relatori invitati invited speakers in_bo vol. 12, n° 16, 2021 ISSN 2036 1602 DOI 10.6092/issn.2036-1602/13929 © The Autor(s) 2021. This is an open access article distribuited under the term of the Creative Commons Attribution-Non Commercial Licence 3.0 (CC-BY-NC) Denis Ribouillault Université de Montréal | denis.ribouillault@umontreal.ca KEYWORDS city-views; drawing; Renaissance; diplomacy; exegesis ABSTRACT In the second half of the 16th century, Girolamo Righettino, a brilliant draughtsman and theologian (a member of the Order of the Canons Lateran), produced city views with ornamental frames characterised by their rich allegorical programme. The drawings earned him widespread fame and were handsomely rewarded. A recently discovered autograph manuscript by Righettino sheds precious light on his only surviving view – an elaborate plan of Turin (1583). This article offers an introductory portrait of a personality forgotten to history and presents new research that allows us to situate his unique output – at the intersection of art and science, theology and politics, topography and allegory – in the wider context of Counter-Reformation Italy, when the ambitions of absolutist rulers were stoked by the fear of Turkish advances in the Mediterranean. -XEPMERQIXEHEXEEXXLIIRHSJXLIƼPI Girolamo Righettino’s City Views: Allegories of the Christian Prince, 1583–85 50 Translated from the French by Louise Rogers Lalaurie. O 3R ɸ 2SZIQFIVɸ  XLI TSTI 7M\XYW : IPIGXIH NYWX E JI[ QSRXLW FIJSVI KVERXIH ER EYHMIRGI XS E :IRIXMER GERSR F] XLIREQISJ+MVSPEQS6MKLIXXMRS8LITYVTSWISJXLIEYHMIRGI SFXEMRIHXLVSYKLXLISƾGIWSJXLITS[IVJYP'EVHMREP+MVSPEQS 6YWXMGYGGM[EWXSLSRSYVXLIRI[TETEPHMKRMXEV][MXLEKMJX EWTPIRHMHHVE[MRKF]XLIGERSRƅWS[RLERHJIEXYVMRKXLIGMX] SJ 6SQI WYVVSYRHIH F] ER I\XVESVHMREV] SVREQIRXEP JVEQI XIIQMRK [MXL EPPIKSVMGEP ƼKYVIW ERH XLI LIVEPHMG IQFPIQW SJ XLI4STI (YVMRK XLIMV MRXIVZMI[ XLI GERSR [EW EX TEMRW XS I\TPEMR XLI HVE[MRKƅWGSQTPI\ƼKYVIWERHMQEKIV]XSXLITSRXMJJ(IPMKLXIH F] XLI FIEYX] SJ XLI [SVO ERH MXW I\IKIWMW 7M\XYW : SVHIVIH 6MKLIXXMRSXSWIXXLIPEXXIVHS[RMR[VMXMRKF][E]SJXLEROW LI KVERXIH XLI WLVI[H XLISPSKMER XLI FMWLSTVMG