of Rijeka (Croatia) is pleased to announce the Thirth... more Center for Iconographic Studies, University of Rijeka (Croatia) is pleased to announce the Thirtheenth Conference of Iconographic Studies dedicated to the theme of Afterlife of Antiquity.

The conference aims at interdisciplinary perspective on images related to Schiavoni/Illyrian conf... more The conference aims at interdisciplinary perspective on images
related to Schiavoni/Illyrian confraternities in Early Modern
Italy. It explores both visual and linguistic constructs produced
or commissioned by members of Schiavoni/Illyrian institutions,
questioning intentions and mechanisms behind their creation,
as well as the reverberation of their meaning in different contexts.

Through the discussion of two practical "case studies'; the authors deal with a classical theme o... more Through the discussion of two practical "case studies'; the authors deal with a classical theme of iconographicaI studies, thatis the complex relationship between text and image. The two examples explain in particular how the"intention"of the artist or patron, and so the deeper meaning of the pictures, are not revealed by the exact correspondences between text and image,
but emerge mainly from the recognition of the differences. Often this gap between text and image can be originated
from the liturgy or can be explained by the links with ritual practices, in which the pictures are involved. Catholic prelates from Kotor were able to commission such artists who could paint the fresco programmes of town churches mostly based on models found in Byzantine art because such solutions offered them possibilities of forming their own programme based on the liturgy of the Catholic Church. In the case of the Olivuccio di Ceccarello's Dormitio, from Sirolo, the semi-liturgical rituality of the assault on the properties of the Jews, accepted by the Church, justifies the scars on the image of Jews and clarifies the reason of the selection of episodes made by the painter on the basis of the Legenda aurea, with the intention to highlight the
negative role of the Jews, as opposed to the positive one played by the incredulous Apostle Thomas.

In 1994, Ileana Chirassi Colombo organized an international conference on “Sibyls and Oracular La... more In 1994, Ileana Chirassi Colombo organized an international conference on “Sibyls and Oracular Languages” at the University of Macerata, gathering ancient historians, medievalists, and modernists. The conference opened fruitful avenues of research at the intersection of history, history of religions, and anthropology. One of the intriguing issues was the peculiar localization of a Sibyl in the Umbrian-Marche Apennines, which gave its name to Mount Sibyl and the Sibillini Mountains. In the following years, research on this theme multiplied, and the Apennine Sibyl became the focal point of vibrant studies, but also generated a great deal of pseudo-scientific literature.
To provide an updated overview and with the aim of exploring original research paths, thirty years later the University of Macerata intends to organize a conference on sibylline, prophetic, and oracular themes. The investigation will encompass literary and iconographic sources to explore, from a Euro-Mediterranean perspective, the multifaceted world of oracular language as well as the use of prophecy from ancient to contemporary times, according to an interdisciplinary and comparative approach. The conference will also examine medieval, modern, and contemporary rewritings of sibylline or oracular themes, both in texts and images.

Nel 1994 Ileana Chirassi Colombo organizzò all’Università di Macerata un convegno internazionale intitolato “Sibille e linguaggi oracolari” che, mettendo intorno a un comune tavolo di lavoro antichisti, medievisti e modernisti, aprì fruttuose strade di ricerca al crocevia tra storia, storia delle religioni e antropologia. Uno dei nodi problematici era ovviamente la curiosa localizzazione nei monti dell’Appennino umbro-marchigiano di una sibilla, la quale ha dato il nome al Monte Sibilla e alla catena del Monti Sibillini. Negli anni successivi le ricerche su questo tema si sono moltiplicate e la Sibilla dell’Appennino è stata al centro di un vivace rilancio di studi, che ha prodotto però anche moltissima letteratura parascientifica.
Per fare un nuovo punto della situazione e con l’auspicio di aprire originali piste di ricerca, a distanza di trent’anni l’Università di Macerata intende organizzare un convegno di studi su tematiche sibilline, profetiche e oracolari, includendo nell’indagine non solo le fonti letterarie, ma anche quelle iconografiche, al fine di esplorare in una dimensione euromediterranea lo sfaccettato mondo del linguaggio oracolare e dell’uso della profezia dal mondo antico al contemporaneo, con un approccio interdisciplinare e comparativo. Si intende, dunque, indagare, tra testo e immagine, anche riscritture medievali, moderne e contemporanee di tematiche sibilline o legate ai linguaggi oracolari e profetici.

