Th e H arvard U n ive r s i ty C e nte r f or I tal i an R e na i s sanc e Stud i e s

Our first year has passed in the blinkof an eye. On 2 September 2002,

Françoise and I rounded the last madcurve of the Via di Vincigliata to ournew home, and to life amidst a commu-nity of Fellows who were even newer toI Tatti than we were. Six mothertongues (Bulgarian and Czech in addi-tion to the mainstream four) quicklyboiled down to two dominantSprachgebiete at the lunch table, and withgoodwill on everyone’s part and the helpof bilingual bridge personalities a com-munity gradually took shape. Short tripshelped give us a sense of camaraderie,first to the Scuola Normale in Pisa withGian Mario Cao, himself an ex-normalista, who guided us into the stacksto see the great Momigliano bequest of30,000 books. Jonathan Nelson (VIT’02)took us around the exhibition Venere eAmore in the Accademia, while TomHenry and Bette Talvacchia illuminatedthe Raphaels in the Uffizi and the Pittiduring the luxury of a Monday closing.Peggy Haines took us to see the sacristyof the Duomo and then the archive,where archivist Lorenzo Fabbri (VIT’98)pulled out some of the more splendidchoir books and Marica Tacconi gave anilluminating commentary on what hasbeen, so far, her life’s work. In May thewhole community went on a two-daytrip to southern Tuscany. Landscape his-torian Hervé Brunon explained for usthe development of the crete senesi andTom Henry commented on theSignorelli frescoes at Monte OlivetoMaggiore, the abbey where the impres-sionable young Berenson was convertedto Catholicism in 1890 (“converted toItaly” was how Mary Berenson later putit). The next day in Siena, MauroMussolin secured access to theOsservanti churches of Francesco diGiorgio and Peruzzi as well as the hid-den recesses of the Hospital of S. Mariadella Scala.

The staff traveled too, mostmemorably to Rome in February, wherewe combined a visit to Council memberGabriele Geier with meetings with col-leagues in the fototeche of the BritishSchool and the Bibliotheca Hertziana. Inbetween, we managed some sightseeing,including the scavi under St. Peter’s andthe amazing installation of classical sculp-ture from the Capitoline Museum ondisplay amidst the electrical generators inthe Centrale Montemartini. We alsofound time for a good anti-Caravaggiovisit to S. Luigi dei Francesi, a wonderfulchurch now being wagged by one(admittedly breathtaking) chapel.

There were difficult as well as happytimes. On Tuesday, December 17th,there was an unusually lively lunch, withMsgr. Timothy Verdon (VIT’87) andSalvatore Camporeale trying to outdoone another with pungent Florentinewit. But late that night came the dreadfulcall with the news of the massive strokein front of the convent door of S. MariaNovella, and the loss of our gentleSocrates at age 75, young for him. InFlorence, as in much of Europe, it wasa winter of discontent over America’spolicy on Iraq, with pace flags flying from

windows and balconies everywhere. Theinvasion came on March 20th, and not afew of the Fellows had to reconcile theirdisapproval of American military hege-mony with a respect, I think real andgrowing, for American educational insti-tutions, especially the one they were in.Good will on the part of everyone got usthrough a difficult time.

In the end the Fellows were here towork, and work they did, culminating inmost of them giving shop talks in the BigLibrary. We experimented with the out-side lecture format, compressing the timefor refreshments but expanding thatallotted to questions. The Fellows tookto the new arrangements with gusto;often the material that came out in dis-cussion was as interesting as that pre-sented in the lecture itself. When, in thespring, I announced the opportunity offorming I Tatti sessions at next year’smeeting of the Renaissance Societyof America, the response was over-whelming, with many current and somepast Fellows getting together to discussthe common quests that united themacross the boundaries of field.

In January and March I went backto America with Françoise and withAlexa Mason for lightning visits toWashington, Baltimore, New York, andespecially Cambridge. We met newfriends and old and got to know manymembers of the I Tatti Council better inthe course of several lunches and a won-derful visit to the Leonardo drawingsexhibition at the Metropolitan Museum,guided by the curator, Carmen Bambach(VIT’97). It was especially satisfying toform a personal relationship with anotherof Harvard’s off-campus research centers,Dumbarton Oaks; director Ned Keenanand Judy Keenan visited I Tatti in theautumn and we reciprocated in January.In fields and mission the two institutesseem close cousins. The time in

Cambridge Office: Villa I Tatti, Harvard University, 124 Mt. Auburn Street, Cambridge, MA 02138-5762Telephone: +1 617 496-8742 or +1 617 495-8042 / Fax: +1 617 495-8041 Web: http://www.itatti.it

E-mail: info@itatti.it / Web: http://www.itatti.it Telephone: +39-055-603-251 / Fax: +39-055-603-383

Continued on page 3

Villa I TattiVia di Vincigliata 26, 50135 Florence, Italy

Volume 23—,m— Autumn 2003

Letter from FlorenceP

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Research Associates

FABIO BISOGNI, Università di Siena, ArtHistory. “Iconografia dei santi nell’Italia del Nordfino alla fine del Quattrocento.”

LINA BOLZONI, Scuola Normale Superiore,Pisa, Literature. “Prediche in volgare e uso delleimmagini dalle origini al Savonarola.”

EVE BORSOOK, Villa I Tatti, Art History.“Medieval Mosaic Technology.”

SALVATORE I. CAMPOREALE, The JohnsHopkins University, History. “Uno studio sul Delibero arbitro di Lorenzo Valla.”

GINO CORTI (Emeritus), Villa I Tatti,Paleography and History. “Lorenzo de’ Medici,collezionista di antichità.”

LAURA CORTI, Università IUAV di Venezia,Art History. “Le Maquette dei Pittori: 3D modelsfor painters.”

ALLEN GRIECO, Villa I Tatti, History. “ASocial and Cultural History of Alimentary Habitsin Renaissance Italy.”

MARGARET HAINES, Opera di Santa Mariadel Fiore, Art History. “Edition and Database ofthe Documentation of the Florentine Opera delDuomo during the Cupola Period.”

JULIAN KLIEMANN, Bibliotheca Hertziana,Art History. “Temi imperiali nell’iconografiapapale del Cinquecento.”

ARNALDO MORELLI, Conservatorio Stataledi Musica ‘Ottorino Respighi,’ Latina, andUniversità della Calabria, Arcavacata, Cosenza,Musicology. “Tradizione scritta e non scrittanella musica per strumenti da tasto nell’età mo-derna,” e “Ritratti di musicisti nel Cinquecentoin Italia: modelli, significati, autenticità.”

MICHAEL ROCKE, Villa I Tatti, History.“Edition and Translation of Italian Texts relatedto Homoeroticism (14th-17th centuries).”

MASSIMILIANO ROSSI, Università di Lecce,Art History. “Le genealogie ‘fantastiche’ deiMedici: politica letteraria e figurativa granducaletra Cinque e Seicento.”

SILVANA SEIDEL-MENCHI, Università diTrento, History. “Storia interna dellaCongregazione dell’Indice” e “I processi matri-moniali degli archivi ecclesiastici italiani.”

MARCO SPALLANZANI, Università diFirenze, History. “Hispano-Moresque Pottery inRenaissance Florence.”

Malle Fellow Alessandro Daneloni.

Fellows and speakers visiting the Brancacci Chapel.

Fellows

HERVÉ BRUNON, Florence J. Gould Fellow,Centre National de la Recherche Scientifique,Paris, Art History. “The Landscape of theMedici. Mastery of Territory and its CulturalRepresentation in 16th-Century Tuscany.”

GIAN MARIO CAO, Melville J. Kahn Fellow,Herzog August Bibliothek, Wolfenbüttel,History. “Critical Edition of Gianfrancesco Pico’sExamen Vanitatis.”

ANTHONY COLANTUONO, Robert LehmanFellow, University of Maryland, Art History. “Astudy of humanist advisors as a mechanism ofcultural control.”

ALESSANDRO DANELONI, Jean-FrançoisMalle Fellow, Università di Messina, Literature.“L’umanista Bartolomeo Fonzio nella culturaFiorentina laurenziana e postlaurenziana.”

AMEDEO DE VINCENTIIS, Andrew W.Mellon Fellow, Università di Tuscia, Viterbo,History. “La rappresentazione attraverso lascrittura (documenti) della signoria del duca d’Atenein Firenze (1343) e, in seguito, la costruzione dellamemoria della signoria da parte dei fiorentini.”

TOM HENRY, Ahmanson Fellow, OxfordBrookes University, Art History. “The ArtisticPatronage of Florentine Captains in TuscanSubject-Towns c.1415-1532.”

KATHERINE JANSEN, Hanna Kiel Fellow,Catholic University of America, History. “AStudy of Peacemaking in Late Medieval andEarly Renaissance Italy.”

STEFANO JOSSA, Hanna Kiel Fellow,Università di Napoli, Literature. “LudovicoCastelvetro: Between Humanism and Heresy.”

MAURO MUSSOLIN, Rush H. Kress Fellow,Art History. “San Bernardino all’Osservanza.Ritual, Architecture and Art in 15th-CenturySiena.”

ELENA PIERAZZO, Hanna Kiel Fellow,Literature. “A Study of the AutographManuscript of Anton Francesco Doni.”

YOLANDA PLUMLEY, Committee to RescueItalian Art Fellow, University College Cork,Musicology. “The Transmission and Receptionof French Lyrics and Songs in Italy (c. 1375-c.1425).”

IVAYLA POPOVA (2nd sem), Andrew W.Mellon Research Fellow, Sofia University, History.“The Italian Humanistic View of Byzantium andthe Balkans in the 15th Century.”

CAROL EVERHART QUILLEN, FrancescoDe Dombrowski Fellow, Rice University, History.“Writing the Human in Early Modern Italy.”

JUTTA SPERLING, Francesco De DombrowskiFellow, Hampshire College, History. “FamilyPolitics before the Invention of Sexuality. AComparative History of Marriage and the DowrySystem in Italy and Portugal in the Middle Agesand the Early Modern Period.”

JAN STEJSKAL, Deborah Loeb Brice Fellow,Charles University, Prague, History. “CzechExile Activities in Italy (c.1400-1450).”

MARICA TACCONI, Lila Wallace Reader’sDigest Fellow, Pennsylvania State University,Musicology. “The Service-Books of theFlorentine Cathedral: Civic Identity and Ritual.”

KAREL THEIN (2nd sem), Andrew W. MellonResearch Fellow, Charles University, Prague, ArtHistory. “Exegesis of Ambrogio Lorenzetti’sBuon Governo frescoes considered together withhis Allegory of Redemption.”

Visiting Professors

BETTE TALVACCHIA, University of Connecticut,Robert Lehman Visiting Professor, Art History.“Monograph on the Art of Raphael.”

NICHOLAS A. ECKSTEIN (2nd sem),University of Sydney, Robert Lehman VisitingProfessor, History. “Completion of BookManuscript on Brancacci Chapel.”

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Cambridge offered an opportunity toget to know some of the new faces atwhat the Italian authorities persist incalling our casa madre, Harvard. For fortyyears this has been the fundamentalrelationship in the history of the Center,but it has to be re-forged in each newgeneration. Especially pleasant were themeetings with the new provost, StevenHyman, and the new Dean of Arts andSciences, Bill Kirby.

Walter Kaiser left I Tatti in superbcondition in every way. His one piece ofunfinished business was the conversionof the 1950s garage in the parking areainto the Deborah Loeb Brice Loggiato, abuilding meant to house fifteen studiesand a lecture hall; a complicated series ofmoves would then, in the end, give thelibrary a few decades of breathing space.Nothing could be lovelier than the ele-gant design of Charles Brickbauer, butnevertheless the commissione urbanistica ofFiesole held up permission year afteryear. A crucial step forward came in July,when the town council approved a newpiano di ricupero, or mini-zoning plan, forI Tatti. This is not the end of the permis-sion process, but at least the highest hurdlehas been cleared, with a unanimous voteat that.

The pleasures of this first year havebeen many and intense. Living in theVilla, even though I often compare it toliving in the Gardner Museum, has beenone of them, especially when I show itto visitors who love the paintings andrespond instinctively to the very specialaura of the place. New York did notprepare us for the pleasures of living onan agricultural calendar, with its celebra-tions for the new wine and the new oil,and then the arrival of the wild flowersat the end of winter and the tulips inApril. It was lovely working with such adedicated and giving staff. Many Fellowsbecame friends, and I took constantpleasure in the warmth and depth andrange of interest of the two visitingprofessors, Bette Talvacchia and NickEckstein. And I admit to wiping awaya tear or two of joy during the concertsin Kathryn Bosi’s series, Early Music atI Tatti, which will resume in October, asanother year begins in Arcadia.

m Joseph ConnorsDirector

Letter from Florence(Continued from page 1)

Harvard Connections

Following in the footsteps of hispredecessors, Joe Connors has con-

tinued to forge closer ties betweenHarvard University and its farthestoutpost. While the Internet makes iteasier to communicate with members ofthe Harvard administration, there’snothing like personal contact toimprove relations. Ned Keenan,Director of Dumbarton Oaks, spent afew days at I Tatti with his wife Judy inNovember. Joe and Françoise returnedthe visit to Washington in frozenJanuary. Dean of the Faculty of Artsand Sciences, Bill Kirby, and his wifeYvette visited I Tatti in March on anofficial fact finding mission, andreturned in the summer with theirfamily for a Tuscan holiday. Frequentvisitors to I Tatti over the years, BillBoardman, Associate Vice President forCapital Giving, and his wife Alicereturned to I Tatti once more in June.Franco Fido, Professor of RomanceLanguages and Literatures at HarvardUniversity and member of the I TattiAdvisory Committee, visited brieflythat same month and enjoyed meetingmany of the Fellows he and his fellowcommittee members had appointed.And Sean Buffington, Assistant Provostfor Interfaculty Programs, was here inJuly.