SJ 'ESVPI E WQEPPGMX]RIEV:IRMGI;LMPIXLISVMKMREPZMI[SJ6SQIWIIQW XSLEZIFIIRPSWXMXWI\LEYWXMZII\TSWMXMSR [LMGL6MKLIXXMRS TVSQTXP]GSQQMXXIHXSTETIVEXXLI4STIƅWVIUYIWX WYVZMZIW 8LI TEKI EYXSKVETL QERYWGVMTX Ɓ [MXL E ƼRI MPPYQMREXIH GSZIV FIEVMRK XLI EVQW SJ 'EVHMREP 6YWXMGYGGM EPWS F] 6MKLIXXMRSƁMWGSRWIVZIHEXXLI&MFPMSXIGE*IHIVMGMEREMR*ERS 1EVGLI -RLERH[VMXMRKSJI\UYMWMXIIPIKERGIXLIXI\XSJJIVW ERI\TPEREXSV]KYMHIXSXLIEPPIKSVMIWWYVVSYRHMRKXLIZMI[SJ 6SQIEWTVIWIRXIHXSXLI4STI2 Fig. 1 6MKLIXXMRSMWEREPQSWX[LSPP]JSVKSXXIRƼKYVIXSHE]3LS[IZIV XLMW[EWJEVJVSQLMWƼVWXJSVE]MRXSGMX]QETTMRKERHZMI[W% TVIGMSYWLERHJYPSJHSGYQIRXWXVEGILMWEWXSRMWLMRKGEVIIV% GLETXIVSRchorographyMRXLIGIPIFVEXIH[SVOLa piazza di tutte le professioni del mondo  F]6MKLIXXMRSƅWGPSWIGSPPIEKYI 8SQQEWS+EV^SRM FSXL[IVI'ERSRW6IKYPEVSJXLI0EXIVER  MRHMGEXIW XLEX 6MKLIXXMRSƅW HVE[MRKW SJ GMX] ZMI[W LEH IEVRIH LMQ [MHIWTVIEH JEQI ERH GSQTEVIW LMQ YRLIWMXEXMRKP] XS XLI KVIEXIWX KISKVETLIVW SJ XLI HE] +IVEVHYW 1IVGEXSV %FVELEQ 3VXIPMYW +IQQE *VMWMYW SV +IVSPEQS 'EVHERS +EV^SRMQIRXMSRWXLIZMI[SJ6SQITVIWIRXIHXS7M\XYW:FYX EPWSEHVE[MRKSJXLI-WSPI8VIQMXMTVIWIRXIHXSXLI*PSVIRXMRI (YOI *VERGIWGS HIƅ 1IHMGM MR  ERH ERSXLIV SJ 8YVMR TVIWIRXIH XS 'LEVPIW )QQERYIP - SJ 7EZS] MR  Ɓ [SVOW JSV[LMGL6MKLIXXMRS[EWLERHWSQIP]VI[EVHIH48LIZMI[SJ 8YVMR WMKRIH ERH HEXIH  MW XLI SRP] SRI XLEX LEW GSQI HS[RXSYWEHVE[MRKSRX[SWLIIXWSJTEVGLQIRXQIEWYVMRK \ɸ GQ EPXSKIXLIV GSRWIVZIH EX XLI 2EXMSREP %VGLMZIW MR 8YVMR6MGLP]HIXEMPIHERHZMVXYSWMGMRI\IGYXMSRXLMWMWEYRMUYI [SVOSJMXWOMRHXLSYKLMXMWQIRXMSRIHƁWYVTVMWMRKP]ƁMRSRP] EJI[FVMIJVIGSVHWMRELERHJYPSJI\LMFMXMSRGEXEPSKYIW5 Fig. 2 -R XLMW GSRXI\X 6MKLIXXMRSƅW QERYWGVMTX EX XLI PMFVEV] MR *ERS IRXMXPIH Dichiaratione degli concetti posti per ornamento della città di Roma SJJIVW E JSVQMHEFPI XSSP JSV SYV YRHIVWXERHMRK ERHWXYH]SJXLI8YVMR[SVOXLIEPPIKSVMIWMXWSTEMRWXEOMRKP] IRYQIVEXIWERHI\TPEMRWGSVVIWTSRHGPSWIP]XSXLSWI[IWII MRXLIZMI[SJ8YVMR 8LI TVIWIRX WLSVX IWWE] [MPP SJJIV WSQI IWWIRXMEP VIQEVOW GSQTEVMRK6MKLIXXMRSƅW*ERSXI\XERHXLIMQEKIV]YWIHMRLMW ZMI[SJ8YVMRƁFSXLVIQEVOEFPIMRXLIMVVMGLRIWWERHHIXEMPƁ MR ERXMGMTEXMSR SJ E JSVXLGSQMRK HMKMXEP TYFPMGEXMSR [LMGL [MPP