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By Alessandro Tassoni

Alessandro Tassoni nasce e vive a Modena dal 1565 al 1635. Il suo lavoro di scrittore e poeta italiano trova l. a. sua espressione più alta ne los angeles secchia rapita, un poema eroicomico in cui l'autore riprende l. a. tradizione burlesca di prendersi gioco del mondo cavalleresco. Oggi Utet pubblica l'edizione digitale di quest'opera tassoniana, il cui carattere distintivo e inedito sta nell'apparato critico che los angeles correda e los angeles impreziosisce.

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1445–7 4. Giovanni Bellini, San Giobbe Altarpiece, oil on panel, before 1478 Altarpiece) to depict the glittering half-dome of what appears to be a fully three-dimensional chapel. Indeed, Bellini is so consistent in producing this illusion that he even includes a hanging lamp in the upper section of the composition, depicted as if submerged in dark shadows while apparently dangling between our space and the fictive chapel, which is lit by a mysterious divine light. In Raphael’s Sistine Madonna, which we encountered in the first chapter, the illusion is not of the Virgin appearing to us as if in an actual chapel, but rather of curtains being drawn aside from an enormous window, through which we see St Mary coming down from Heaven to present her precious Child to us (see Figure 1).

The figures are depicted almost as if in a sequence of still frames from a film: first, just peeking out from the second column from the left, we see two figures standing; then two more figures seem to be in the process of kneeling down; while the next two figures are shown on fully bended knees before the enthroned king. The sense of an almost cinematic progression in time and space continues in the far right scene of the canvas, in which the beautiful young saint is shown standing in a much more private space with a richly canopied bed, discussing the marriage proposal with her world-weary father, his head resting in the palm of his upturned hand.

Second, images were introduced on account of our emotional sluggishness; so that men who are not aroused to devotion when they hear the histories of the Saints may at least be moved when they see them . . in pictures. Third, they were introduced on account of our unreliable memories . . because many people cannot retain in their memories what they hear, but they do remember if they see images. 37 Story-telling in Renaissance art Of course, as we saw in the previous chapter, one could argue that it was sacrilegious to make a concrete image of any religious story or sacred figure given that the Ten Commandants explicitly forbade the production of ‘graven images’ of any kind and, especially, the veneration of such images.

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