In addition to various members ofthe I Tatti staff visiting Cambridge inthe course of their work during theyear, Michael Rocke, the NickyMariano Librarian, lectured at Harvard’sLamont Library in April. His talk, enti-tled “A Library With a View: TheBiblioteca Berenson at the Harvard

University Center for ItalianRenaissance Studies,” was intended forthe Harvard library community and wasattended by a good crowd of over 100people. The lecture outlined the historyof the I Tatti library and illustrated thestrengths and highlights of its collec-tions, explained current projects andfuture plans, and discussed ways inwhich the Berenson Library can be fur-ther integrated into the HarvardUniversity Library system.

- Former Fellows Update 0

PAL ACS (VIT’94, HungarianInstitute for Literary Studies), JAN

CHLIBEC (VIT’88,’97, CzechAcademy of Sciences), MARCIN

FABIANSKI (VIT’95, JagiellonianUniversity in Krakow), PAVEL

KALINA (VIT’00, Czech TechnicalUniversity in Prague), JERZY

MIZIOLEK (VIT’95, WarsawUniversity), and PIOTR URBANSKI

(VIT’99, Szczecin University) wereamong the 30 former MellonResearch Fellows present at theRenaissance and Renascences confer-ence, held in Szeged, Hungary inJuly 2003. Funded by the Councilof the American Overseas ResearchCenters, the coordinator of theFellowships, the event presentedsome of the scholarship being pro-duced in East-Central Europe now.Senior Research Associate AllenGrieco represented I Tatti at themeeting. Other host institutes pre-sent were the Herzog AugustBibliothek and the WarburgInstitute.Ivayla Popova and Neida Ferace.

Director Joseph Connors with Adriano Prosperi(VIT’81) who lectured at I Tatti in March.

e-mail: library@itatti.it

Gifts of books and offprints havealways helped to enrich the collec-

tions of the Biblioteca Berenson, andthe Library would be poorer indeedwithout such continuing acts of gen-erosity. In recent years between threeand four hundred volumes and scores ofoffprints have come in annually asdonations, whether from I Tattiappointees, readers, or other scholars,museums, libraries, research centers, orpublishing houses. This past year, inaddition to the usual steady stream ofsingle items, the Library has received anumber of larger and/or especiallynoteworthy donations of books. ShirleyHibbard gave several dozen books fromthe library of her late husband, art histor-ian Howard Hibbard (1928-1984), mostof them in the field of the history ofItalian art and architecture. Hubert andAldegonde Brenninkmeijer made a pre-cious donation of 100 volumes, themajority consisting of 19th- and early20th-century publications on sculptureand the minor arts, together with finecatalogues, some quite rare, of privateand museum collections. Many of thevolumes deal with the fine arts ofnorthern Europe in the Middle Agesand Renaissance, and thus help to fillout these sections in which the Librarydoes not actively acquire, while othersadd to our extensive holdings on Italianart. The Library has also received 157volumes (82 titles) from the late MasonHammond (see page 22), who wastwice Acting Director of I Tatti in the1970s. Left to Harvard, but foundmostly to be duplicates of holdings atthe Widener and Houghton Libraries,his books came to us through the goodgraces of Roger Stoddard, Curator ofRare Books at Houghton. Professor

Hammond’s books are, for the mostpart, editions of the Latin classics fromthe 16th to the 20th centuries, includ-ing some beautiful and finely printedexemplars. His bequest will add breadthand luster to the Library’s section ofclassical studies, and will be an appropri-ate memento of a former director whois recalled fondly by many members ofthe I Tatti community.

Another special gift that deservesmention is the new facsimile of a mid-14th-century manuscript, held bythe Aya Sofya Library in Istanbul, ofthe treatise entitled (in English)Compendium on the Theory and Practice ofthe Mechanical Arts, written around theyear 1200 by the engineer Ismail ibn ar-Razzaz al-Jazarı for the ruler of theArtuqid kingdom in northern Iraq. Theelegant facsimile, published in 2002 bythe Institute for the History of Arabic-Islamic Science at the Johann WolfgangGoethe University in Frankfurtam Main, is the gift of its editor,Fuat Sezgin. Sezgin describes al-Jazarı’sbook as “the most beautiful and mostcomprehensive work that has survivedfrom the field of Arab-Islamic techno-logical literature,” and the Aya Sofyamanuscript as “without doubt, the mostbeautiful” of the fifteen extant copies.But what does I Tatti have to do withthis book, however fascinating it maybe? From this manuscript, in fact, comethe two magnificent illuminated leavesof “automata” which Bernard Berensonpurchased in Paris in 1910 and 1912and which have long adorned the dis-play shelf of the Big Library. Togetherwith the text and its surviving intactillustrations, the facsimile reproducesthe thirteen illustrative leaves whosewhereabouts are known out of thetwenty-six or -seven that were removedfrom the manuscript and found theirway, for a significant price, into privateor public collections in America andEurope.

Our thanks go to all who have sokindly remembered and helped tostrengthen the Berenson Library in thisway during the past year.

The Library continued its sustainedpace of acquisition and processing,adding nearly 3,600 volumes, betweenbooks and periodicals, in addition to

hundreds of items in non-print mediasuch as microforms, CD-ROMS, andCD sound recordings. We also beganour first subscription to an onlineresource, the International MedievalBibliography, or IMB online, published byBrepols. This is a major reference workfor the European Middle Ages andRenaissance (450-1500), which pro-vides a regularly updated index of art-icles in journals and collected volumes.The IMB online may be accessed onlyfrom the I Tatti local area network.Many other online journals, databases,and bibliographic resources are availableto I Tatti appointees as well as to otherBerenson Library readers throughHarvard University Library’s HOLLISCatalog.

Our most substantial purchase thisyear was Italian Books Before 1601, alarge corpus of 3,160 books printed inItaly in the 15th and 16th centuries,contained on 681 reels of microfilm.The series includes a very wide range ofauthors and texts, focusing for the mostpart on literary, philosophical, human-ist, religious, medical, and legal works,including classical and medieval texts inearly printed editions or commentaries.With these subject concentrations, thenew microfilm series provides a richcomplement to our other importantcollections of manuscripts and earlyprinted books on microforms – the onein the field of music, expertly assembledover the years by music librarianKathryn Bosi, and the other in the area

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■ THE BIBLIOTECA BERENSON ■

One of the al-Jazarı pages in theBerenson Collection.

Lenka Reichova and Jan Stejskal.

Phot

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of fine arts and antiquities, constitutedby the Leopoldo Cicognara Collectionof nearly 5,000 pre-1820 books repro-duced on microfiches, a gift to theBerenson Library some years ago fromthe Kress Foundation. Most of themusic items already appear in the IRISonline catalogue. Records for the con-tents of both the Cicognara Collectionand this new series will eventually beadded to the catalogue as well, butin the meantime printed indices areavailable in the Reference Room ofthe Library.

The growing importance of theLibrary’s microform collections has pro-vided a strong motive for us to upgradeour equipment for reading and repro-ducing items on film or fiche. Werecently purchased a Canon M800microfilm scanner, which produceshigh-quality digital images that caneither be printed directly or manipu-lated with standard image software pro-grams and then printed or saved to diskor CD. Comments of those Fellows orreaders who have already used the newreader/scanner have been enthusiastic,and we expect that it will be frequentlyutilized in the future.

As regular readers of the Newsletterknow, during the past several years wehave been making a concentrated effortto improve and expand the Library’scollection of periodicals, both by buy-ing back issues of journals that wealready receive and by adding new sub-scriptions. I’m delighted to report that,thanks to the generosity of the gift in2000 from the Deborah Loeb BriceFoundation, we have already all butconcluded the first part of this programand have made very significant progresson the second. Several years ago the

Acquisitions Committee identified oversixty fundamental journals thenreceived whose runs we thoughturgently needed to be filled out. Forthese titles we have now purchased allof the back issues which we have beenable to locate from dealers or publish-ers. With the aid of this same gift, overthe last three years we have also added44 new subscriptions to journals – 24this year alone! – and have acquired allof their back issues now available. Thismost recent increment brings the num-ber of journals currently received upto 503.

m m m m m

Much has been said, both in thisNewsletter and elsewhere, about

Salvatore Camporeale, but given hisprolonged and important contributionto the growth and quality of theBerenson Library it is appropriate toadd a brief tribute to him here as well.Director Craig Smyth appointedCampo in 1977 as Bibliographer of theLibrary, responsible especially for thefields of history, philosophy, and reli-gion. Although that title appears even-tually to have fallen by the wayside, forthe next quarter of a century he sat onthe Library’s Acquisitions Committeeand played a crucial part in the long-term development of its collections.The breadth of his erudition, the widerange of his reading, and the livelinessof his mind and his scholarly criticismall made him particularly well suited tothis role, which he fulfilled with histypical dedication, self-effacing exper-

tise, and, of course, high spirits. A lot ofhard work was accomplished inAcquisitions Committee meetings withSalvatore, but there was also muchinfectious laughter and good fun – aswhen, with that familiar impish gleamin his eye, he would issue forth withsome biting battuta, or when, after someaffectionate, well-aimed provocation,he would charge unwittingly up ontohis metaphorical soapbox and deliver animpassioned defense or critique of thisor that, only to stop short, as barelysuppressed giggles around the tablemade him realize that he had fallen,once again, into a carefully laid trap,and then he too would join in thegroup’s hearty laughs. Committeemeetings will never be quite the samewithout Campo, just as life in general atI Tatti will not be the same. And wherethe Library is concerned, its nowunquestioned strength in the sections ofphilosophy, humanism, history, andreligion owes a great deal to his learnedcounsel and discerning judgment overthe last twenty-five years. His adviceand suggestions, as much as his warmth,humor, and humanity, will be sorelymissed. It gives me personally somesolace to know that, through the gen-erosity of his many friends and admirerswho have to date given $25,000 to theSalvatore Camporeale Memorial BookFund, Campo and his gentle spirit willcontinue to live on in the Library andto contribute concretely to its furthergrowth and improvement.

m Michael RockeNicky Mariano Librarian

Autumn 2003

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Allen Grieco and Stefano Jossa.

Librarians Giovanni Pagliarulo, Stefano Corsi,Manuela Michelloni, and Valerio Pacini surround Marco Pompili

of the administrative staff.

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B O O K S B Y F O R M E R F E L L O W S

Among the many recent additions to the Library, whether purchased by one of the endowed book funds, from donationsgiven by the Friends of the Biblioteca Berenson, or given directly, are the following recent publications by former Fellows.

Please forgive us if, due to space limitations or an oversight, your volume is not listed.

Paul Barolsky (VIT’81,’87,’91,’95).Michelangelo and the Finger of God. Athens,GA: Univ. of Georgia, Georgia Museum ofArt, 2003.

Sergio Bertelli (VIT’66,’67). Il re, lavergine, la sposa: eros, maternità e potere nella cul-tura figurativa europea. Roma: Donzelli, 2002.

Didier Boisseuil (VIT’00). Le thermalismeen Toscane à la fin du Moyen Age: Les bainssiennois de la fin du XIIIe siécle au début duXVIe siècle. Rome: Ecole Française, 2002.

Howard Burns (VIT’77,’84). Il Giuocodel Palazzo ovvero Palladio in Piazza. Venezia:Marsilio, 2003.

Theodore J. Cachey, Jr. (VIT’96)intro., trans. & notes. Francesco Petrarca,Petrarch’s guide to the Holy Land: Itinerary to theSepulcher of Our Lord Jesus Christ = Itinerariumad sepulchrum domini nostri Yehsu Christi:Facsimile edition of Cremona, Bibliotecastatale, Deposito libreria civica, manuscriptBB.1.2.5. Notre Dame, IN: Univ. of NotreDame Press, 2002.

Salvatore I. Camporeale (VIT’77-’03).Lorenzo Valla: umanesimo, riforma e contro-riforma, studi e testi. Roma: Edizioni di storiae letteratura, 2002.

Franco Cardini (VIT’77). I re Magi diBenozzo a Palazzo Medici. Firenze:Mandragora, 2001.

Franco Cardini (VIT’77). In Terrasanta:pellegrini italiani tra Medioevo e prima età mod-erna. Bologna: Il Mulino, 2002.

William J. Connell (VIT’93) ed. Societyand Individual in Renaissance Florence.Berkeley; Los Angeles; London: Univ. ofCalifornia Press, 2002.

Alessandro Daneloni (VIT’03).Poliziano e il testo dell’Institutio oratoria.Messina: Centro Interdipartimentale diStudi Umanistici, 2001.