IREFPIEGPSWIW]WXIQEXMGGSQTEVMWSRSJXLIX[SERH[LMGL [MPP EPWS QEOI EZEMPEFPI EPP XLI WSYVGI QEXIVMEP MHIRXMƼIH ERH PSGEXIH XS HEXI6 8LMW EVXMGPI MW PMQMXIH MR MXW WGSTI FYX [MPP SJJIVERMRXVSHYGXSV]FVSEHFVYWLTSVXVEMXSJ6MKLIXXMRSƅW[SVO 51 1 Girolamo Righettino, Frontispiece to the Sommario overo Dichiaratione degli concetti posti per ornamento della città di Roma… (Ms. Federici 171, cart. XVI) 1585, Fano Biblioteca Federiciana, ink on parchment. 52 ERHWYKKIWXEZIRYIWJSVJYXYVIVIWIEVGLXLEX[MPPEPPS[YWXS FIXXIVWMXYEXILMWYRMUYISYXTYXƁEXXLIMRXIVWIGXMSRSJEVXERH WGMIRGIXLISPSK]ERHTSPMXMGWXSTSKVETL]ERHEPPIKSV]ƁMRXLI [MHIVGSRXI\XSJ-XEP]MRXLIWIGSRHLEPJSJXLIXLGIRXYV] IN THE SERVICE OF VENICE 8LI SVMKMREPMX] SJ 6MKLIXXMRSƅW invenzioni HIVMZIW MR PEVKI TEVX JVSQLMWXVEMRMRKERHGEVIIVRSXEFP]MRTS[IVJYPTSPMXMGEPGMVGPIW MR :IRMGI 8LEROW XS ER MRZEPYEFPI FMSKVETL] SJ MQTSVXERX 0EXIVER'ERSRWTYFPMWLIHF]'IPWS6SWMRSMR[IORS[ XLEX6MKLIXXMRS[EWEXXEGLIHXSXLIQSREWXIV]SJ7ERXE1EVME HIPPE'EVMXʚMR:IRMGI79RPMOIQER]SJLMWPIEVRIHGSPPIEKYIWLI HMHRSXXEOIYTEGEVIIVEWETVIEGLIVFYXIWXEFPMWLIHLMQWIPJ EWERI\TIVXMRGEWYMWXV]ƁXLEXFVERGLSJQSVEPXLISPSK]XLEX WXYHMIWERHWIIOWXSVIWSPZImatters of conscienceF]QIERW SJ KIRIVEP TVMRGMTPIW ERH XLI WXYH] SJ GSQTEVEFPI GEWIW E QIXLSHVSYRHP]GVMXMGMWIHPEXIVF]4EWGEPJSVMXWFEWMWMRE[LSPP] TVEKQEXMGETTVSEGLXSQSVEPMX]EHETXIHXSXLIGSRXMRKIRGMIW SJ TSPMXMGEP PMJI ERH WSGMIX] %GGSVHMRK XS 6SWMRS 6MKLIXXMRS FIGEQI WSQIXLMRK SJ ER SVEGPI MR :IRMGI HMWTIRWMRK ZEPYIH EHZMGIERHNYHKIQIRXMRTEVXMGYPEVVIKEVHMRKXLIWIXXPIQIRXSJ MWWYIWVIPEXMRKXSWSGMEPQSVIW 6MKLIXXMRS[EWEQERSJLYQFPIEQFMXMSR[LSRIZIVWSYKLX XSMRZSPZILMQWIPJMRTSPMXMGEPQEXXIVWFYXLI[EWRSRIXLIPIWWE GPSWIEWWSGMEXIERHYPXMQEXIP]GSRJIWWSVXSWIZIVEPWIREXSVWSJ XLI7IVIRI6ITYFPMG:IRMGIƅWEQFEWWEHSVWIZIRMRZMXIHLMQXS EGGSQTER]XLIMVHMTPSQEXMGQMWWMSRWXS'SRWXERXMRSTPI6SQI :MIRRESV4EVMW-RTEVXMGYPEV6MKLIXXMRS[EWGSRRIGXIHXSX[S SJ:IRMGIƅWQSWXTVSQMRIRXGYPXYVEPERHHMTPSQEXMGƼKYVIW8LI ƼVWXƁEKVIEXJVMIRHSJXLIGERSREGGSVHMRKXS6SWMRSƁ[EW 0SVIR^S4VMYPME:IRIXMERRSFPIQER[LSWIVZIHWYGGIWWMZIP] EW EQFEWWEHSV XS XLI 1IHMGM GSYVX MR8YWGER] XLI GSYVXW SJ 4LMPMT--MR1EHVMHERH,IRVM---MR*VERGIERHƼREPP]XS6SQI HYVMRK XLI PEWX QSRXLW SJ XLI TSRXMƼGEXI SJ +VIKSV] <--- ERH XLI WYGGIWWMSR SJ 7M\XYW : -R  XLMW HMWXMRKYMWLIH GEVIIV GYPQMREXIH MR 4VMYPMƅW RSQMREXMSR EW 4EXVMEVGL SJ :IRMGI 6MKLIXXMRSTVIWIRXIHLMQ[MXL MQEKIWSJXLIGMX]SJ:IRMGI?