The mystical mind as a divine artist: visions, artistic production, creation of images through em... more The mystical mind as a divine artist: visions, artistic production, creation of images through empathy Call for papers: Descriptions of mystical experiences have been mostly analyzed to highlight the relation between visions and real images: in recounting their visions, in effect, mystics let their visual heritage emerge, that is, the images they love to use in their private meditation and the popular iconography of their territory: they see with their minds what they have already seen with their eyes. In this panel, however, we aim to investigate the figure of the mystic as an inspired artist, able to model and build his own work of art entering in empathy with his visual and intellectual heritage. Like a painter or a sculptor, the mystical mind selects literary sources and stylistic and iconographic models to build the mental image and create his work of art. Recently, in effect, such mystical experiences have been interpreted as the extreme outcome of an ability to look deep down, learned through practice, through a look educated in the use of images and a mind skilled in "inner visualization". Going beyond this perspective and analyzing the production of images through empathy, should be possible also to verify if and how the "embodied simulation" works not only in the fruition of a work of art, but also in the field of the production of images, originated from the mystical experience. Therefore, for this panel, we intend to collect papers that investigate the figure of the mystic as a "divine" artist, able to product effective mental images (often linked to real pictures), which are often described in reports of visions or in devotional writings. The themes and subjects for discussion could be:-visions and the visual arts-the meaning of the visions and mental images in hagiographic literature-transformation and censorship of works of art in visions-visions and vivification of works of art-visions and "inner visualization"-visions and mnemonic technique-visions, embodiment, embodied simulation-comparative studies on visions between different religious cultures

Call for papers for the Thirteeneth International Conference of Iconographic Studies / Rijeka (C... more Call for papers for the Thirteeneth International Conference of Iconographic Studies / Rijeka (Croatia) 30 -31 May 2019

16 Febbraio 2018 - Univ. Roma La Sapienza, p.le Aldo Moro 5 - Aula A di Storia Medievale - Dipart... more 16 Febbraio 2018 - Univ. Roma La Sapienza, p.le Aldo Moro 5 - Aula A di Storia Medievale - Dipartimento di Storia Culture Religioni - Edificio della Facoltà di Lettere e Filosofia.

Seminario organizzato dall'Università di Roma La Sapienza in collaborazione con la Fondazione 1563 per l'Arte e la Cultura della Compagnia di San Paolo di Torino.

PROGRAMMA

Mattina h. 10.00
INTRODUZIONE E SALUTI
Emanuela Prinzivalli, Direttrice del Dipartimento di
Storia Culture Religioni
Michela di Macco, Vice Presidente della Fondazione
1563 per l'Arte e la Cultura della Compagnia di San
Paolo

ETÀ MEDIEVALE E PRIMA ETÀ MODERNA
COORDINA: ANNA ESPOSITO (Università di Roma La
Sapienza)
- Anna Esposito (Università di Roma La Sapienza): Introduzione
al tema ‘Confraternite, donne, poteri’
- Fabrizio Conti (John Cabot University): Indigenti, prostitute
e convertite: l'Arciconfraternita di San Girolamo
della Carità e le fanciulle bisognose nella Roma tra il XIV
e l’inizio del XVI secolo
- Claudia d’Avossa (Università Roma Tre): La SS. Annunziata
alla Minerva e l'assistenza dotale nel primo
Cinquecento