Daniela De Rosa (VIT’78). Magiamedievale e magia rinascimentale: Marsilio Ficinoe la riforma magica del cristianesimo. Roma:Edizioni dello IEREF, 2000.

Marcello Fantoni (VIT’99), LouisaC. Matthew (VIT’95), and Sara F.Matthews-Grieco (VIT’94) eds. The ArtMarket in Italy, 15th-17th centuries. Modena:Franco Cosimo Panini Editore, 2003.

Iain Fenlon (VIT’76). Music and Culture inLate Renaissance Italy. New York: OxfordUniv. Press, 2002.

Riccardo Fubini (VIT’65,’66-’73).Humanism and Secularization: From Petrarch toValla trans. by Martha King. Durham: DukeUniv. Press, 2002.

Claudio Giunta (VIT’00). Due saggi sullatenzone. Roma: Antenore, 2002.

Rona Goffen (VIT’77). RenaissanceRivals: Michelangelo, Leonardo, Raphael, Titian.New Haven; London: Yale Univ. Press,2002.

Stefano Jossa (VIT’03). La fondazione diun genere: il poema eroico tra Ariosto e Tasso.Roma: Carocci, 2002.

Silvio Leydi (VIT’97) & José-A. Godoy.Parate trionfali: Il manierismo nell’arte dell’armatura italiana. Milano; Genève:5 Continents, 2003.

Lauro Martines (VIT’63,’64,’65). AprilBlood: Florence and the Plot against the Medici.London: Jonathan Cape, 2003.

Marina Montesano (VIT’99), trans. &notes. Caffaro di Rustico, Storia della presa diAlmeria e Tortosa (1147-1149), edited byGabriella Airaldi. Genova: F.lli Frilli, 2002.

Caroline Murphy (VIT’02). LaviniaFontana: A Painter and her Patrons in Sixteenth-Century Bologna. New Haven:Yale Univ.Press, 2002.

Jonathan Nelson (VIT’02) & Richard J.Zeckhauser. A Renaissance Instrument toSupport Nonprofits: The Sale of Private Chapelsin Florentine Churches. Cambridge, MA:National Bureau of Economic Research,2002.

Marco Pellegrini (VIT’98). AscanioMaria Sforza: la parabola politica di un cardinale-principe del rinascimento. Roma: IstitutoStorico Italiano per il Medio Evo, 2002.

Odile Redon (VIT’91,’94). Les langues del’Italie médiévale: textes d’histoire et de littératureXe-XIVe siècle. Turnhout: Brepols, 2002.

Lucio Riccetti (VIT’91) ed. Luigi Fumi,Statuti e regesti dell’Opera di Santa Maria diOrvieto: Il Duomo di Orvieto e i suoi restauri.Orvieto – Perugia: Deputazione di storiapatria per l’Umbria, 2002.

Leon Satkowski (VIT’83) and ColinRowe. Italian Architecture of the 16th century.New York: Princeton Architectural Press,2002.

Anne Markham Schulz (VIT’84). LaCappella Badoer-Giustinian in San Francescodella Vigna a Venezia. Firenze: Centro Di,2003. (Bilingual edition)

Edmund Strainchamps (VIT’73,’74) ed.Marco da Gagliano, Madrigals: Part 1: Ilprimo libro de madrigali a cinque voci (Venice,1602). Middleton, WI: A-R Editions, 2003.

Franek Sznura (VIT’86) & ManilaSoffici eds. Matteo Di Biliotto, Imbreviature:1. registro: anni 1294-1296. Tavarnuzze: SIS-MEL Edizioni del Galluzzo, 2002.

Karel Thein (VIT’03). Le lien intraitable:enquête sur le temps dans la République et leTimée de Platon. Paris: J. Vrin, 2001.

Sergio Tognetti (VIT’01). Da Figline aFirenze: ascesa economica e politica della famigliaSerristori (secoli XIV-XVI). Firenze: Opuslibri, 2003.

Sergio Tognetti (VIT’87). Vedere il mis-tero: il genio artistico della liturgia cattolica.Milano: Mondadori, 2003.

Loránd Zentai (VIT’83,’86). Sixteenth-Century Northern Italian Drawings. Budapest:Szepmuveszeti Muzeum, 2003.

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NEWS FROM THE BERENSON FOTOTECA,_) ARCHIVE, AND COLLECTION _)

In addition to the acquisition of fascin-ating and beautiful new documents

and images, more of which below, theBerenson Fototeca and Archive havebeen enriched by the generosity of anumber of good people this year. Adonation from Treacy and Darcy Beyer,long friends of I Tatti, enabled us tobuy the first part of a collection of1,500 photographs, taken by the con-servator Bruno Zanardi during therestoration of the cycle of frescoes inthe upper Church of S. Francesco,Assisi. This unique collection includesstriking close-ups taken under rakinglight which emphasize the painting’stexture and technique and which showhow the imagery was carried out strokeby stroke. RCR di Rossi Lucio & C. ofParma produced these prints in blackand white on baryta paper as well as incolor in digital format.

Not only have the Beyers been gen-erous financially, they have also volun-teered their time every Wednesdaywhile they are resident in Florence tohelp us in our conservation program byre-filing various groups of photographsin acid-free folders and negatives onfilm in appropriate archival preservers.

Eve Borsook, I Tatti ResearchAssociate, has donated considerabletime to organizing several rich collec-tions of photographic material.Giuseppe Marchini’s photographs,which document his research as an arthistorian and his activities as

Superintendent for Fine Arts inFlorence and the Marches, are particu-larly valuable for stained-glass windowsand for 15th- and 16th-century archi-tecture. A collection of photographs,given by the Studio Cabras, recordsimportant restoration campaigns inTuscany. The collection donated byformer I Tatti Director Craig HughSmyth includes 16th- and 17th-centurydrawings from all over Europe as well asphotographs taken during his days at theCollecting Point in Munich at the endof WWII. Among these are series ofFrench silver from the WeillCollection, and paintings from famousDutch collections, includingGoudstikker and Koenigs. These andnumerous other works of art have beenidentified, wherever possible, and arestored as a separate, named collection,one which will provide numerousjewels for treasure seekers.

Generous gifts of time have alsobeen made by Kathleen McWeeny, aSyracuse University student on awork/study program who worked inthe Fototeca, and Lenka Reichova,whose companion Jan Stejskal was aFellow this year, and who worked withLibrary Assistant Donatella Pieracci onarchival collections. Margaret Burri,who was on leave from her position asCurator of Manuscripts in theDepartment of Special Collections, TheSheridan Libraries, Johns HopkinsUniversity, while her husband AnthonyColantuono was a Fellow here too,brought her considerable curatorial andarchival skills to work in the Archive,Library, and Administration this year.

Since I last wrote in these pages,acquisitions to the Fototeca haveincluded the entire documentation ofthe frescoes in the Brancacci Chapel,photographed by Antonio Quattroneafter their restoration. A fascinatingselection of these pictures was exhibitedand helped to illustrate the talks givenon the study day dedicated to theChapel (see pages 12/13). AntonioQuattrone also continued his photo-

graphic campaign at the Galleriadell’Accademia into the Quattrocento,and is going on with photographing thepaintings, on color transparency, of theBerenson Collection, complete withnumerous beautiful details. I amdelighted to announce that we nowhold the complete documentation ofthe Jacopo Bellini Sketch Book, con-served in the Cabinet des Dessins of theLouvre, and we continue to purchasephotographs by Paolo Nannoni ofarchitectural drawings in the Uffizi’sGabinetto Disegni e Stampe, as well asimages by Roberto Sigismondi of worksof art in Piedmont and Tuscany.

The Archive has been enhanced bythe complete collection of lettersbetween Bernard Berenson and ElenaAlbertini Carandini – 137 letters writ-ten between 1935 and 1957 – whichwere generously left to us by MariaCarandini Antonelli.

Our conservation efforts stretchacross all fields: in the Archive,Fototeca, and Collection. In addition tousing correct storage materials for boththe documents and images, we continueto restore damaged photographs (in par-ticular a number of carbon prints), fur-niture, and objects. One interesting casebeing undertaken by Fotocartarestauri isthe restoration of a photo montage(54x164 cm) which assembles the entireceiling of the Sistine Chapel and whichwill be framed under glass. In the Villa,the splendid inlaid cabinet (southernGermany, early 16th century) has beenmagnificently restored by SimoneChiarugi, and the terracotta statuette(Florence, second half of the 15th cen-tury) representing the baby Jesus withhis hand raised in blessing, has beenexpertly cleaned by Barbara Schleicherwho has removed, wherever possible,the old and misleading plasterworkfrom previous restorations.

m Fiorella Gioffredi SuperbiAgnes Mongan Curator of the

Fototeca BerensonCurator of the BerensonCollection and Archive

Treacy and Darcy Beyer at workin the Fototeca.

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The Morrill Music Library recordswith deep regret the death of

Elizabeth Morrill on 19 March this year(see page 22). In 1968, Elizabeth andGordon founded the Music Libraryhere that bears their name, and con-tinued to support it their whole lives. Itis thanks to them that the Library isnow widely regarded as one of thefinest collections for medieval,Renaissance, and early Baroque musicin Europe. We will commemorateElizabeth and Gordon Morrill and theiroutstanding contribution to musicologi-cal research at Villa I Tatti in a concertto be held at the church of San Martinoon 29 January 2004.

This year the Music Library began anew acquisition program centeringaround literary sources which are ancil-lary to musicological studies. One ofour first purchases was the Corpus de lalittérature médiévale des origines à la fin duXVe siècle, an electronic resource for thestudy of French poetry from the 12th tothe 15th centuries. Its contents com-prise lyrics and longer poems, rangingfrom the works of Chrétien de Troyes,the trouvères and Adam de la Halle, tothose of Guillaume de Machaut andbeyond. This CD-ROM is an invalu-able aid to scholars working on linguis-tic, thematic and other aspectspertaining to French texts, offeringmusicologists the potential to explorelinguistic and thematic usage in songtexts throughout the wider repertory. Itincludes a useful medieval Frenchdictionary.

N E W S F RO M

T H E M O R R I L L M U S I C L I B R A RY

Kress FellowMauro Mussolin.

Other literarysources acquired thisyear were a number ofmicrofilms of antholo-gies reflecting the lit-erary tastes of Italianmusicians of the late16th century whichcontinued to beexploited by com-posers through themid-17th century.Titles purchasedinclude the Rime didiversi celebri poeti(Bergamo, 1587), Gioie poetiche di madri-gali (Pavia, 1593), Le muse toscane(Bergamo, 1594) and Il gareggiamentopoetico (Venice, 1611). Besides theirinterest for musicologists as sources fortexts of secular vocal music of the lateRenaissance and early Baroque, theseanthologies often contain poetry writ-ten for, or about, composers and per-formers of the time. The mostinteresting of all is a little-knownanthology dated 1590 which includesverses in honor of musicians active atthe courts of Ferrara and Mantua in the1570s and 1580s; it is the only literarysource known to link Guarini’s cele-brated Gorga di cantatrice ‘Mentre vagaAngioletta’ with the singer LauraPeverara.

This year’s purchases for theCarapetyan Microfilm Collectionincluded microfilms of 75 printed booksof Italian secular music from 1580-1630acquired from libraries in Bologna,Leipzig, London, Naples, Venice, andVerona. Manuscript additions to theCarapetyan Microfilm Collectionincluded the Grilanda musicale, a sourceof monody from the Roman circles ofCardinal Montalto now in the library ofthe Conservatory of Venice, and anantiphonary from the ArchivioArcivescovile of Florence. This mid-12th-century manuscript is a fundamen-tal point of reference for the study ofliturgical customs and chant practice atthe early Cathedral of Santa Reparata,the cathedral of Florence before thefounding of Santa Maria del Fiore in1296. The only pre-14th-century musi-cal source of the Cathedral to have sur-vived, it is particularly interesting for itschants for local saints such as St.Zenobius and St. Minias, as well as forits unique chants for St. Vitus, St.Apollinaris and the Nativity of theVirgin. The last section of the manu-

script preserves a late 10th-centuryTonary by Odo of Arezzo, who exer-cised a direct influence on 11th-centuryItalian music theory, especially that ofGuido of Arezzo.

We were particularly fortunate toacquire this year two facsimiles ofimportant manuscripts which have longbeen out of print. The Montpellier Codex(Montpellier, Faculté de Médecine MSH 196) is the largest extant manuscriptof 13th-century polyphonic music andthe most extensive source of themedieval motet. The Carmina buranamanuscript (Clm 4460- 4460a of theBayerische Staatsbibliothek, Munich) isthe well known early 13th-centurycollection of Latin and German songsand liturgical plays, some with musicalnotation, which came to theStaatsbibliothek from the Abbey ofBenediktbeuern in 1803. Numberedcopies from limited editions of thesebeautifully produced facsimiles werelocated and purchased with fundsdonated by Melvin Seiden in honor ofElizabeth and F. Gordon Morrill.

Gifts to the CD Library this yearincluded 5 CDs of Igor Markevitch: theComplete Orchestral Music (ArnhemPhilarmonic Orchestra, conducted byChristopher Lyndon-Gee). ProfessorLyndon-Gee is currently studyingdocuments relating to Markevitch inthe Berenson Archive for his book onthe life and works of this distinguishedcomposer and conductor, who wasBerenson’s guest at the Villino from1941-47. Christopher Lyndon-Geeteaches composition, conducting and20th-century music at AdelphiUniversity, New York.

m Kathryn BosiMusic Librarian

Maria Luisa Cerron Puga (VIT’97) with CRIA FellowYolanda Plumley and her husband Bill Barnes.