ƏAQEHI[MXLWYGLEVXMWXV]ERH I\EGXMXYHIXLEXRSHIXEMPSJMXWKVIEXTME^^EWIIQIHXSLEZI FIIRSQMXXIHSVIZIRQMWTPEGIHERH[LMGLTVIWIRXIHMXWIPJ XSXLII]IWYGLXLEXER]SRI[SYPHMQQIHMEXIP]VIGSKRMWI [LEX[EWHITMGXIH %RSXLIVGPSWIEWWSGMEXI[EWETMZSXEPƼKYVIMRXLIKISTSPMXMGW SJLMWHE]ERHMRPEXIXLGIRXYV]:IRIXMERLMWXSV]EWE[LSPI 1EVGERXSRMS &EVFEVS [LS EPWS WIVZIH EW EQFEWWEHSV XS *VERGI PMOI4VMYPM ERHQSWXMQTSVXERXP]XSXLI7YFPMQI4SVXI ƁXLI3XXSQER)QTMVIERHMXWGETMXEP'SRWXERXMRSTPIƁMRXLI TIVMSH FIJSVI ERH EJXIV XLI &EXXPI SJ 0ITERXS 7MKRMƼGERXP] 6MKLIXXMRS HIHMGEXIH ER MQTSVXERX XVIEXMWI SR RYQIVSPSK] XS &EVFEVS 4YFPMWLIH MR :IRMGI MR  EPP XVEGI SJ XLI [SVO MW WEHP]PSWXXSHE]-XWI\MWXIRGIXIWXMƼIWXS6MKLIXXMRSƅWIVYHMXMSR RSRIXLIPIWWERHLIPTWYWXSYRHIVWXERH[LEX-[SYPHGEPPXLI mystical architectureSJLMW[SVOFEWIHSRGSVVIWTSRHIRGIW RYQFIVW ERH XLI TPEGMRK SJ GIVXEMR ƼKYVIW ERH SFNIGXW MR VIPEXMSR XS SRI ERSXLIV 1EVGERXSRMS Ɓ PMOI LMW FVSXLIV ERH XLIMVJEXLIVFIJSVIXLIQƁ[EWEPWSETVSXIGXSVERHTEXVSRSJ XLIGLYVGLERHQSREWXIV]SJ7ERXE1EVMEHIPPE'EVMXʚMR:IRMGI [LIVI6MKLIXXMRSPMZIHERHTPE]IHEOI]VSPIMRXLIKVIEXTVSNIGX JSVMXWVIGSRWXVYGXMSRHMVIGXIHF]%RHVIE4EPPEHMS 6MKLIXXMRSƅW GPSWI GSRRIGXMSR XS XLIWI GIRXVEP ƼKYVIW MR :IRIXMER GYPXYVI ERH HMTPSQEG] WLIHW PMKLX SR XLI TVSFEFPI JYRGXMSRSJWIZIVEPSJLMW[SVOWEWHMTPSQEXMGKMJXW-XLETTIRW EW [I LEZI WIIR XLEX EX XLI XMQI SJ 6MKLIXXMRSƅW NSYVRI] XS 6SQIXSTVIWIRXLMWKMJXXSXLIRI[TSTIƁPMOIWSQIPEXXIVHE] QEKYW Ɓ LMW JVMIRH 0SVIR^S 4VMYPM [EW :IRMGIƅW EQFEWWEHSV XS XLI ,SP] 7II 1EVGERXSRMS &EVFEVS [EW EPWS EQSRK XLI WM^IEFPI :IRIXMER HIPIKEXMSR QERHEXIH XS GSRKVEXYPEXI XLI RI[ TSTI SR LMW IPIGXMSR &EVFEVSƅW JEQMP] [IVI TEVX SJ XLI TETEPMWX JEGXMSR EX XLI LIEVX SJ :IRIXMER KSZIVRQIRX 8LI ETTSMRXQIRX SJ 1EVGERXSRMSƅW WSR *VERGIWGS EW 4EXVMEVGL SJ %UYMPIME[EWRIKSXMEXIHHYVMRKXLIWEQIZMWMX6MKLIXXMRSƅWS[R ETTSMRXQIRX EW %VGLFMWLST SJ 'ESVPI WLSYPH HSYFXPIWW FI YRHIVWXSSH EW E HMTPSQEXMG KIWXYVI SR XLI TEVX SJ ER SZIVXP] TVS:IRIXMERTSTI 6MKLIXXMRSƅW HIGMWMSR XS TVIWIRX SRI SJ LMW