ETÀ MODERNA
COORDINA: BLYTHE ALICE RAVIOLA (Università di
Milano)
- Alessia Lirosi (Università di Roma La Sapienza): La Confraternita
di S. Anna per sole donne
- Isabelle Blaha (Università di Napoli Federico II): “Carità e
devozione” femminili durante il Seicento: spazi e strutture
dell’assistenza alle donne gestiti da confraternite
laicali a Napoli
- Gaetano Lettieri (Università di Roma La Sapienza):
Machiavelli, Clemente VII e l’Arciconfraternita della
Carità

Pomeriggio h. 14.30 - COORDINA: MARINA CAFFIERO (Università di Roma La Sapienza)

MARIO TOSTI (Università di Perugia) E MASSIMO
MORETTI (Università di Roma La Sapienza)
PRESENTANO IL LIBRO DI:

Alessandro Serra, "La mosaïque des dévotions. Confréries,
cultes et société à Rome (XVIe-XVIIIe siècles)",
Louvain-la-Neuve, Presses Universitaires de Louvain,
2016 (L’atelier d’Érasme).

GIANFRANCO ARMANDO (Archivio Segreto Vaticano)
E GIUSEPPE CAPRIOTTI (Università di Macerata)
PRESENTANO IL LIBRO DI:

Anna Cantaluppi, Blythe Alice Raviola (a cura di),
"L'umiltà e le rose. Storia di una Compagnia femminile a
Torino tra età moderna e contemporanea", Firenze,
Olschki, 2017 (Fondazione 1563 per l’Arte e la Cultura
della Compagnia di San Paolo, Quaderni dell'Archivio
Storico della Compagnia di San Paolo).

Giovedì 19 aprile, ore 11,00, presso l’Aula Goldoniana del Collegio Ghislieri, avrà inizio il cic... more Giovedì 19 aprile, ore 11,00, presso l’Aula Goldoniana del Collegio Ghislieri, avrà inizio il ciclo di incontri “Dalla Controriforma all'età barocca”, che in tre appuntamenti affronterà temi di committenza artistica, iconografia e architettura in un momento cruciale della storia europea quando si esaurisce l'eredità del Rinascimento e si impostano gli sviluppi dell'arte seicentesca. Il primo incontro, con Francesca Coltrinari (Università di Macerata), affronterà le vicende della committenza lauretana nel secondo ‘500, mentre nel secondo appuntamento (26 aprile) Giuseppe Capriotti ripercorrerà alcuni aspetti dell’iconografia di San Pio V nell'arco di quasi due secoli sino al ‘700. Un terzo appuntamento, il 17 maggio, con Francesco Repishti (Politecnico di Milano), sarà dedicato alla figura di Martino Bassi, uno dei protagonisti dell’architettura lombarda nell'età dei Borromeo.

by Associazione Italiana per lo Studio della Santità dei Culti e dell'Agiografia AISSCA, Alessandra Bartolomei Romagnoli, Marco Guida, Scuola Superiore di Studi Medievali e Francescani, Peloux Fernand, Rodrigo Furtado, Alessandro Serra, Antonio Antonetti, Antonio Tagliente, Mario Loffredo, David Franz Hobelleitner, Ines Ivić, Dorottya Uhrin, Iliana Kandzha, Giuseppe Capriotti, Laura Carnevale, Gabriella Zarri, Giuseppe Caputo, and Daniele Solvi

I Cantieri dell'Agiografia hanno lo scopo di favorire lo scambio scientifico tra gli studiosi e d... more I Cantieri dell'Agiografia hanno lo scopo di favorire lo scambio scientifico tra gli studiosi e di far emergere i principali o più innovativi campi di ricerca e orientamenti metodologici degli attuali studi agiografici. L'evento si svolge ogni anno nel mese di gennaio e prevede la presenza di seminari tematici (panels), composti da un numero limitato di relatori – da tre a cinque, ciascuno con un tempo di 20 minuti a disposizione – coordinati da un proponente e con un discussant designato dal Comitato scientifico.