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COUNCIL NOTES

In March, FREDERICK S. KOONTZ

accepted Chairman DEBORAH LOEB

BRICE’S invitation to join the I TattiCouncil. A generous friend of I Tattifor almost ten years, he is an attorney atthe Baltimore law firm of Whiteford,Taylor & Preston, specializing in taxa-tion and estate planning. CharlesBrickbauer, the Baltimore architectwho is designing the Scholars’ Court(see below) first brought Fred Koontzto I Tatti in 1995; he has been a regularvisitor ever since. The I Tatti Council,many of whom had met him before,were delighted to welcome him offi-cially at the April Council meeting.

In contrast, the Council acceptedwith regret the resignation of ElizabethPeters who, after her husband AltonPeter’s death in 2000, had continued hisrole on the Council. The Councilthanks her for her service and generos-ity these past years.

A number of activities wereorganized for the Council this year. OnMonday, 3 February 2003, Councilmembers met at the MetropolitanMuseum for a tour of Leonardo da Vinci:Master Draftsman guided by CarmenBambach, Curator in the Departmentof Drawings and Prints, who, togetherwith Met Museum DepartmentChairman George Goldner, wasresponsible for organizing this firstcomprehensive exhibition in theUnited States of Leonardo’s drawings.Carmen Bambach (VIT’97), crossed theglobe in pursuit of nearly 120 drawingsby the Renaissance genius, and foundcollectors and museums particularlyreluctant to part with them, albeittemporarily. “When you negotiate for

Leonardo,” Carmennoted, “even for a littlescrap of paper, it takesvast effort and lots ofnegotiation,” addingthat even a letter forthis purpose to theVatican was hand deliv-ered. Her expert tourand presentation for theCouncil were met withsweeping praise, andsucceeded in humaniz-ing the “marvelous andcelestial… Leonardo”as Giorgio Vasari calledhim, while illuminating his multidi-mensional thought process and provid-ing insight into his powerful sense ofobservation.

DEBORAH LOEB BRICE chaired theApril 2003 Council meeting, whichwas held at the Links Club in NewYork City. JOSEPH CONNORS reportedon his first year as Director of VillaI Tatti, and his efforts to build relation-ships with Harvard University’s newadministration and the Florentine com-munity. He brought the Council mem-bers up to date on I Tatti’s scholarlycommunity and activities, concerts, thenew website, publications, and the spe-cial tributes that were paid to cherishedand valued members of the I Tattifamily, who, sadly, have passed away.At lunch, the Director reviewed thecomplexities of the long-awaited permitfor the Scholars Court project, and saidthat, nonetheless, he hopes to breakground on the Deborah Loeb BriceLoggiato sometime in 2004.

Later that afternoon, Prof. Connors

presented a lecture entitled “A Revenantfrom Urbino” to over 80 guests gatheredat the House of the Redeemer in NewYork City. Now belonging to theEpiscopal Church, this unusual venue isa Renaissance-style mansion builtbetween 1914 and 1916 by EdithShepard Fabbri, great-granddaughterof Cornelius Vanderbilt, and herhusband, Ernesto Fabbri, an associate ofJ. Pierpont Morgan. The lecture pre-sented a fascinating history of severalgenerations of the Dukes of Urbino andtheir library at Urbania, which, over theyears, had been dismantled and lost.Then, with great drama, the speakersurprised the audience by turning onthe lights and revealing that they weresitting in that very library fromUrbania, complete with paneled wallsand the coat of arms on the ceiling.The lecture was followed by a livelyreception.

m Graziella MacchettaDevelopment Associate

Mellon Research Fellow Karel Thein.

Peter Stallybrass and Ann Rosalind Joneswho lectured at I Tatti in May.

Deborah Loeb Brice, Chairmanm

THE 2003 VILLA I TATTI COUNCIL

Anne H. BassLewis W. Bernard

Jean A. BonnaSusan Braddock

Anne CoffinD. Ronald DanielRichard H. EkmanRobert F. Erburu

Gabriele GeierMary Weitzel Gibbons

William E. Hood, Jr.Walter Kaiser

Virgilia Pancoast KleinFrederick S. Koontz

Maurice LazarusTroland S. Link

Timothy D. LlewellynBarnabas McHenry

Benedetta OrigoJoseph P. Pellegrino

Marilyn PerryFrank E. Richardson

Susan Mainwaring RobertsNeil L. RudenstineMelvin R. Seiden Sydney S. ShumanCraig Hugh SmythDaniel SteinerWilliam F. ThompsonRosemary F. WeaverEdwin L. Weisl, Jr.

Joseph Connors, Director

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Lectures & Programswith support from the Lila Wallace – Reader’s Digest Endowment Fund and the Scholarly Programs and Publications Funds in the names of

Malcolm Hewitt Wiener, Craig and Barbara Smyth, Jean-François Malle, Andrew W. Mellon, and Robert Lehman.

“A day of Celebration for SalvatoreCamporeale.” CESARE VASOLI(Universi tà di Firenze) , MicheleCiliberto (Istituto Nazionale di Studi sulRinascimento), Christopher S. Celenza(VIT’00, Michigan State University),Mariangela Regoliosi (Università diFirenze). Early Music at I Tatti Concert – I: LaReverdie – “O tu chara sciença” Andrew Ladis (VIT’86,’98, Universityof Georgia), “Giorgio Vasari’s Lives:Identity and Imperfection in the Age ofMichelangelo.”Bette Talvacchia, “The Word MadeFlesh – Sacred Subjects and CarnalDepictions in Renaissance Art.”Memorial Concert for Ruth andNicolai Rubinstein by The OrlandoConsort.

Adriano Prosperi (VIT’81, ScuolaNormale Superiore, Pisa), “Il Battesimonell’età della Riforma: rituali, teologiee forme di identità.”Mario Biagioli (Harvard University),“Between the Scripture and the Bookof Nature: Galileo and theTheologians, 1613-1616.”Evelyn Welch (University of Sussex).“Shopping in the Renaissance.”“Nicolai Rubinstein as Historian” atthe Istituto Nazionale di Studi sulRinascimento, Palazzo Strozzi.Riccardo Fubini (VIT’65,’66-’73,Università di Firenze), Michael Mallett(VIT’75, University of Warwick, Emeritus),and F.W. Kent (VIT’78,’83,’87,’96,’97,Monash University, Prato).

Samuel Edgerton (VIT’72, WilliamsCollege), “Jesus’s Cross and Indians’Tree: The Christian Mission as NativeTheater in 16th-century Mexico.”Peter Stallybrass (University ofPennsylvania) and Ann Rosalind Jones(Smith College), “Clothing and theMaterialization of Memory inRenaissance Europe.”Early Music at I Tatti Concert – II: I Fagiolini, “Mascarate piacevoli etridicolose.”“The Brancacci Chapel: A Symposiumon Form, Function and Setting.” Forfull list of speakers and papers, pleasesee pages 12 and 13.Michelangelo Zaccarello,(Pembroke College, Oxford), “AnUnknown Episode of Burchiello’sFortune in the Early Cinquecento.”

Music Librarian Kathryn Bosi.

The discovery in 2000 of an ovalspinet by Bartolomeo Cristofori

dated 1690 in the Eredità Bardini inFlorence was an event of outstandingimportance for historians of music andmusical instruments. Similar to thefamous 1693 oval spinet in the MusicalInstrument Museum of the Universityof Leipzig, and now on loan to theMusical Instrument Museum of theGalleria dell’Accademia in Florence,this spinet is the earliest surviving

instrument by Cristofori to be describedin historical sources and is, moreover,the only extant instrument from themaker’s first period not to have under-gone any significant modification. On21-22 October 2002 Villa I Tatti co-sponsored a conference held at theGalleria dell’Accademia to present theresults of the Galleria’s initial findingson the spinet and to bring together ateam of international experts to discussthe conservation and restoration of thisunique instrument.

On the first day scholars and cura-tors of major European and Americanmusical instrument museums gavepapers which examined the state of theinstrument, discussed possible methodsof restoration, and compared ideas andexperiences relating to early keyboardinstrument restoration and conservationin general. A modern copy of the spinet

constructed for the occasion was pre-sented by its makers Kerstin Schwarzand Tony Chinnery, after which itsextraordinary sonorities and potentialrepertoire were explored by keyboardperformer Ella Sevskaya. The secondday offered a round table on the ethical,theoretical, and practical aspects of key-board instrument conservation andrestoration with particular reference tothe instrument in question. In a verylively open discussion the greater partof the participating scholars, musicians,instrument makers, restorers, and cura-tors emphasised the need for anextremely conservative approach to therestoration of this rare and valuableitem, which is documented in aninventory of instruments belonging toFerdinando de’ Medici, Grand Princeof Tuscany, in 1700.

m Kathryn BosiMusic Librarian

A chronological listing follows of informal talks and public lectures held at I Tatti during the 2002/2003 academic year. Institutional affiliation isnot given for members of I Tatti’s 2002/2003 academic community.

T H E B A RT O L O M E O C R I S T O F O R I O VA L S P I N E T C O N F E R E N C E

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Fubini discussed his place in Florentinehistoriography, Mallett gave an accountof the history of the project to publishthe letters of Lorenzo de’ Medici, andKent talked about Rubinstein as ateacher. Monica Donato (VIT’90,Università di Parma) was, at the lastminute, unable to attend but willpublish an analysis of Rubinstein’s arthistorical interests in the proceedingswhich will emerge from this studyafternoon.

Bill Kent again, “One misses, andwill continue to miss, them very muchindeed. Not only for their Renaissancescholarship but for the humanity andkindness which were inseparable fromtheir learning, for their example inleading a civilized, that is to say usefuland expansive, life together.”

m Alexa MasonAssistant Director for External

Relations

specific connections toFlorence, and especiallywith the Florence ofLorenzo de’ Medici,whose civilizationNicolai and Ruth knewand loved so well. TheOrlando Consort fromBritain returned toI Tatti to perform cere-monial and occasionalmusic by Heinrich Isaacand Guillaume Du Fay– both composers wellknown to Lorenzo him-self. Friends of the Rubinsteins camefrom all over Florence and Tuscany, aswell as from England, for the beautifulperformance. As Kent and Bosi wrotein the program notes, “Listening to it[Guillaume Du Fay’s Salve flos Tuscegentis which celebrates Florence and itslearned citizens] on this occasion, wecan surely also celebrate the highhumanist learning and values whichRuth and Nicolai Rubinstein embod-ied in their scholarly work and in theirlives.”

In April, the same institutionsjointly sponsored an afternoon at theIstituto Nazionale di Studi sulRinascimento. Riccardo Fubini(VIT’65,’66-’73, Università diFirenze), Michael Mallett (VIT’75,University of Warwick, Emeritus), andBill Kent (VIT’78,’83,’87,’96,’97,Monash University, Prato) each spokeon “Nicolai Rubinstein as Historian.”

Remembering Nicolai and Ruth

The Orlando Consort in the churchof San Martino a Mensola.

- Former Fellows Update 0

STEPHEN MILNER (VIT’00) was promoted last spring to SeniorLecturer at the University of Bristol where he teaches Italian inthe School of Modern Languages. He and STEPHEN

CAMPBELL (VIT’00), Professor of Italian Renaissance andBaroque Art at The Johns Hopkins University, have recentlysubmitted the manuscript of their edited book entitled ArtisticExchange and Cultural Translation in the Italian Renaissance Cityto Cambridge University Press for publication in 2004. Thetopic was conceived during their fellowship year at I Tatti.

ISABELLE HYMAN (VIT’73), Professor of Fine Arts at NewYork University, was presented with the Alice DavisHitchcock Award for her book, Marcel Breuer, Architect: The

Career and the Buildings (New York: Harry N. Abrams, Inc,2001). This award is given annually by the Society ofArchitectural Historians for the most distinguished work ofscholarship in the history of Architecture. Past I Tatti awardwinners have included MARTIN TRACHTENBERG (VIT’75,‘76) and DAVID FRIEDMAN (VIT’89).

DANIEL BORNSTEIN (VIT’90), Professor of History at TexasA&M University, was selected as a National HumanitiesCenter Fellow for 2003-04. Bornstein will use his Fellowshipto complete his book An Italian Church: Religion, Culture, andSociety in Late Medieval Cortona.

Nicolai and Ruth Rubinstein inHampstead some years ago.

Nicolai and Ruth Rubinstein, whodied just ten days apart in August

2002 (see last year’s Newsletter), wereso closely tied to Florence that theirpassing could not go unremarked offi-cially. In collaboration with theArchivio di Stato di Firenze, the IstitutoNazionale di Studi sul Rinascimento,the Monash University Centre in Prato,and the Scuola Normale Superiore diPisa, I Tatti hosted a memorial concertlast November in the lovely church ofSan Martino a Mensola. Kathryn Bosiand Bill Kent searched for music with

Villa I Tatti

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How significant is Burchiello in thecontext of the Italian Renaissance?

