Franco Bolognese (14th century) was an Italian illuminator, cited by Dante as having supplanted Oderisio da Gubbio as the leading artist in his field. (illuminator). There are no documents recording him and no signed or documented works: Dante's name for him, Bolognese, probably indicates that he mainly worked elsewhere, most probably in Padua. The accounts of his activity at the papal court by Vasari and Malvasia are almost certainly fictitious; the signature on the Madonna of the Malvezzi collection signed and dated to 1313 is certainly a forgery as it has been attributed to the 15th century Michele di Matteo by Robert Longhi. While most art-historians have considered him a 13th-century Byzantinising artist Salmi suggested the Giotto-influenced artist of choirbooks in Modena. Dante's comparison clearly indicates a 14th-century artist, and an intervention in Francesco da Barberino's Offizuolo similar to Dante's comparison suggests he might be the 'Maestro del 1328' working in an idiom parallel to, rather than dependent upon,Giotto. His influence upon Bolognese painters claimed by Malvasia was probably indirect at most.
Franco B. is described as having supplanted his predecessor, 'Oderisi', in Divine Comedy by Oderisi himself. [1]
Giovanni Valagussa in Dizionario Biografico dei miniatori italiani, ed. Milvia Bollati, Sylvestre Bonnard, Milan, 2004, pp. 239-40, and M. Medica, ibid., pp. 473-75. Officiolum di Francesco da BarberinoItalic text, ed. Carlo Bertoncello Brotto and Enrico Malato, Salerno, Rome, 2015, fols. 169-72 (out of original sequence),and Commentario, ed. Sandra Bertelli et al, Salerno, Rome, 2016.
Dante Alighieri, widely known mononymously as Dante, was an Italian poet, writer, and philosopher. His Divine Comedy, originally called Comedìa and later christened Divina by Giovanni Boccaccio, is widely considered one of the most important poems of the Middle Ages and the greatest literary work in the Italian language.
The Sienese school of painting flourished in Siena, Italy, between the 13th and 15th centuries. Its most important artists include Duccio, whose work shows Byzantine influence, his pupil Simone Martini, the brothers Pietro and Ambrogio Lorenzetti and Domenico and Taddeo di Bartolo, Sassetta, and Matteo di Giovanni.
Altichiero da Zevio, also called Aldighieri da Zevio, was an Italian painter much influenced by Giotto, certainly through knowledge of the frescoes in the Cappella degli Scrovegni in Padua and quite possibly through having been trained in Florence by one of Giotto's pupils. Altichiero worked in Verona and Padua. Works by him survive in the church of Sant'Anastasia in Verona and in the Cappella di S Felice in the basilica of Sant'Antonio and the Oratorio di San Giorgio in Padua. His stature was compromised for a long time through his supposed collaboration with a certain Jacopo Avanzo or Avanzi, but study of the documents and historiography demonstrated Atichiero's authorship of the frescoes in both the Santo and the Oratorio di San Giorgio. It has been argued that the hand of an assistant can be seen in some early scenes in the Santo – although it was certainly Altichiero who was paid to decorate the chapel, and he received 792 ducats in the summer of 1379.
Italian literature is written in the Italian language, particularly within Italy. It may also refer to literature written by Italians or in other languages spoken in Italy, often languages that are closely related to modern Italian, including regional varieties and vernacular dialects.
The Scrovegni Chapel, also known as the Arena Chapel, is a small church, adjacent to the Augustinian monastery, the Monastero degli Eremitani in Padua, region of Veneto, Italy. The chapel and monastery are now part of the complex of the Musei Civici di Padova.
The Trecento refers to the 14th century in Italian cultural history.
Cino da Pistoia was an Italian jurist and poet. He was the university teacher of Bartolus de Saxoferrato and a friend and intellectual influence on Dante Alighieri.
Giovanni Pietro Bellori, also known as Giovan Pietro Bellori or Gian Pietro Bellori, was an Italian art theorist, painter and antiquarian, who is best known for his work Lives of the Artists, considered the seventeenth-century equivalent to Vasari's Vite. His Vite de' Pittori, Scultori et Architetti Moderni, published in 1672, was influential in consolidating and promoting the theoretical case for classical idealism in art. As an art historical biographer, he favoured classicising artists rather than Baroque artists to the extent of omitting some of the key artistic figures of 17th-century art altogether.
