Among the Rime (1573) of the venetian poet Girolamo Molin (1500-69) there are three poems dedicated to Titian and to the tuscan sculptor Simone Bianco which went up to now overlooked. A first sonnet (Sì pronta e bella, il buon mastro gentile, c. 98v) fits the tradition of Renaissance poetry describing female portraits: the sitter can be identified with Elisabetta Querini or Irene di Spilimbergo. Two more sonnets in form of a ‘diptych’ (cc. 103v-104r) celebrate a portrait carved in marble by Simone Bianco: it is probably the bust of Marcella Marcello (Molin’s sister-in-law) which was also described in a letter by Pietro Aretino. Molin’s poems and Aretino’s letter are analysed and contextualised in the framework of the dialogue between art and poetry in sixteenth-century Venice.
M. Calogero, M.D.C. (2018). Fra Tiziano, Simone Bianco e Pietro Aretino. Intorno a tre sonetti di Girolamo Molin. ANNALI DELLA SCUOLA NORMALE SUPERIORE DI PISA. CLASSE DI LETTERE E FILOSOFIA, 10(2), 519-558.
Fra Tiziano, Simone Bianco e Pietro Aretino. Intorno a tre sonetti di Girolamo Molin
M. Calogero;
2018
Abstract
Among the Rime (1573) of the venetian poet Girolamo Molin (1500-69) there are three poems dedicated to Titian and to the tuscan sculptor Simone Bianco which went up to now overlooked. A first sonnet (Sì pronta e bella, il buon mastro gentile, c. 98v) fits the tradition of Renaissance poetry describing female portraits: the sitter can be identified with Elisabetta Querini or Irene di Spilimbergo. Two more sonnets in form of a ‘diptych’ (cc. 103v-104r) celebrate a portrait carved in marble by Simone Bianco: it is probably the bust of Marcella Marcello (Molin’s sister-in-law) which was also described in a letter by Pietro Aretino. Molin’s poems and Aretino’s letter are analysed and contextualised in the framework of the dialogue between art and poetry in sixteenth-century Venice.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