Traditionally he has been considered tobe an idiosyncratic and extravagantpoet, outside the classical canon ofItalian poetry. More recently,Burchiello has been appreciated notonly for his bizarre and distinctivevoice, but also for his important contri-bution to the Italian Renaissance.

Michelangelo Zaccarello (currentlyat Pembroke College, Oxford, but soonreturning to Italy, to the Università diVerona), has pointed out that AntonFrancesco Grazzini (il Lasca) placedBurchiello among the Florentine“crowns,” together with Dante andPetrarch.

At Villa I Tatti, on 19 June,Zaccarello reconstructed the “allaburchia” style, which is characterizedby the accumulation, juxtaposition, par-ody, and recontextualization of all kindsof poetic materials. He then demon-strated the extent to which Burchielloinfluenced Italian poetry in theQuattro- and Cinquecento. In his lec-ture, he argued that Burchiello was notan isolated and transgressive voice in apoetical game, but, along with manyimitators, he formed part of a literaryculture that was far more complex thanthe traditional reduction to classical pat-terns. Zaccarello showed how muchBurchiello was esteemed and how hiswork served as a model in a series ofanonymous poems transmitted in anearly 16th-century manuscript. Theseanonymous poems reveal strong inter-textual engagement with Burchiello.This style is part of the poetical tech-nique of the Italian Renaissance.

m Stefano Jossa Hanna Kiel Fellow &

Yolanda PlumleyCRIA Fellow

M I C H E L A N G E L OZ A C C A R E L L O O NB U R C H I E L L O On Friday 6 June, the Myron and

Sheila Gilmore Limonaia atI Tatti accommodated another of itsendless series of successful scholarlyevents, this time a giornata di studi onthe fresco cycle of the BrancacciChapel. The symposium was conceivedand organized in association withJoseph Connors by Nick Eckstein(VIT’99,’03) of the University ofSydney. Expert assistance at every stageleading up to the day itself – includingthe inspired idea of a special display ofthe Fototeca’s images of the Chapel –was provided by Fiorella Superbi andGiovanni Pagliarulo.

The Brancacci Chapel has, ofcourse, attracted the intense interest ofscholars for many generations and is thesubject of innumerable scholarly publi-

cations. So what could possibly be leftto say that does not in some senserepeat the already vast scholarship onthis topic? A great deal, in fact, as themore than 130 members of the audi-ence who heard the eight papers, andwho joined in the fruitful discussionsthat they generated, discovered.

The program was unusual in that itcomprised scholars invited less becausethey had written before on the Chapelthan because their approach or recentstudy in a variety of areas offered thepossibility of genuinely new insights. Inthe end, the formula was more success-ful than anyone involved with the organ-ization and running of the symposiumhad dared to hope. The most satisfyingaspect of the program was the denseinterweaving of many complementary

Megan Holmes.

Lunch in the shade.

Cecilia Frosinini.

Peter Howard.

Nicholas Eckstein (VIT’99,’03, University of Sydney)“The Brancacci, the Chapel, and the Mythic History ofSan Frediano.”

Christa Gardner Von Teuffel (VIT’94, University ofWarwick), “The Significance of the Madonna delPopolo in the Brancacci Chapel.”

Dale Kent (VIT’78,’83, University of California,Riverside), “The Brancacci Chapel in the Context of theCulture of Artistic Patronage in Florence.”

Cecilia Frosinini (Opificio delle Pietre Dure, Firenze),“Masaccio e Masolino: una compagnia di pittori nelcontesto delle botteghe fiorentine del primoQuattrocento.”

B R A N C A C C I C H A

Dale Kent an

m

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Christiane Klapish-Zuber and Françoise Connors.

Rona Goffen (VIT’77, Rutgers University), “Adam andEve in the Brancacci Chapel, or Sex and Gender in theBeginning.”

Nerida Newbigin (VIT’84, University of Sydney),“Playing in the Piazza: St. Peter and St. Paul leave theCarmine.”

Megan Holmes (VIT’97, University of Michigan), “TheCarmelites of Santa Maria del Carmine and theCurrency of Miracles.”

Peter Howard (VIT’01, Monash University), “TheCommon Culture of the Renaissance Preacher andPainter at the Carmine.”

themes, and the creation of a surpris-ingly unified interpretative fabric fromindividual contributions.

The day was divided into twosessions of four tightly focused papers,expertly moderated by Patricia Rubin(VIT’87,’90,’93,’97, Courtauld Institute)and Caroline Elam (VIT’82, CASVA).The morning was devoted to issuesconcerning the cultural origin andphysical creation of the frescoes (NickEckstein, Christa Gardner von Teuffel,Dale Kent, Cecilia Frosinini); the after-noon session (Rona Goffen, NeridaNewbigin, Megan Holmes, PeterHoward) addressed matters of interpre-tation and questions that open vistas onthe wider cultural significance of theiconography.

The next day participants and cur-rent Fellows had the opportunity topursue many insights and ideas raised atthe Symposium when they took part ina special site visit to the BrancacciChapel itself, and enjoyed the addi-tional treat of exploring reaches of theCarmine rarely opened to visitors. Thegroup was accompanied by DottoressaChiara Silla, Director of Florentine CityMuseums, with whose kind support thevisit was arranged. The visit was both afitting conclusion and a fascinating cli-max to the Symposium.

The collected essays of the sympo-sium are currently being edited forpublication as a volume in the I Tattiseries.

m Nicholas EcksteinLehman Visiting Professor

P E L S T U D Y D AY B A P T I S M I N T H EA G E O F R E F O R M

In March 2003, ADRIANO PROSPERI

(VIT’81), Professor of History at theScuola Normale Superiore in Pisa, gavea moving, informative, and altogetherfascinating talk on “Baptism in the Ageof Reform: Rituals, Theology, andForms of Identity.” In the first part,Prosperi discussed the fact that all majorreform councils since the 15th centuryinsisted on the function of baptism as aprerequisite for entry to heaven, even inthe case of newborn babies. This norma-tive approach to what originally wasmeant to be an adult’s individual conver-sion caused emotional distress and spiri-tual anxiety among many parents whosenewborn children had died right afterbirth. As a response to this situation,a cult emerged around certain Swisssanctuaries in the late 15th century,believed to have the capacity totemporarily resurrect children for thepurpose of baptism. This cult becameimmediately very popular: in the year of1470 alone, more than 2000 babies werewitnessed to have been brought back tolife for the few seconds it took to admin-ister this sacrament.

In the second part of his talk,Prosperi juxtaposed the spontaneousveneration of those sanctuaries with thefully orchestrated cult of Mary´sImmaculate Conception in post-triden-tine Hispanic America. Only Mary, thetheory went, had never been in need ofbaptism because of the “special” circum-stances of her own conception. All otherhumans’ innate sins had to be washed offby baptism, even if their bearers hadnever intended to enter the Christianparadise. The coerced conversion ofPortuguese Jews in 1473 prior to their“relocation” in São Tomé was only theprelude to a thoroughly colonialapproach to the various redefinitions ofthe first sacrament and its applicationduring the missions in Latin America(and back home). Prosperi’s talk under-lined once again the importance of inter-preting the Council of Trent in thecontext of Empire, especially its many“modern” or “modernizing” features.

m Jutta SperlingFrancesco De Dombrowski Fellow

nd Nerida Newbigin. Christa Gardner von Teuffel.

The photograph exhibition.

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“In the dedication of his lastbook, Umanesimo, Riforma e

Controriforma, Salvatore quotedthe following lines from Rilke:

Sie war in sich, wie Einehoher Hoffnüng,…

Sie war in sich. Und ihrGestorbensein

erfüllte sie wie FülleThese lines could well have

been his own epitaph, for manywho knew him, even closefriends in the I Tatti communityover the many years he workedand studied there, only fully real-ized the magnitude of his pres-ence once he was gone. Notsurprisingly he remainedintensely loyal to I Tatti throughout histenure as Research Associate, forHarvard had given him a treasuredplace to study, to serve and to engageother scholars from around the world inSocratic dialogue.

Earlier in his career, Salvatore hadfelt under-appreciated for his scholar-ship, and he never received the Italianuniversity appointment he richlydeserved. Fortunately in his later yearsthis lacuna was filled by his annual visit-ing professorship at Johns Hopkins andthe numerous invitations to teach andlecture at other American universities.A year ago, he gave a seminar in TelAviv, fulfilling a lifelong ambition tovisit Jerusalem and the Holy Land.

…Seeing Salvatore in hisDominican attire was a reminder thathe lived in two seemingly differentworlds, one religious, one secular, yetfor him the two worlds were indivisi-ble. Historically the mission of theDominican Order had been to preach,but Salvatore interpreted his vocation inmore contemporary terms, namely tostudy and to teach. He lived his callingfino in fondo, studying and writing andalways making himself available to others,

eager to meet them on the open frontierof ideas. His special fondness forAmericans dated back to the postWorld War II years when he had beenan unheralded gift of the ItalianDominicans to St. Albert’s College inOakland, California…

Salvatore’s life always remained adifficult balancing act – how to be inthe church while at the same timeremonstrating against some of its prac-tices. Salvatore followed in the footstepsof his intellectual hero, Valla, whoseown courageous challenge to the imper-ial papacy in the 15th century through aphilological critique of the pseudoDonation of Constantine had broughthim posthumous fame, but during hislifetime only retribution and poverty,the heavy price for speaking one’s con-

science. Salvatore couldbe equally tough onthe pretensions andhypocrisy in academia,but even those who feltthe prick of his clear-eyed critique, neverdoubted the sincerityand integrity behind it.Salvatore was alsounderstanding ofhuman nature, gener-ous at heart and a verykind and forgiving soul.He had an infectioussense of humor and heloved a good jokealmost as much as a

rousing argument about Italian politics.I can see him now regaling my youngson with the old carabinieri jokes thatseemed just as hilarious in English aslong as Salvatore was doing thetelling…

The words he wrote me in consola-tion at the death of my father severalyears ago seem appropriate to sharewith all those who knew and cherishedand miss our dear friend Salvatore:

“Ma è proprio nell’amore ed affettodi chi è stato parte integrante ed intimadi noi stessi che permane la continuitàdel rapporto con la persona che si èamato e si ama tuttora, che permane lacontinuità di quel legame di vita cheneanche la morte può rompere.”

The complete text can be found on ourwebsite.

Many former Fellows and friends have sent I Tatti words of condolence and memories ofSalvatore Camporeale.These are being assembled and are available on our website (www.itatti.it) foranyone who wants to read them.Among the many that have come is the following, part of a longer textfrom Melissa Bullard (VIT’81, University of North Carolina at Chapel Hill).

Salavatore Camporeale celebrates the publication of the first volumeof I Tatti Studies: Essays in the Renaissance in 1985 with

Alexa Mason and Fiorella Superbi.

- Former Fellows Update 0

Clare Robertson (VIT’93,’96) will soon be taking up a three-yearLeverhulme Senior Reseach Fellowship to work on a project to recon-struct the topography and physical make-up of Rome in 1600, focusingon artistic and architectural patronage, on the experience of artists andarchitects, and on stylistic change and the exchange of artistic ideas. Shehas recently completed a book entitled The Invention of Annibale Carracci.

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Salvatore Camporeale’s 70th birthdaywas celebrated at I Tatti on 12

September 2002 by a colloquiumdevoted to his contribution to the his-tory of Renaissance philosophy. Themeeting was chaired by MariangelaRegoliosi (Università di Firenze). After abrief address by I Tatti’s new director,Joseph Connors, who stressedCamporeale’s long and fruitful associa-tion with I Tatti, the first principalspeaker was Cesare Vasoli (Università diFirenze), who emphasized Camporeale’silluminating work on Valla as a philoso-pher of ordinary language. The nextcontributor was Michele Ciliberto(Istituto Nazionale per gli Studi sulRinascimento), who spoke ofCamporeale’s close intellectual relation-

ship with his teacher, Eugenio Garin, aswell as his long-standing friendshipsince their student days with another ofGarin’s pupils and his fellowDominican, Armando Verde (also pre-sent at the colloquium). Last to speak inhonor of Camporeale was ChristopherCelenza (VIT’00, Michigan StateUniversity), who discussed the body/souldichotomy from antiquity to the 20thcentury, and whose principal focus wasFicino, emphasizing the fact that he wasa priest. Salvatore Camporeale repliedto the speakers, expressing his gratitudeand, with typical humility, evincedembarrassment at receiving so muchattention. He was deeply moved, hesaid, by the occasion, which had beenplanned in secrecy; the surprise, he con-

cluded, made the day all the more grati-fying. The entire colloquium was atruly fitting tribute to this importantRenaissance scholar, who enriched theintellectual life of I Tatti for so manyyears.

m Robert Black (VIT’93)University of Leeds

Celebrating the Life of Salvatore Camporeale

Jonathan Nelson (VIT’02) in thePaul E. Geier Library.