GMX]ZMI[W XS (YOI 'LEVPIW)QQERYIP-SJ7EZS]X[S]IEVWIEVPMIVWLSYPHEPWSFI WIIRMRXLIGSRXI\XSJHMTPSQEXMGVIPEXMSRWMRXLMWGEWIFIX[IIR XLI RI[P]GVIEXIH HYGL] ERH :IRMGI *VERGIWGS &EVFEVS [EW :IRMGIƅW EQFEWWEHSV XS 8YVMR JVSQ  XS  Ɓ ER ETTSMRXQIRX XLEX GEQI EJXIV LI LEH EGGSQTERMIH LMW JEXLIV SR E HMƾGYPX QMWWMSR XS 'SRWXERXMRSTPI Ɓ  ERH FIJSVILMWS[RETTSMRXQIRXEW4EXVMEVGLSJ%UYMPIME&EVFEVS [EW E TVMZMPIKIH [MXRIWW XS XLI GVIEXMSR ERH I\XVESVHMREV] GSRWSPMHEXMSRSJXLI(YGL]SJ7EZS]YRHIV'LEVPIW)QQERYIPƅW TVIHIGIWWSV )QQERYIP 4LMPMFIVX ,I [EW EPWS XLI EYXLSV SJ E GIPIFVEXIH VITSVX XS XLI :IRIXMER WIREXI [VMXXIR MR  SYXPMRMRK XLI IWWIRXMEP TSPMXMGEP SVMIRXEXMSR SJ XLI (YGL] SJ 7EZS] ,IRGI 6MKLIXXMRSƅW ZMI[ SJ 8YVMR TVIWIRXIH XS 'LEVPIW )QQERYIPQE][IPPLEZIFIIRMRXIRHIH PMOILMWZMI[SJ6SQI  XS VIMRJSVGI XLI GPSWI TSPMXMGEP ERH GYPXYVEP XMIW FIX[IIR X[S GMX]WXEXIW7IZIVEPEVXMWXWERHWGLSPEVW[MXLGPSWIGSRRIGXMSRW XS XLI &EVFEVS JEQMP] [IVI MRZMXIH XS EXXIRH XLI 7EZS] GSYVX XLIWI MRGPYHI XLI +IVQER TVMRXQEOIV ERH TYFPMWLIV .SLERR 'VMIKLIV [LS TYFPMWLIH XLI WIGSRH IHMXMSR SJ (ERMIPI &EVFEVSƅWGIPIFVEXIHGSQQIRXEV]SRDieci libri dell’architettura di M. VitruvioMR:IRMGIMR MREWWSGMEXMSR[MXL*VERGIWGS (I *VERGIWGLM  'VMIKLIV QSZIH XS 8YVMR XLI JSPPS[MRK ]IEV 7MKRMƼGERXP] LI [EW GSQQMWWMSRIH F] )QQERYIP 4LMPMFIVX XSIRKVEZIEKVIEXWXVIIXTPERSJXLIGMX]F]XLI*PIQMWLEVXMWX +MSZERRM'EVEGGEHEXIH[LMGLWIVZIHEWXLIQSHIPJSV 6MKLIXXMRSƅW HVE[MRK Fig. 3 8LI Q]WXIVMSYW NSYVRI] XS 8YVMR QEHI F] %RHVIE 4EPPEHMS E TVSXIKʣ SJ XLI &EVFEVS JEQMP] HSGYQIRXIH MR )QQERYIP 4LMPMFIVXƅW HIHMGEXMSR SJ XLI XLMVH ERH JSYVXL FSSOW SJ XLI Quattro libri dell’architettura WLSYPH EPWSFIWIIRMRXLIGSRXI\XSJHMTPSQEXMGERHGYPXYVEPVIPEXMSRW WYGL EW XLIWI 7MQMPEVP] WGLSPEVW KIRIVEPP] EKVII XLEX XLI PEVKIGERZEWIWWIRXXSXLI7EZS]GSYVXMREFSYXF]4ESPS :IVSRIWIƁERSXLIVEVXMWX[MXLGPSWI&EVFEVSXMIWƁQE]FIWIIR EWEXVMFYXIJVSQ:IRMGIXSXLIRI[HYOI'LEVPIW)QQERYIP [LSWYGGIIHIHLMWJEXLIVMR:IVSRIWIƅWTEMRXMRKSJXLI QIIXMRKFIX[IIR/MRK7SPSQSR XLIEVGLIX]TISJIRPMKLXIRIH WSZIVIMKRX]TMGXYVIHLIVI[MXLXLIJIEXYVIWSJXLI]SYRKHYOI  53 2 Girolamo Righettino, View of Turin with an ornamental JVEQIERHEPPIKSVMGEPƼKYVIW, 1583 pen drawing on parchment, brown ink and watercolour, 680x940 mm, Archivio di Stato di Torino. 