The essay intends to reconstruct the early figurative fortune of the first illustrated editionof Torquato Tasso’s Gerusalemme Liberata, published in Genoa in 1590, and ofCesare Ripa’s Iconologia, with particular reference to the illustrated edition of 1603, ina fresco cycle in Perugia’s Palazzo Saracini, now incorporated into Palazzo Manzoni.By analyzing the historical context, the noble aspirations of the family, the contributionaims to focus on Cesare Ripa’s role as a possible “inventor” of the frescoes in theyears coinciding with the publication of the illustrated edition (1603) and correspondingto the social rise of the commissioning family, linking the choice of themes relatedto ut pictura poesis, to the powerful Aldobrandini family, under whose aegis both CesareRipa 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
Galassi, Cristina
2022-01-01
Abstract
The essay intends to reconstruct the early figurative fortune of the first illustrated editionof Torquato Tasso’s Gerusalemme Liberata, published in Genoa in 1590, and ofCesare Ripa’s Iconologia, with particular reference to the illustrated edition of 1603, ina fresco cycle in Perugia’s Palazzo Saracini, now incorporated into Palazzo Manzoni.By analyzing the historical context, the noble aspirations of the family, the contributionaims to focus on Cesare Ripa’s role as a possible “inventor” of the frescoes in theyears coinciding with the publication of the illustrated edition (1603) and correspondingto the social rise of the commissioning family, linking the choice of themes relatedto ut pictura poesis, to the powerful Aldobrandini family, under whose aegis both CesareRipa and Torquato Tasso were placed.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