The Word Made Flesh -Sacred Subjects andCarnal Depictions inRenaissance Art

Accompanied by 98 slides thatranged from Donatello and Crivelli

to Michelangelo and Correggio, BetteTalvacchia (Robert Lehman VisitingProfessor) discussed the apparent con-flict between spirituality and carnality (asubject opened up by the research ofLeo Steinberg in the 1980s). Rejectingthe modern notion of an oppositionbetween spirituality and the eroticisedbody, she argued that carnality was

deliberately used inthe service of reli-gion, especially whend e m o n s t r a t i n gChrist’s completehumanity by thedisplay of his genitals.She discussed howVasari defended artis-tic license in thissphere by arguing thatphysical beauty in artrepresented heavenlyperfection, and thatthe problem (if therewere one) lay with

the viewer and not the artist.Talvacchia’s argument was that the glo-rification of the body played a part inseducing the viewer. The same couldbe said of the selection of slides, the lec-

turer’s easy manner and elegantly play-ful turn of phrase (Bellini’s angeletti inRimini were, for instance, described as“frisky”). At other moments thelecture visited new territory in orderto discuss touching (and kissing) inreligious painting, and the role ofmarginal elements in enriching thework as a whole by increasing the over-all level of ornato in the work. Herethe evidence seemed to point in twodirections: on the one hand serving asan easy entry-point to spiritual material,and on the other being specificallydescribed as marginal and having nobearing on the religious content. Bothpositions are unlikely to be true at thesame time, although both are surelyappropriate interpretations in certaincircumstances.

m Tom HenryAhmanson Fellow

- Former Fellows Update 0JAMES HANKINS (VIT’89,’93) was awarded the Anna-Maria Kellen Fellowship forStudy by the American Academy in Berlin to pursue his research on “The Soul in theRenaissance” at the Academy’s Hans Arnhold Center. Hankins, who teachesRenaissance intellectual and cultural history, is Professor of History at HarvardUniversity. He is also General Editor of the I Tatti Renaissance Library, Associate Editorof the Catalogus Translationum and Commentariorum, and a member of I Tatti’s AdvisoryCommittee, the group of senior scholars who appoint the Fellows each year. The firstvolume of his two-volume collection of studies, Humanism and Platonism in the ItalianRenaissance, was published in Rome by Edizioni di Storia e Letteratura in June.

Bette Talvacchia, Carol Quillen, and Tom Henry in theGilmore Limonaia.

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Professor of the History of Scienceat Harvard University, MARIO

BIAGIOLI is a scholar of internationalscale. Born in Prato, Tuscany, heobtained his laurea at Pisa, and then his

doctorate at the University ofCalifornia, Berkeley, and has been sev-eral times directeur d’études associé at theEcole des Hautes Etudes en SciencesSociales, Paris. His book Galileo,Courtier: The Practice of Science in the

Culture of Absolutism (Chicago:University of Chicago Press, 1993),which deals with patronage and scient-ific activity, has been regarded as innov-ative in the history of science as FrancisHaskell’s famous Patrons and Painters wasregarded in the history of art. He hasrecently co-edited with Peter Galison avolume on Scientific Authorship: Creditand Intellectual Property in Science (NewYork: Routledge, 2002), the subject ofhis current research. In Biagioli’s lec-ture, entitled “Between the Scriptureand the Book of Nature: Galileo andthe Theologians, 1613-16,” he turnedto the idea expressed in the Saggiatore(1623), that the world is a book “writ-ten in the language of mathematics, andits characters are triangles, circles andother geometric figures.” The famoustopos of Nature as a book, well studiedsince Eugenio Garin’s La cultura delRinascimento italiano, was therefore used

by Galileo, Biagioli brilliantly suggested,in his own attempt to justifyCopernican astronomy with regard totheology. Contrary to the Scripture, theBook of God, Nature is transparent andshould be merely read, not interpretedthrough exegesis. Galileo’s ‘mathemati-cal realism’ may be seen as ‘fundamen-talism,’ and is based on the convictionof the possibility of epistemologicalprogress. The controversy between thescientist and his adversaries, clearlyexamined by Biagioli, shows the oppo-sition between two conceptions ofknowledge, and their growing contra-diction, which involved a series of cen-tral questions in the history of ideasduring the early modern period and wasto be dramatically revealed withGalileo’s condemnation in 1633.

m Hervé BrunonFlorence J. Gould Fellow

GALILEO AND THE THEOLOGIANS

Mario Biagioli before his lecturein the Geier Library.

How do the biographical represen-tations of Giorgio Vasari’s Vite

relate to the historical reality of theartists’ lives and character? In athought-provoking and eloquent lec-ture delivered to a standing-room-onlyaudience in Villa I Tatti’s GeierLibrary, Andrew Ladis (VIT’86,’98,University of Georgia) addressed this fun-damental question, comparing Vasari’srhetorical fictions to the documentaryrecord, and demonstrating the remark-able degree to which the biographer’spersonal allegiances, ethical judgmentsand rhetorical technologies inform hisportrayal of the artists and their works.Ladis showed that Vasari consistentlyassumed a symmetrical relationshipbetween a given artist’s personal char-acter and the character of his art. Vasarisays, for example, that his heroMichelangelo, named for the archangel

Giorgio Vasari’sLives: Identity andImperfection in theAge of Michelangelo

of the Last Judgment, was himselfextraordinarily gifted with artisticgiudizio. Vasari likewise characterizesthe painter Sodoma, solely on the basisof his name, as a man corrupted bysame-sex desire, whose bestial characterwas reflected in his keeping of animalsin his house and his portrayal of themin his pictorial works; yet as Ladispointed out, documentary sourcesreveal that Sodoma’s domestic situationwas instead entirely conventional.Finally Ladis argued that Vasari’sextravagant praise of Michelangelo asthe divine savior of artrequired, as a matter ofrhetorical technique, thecondemnation of anequally evil anti-hero,whom he identifies asthe sculptor BaccioBandinelli. Indeed,Vasari characterizesBandinelli’s wickednature through a seriesof conceits alluding tohis famous statue Herculesand Cacus, opposing itsflaws to the perfections

of Michelangelo’s David and implyingthat whatever fame it may have wonfor the artist was stolen fromMichelangelo himself, through a life-time of lying, cheating and villainy.Ladis’s lecture thus articulated a num-ber of previously unobserved patternsin Vasari’s methods of rhetorical inven-tion, enabling a more sophisticated useof the text as an art-historical source.

m Anthony ColantuonoRobert Lehman Fellow

Kate and Nick Eckstein flank Anthony Colantuono.

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“Early Music at I Tatti,” a newconcert series organized by

Music Librarian Kathryn Bosi, wasinaugurated this Fall. On a beautifulfirst day of October, over two-hundredpeople congregated in the Myron andSheila Gilmore Limonaia to attend thefirst of this year’s two concerts.La Reverdie, a five-member Italianvocal and instrumental ensemblespecialized in medieval music, per-formed sacred and secular works oftendrawn from some of the most famousmusic manuscripts of the Middle Ages:the “Old Hall Manuscript” (London,British Library, Ms. Add. 57950), theChantilly Manuscript (Chantilly, MuséeCondé, Ms. 564), the Cortona Laudario(Cortona, Biblioteca Comunale,Ms. 91). Under the title of “O tu charasciença” (a line derived from a madrigalby the mid-14th-century composerGiovanni da Cascia), the aim of theconcert was to explore the role ofmusic in medieval thought. As such,the program was organized in threebroad sections: Musica terrestris (musicwhich onomatopoeically imitates thesounds of the earth), Ars musica (musicof a more elevated, intellectual nature),and music for the Laudatio Dei (musicin praise of God). The performanceprovided a rich and varied explorationof the textures and sounds of medievalmusic. It also exposed the audience to

instruments rarely heardtoday: vielle, rebec, mutedcornett, symphonia (orhurdy-gurdy), etc.

On 29 May, the secondconcert of the series fea-tured the London-based vocal ensembleI Fagiolini, directed byRobert Hollingworth andwith the collaboration ofDavid Miller (lute) andformer I Tatti staff member,now professional actor,Antonio Fazzini (recitingvoice). The title of the concert,“Mascarate piacevoli et ridicolose,”taken from Giovanni Croce’s 1590 col-lection of comic pieces, was mostappropriate for a program that includedsome of the lighter forms of musicalentertainment from the late sixteenthand early seventeenth centuries. Asexplained by Kathryn Bosi in the pro-gram notes, “masquerades, musicalgames, dialogues, madrigal comediesand other bizzarrie… were performed asdiversions at banquets, between the actsof plays, at gatherings of academies, andperhaps also, in the case of the mascarate,in the streets and piazze during carnivalseason.” The second half of the pro-gram was entirely dedicated to AdrianoBanchieri’s Barca di Venezia per Padova(first published in 1605; reprinted with

basso continuo in 1623). This charm-ing, quasi-theatrical “madrigal comedy”consists of a series of tableaux that takesplace on a boat traveling down theBrenta canal from Venice to Padua.Among the musical highlights are bril-liant parodies of madrigals by othercontemporary composers, includingCarlo Gesualdo and Luca Marenzio.Two “serious” madrigals by AndreaGabrieli provided a welcome contrastwith the more humorous and frivolouscompositions by Giovanni Croce,Claudio Monteverdi and AdrianoBanchieri. The musical mastery of I Fagiolini and their remarkable abilityto engage the audience guaranteed anafternoon of great musical delight.

m Marica S. TacconiLila Wallace - Reader’s Digest Fellow

Early Music at I Tatti

Alessandro Daneloni, Mauro Mussolin, Michael Rocke, Hervé Brunon, Marica Tacconi,Nelda Ferace, Ivayla Popova, Elena Pierazzo, and Yolanda Plumley at Monte Oliveto.

Robert Hollingworth rehearsingI Fagiolini in the Myron andSheila Gilmore Limonaia.

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La Reverdie opens the new series of Early Music at I Tatti.

Former fellow Samuel Edgerton (VIT’72), now Amos Lawrence Professor

of Art History at Williams College,shared his extraordinary intellectualbreadth with the I Tatti community ina lecture called, “Jesus’s Cross andIndians’ Tree: The Christian Mission asNative Theater in Sixteenth-CenturyMexico.” As the author of books on therediscovery of linear perspective and onthe heritage of Giotto’s geometry,Edgerton is already known amongRenaissance scholars for his capacity tocombine technical with iconographicanalysis. His more recent work buildson this dual interest in engineering andart while expanding beyond Europe tofocus on the New World, and specifi-cally on the post-conquest encounterbetween missionary friars andAmerindians.

Soon after 1521,when Cortes conqueredthe Aztec Empire,mendicant friars arrivedin Mexico to makeChristians of thenow subject peoples.Although they repre-sented different religiousorders, the friars quicklyadopted similar strategiesof conversion thatcapitalized on indigenousritual practices and reli-gious symbols. For exam-ple, no matter whichorder they represented,the friars built an open arena that servedas a “theatre of conversion.” Through aprocess that Edgerton calls “expedientselection,” friars chose symbols from the

Christian lexicon thatspecifically resonated withnative cultural traditions.Furthermore, the friarsrepresented Christianideas through images (theinstruments of the pas-sion, for example) in away that appropriatednative iconographical tra-ditions and artistic tech-niques. As a result,Edgerton argued, thepost-conquest conversionof the Indians is bestunderstood not in terms

of stark oppression or victimization butrather as a process of accommodation,whereby the tenets and symbols ofEuropean Christianity intermingledwith selected native religious and artistictraditions.

Edgerton’s lively presentation andenthusiasm for his subject encouragedquestions, and left his audience with adeep appreciation both of his scholarlyinsight and his gifts as a teacher.

m Carol QuillenFrancesco De Dombrowski Fellow

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Jesus’s Cross and Indian’s Tree

Samuel Edgerton flanked by Tony Molho (VIT’69, ’72) andRonnie Laskin (VIT ’66, ’67) before his lecture.

Fellows Gian Mario Cao and Carol Quillen after the lecture.

- Former Fellows Update 0

GIOVANNI CIAPPELLI (VIT’94) has been promoted to AssociateProfessor of Early Modern History at the Università di Trento.Since the publication of Art, Memory and Family in RenaissanceFlorence (Cambridge: Cambridge Univ. Press, 2000), jointly editedwith PATRICIA RUBIN (VIT’87,’90,’93,’97), Ciappelli has pub-lished various articles on family memory, of which one is on the“libri di ricordi” of the Medici. He is currently writing a book onfamily memory from the Middle Ages to the modern age. He hasalso edited the first volume of the collected essays of NicolaiRubinstein: Studies in Italian History in the Middle Ages and theRenaissance, I, Political Thought and the Language of Politics. Art andPolitics (Roma: Edizioni di Storia e Letteratura, 2003).

MEG GALLUCCI (VIT ’01) is author of Benvenuto Cellini:Sexuality, Masculinity, and Artistic Identity in Renaissance Italy (New

York, NY: Palgrave Macmillan, 2003) and co-editor of BenvenutoCellini: Sculptor, Goldsmith, Writer, which will be published byCambridge University Press, in 2004. Her article “Burned Underthe Tuscan Sun: A Newly Discovered Witchcraft Document inthe Archivio di Stato, Florence,” which appeared in Annals ofScholarship (2003), is drawn from her I Tatti project.

LAWRIN ARMSTRONG (VIT’00) was last year appointedAssociate Professor of Medieval Studies at the Centre forMedieval Studies, University of Toronto, where he sharesresponsibility for the medieval Latin program and teaches eco-nomic and legal history. He has recently published a book enti-tled Usury and Public Debt in Early Renaissance Florence: LorenzoRidolfi on the Monte Comune (Toronto: Pontifical Institute ofMediaeval Studies, 2003).