Cari amici, come da tradizione, anche per l’estate 2020 il Museo delle Religioni promuoverà due i... more Cari amici, come da tradizione, anche per l’estate 2020 il Museo delle Religioni promuoverà due incontri di studi internazionali che si terranno ai Castelli Romani tra i mesi di giugno e luglio.
Qui potete trovare la call for papers del convegno internazionale “Atena e Minerva. Tra Iconografia e Letteratura” (Velletri, 3-6 giugno 2020). Una sessione del convegno sarà dedicata alla Pallade Veliterna, statua rinvenuta a Velletri nel 1797 e conservata oggi a Parigi, al Museo del Louvre. Vi sarò grato se potrete diffondere la call tra gli studiosi che ritenete possano essere interessati.
Nel mese di luglio, invece, si terrà a Nemi il primo seminario internazionale dedicato all’editio maior del Ramo D’Oro di James Frazer. L’attenzione sarà posta sul primo volume dell’editio maior: The Magic Art and the Evolution of Kings. La call del seminario verrà ufficializzata a gennaio 2020.

a presto

Call for papers “Atena e Minerva. Tra Iconografia e Letteratura” (Velletri, 3-6 giugno 2020):
https://drive.google.com/file/d/1VInOiJdE-GukmcJ42ZXBE0h9w3RVxYQ6/view?usp=sharing

Call for papers “Athena and Minerva. Between Iconography and Literature (Velletri, June 3-6, 2020):
https://drive.google.com/file/d/1k0wVncyLeake6JO9z1GMUwmnijhiP0Gb/view?usp=sharing

Museo delle Religioni “Raffaele Pettazzoni”

Atena e Minerva
tra Iconografia e Letteratura
3-6 giugno 2020
Velletri (Roma)

Call for Papers

Due sono le finalità del presente convegno:

L’analisi della documentazione antica, letteraria come iconografica, delle tradizioni mitiche e di tutti quei racconti aventi per protagoniste le dee Atena e Minerva. Sarà parimenti oggetto d’analisi come questi racconti vengano poi rielaborati nell’arte e nella letteratura delle epoche seguenti, dal medioevo all’età contemporanea.
Le motivazioni per le quali le due divinità sono state identificate nell’Antichità. Quali sono le caratteristiche che hanno indotto a questa identificazione? Come questa si presenta nella documentazione? Quali le differenze tra le due dee? Quali invece i tratti peculiari?
Nell’insieme, il convegno intende porsi come un’occasione di confronto interdisciplinare che favorisca il dialogo tra i diversi approcci di analisi alla documentazione e le relative discipline: antropologia, archeologia, filologia classica, storia, storia dell’arte, storia della letteratura, storia delle religioni.
Una specifica sezione del convegno sarà dedicata all’analisi storico-artistica e alla storia della Pallade Veliterna, statua rinvenuta a Velletri nel 1797 e conservata oggi a Parigi, al Museo del Louvre.

Comitato Scientifico: Igor Baglioni (Museo delle Religioni “Raffaele Pettazzoni”), Giuseppe Capriotti (Università degli Studi di Macerata), Massimiliano Di Fazio (Università degli Studi di Pavia), Rachele Dubbini (Università degli Studi di Ferrara), Andrea Ercolani (Istituto di Studi Sul Mediterraneo - Napoli), Andrzej Gillmeister (University of Zielona Góra), Valeria Merola (Università degli Studi dell’Aquila), Marco Nocca (Accademia di Belle Arti di Roma), Francesco Ursini (Sapienza Università di Roma).

Segreteria organizzativa: Igor Baglioni (Museo delle Religioni “Raffaele Pettazzoni”).

