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Michelangelo Florio and Venice |
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This paper will try to demonstrate how the second part of the sentence "Venetia, chi non ti vede non ti pretia, ma chi ti vede ben gli costa" had pregnant significance for Michelangelo Florio, in connection with the indignant and irrefutably documented invective that was hurled against Venice by the most famous Italian preacher of the Protestant Reformation, Bernardino Ochino, during Lent of 1542.
Wide summary of the 2017 Italian study, with a Documentary Appendix, which contains a letter dated January 23rd , 1552, in Latin, addressed by Michelangelo to Lord Cecil, Secretary of the English King Edward VI (with translation into English); it is absolutely striking to note how concepts and words, written in Latin by Michelangelo (who asked Cecil for mercy for an act of uncleanness), are literally reproduced in English by the Dramatist in Portia’s fundamental speech on praise of mercy in “The Merchant of Venice”.
Michelangelo Florio and Venice (490.83 kB)
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A 500 anni dalla nascita di Michelangelo Florio: Aretino, i Florio, Amleto |
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Nel presente studio, Massimo Oro Nobili:
1) celebra il 500° anniversario della nascita di Michelangelo Florio, di cui lo stesso Autore, per la prima volta (nel suo studio, pubblicato nel maggio 2017), ha correttamente individuato l’anno di nascita nel 1518, sulla base di una corretta lettura dell’Apologia di Michelangelo;
2) conferma che Michelangelo Florio “fiorentino” e fra’ Paolo Antonio “fiorentino” o “da Figline” sono la stessa persona;
3) pubblica e commenta una prima edizione del “carteggio” tra fra’ Paolo Antonio (alias Michelangelo Florio) e Pietro Aretino;
4) sottolinea l’influenza di Aretino sui dizionari di John Florio;
5) sottolinea l’influenza di Aretino sulle opere di Shakespeare e, in particolare, sull’Amleto.
A 500 anni dalla nascita di Michelangelo Florio (1.79 MB) |
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The Shakespeare case: the influence of Titian and Pietro Aretino (Michelangelo Florio’s friend) |
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The present study, after a wide Introduction on the “Shakespeare Case” and the “Floriana Thesis” by Santi Paladino, contains some observations on the relationship between the Shakespearean theater and the visual arts; thus, in the light of the canon of “complementarity” between the visual arts (in particular, the Titian’s portraits) and the Aretino’s sonnets, which were prepared to explain, by means of the words, the “invisible conceit” conveyed in these portraits. Subsequently the possible influence of two Titian’s paintings on two Dramatist’s works is emphasized: 1) Titian’s painting, Venus and Adonis and the homonymous Dramatist’s poem; 2) Titian’s portrait of the Duke of Urbino - the “Gonzago” in Hamlet - and the Shakespearean representation of the ghost of King Hamlet, all armed and frowned.
A wide English summary is available; the entire text is available in Italian.
The Shakespeare case (380.73 kB) |
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The 500th anniversary of Michelangelo Florio’s birth: Aretino, the Florios and Hamlet |
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In the present study, Massimo Oro Nobili:
1) celebrates the 500th anniversary of the birth of Michelangelo Florio, of whom the same Author, for the first time (in his study, published in May 2017), correctly identified the year of birth in 1518, on the basis of a correct reading of Michelangelo’s Apologia;
2) confirms that Michelangelo Florio “Florentine” and Friar Paolo Antonio “Florentine” or “from Figline” are the same person;
3) publishes and comments on a first edition of the “correspondence” between Friar Paolo Antonio (alias Michelangelo Florio) and Pietro Aretino;
4) points out the influence of Aretino on the dictionaries of John Florio;
5) points out the influence of Aretino on the works of Shakespeare and, in particular, on Hamlet.
A wide English summary is available; the entire text is available in Italian.
The 500th anniversary of Michelangelo Florio’s birth (443.31 kB) |
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Il caso Shakespeare: l’influenza di Tiziano e Pietro Aretino (amico di Michelangelo Florio) |
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Il presente studio, dopo un’ampia premessa sul “Caso Shakespeare” e la c.d. “Tesi Floriana” di Santi Paladino, contiene alcune osservazioni sui rapporti fra il teatro Shakespeariano e le arti visive, in generale, alla luce del canone della “complementarietà” fra le arti visive (in particolare, i ritratti del Tiziano) e i sonetti dall’Aretino composti a corredo di tali ritratti, per spiegare, con le parole, l’“invisibile concetto” in essi contenuto. Successivamente si sottolinea la possibile influenza di due dipinti del Tiziano su due opere del Drammaturgo: 1) il dipinto di Tiziano Venere e Adone e l’omonimo poemetto del Drammaturgo; 2) il ritratto tizianesco del Duca di Urbino - il “Gonzago” dell’Amleto - e la rappresentazione shakespeariana del fantasma del Re Amleto, tutto armato e accigliato.
Il caso Shakespeare (2.79 MB) |
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