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GARDENS AND GROUNDS1 2

This past year much thought and plan-ning have gone into improving the

outlying properties through three distinctprojects. The first such project was toremodel the garden of the Villa Papiniana.In the past, the magnificent view of

Florence distracted the visitor from therather rundown and makeshift gardenthere. Renovations to the exterior of thebuilding have recently been completed,however, and the garden’s shortcomingssuddenly became all too apparent. A longsinuous wall, with new lights, dividing thedriveway from the rest of the garden, apebble floor under the loggia, some dis-

creet earthmoving to please the eye, theremoval of old overgrown bushes, and thecreation of five new beds with mixedMediterranean borders have transformedthe garden while maintaining its familiarlook. An interesting discovery was madewhile doing all this work. Like most gar-dens built in the past, the Papiniana had acistern to collect water for use during thelong, dry Tuscan summers. When, in theinterests of keeping maintenance at a rea-sonable level, an automatic watering sys-tem was installed, the true dimensions ofthe old water cistern came to light. Thiscistern turned out to be carved into thebedrock on the far side of the building andwas much larger than an initial quick lookthrough the narrow trapdoor had led oneto expect. The most common way of fill-ing a cistern would be to use it to collectrainwater from the roof. But inthe process of cleaning out thewoods behind the villa, weunearthed an ingenious system ofdykes and decanting poolsdesigned to feed into the cistern.Over the years, these had silted upbut after much clearing they arenow working again – or will workwhen it eventually starts to rainagain.

The second project that keptthe garden crew rather busy inspring was an ex novo gardenwrapped around three sides ofthe newly restored Podere alMulino. The problems to besolved here were quite differentfrom those encountered at thePapiniana. In this case there were nopre-extant features to be followedexcept for a raised area, which had beenused as a vegetable garden until quiterecently. A formal garden plan riskedlooking pretentious next to a buildingthat, no matter how beautifully reno-vated, was and remains a farmhouse.On the other hand, a “cottage garden”approach did not seem to be appropri-ate either, since such a garden wouldlook out of place in a traditional Tuscansetting. The solution has been to intro-duce a somewhat understated formality,

suggested above all by the rather grandstaircase leading up to the raised garden.Here a low hedge of Myrtus tarentina hasbeen planted. While it still needs a cou-ple of years before it will create theproper effect, we chose it because it is alittle less formal than boxwood but wasmuch used in Renaissance mixedhedges. In other parts of the garden,some degree of visual order has beencreated with an elliptical hedge of grey-leaved Helichrysum italicum enclosing amixed border. This elliptical border ispicked up by a higher row of darker-leaved boxwood that skirts two sides ofthe building, finally curving out toenclose a small raised herb garden.

The third project was at Ponte aMensola where we planted a hedge allalong Via Gabriele D’Annunzio with a

variety of low-growing bushes and cas-cading perennials chosen to bloom fromlate winter through autumn. The hedgewill frame the fields and the beautifullysituated church of San Martino aMensola but will also improve therather bleak wall that separates I Tattiproperty from the main thoroughfare.Waiting for the number 10 bus shouldbe a little more pleasant from now on.

m Allen J. GriecoSenior Research Associate

At the Podere al Mulino, attractivesteps now lead up to a newly planted

Mediterranean garden adjacent toI Tatti’s vineyard.

The pebble floor at the front door to thePapiniana was completely relaid.

New grass was sown around the terrace and spectacularlookout point at the Papiniana. The area has now been

well defined by a new retaining wall.

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LILA WALLACE–READER’S DIGESTSPECIAL GRANTS

Villa I Tatti grants of up to $8,000per person, for a total of not more

than $40,000 per year, are availablefrom the Lila Wallace – Reader’s DigestPublications Subsidy to formerAppointees who apply to help subsidizethe publication of a scholarly mono-graph or article on the ItalianRenaissance, to help pay for pho-tographs or other special costs of such apublication, to help prepare a manu-script for publication, to engage aresearch assistant, etc.

In addition, Villa I Tatti grants of upto $16,000 per project, for a total of notmore than $40,000 per year, are avail-able from the Lila Wallace – Reader’sDigest Special Project Grant to formerAppointees who wish to initiate, pro-mote, or engage in some sort of inter-disciplinary project in ItalianRenaissance studies. Eligible projectswould include conferences, publica-tions, courses, seminars, workshops, orlectures which are interdisciplinary incharacter.

Recipients of both grants are chosenby a committee formed of three to fivesenior Renaissance scholars (plus theDirector acting as chairman) chosenfrom among the I Tatti ResearchAssociates, Visiting Professors andScholars, and former Fellows. Proposals,which should include a brief projectdescription, a budget, and a short list ofrelevant publications, should be sent tothe Director by 30 September eachyear. In the case of applications relatingto the special costs of publication (pub-lication subvention, cost of illustrations,etc.), in addition to giving the lengthand scope of the projects the descrip-tion should explain what financialdifference a subvention will make. Aletter from the publisher indicating thatthe manuscript has been accepted forpublication should also be sent. Finalnotification will be sent to applicants inOctober. Preference will be given toapplicants who have not previouslyreceived such an award.

2002/2003 Lila Wallace – Reader’sDigest Publications SubsidiesRecipients:

GAUVIN A. BAILEY (VIT’01) towardsBetween Renaissance and Baroque: Jesuit Art inRome, 1565-1610.

Michele Bordin (VIT’99) towards Boccaccioversificatore.

CHRISTOPHER S. CELENZA (VIT’00)towards The Lost Literature of Western Europe.

Dario Covi (VIT’97) towards Andrea delVerrocchio: Life and Work.

Massimo Danzi (VIT’92) towardsLa biblioteca del cardinal Pietro Bembo.

John E. Law (VIT’95) towards TheVictorian and Edwardian Response to the ItalianRenaissance.

CAROLINE MURPHY (VIT’02) towardsLavinia Fontana; A Painter and Her Patrons inSixteenth-Century Bologna.

ALISON JANE WRIGHT (VIT’97) towardsThe Pollaiuolo Brothers and the Arts of Florenceand Rome.

- Former Fellows Update 0

MASSIMILIANO ROSSI (VIT’93-’03) wasrecently appointed full professor at theUniversità di Lecce.

MARICA TACCONI (VIT’03) receivedword during her fellowship year that shehad been granted early tenure atPennsylvania State University, with apromotion to Associate Professor ofMusicology.

MICHÈLE MULCHAHEY (VIT’99,’04)will be Visiting Professor at I Tatti dur-ing 2003/2004 before taking up a newpost as Senior Lecturer in theDepartment of Mediaeval History at theUniversity of St. Andrews.

GERALDINE JOHNSON (VIT’00) nowholds a permanent position as aUniversity Lecturer in History of Art atOxford and has also been elected to afellowship at Christ Church.

VIRGINIA COX (VIT’97) was recentlyappointed Professor of Italian at NewYork University where she teaches 15th-and 16th-century Italian literature andintellectual history, early modern Italianwomen’s writing, and the history ofrhetoric.

A number of former I Tatti Fellowswere involved in celebrating the 500th

anniversary of the birth of Bronzinolast spring. JANET COX-REARICK

(VIT’62,’63,’76,’91) organized a collo-quium at the CUNY Graduate Centerin April and four sessions on “ThePainting and Poetry of Agnolo Bronzino(1503-1572)” at the March 2003 RSAmeeting in Toronto where, among oth-ers, ELIZABETH CROPPER (VIT’79),BRUCE EDELSTEIN (VIT’02), ROBERT

GASTON (VIT’82), LEATRICE

MENDELSOHN (VIT’86), DEBORAH

PARKER (VIT’93), ELIZABETH PILLIOD

(VIT’92), and BETTE TALVACCHIA

(VIT’96,’97,’03,’04) all presented papers.

Michèle Mulchahey withHanna Kiel Fellow Kate Jansen.

Nick Eckstein with Jutta Sperling,her daughter Olivia, and Hervé Brunon.

www.itatti.itWireless Internet service will soon

be available in the library and villa –even in the garden – for Fellows andlibrary users equipped with theirown laptop and a wireless card.

General e-mail messages can beaddressed to info@itatti.it

Most staff members can bereached via e-mail by using theirfirst initial and last name followed by@itatti.it. e.g., Michael Rocke canbe reached at mrocke@itatti.it

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NewsbriefsThose of you Former Fellows who

live in or return to Florencecontribute greatly to the vitality andrichness of the scholarly communityhere and are encouraged to join in allthe activities of the Center. Pleaseremember that you have the sameaccess to the Biblioteca Berenson (8.00a.m. to 9.45 p.m. every day of the year)and to I Tatti’s computer facilities as docurrent Fellows. If you wish to workoutside normal 9:00 – 6:00 hours, how-ever, this must be arranged ahead oftime. Your first lunch each year is “onthe house.” Thereafter you are asked topay a small sum to cover costs. Toavoid bookkeeping, please remember topay in advance at the reception desk.

The Premio Daria Borghese, givensince 1965 to a non-Italian for

general achievement in the study ofRoman art and history, was conferredon 31 May 2003 on Joseph Connorsin a ceremony in the Palazzo Borghese,Artena (Lazio). The laudatio was givenby Professor Christoph Frommel,Director Emeritus of the BibliothecaHertziana in Rome. At the same timethe Premio Livio Giuseppe Borghese,meant for Italian romanisti, was con-ferred on Giancarlo Alteri, a distin-guished numismatist who is the directorof the Medagliere Vaticano. PrincipessaLoretta Borghese presided overthe ceremony and reception, which wasattended by several hundred guests,including several of Connors’sPh.D. students.

In December 2002, we sadly badefarewell to Fortunato Pratesi who

retired from the security staff after 18years on the payroll. After the closure ofhis carpentry workshop in Ponte aMensola, he was hired as substitutenight watchman and odd-job man inMarch 1984 and became a full-timeguard with the upgrading of the villa’ssecurity system. Happily, he has notgone far; he lives in Ponte a Mensolaand is a devoted volunteer in theSettignano Misericordia.

Another departurethis year is

Corrado Doddi,who retired in Aprilfrom the farm staffafter 13 years. Hissmiling face, hardwork, and reliabilitywill be sorely missed.While he was not alife-long I Tattifarmer as some ofthose who haveretired in recent yearshave been, Corrado’sdeparture closes achapter in traditionalTuscan farming here. A youngergeneration of farming staff hassucceeded now.

We were delighted to welcomeManuela Michelloni to the

regular Library staff this year as AssistantCataloguer. Manuela began workingwith temporary contracts in 2000on the special project to catalogueretrospectively the library’s importantcollection of art auction catalogues.That job was expertly completed lastyear (consult the database SAL in theIRIS catalogue), and this summer the15,000 catalogues are being entirelyrehoused in sturdier containers.Manuela has moved on in the mean-time to other cataloguing projects, inparticular the Music Library’s growingcollection of CD sound recordings.

Ilaria Della Monica, LibraryAssistant, has finished – with flying

colors – the first year of a two-yearMaster’s program in archival studies andlibrary science at the Università diFirenze. The course focuses on organi-zation and inventorying of archives, andcataloguing of manuscripts, printedmaterials, and digital materials. Herspecialization will be in modern andcontemporary archives.

We are delighted to announce theweddings of Emiliano and

Angela Pernice last September, andFellow Kate Jansen and MassimoCersa in the early summer, as well asthe birth of Dario, second child ofGianni and Mioara Trambusti inMarch.

- Former Fellows Update 0

PAUL GRENDLER (VIT’71,’72),Professor of History Emeritus,University of Toronto, was electeda member of the AmericanPhilosophical Society in April2002. Founded by BenjaminFranklin in 1743, this is the oldestand probably most prestigious hon-orary society in America. InJanuary 2003, he received his thirdMarraro Prize, given by theAmerican Historical Association,for his book, The Universities of theItalian Renaissance (Baltimore,London: Johns Hopkins Univ.Press, 2002). Also in January, hebegan a two-year term as presidentof the Society for Italian HistoricalStudies. Later in the spring, hedelivered the Josephine WatersBennett Lecture at the annualmeeting of the Renaissance Societyof America in Toronto, Canada.The title was “The Universities ofthe Renaissance and Reformation.”

At his retirement party, Corrado Doddi is surrounded byhis colleagues on the I Tatti farm staff: Andrea Bendoni,hired as Corrado’s replacement in April, Andrea Laini,

Leonardo Rossi, and Paolo Cresci.