54 55 3 Johann Criegher, after a drawing by Giovanni Caracca, View of Turin (1572), woodcut (39x49 cm) in Emanuele Filiberto Pingone, Augusta Taurinorum, Turin, 1577, private collection. ERHXLI5YIIRSJ7LIFE EJEQMPMEVERHJVIUYIRXTIVWSRMƼGEXMSR SJ :IRMGI  QE] FI VIEH EW ER MQTPMGMX staging SJ HMTPSQEXMG GIVIQSRMEPW SJ XLMW OMRH 6MGLEVH 'SGOI LEW IZIR WYKKIWXIH XLEXXLIƼKYVITSWMXMSRIHFIPS[XLIWSZIVIMKRQE]FIETSVXVEMX SJ XLI :IRIXMER EQFEWWEHSV *VERGIWGS &EVFEVS LMQWIPJ -R XLI FSXXSQ PIJX GSVRIV SJ 6MKLIXXMRSƅW HVE[MRK ER MRWGVMTXMSR MHIRXMƼIWXLI(YOISJ7EZS]EWE son SJXLI:IRIXMER6ITYFPMG ?Carolus Eman. Dux Sabaudie Serenissime Reip. Ven. FiliusAFig. 4 'PSWI F] 6MKLIXXMRS HVE[W E WQEPP ƼKYVI SJJIVMRK E KMJX XS XLI(YOI8LMWQE]FI6MKLIXXMRSLMQWIPJLI[EWRSXIHJSVLMW HMQMRYXMZIWXEXYVIJVSQ[LMGLLMWTSTYPEVREQI[EWHIVMZIH XLIHMQMRYXMZISJ6MKLIXXS  BETWEEN TRADITION AND INNOVATION 6MKLIXXMRS MW XLIR E ƼKYVI ETEVX MR XLI [SVPH SJ -XEPMER 6IREMWWERGI EVX ,MW [SVO EW E HVEYKLXWQER [EW ƼVWX ERH JSVIQSWX E TEWXMQI ERH E TEWXMQI [LMGL Ɓ MR XLI GSRXI\X SJ LMW QSREWXMG PMJI Ɓ [I QE] PIKMXMQEXIP] GSRWMHIV JVSQ E WTMVMXYEP TIVWTIGXMZI MRHIIH EW E JSVQ SJ TVE]IV GSQTEVEFPI XS XLI HIZSXMSRW SJ GST]MWXW ERH MPPYQMREXSVW MR QSREWXMG 56 WGVMTXSVMEɸFYXEPWSXSXLIQEOMRKSJKISKVETLMGEP[SVOWWYGL EWXLIJEQSYW[SVPHQETF]XLI:IRIXMER*VE1EYVSEGST]SJ [LMGLMWGSRWIVZIHEXXLI&MFPMSXIGE1EVGMEREHEXIH-R XLMWWIRWI6MKLIXXMRSQE]FIWIIRXSIRKEKI[MXLEWTIGMƼG TVEGXMGIREQIP]ƈGSWQSKVETLMGQIHMXEXMSRƉGLEVEGXIVM^IHEW ƈE QIHMXEXMSR FIX[IIR X[S FSSOW SV XI\XW E GSRXMRYEP GVSWW VIJIVIRGMRK SJ XLI ,SP] WGVMTXYVIW ERH XLI FSSO SJ XLI [SVPH XLEXPMIWSTIRXSXLIKE^ISJYWEPPƉ22-R6MKLIXXMRSƅWERH6SWMRSƅW EGGSYRXW7M\XYW:[EWWXVYGOF]XLIGERSRƅWPIJXLERHIHRIWW EQERMJIWXWMKRSJXLIHMZMRIREXYVISJLMWMRWTMVEXMSR23 8LIVI MW RSXLMRK XS MRHMGEXI XLEX 6MKLIXXMRS QEWXIVIH XLI XSTSKVETLMGEP WYVZI] XIGLRMUYIW VIUYMVIH JSV XLI QEOMRK SJ GMX]ZMI[W3RXLIGSRXVEV]LMWZMI[WWIIQXSFIJEMXLJYPGSTMIW SJ XLI QSWX VIGIRXP] EZEMPEFPI XSTSKVETLMGEP IRKVEZMRKW E [MHIWTVIEH TVEGXMGI EQSRK TEMRXIVW SJ LMW HE]  ,MW ZMI[ SJ 8YVMREWRSXIHEFSZI[EWFEWIHSRXLEXSJXLI*PIQMWLEVXMWX +MSZERRM'EVEGGEHEXIHIRKVEZIHF].SLER'VMIKLIVMR  ERH MRGPYHIH MR XLI Augusta Taurinorum E QENSV [SVO F] XLI LMWXSVMER ERH LYQERMWX )QERYIPI *MPMFIVXS 4MRKSRI24 4 Detail of the lower section of the View of Turin (Fig. 2): Duke Charles-Emmanuel receiving a gift. 7MQMPEVP] LMW HVE[MRK SJ XLI -WSPI 8VIQMXM Ɓ %HVMEXMG MWPERHW S[RIH F] LMW SVHIV XLI 0EXIVER 'ERSRW Ɓ MW MRWTMVIH F] ER IRKVEZMRK F] 2EXEPI &SRMJEGMS TYFPMWLIH MR :IRMGI MR 25 ,IIQTPS]IHXLIWEQIQIXLSHJSVEZMI[SJ+IRIZEMRWIXMRXS XLI8YVMRHVE[MRKFig. 5%GGSVHMRKXS6MKLIXXMRSƅWFMSKVETLIVW LIEPWSTVSHYGIHEPEVKIVMRHITIRHIRXZMI[SJ+IRIZEXLIGMX] EKEMRWX [LMGL XLI ]SYRK (YOI 'LEVPIW )QQERYIP - [EKIH E ZIVMXEFPIGVYWEHIWLSVXP]EJXIVLMWEGGIWWMSR8LIPEXXIVZMI[MW FEWIHSREZIV]VEVIIRKVEZMRKMXWIPJSRISJXLISPHIWXORS[R ZMI[WSJ+IRIZE%XXVMFYXIHXS4ESPS*SVPERMMXMWMRGPYHIHMRLMW GIPIFVEXIHEXPEWSJGMX]ZMI[WTYFPMWLIHMRYRHIVXLIXMXPIIl primo libro delle città, et fortezze principali del mondo.26 Fig. 5b -R WLSVX XLI TVMQEV] MRXIVIWX SJ 6MKLIXXMRSƅW [SVO PMIW RSX MR LMW XEPIRX EW E GLSVSKVETLIV EW WYKKIWXIH F] LMW GSPPIEKYI +EV^SRM  FYX MR LMW QMRYXIP] HIXEMPIH HVEYKLXWQERWLMT E QEWXIV]SJPMRI[SVXL]SJXLIƼRIWXQMRMEXYVMWXWERHLMWYRMUYI EVXMGYPEXMSRSJXLIWLMJXWFIX[IIRHMJJIVIRXƼKYVEXMZIVIKMWXIVW 6MKLIXXMRS KVERXW YW EGGIWW XS XLI YVFER WTEGI PE]W MX SYX beneath our gaze [LMPI EX XLI WEQI XMQI MWSPEXMRK XLI FYMPX IRZMVSRQIRX JVSQ MXW REXYVEP WYVVSYRHMRKW MXW WIXXMRK [MXLMR XLIPERHWGETI-RWSHSMRK6MKLIXXMRSWMXYEXIWLMWchorographia [MXLMREREFWXVEGXKISQIXVMGERHGSWQSKVETLMGEPJVEQI[SVO )EGLMQEKIMWFSXLEZMWMSR SJXLIVIEPGMX]ERHXLIMHIEPGMX] SJ XLI OMRKHSQ SJ ,IEZIR Ɓ ER  EPPIKSV] SJ TVMRGIP] TS[IV ERH XLI SQRMTSXIRGI SJ +SH8LI MRWITEVEFMPMX] SJ XLIWI X[S VIKMWXIVW Ɓ XLI MRHMWWSGMEFPI REXYVI SJ TVMRGIP] ERH HMZMRI TS[IV GLSVSKVETL] ERH GSWQSKVETL] Ɓ GSRWXMXYXIW XLI GIRXVEPtheoremSJLMW[SVO 8LI GMX] ZMI[ MW TEVX SJ E PSRK XVEHMXMSR SJ KISKVETLMGEP ERH YVFER ZMI[W [LSWI TVMQEV] JYRGXMSR [EW XLI TVSGPEQEXMSR SJ VIPMKMSYW ERH LMWXSVMGEP ZIVMXMIW F] QIERW SJ EPPIKSVMGEP ERH W]QFSPMG ƼKYVIW VEXLIV XLER XLI EGGYVEXI VIGSVHMRK SJ KISKVETLMGEP ƈVIEPMX]Ɖ27 -R XLMW GEWI 6MKLIXXMRSƅW ZMI[ SJ 8YVMRWLSYPHGPIEVP]FIGSRWMHIVIHMRVIPEXMSRXSXLII\XIRWMZI 