Spaces of Coexistence Spaces of Differentiation: RSA Chicago, March 31, 2017 (original) (raw)

The Palazzo Reale of Naples’ Galleria: Roman Features for an Ephemeral Display of Art

Built at the beginning of the seventeenth century, the viceregal palace of Naples has been considered as a privileged place for the consolidation of viceroys’ authority. Nevertheless, the original building project by Domenico Fontana, did not include explicitly the presence of a galleria. The gallery creation was rather the result of a long process of renovations developed by the Spanish nobility who succeeded in the mandate viceregal, to satisfy the needs of self-representation. The aim of this paper is to focus on the development and organization of the galleria Palazzo Reale, casting light on how the model of Roman palace was reflected in the viceregal gallery by choosing and displaying magnificent collections of paintings, sculptures, tapestries, and antiquities. Through a cross reading of archival documents travel journals and notices, it examines how this model was carried to extremes to satisfy viceroys’ strategy of their personal exaltation.

Jesuit Winemaking and Art Production in Northern New Spain, Renaissance Society of America Conference, 30 March 2017, Chicago

This paper presented new research on Jesuit visual culture in New Spain, situating Santa María de las Parras (founded 1598) as an important site winemaking and art production on the northeastern borderlands of colonial Mexico. The Jesuits fostered alliances with Spanish and Tlaxcaltecan Indians to serve their religious and temporal interests, as these patrons donated funds to decorate chapels in the Jesuit church of San Ignacio. The evidence presented in this paper sheds new light on the Jesuits’ involvement in patronage relationships with both Spanish and Indian benefactors that served to link northern New Spain with art centers in the viceregal capital and Italy.

Il Canzoniere esposto da Trifone Gabriel: Un commento mai scritto. The 62nd Annual Meeting of the Renaissance Society of America Boston, 31 March–2 April 2016.

Le notizie pervenuteci su Trifone Gabriel consentono di inquadrare il personaggio tra i grandi eruditi del XVI secolo. È indubbio, infatti, che egli – nonostante conducesse una vita ritirata e meditativa – avesse messo in piedi una prestigiosa scuola per giovani umanisti. Ne fanno menzione Daniello nella sua Spositione del ‘41 e lo Speroni, il quale nel Dialogo della Retorica fa raccontare ad Antonio Brocardo come quest’ultimo sia stato guidato nell’apprendimento del Petrarca proprio da Gabriel. Prova di ciò è l’incunabolo Vaticano Rossiano 710, un Petrarca con marginalia e note autografe di Brocardo, prese sotto la guida di Gabriel (doctissimo Triphone interpretante). La cattiva qualità di scrittura, la presenza di più mani, le cancellature rendono i lavori sul tale postillato non facili. Gli studi in merito (per lo più materiali) non abbozzano neppure la possibilità di un’edizione, che a mio avviso non è solo fattibile, ma anche più che mai opportuna.