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IN MEMORIAMI Tatti records with sorrow the following deaths:

Mason Hammond (VIT’72,’74) died on 13 October 2002just shy of his 100th birthday. Hammond received his

first and last degrees from Harvard, his A.B. in 1925 (summa cumlaude) and an honorary doctorate (LL.D.) in 1994. A Harvardman through and through, he began teaching there as a classicsinstructor in 1928, and he retired as Pope Professor of LatinLanguage and Literature Emeritus in 1973. From 1946 to 1955he also served as Master of Kirkland House. In retirement hecontinued to occupy his office in Widener Library, where hereceived a steady stream of former students and colleagues andwhere he devoted himself to writing about various aspects ofthe history of Harvard. Just before WWII, he served as profes-sor in charge of classical studies at the American Academy inRome, a position he held again in the mid-fifties. He and hiswife Florence visited Berenson’s I Tatti several times, returnedagain and again for longer or shorter periods after the HarvardCenter opened in 1961, and were closely involved with theCenter for the remainder of their long lives. For one semesterin 1972 and again in 1973, Hammond served as ActingDirector of I Tatti. His major scholarly publications includeCity State and World State in Greece and Roman Political Thoughtuntil Augustus (Cambridge, MA: Harvard Univ. Press, 1951),The Antonine Monarchy (Rome: American Academy in Rome,1959), The City in the Ancient World (Cambridge, MA: HarvardUniv. Press, 1972), and Latin: A Historical and LinguisticHandbook (Cambridge, MA: Harvard Univ. Press, 1976).

Salvatore I. Camporeale (VIT’77-’03), beloved member ofthis community, died 17 December 2002 of a heart attack

on his way home to S. Maria Novella after a normal day atI Tatti. He was born in 1928 in Molfetta (Bari). His learningwas grounded in the Dominican’s traditional, long, and exact-ing education. Shortly after WWII he was sent to St. Albert’sCollege in Oakland, CA, where he received his BA in 1950.He was ordained in St. Mary’s Cathedral in San Francisco. Hereturned to Italy to pursue his doctorate in theology(Angelicum University, Rome, 1961) and his laurea (1970) andDiploma di Perfezionamento (1974), both in Filosofia, at theUniversity of Florence where he undertook his seminal workon Lorenzo Valla under Eugenio Garin. He belonged to theDominican community in Pistoia from 1955 to 1977 when hemoved to the convent at S. Maria Novella in Florence.Camporeale held annual visiting professorships at JohnsHopkins University for many years, taught at the University ofCalifornia at Berkeley, the University of North Carolina atChapel Hill, and Tel Aviv University, and lectured in numer-ous universities and academic institutions across the UnitedStates, in England, and in Italy.

Salvatore Camporeale’s publications include Lorenzo Valla:Umanesimo, Riforma e Controriforma, studi e testi (Roma: Edizionidi Storia e Letteratura, 2002), Lorenzo Valla: umanesimo e teologia(Firenze: Istituto Nazionale di Studi sul Rinascimento, 1972),and numerous articles, including ten in Memorie Domenicane. Hewas a founding editor of both the new series of the journal

Memorie Domenicane (1970-2002) and I Tatti Studies: Essays inthe Renaissance (1986-2002) and was on the editorial board ofVita Sociale from 1965 to 1977.

Camporeale was appointed one of I Tatti’s first ResearchAssociates in 1976. In 1977, he was appointed Bibliographerin the Biblioteca Berenson and he remained on the library’sAcquisitions Committee ever since. Between 1980 and 1986he was a member of the I Tatti Advisory Committee, thegroup of senior scholars which chooses the Fellows each year.He was learned in so many fields that there are few people atI Tatti, scholars, staff, or visitors, who didn’t find themselvesand their work changed by their conversations with him.

Elizabeth Morrill, widow of F. Gordon Morrill, died inher sleep on Wednesday, 19 March 2003. Gordon and

Elizabeth Morrill first came to Florence before WWII andmade their home in a charming house on Costa San Giorgio.They became friends with Bernard and Mary Berenson and fre-quently visited I Tatti. After Berenson’s death they decided tohonor his memory by establishing and endowing the MorrillMusic Library at I Tatti: both had a sincere love of music(Elizabeth had a fine soprano voice and sang a great deal), andthey had noticed that only a very small part of the holdings ofthe Biblioteca Berenson was devoted to music. Their generosityhas financed one of the best-equipped libraries for the study andperformance of early music in the whole of Italy, earning themthe gratitude of many generations of musicologists, both fromItaly and abroad. Elizabeth Morrill’s favorite composer wasJohann Adolph Hasse. She spent many years painstakingly tran-scribing his arias from manuscripts in libraries all over Europe,working out her own embellishments for their performance,which she then recorded in the studio in the tower of theirhouse on Costa San Giorgio, Gordon manning the controls.They continued to visit I Tatti as long as their health allowedthem, and they took great pleasure in getting to know theMusic Fellows, many of whom enjoyed the hospitality of theirhouse in Florence. Their last act of generosity was to leave thishouse to I Tatti. A concert, which will commemorate the out-standing contribution of Elizabeth and Gordon Morrill to theBiblioteca Berenson and to musicology in general, will be heldat the church of San Martino on 29 January 2004.

Settimo Galleotti, retired I Tatti guard, died on 19 July2003. Born in Scarperia in 1942, Galleotti lived his whole

life in the Mugello where he developed a passion for his small-holding in San Piero a Sieve. After many years working forFiat, his desire to spend his days in his vegetable garden led himfirst to a night job in a garage and then, in 1991, to I Tattiwhere he came as night watchman. He retired in 1995, thesame year his son, Sergio, joined the I Tatti security staff, tospend the rest of his days tilling the soil between the tomatovines and tending his chickens.

Continued on page 23

Autumn 2003

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with support from the Lila Wallace – Reader’s Digest Endowment Fund, the Scholarly Programsand Publications Funds in the names of Malcolm Hewitt Wiener, Craig and Barbara Smyth,Jean-François Malle, Andrew W. Mellon, and Robert Lehman, and the Myron and Sheila GilmorePublication Fund.

Publications

The Egyptian bronze cat (ca 700 B.C.)at Christmas.

Lenka Reichova, Yolanda Plumley, and Elena Pierazzo.

Recent Titles:

I Tatti Studies: Essays in the Renaissance,Vol. 9, Florence: Leo S. Olschki, 2001.

19. The Italian Renaissance in the 20thCentury. Acts of an international confer-ence, Villa I Tatti, Florence, 9-11 June1999, edited by Allen J. Grieco, MichaelRocke, and Fiorella Superbi Gioffredi.Florence: Leo S. Olschki, 2002.

ITRL 7. Marsilio Ficino. Platonic Theology,Vol. 3, Books IX-XII, trans. by Michael J.B. Allen with John Warden & ed. by JamesHankins with William Bowen. 2003.

ITRL 8. Leon Battista Alberti. Momus,trans. by Sarah Knight, ed. by VirginiaBrown and Sarah Knight. 2003.

ITRL 9. Giannozzo Manetti. BiographicalWritings, trans. & ed. by Stefano UgoBaldassari and Rolf Bagemihl.

Forthcoming Titles:

I Tatti Studies: Essays in the Renaissance,Vol. 10, Florence: Leo S. Olschki, 2003.

L’Arme e gli amori: Ariosto, Tasso, Guariniin Late Renaissance Florence. Acts of aninternational conference, Villa I Tatti,Florence, 27-29 June 2001, edited byMassimiliano Rossi and Fiorella SuperbiGioffredi. Florence: Leo S. Olschki.

The Acts of The Brancacci Chapel:A Symposium on Form, Functionand Setting. Villa I Tatti, June 2003. orga-nized by Joseph Connors and NicholasEckstein.

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John Shearman, distinguished historian of Italian Renaissanceart, died on 11 August 2003. He was a graduate of the

Courtauld Institute of Art where he taught from 1957 until hemoved to Princeton University in 1979. In 1987 he beganteaching at Harvard University and became Adams UniversityProfessor there in 1994. He retired in 2002. He was a memberof the I Tatti Advisory Committee from 1987 to 1990. He wasa prolific writer; his numerous books, articles, and publishedlectures include works on Mannerism and Quattrocento art aswell as the painters Andrea del Sarto, Pontormo, and Raphael.Raphael in Early Modern Sources (1483-1602) (New Haven, CT:Yale Univ. Press) came out this year and an extensive series ofdocuments on Raphael and his works is due to be published bythe Max-Planck-Gesellschaft.

Continued from page 22

The editors of I Tatti Studies: Essays in the Renaissance welcome submissions fromRenaissance scholars whether former Fellows or not. Manuscripts should be about 7,000 to10,000 words long, and should be as accessible as possible in style, with minimum use oftechnical terminology. The editors are eager to encourage interdisciplinary approaches. Essaysin languages other than English or Italian are welcome. All publications inquiries and requestsfor the style sheet should be addressed to:

The Editors, I Tatti Studies, Via di Vincigliata 26,50135 Florence, Italyinfo@itatti.it

A COMPLETE LIST OF ALL

I TATTI PUBLICATIONS

CAN BE FOUND

ON OUR WEB SITE

AT WWW.ITATTI.IT

I TATTI STUDIES:ESSAYS IN THE RENAISSANCE

Leo S. Olschki

Editor-in-ChiefJoseph Connors

EditorsAlison Brown

Elizabeth CropperCaroline Elam

F.W. KentJessie Ann Owens

David QuintEditorial Co-ordinator

Fiorella Gioffredi SuperbiEditorial Administrator

Nelda Ferace

I TATTI RENAISSANCE LIBRARYCambridge: Harvard Univ. Press

General EditorJames Hankins

Editorial BoardMichael J. B. AllenBrian Copenhaver

Vincenzo FeraClaudio LeonardiWalther LudwigNicholas Mann

Silvia Rizzo

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I Tatti Community 2003-2004Fellows

Maurizio Arfaioli, Andrew W. MellonFellow, Università di Pisa, History. “TheItalian ‘Nation’ in the Army of Flanders(1567-1602).”Molly Bourne, Robert Lehman Fellow,Syracuse University, Florence, Art History.“The Domestic Interior in RenaissanceMantua.”Shane Butler, Ahmanson Fellow, Universityof Pennsylvania, Literature. “Latin Poetryabout the Plague, from Lucretius toFracastoro.”Clizia Carminati, Melville J. Kahn Fellow,Literature. “Dal romanzo cavalleresco alromanzo in prosa: la riflessione cinque-sei-centesca”Silvia Evangelisti, Jean-François Malle Fellow,University of Birmingham, History.“Illegitimate Daughters in Convents in EarlyModern Florence.”Guido Guerzoni, Deborah Loeb Brice Fellow,Università Bocconi, Milano, History. “AComparison of the Este and Gonzaga diNovellara Courts in the 16th century.”Gabor Hajnóczi, (1st sem), Andrew W.Mellon Research Fellow, Pázmány PéterCatholic University, Art History.“Hungarian Edition of Leon Battista Alberti’sDe re aedificatoria.”

James Harper, Rush H. Kress Fellow,University of Oregon, Art History. “Post-nepotism: Art Strategies and the Survival ofthe Cardinal Nephew (1621-1676).”Andrew Hopkins, Committee to Rescue ItalianArt Fellow, Art History. “Architecture andCeremony in San Marco, Venice.”Samantha Kelly, Francesco De DombrowskiFellow, Rutgers University, History. “TheDevelopment of the Urban Reputation or‘Myth’ of Naples (c. 1250-c. 1650).” Luigi Lazzerini, Francesco De DombrowskiFellow, History. “Tempore Hyemali (In theWintertime): Civic and Ritual Violence inMedieval and Modern Pisa.”Stuart Lingo, Hanna Kiel Fellow, MichiganState University, Art History. “FedericoBarocci: Retrospection, Modernity, and theReform of the Altarpiece.”Pedro Memelsdorff, Hanna Kiel Fellow,Escola Superior de Musica de Catalunya,Musicology. “Scribal Mentalities and EarlyUse of Music Manuscripts: Faenza 117.”Roberta Morosini, Florence J. Gould Fellow,Wake Forest University, Literature. “Whatabout the Franceschi romanzi? From France toItaly - from Italy to France.”Wlodzimierz Olszaniec (1st sem), AndrewW. Mellon Research Fellow, WarsawUniversity, Literature. “Guarino Guarini’sCommentary on Rhetorica ad Herennium - aStudy of the Work.”

Stefania Pastore, Lila Wallace Reader’s DigestFellow, History. “Tra mecenatismo anti-romano e dissidenza religiosa: i l‘Rinascimento italiano’ di Diego Hurtado deMendoza (1539-1552).”Bronwen Moira Wilson, Hanna Kiel Fellow,McGill University, Art History.“Portraiture, Physiognomy, and Naturalismin Northern Italy (1550-1620).”

Visiting Professors

Don Harran, (2nd sem), Robert LehmanVisiting Professor, Hebrew University ofJerusalem, Musicology. “Jews in the Musicof the Italian Renaissance.”Kristen Lippincott (2nd sem), NationalMaritime Museum, Greenwich, Art History.“Imagines Caeli: Mapping the Heavens in theRenaissance.”M. Michèle Mulchahey, University of St.Andrews, History. “Dominican Teaching inDante’s Florence. Remigio De’Girolami andthe Schools of Santa Maria Novella.”Robert Nelson, (1st sem), University ofChicago, Art History. “Illustrated GreekManuscripts in the Renaissance.”Bette Talvacchia, University ofConnecticut, Art History. “Monograph onthe Art of Raphael.”

The I Tatti newsletter is published once a year. Alexa M. Mason, editor, writer, designer. Unless otherwise specified, photographs are by Susan Bates, JosephConnors, Nelda Ferace, Gianni Trambusti, Gianni Martilli, and Alexa M. Mason. Former Fellows are indicated in the text with the initials “VIT” after their namefollowed by the year(s) of their appointment as Fellow, Visiting Scholar or Professor, or Research Associate.

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