Gli studiosi interessati a presentare un contributo possono inviare un abstract di non più di una pagina (max 2.000 battute) al dott. Igor Baglioni (igorbaglioni79@gmail.com) entro e non oltre il giorno 1 aprile 2020.
All’abstract dovranno essere allegati: il titolo del paper; l’area prescelta; una breve nota biografica degli autori; un recapito di posta elettronica; un recapito telefonico.
Le relazioni potranno essere presentate nelle seguenti lingue: francese, inglese, italiano, spagnolo.
L’accettazione dei papers sarà comunicata (via posta elettronica) alle persone interessate entro il 10 aprile 2020.
Entro il 20 maggio 2020 dovrà essere consegnato (sempre in via posta elettronica) il paper corredato da note e bibliografia. La consegna del paper è vincolante per la partecipazione al convegno.

Date da ricordare:
Chiusura call for papers: 1 aprile 2020.
Notifica accettazione paper: 10 aprile 2020.
Consegna paper: 20 maggio 2020.
Convegno: 3-6 giugno 2020.

La partecipazione al convegno è gratuita. I relatori residenti fuori la provincia di Roma saranno ospitati nelle strutture convenzionate al Museo delle Religioni “Raffaele Pettazzoni”, usufruendo di una riduzione sul normale prezzo di listino.
È prevista la pubblicazione degli Atti su Religio. Collana di Studi del Museo delle Religioni “Raffaele Pettazzoni” (Edizioni Quasar) e su riviste scientifiche specializzate. Le relazioni da pubblicare saranno oggetto di un peer review finale.
Sono previste visite serali gratuite ai musei e ai monumenti dei comuni nell’area dei Castelli Romani. Il programma delle visite sarà reso noto contestualmente al programma del convegno.

This book examines the early development of the graphic arts from the perspectives of material th... more This book examines the early development of the graphic arts from the perspectives of material things, human actors and immaterial representations while broadening the geographic field of inquiry to Central Europe and the British Isles and considering the reception of the prints on other continents.

The role of human actors proves particularly prominent, i.e. the circumstances that informed creators’, producers’, owners’ and beholders’ motivations and responses. Certainly, such a complex relationship between things, people and images is not an exclusive feature of the pre-modern period’s print cultures. However, the rise of printmaking challenged some established rules in the arts and visual realms and thus provides a fruitful point of departure for further study of the development of the various functions and responses to printed images in the sixteenth century.

In the exhibition on Ovid’s Metamorphoses, conceived by Aby Warburg and held in Hamburg in 1927, ... more In the exhibition on Ovid’s Metamorphoses, conceived by Aby Warburg and held in Hamburg in 1927, many illustrated books arrived from the major European libraries. They were opened and displayed at the bottom of panels, where many photos with reproductions of works of art coming from Metamorphoses were exhibited. In this way, the images representing Ovidian episodes physically and metaphorically emerged from the open books. In effect, in his notes for the exhibition, Warburg claims that the Latin poet and his translators and illustrators were the main vehicle for the survival of the ancient gods, their myths and their passionate nature in the European culture. Following this path, this conference aims to gather papers on the afterlife of Ovid’s Metamorphoses, analysing the European circulation of illuminated manuscripts and illustrated books, as well as their relationship with the artistic production from the Middle Ages to the present day. We would like to thoroughly investigate the circulation of Ovid’s text by its several vulgarizations, not only in the major European artistic capitals, but especially in peripheral areas. At the same time, we are interested in improving our understanding of the use of Metamorphoses not only in painting and sculpture, but especially in applied arts, ceramics, majolica, and furniture.
The conference will be held in person at the University of Santiago de Compostela, Spain, on September 19th-20th, 2022. Travel and hospitality expenses are not covered by the organization of the conference. Both junior and senior scholars are invited to submit their 20-minute proposals in Spanish or English with a title, an abstract (no more than 500 words) and a brief bio (maximum of 10 lines) to Fatima Diez Platas, PhD (fatima.diez@usc.es) and Giuseppe Capriotti, PhD (giuseppe.capriotti@unimc.it). The deadline for the submission of proposals is June 15th, 2022. Notifications of acceptance will be announced by the end of June. Selected papers will be published in the book of proceedings.