The essay intends to reconstruct the early figurative fortune of the first illustrated edition of Torquato Tasso’s Gerusalemme Liberata, published in Genoa in 1590, and of Cesare Ripa’s Iconologia, with particular reference to the illustrated edition of 1603, in a fresco cycle in Perugia’s Palazzo Saracini, now incorporated into Palazzo Manzoni. By analyzing the historical context, the noble aspirations of the family, the contribution aims to focus on Cesare Ripa’s role as a possible “inventor” of the frescoes in the years coinciding with the publication of the illustrated edition (1603) and corresponding to the social rise of the commissioning family, linking the choice of themes related to ut pictura poesis, to the powerful Aldobrandini family, under whose aegis both Cesare Ripa and Torquato Tasso were placed.

L'Iconologia di Cesare Ripa e la Gerusalemme Liberata di Torquato Tasso: un unicum figurativo in Palazzo Saracini a Perugia

Cristina Galassi
2022

Abstract

The essay intends to reconstruct the early figurative fortune of the first illustrated edition of Torquato Tasso’s Gerusalemme Liberata, published in Genoa in 1590, and of Cesare Ripa’s Iconologia, with particular reference to the illustrated edition of 1603, in a fresco cycle in Perugia’s Palazzo Saracini, now incorporated into Palazzo Manzoni. By analyzing the historical context, the noble aspirations of the family, the contribution aims to focus on Cesare Ripa’s role as a possible “inventor” of the frescoes in the years coinciding with the publication of the illustrated edition (1603) and corresponding to the social rise of the commissioning family, linking the choice of themes related to ut pictura poesis, to the powerful Aldobrandini family, under whose aegis both Cesare Ripa and Torquato Tasso were placed.
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Utilizza questo identificativo per citare o creare un link a questo documento: https://hdl.handle.net/11391/1548936
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