Carlo Cesare Malvasia (1616–1693) was an Italian scholar and art historian from Bologna, best known for his biographies of Baroque artists titled Felsina pittrice, published in 1678. Together with his contemporary Giovanni Pietro Bellori, Malvasia is considered "among the best informed and most intelligent historians and critics of art who ever lived."
The Sassetti Chapel is a chapel in the basilica of Santa Trinita in Florence, Italy. It is especially notable for its frescoes of the Stories of St. Francis, considered Domenico Ghirlandaio's masterwork.
Giuliano Pisani is a writer, classical philologist, scholar of ancient Greek and Latin literature, and art historian who was born on April 13, 1950, in Verona, Italy. He graduated with a degree in ancient Greek history from Padua University with Professor Franco Sartori. He was a full professor of Greek and Latin literature at Liceo Tito Livio in Padua. Since 2011, he has been a member of the National Italian Committee of the Promoters of Classical Culture at MIUR. He was also the technical coordinator of the first Olympiad in Classical Languages and Civilizations, which was held in Venice.
Andrea da Grosseto was an Italian writer of the 13th century.
Giotto di Bondone, known mononymously as Giotto and Latinised as Giottus, was an Italian painter and architect from Florence during the Late Middle Ages. He worked during the Gothic and Proto-Renaissance period. Giotto's contemporary, the banker and chronicler Giovanni Villani, wrote that Giotto was "the most sovereign master of painting in his time, who drew all his figures and their postures according to nature" and of his publicly recognized "talent and excellence". Giorgio Vasari described Giotto as making a decisive break from the prevalent Byzantine style and as initiating "the great art of painting as we know it today, introducing the technique of drawing accurately from life, which had been neglected for more than two hundred years".
Il Guerrin Meschino is an Italian prose chivalric romance with some elements of verisimilitude, written by the Italian cantastorie, systematizer and translator from French Andrea da Barberino, who completed it about 1410.
Simone di Filippo Benvenuti, known as Simone dei Crocifissi or Simone da Bologna, was an Italian painter. Born and died in Bologna, he painted many religious panel paintings, and also frescoes in the churches of Santo Stefano and San Michele in Bosco, both at Bologna.
Oderisi da Gubbio was an Italian painter and manuscript illuminator of the 13th century. Few details of his life are known. Documents to his activities in Bologna span from 1262 to 1271. In 1292, he was called to Rome by Pope Boniface VIII to illuminate manuscripts in the papal library.
The Divine Comedy Illustrated by Botticelli is a manuscript of the Divine Comedy by Dante, illustrated by 92 full-page pictures by Sandro Botticelli that are considered masterpieces and amongst the best works of the Renaissance painter. The images are mostly not taken beyond silverpoint drawings, many worked over in ink, but four pages are fully coloured. The manuscript eventually disappeared and most of it was rediscovered in the late nineteenth century, having been detected in the collection of the Duke of Hamilton by Gustav Friedrich Waagen, with a few other pages being found in the Vatican Library. Botticelli had earlier produced drawings, now lost, to be turned into engravings for a printed edition, although only the first nineteen of the hundred cantos were illustrated.
The first circle of hell is depicted in Dante Alighieri's 14th-century poem Inferno, the first part of the Divine Comedy. Inferno tells the story of Dante's journey through a vision of hell ordered into nine circles corresponding to classifications of sin. The first circle is Limbo, the space reserved for those souls who died before baptism and for those who hail from non-Christian cultures. They live eternally in a castle set on a verdant landscape, but forever removed from heaven.
The second circle of hell is depicted in Dante Alighieri's 14th-century poem Inferno, the first part of the Divine Comedy. Inferno tells the story of Dante's journey through a vision of the Christian hell ordered into nine circles corresponding to classifications of sin; the second circle represents the sin of lust, where the lustful are punished by being buffeted within an endless tempest.
Francesco di Neri di Ranuccio, known better as Francesco da Barberino (1264–1348), was a Tuscan notary, doctor of law and author.