6IREMWWERGI XVEHMXMSR SJ YXSTMER GMX] ZMI[W WYGL EW XLEX SJ 7JSV^MRHE F] *MPEVIXI 6MKLIXXMRSƅW ZMI[W LEZI QYGL MR GSQQSR JSV I\EQTPI [MXL %QFVSKMS 0SVIR^IXXMƅW GIPIFVEXIH JVIWGSIWSJGood and Bad GovernmentEXXLI4EPE^^S4YFFPMGS MR 7MIRE &SXL EVXMWXW HITMGX EPPIKSVM^IH ZMVXYIW ERH GIRXVEPP] 57 5a Detail showing the city of Geneva (Fig. 2). 5b Paolo Forlani, View of Geneva, Venice, alla libraria dalla Colonna, 1567, copperplate engraving, 18x6 cm, private collection. 58 6 Cristoforo Sorte, Design for the ceiling of the Sala del Senato, Doge’s Palace, Venice, 1578, pen and ink and wash, London, Victoria and Albert Museum, inv. E.509–1937. MQTSVXERXEPPIKSVMIWSJ;EVERH4IEGIERHFSXLEPWSTSWMXXLI VIPEXMSRWLMT FIX[IIR città ERH contado XLI GMX] MW TSWMXMSRIH ERHHIWMKREXIHEWXLILYFJVSQ[LMGLXLIWSGMEPERHTSPMXMGEP SVKERMWEXMSR SJ ER IRXMVI XIVVMXSV] WIIQW XS IQEREXI 0EWXP] GSWQMG W]QFSPW PSGEXI EPP XLIWI XIVVIWXVMEP WMKRMƼIVW YRHIV XLIEIKMWSJXVERWGIRHIRXHMZMRIEYXLSVMX]8LIGSQTEVMWSRMW GSQTPIXI[LIR[IEGORS[PIHKIXLEXXLIMQEKISJXLIGMX]SJ 7MIREMRXLI7EPEHIM2SZIWLSYPHRSXFIGSRWMHIVIHEWTYVIP] VIEPMWXMGSVQMQIXMG%W,ERW&IPXMRKVIQMRHWYW0SVIR^IXXM ?ƏAMRXIRHIHƼVWXXSHIWGVMFIERMHIEPGMX]ERHXLIRXSQEOI WYVI XLEX XLMW MHIEP GMX] [EW 7MIRE ;I QYWX HMWXMRKYMWL FIX[IIR XLI WXVYGXYVI SJ XLI [LSPI [LMGL MW SVKERMWIH EW ER EVKYQIRX JSV XLI MHIEP GMX] ERH XLI REVVEXMZI HIXEMP [LMGLGERFIXEOIRPMXIVEPP]ERHMRZMXIWIQTMVMGEPZIVMƼGEXMSR EWXLIGMX]SJ7MIRE 8LI WEQI VIEWSRMRK ETTPMIW EFWSPYXIP] XS 6MKLIXXMRSƅW [SVO IWTIGMEPP][LIR[IVIQIQFIVXLEXXLIZMI[WSJ6SQIERH8YVMR WLEVI IWWIRXMEPP] XLI WEQI EPPIKSVMGEP TVSKVEQQI  -R JSVQEP XIVQW XLI GSQTEVMWSR FIX[IIR 6MKLIXXMRSƅW HVE[MRK ERH XLI HIGSVEXMZIWGLIQISJEKVIEXLEPPSJWXEXIMWRSXEWMRGSRKVYSYW EWMXQMKLXEXƼVWXWIIQ8LIVIEVIMRHIIHGPSWIWX]PMWXMG ERH TVSKVEQQEXMG WMQMPEVMXMIW FIX[IIR 6MKLIXXMRSƅW ZMI[W ERH HIGSVEXMZI WGLIQIW MR XLI (SKIƅW 4EPEGI MR :IRMGI MR [LMGL KISKVETLMGEP TEMRXMRKW EVSYRH XLI [EPPW  HMEPSKYI [MXL ER EPPIKSV]SJ+SSH+SZIVRQIRXSRXLIGIMPMRKEPP[MXLMRIPEFSVEXI SVREQIRXEPJVEQIW-RX[SSJXLIQEMRWXEXIVSSQWMRXLI (SKIWƅ4EPEGI[IVIHIWXVS]IHF]ƼVISRI]IEVPEXIVEXIEQ[EW GSQQMWWMSRIHXSHIZMWIERI[invenzioneJSVXLIHIGSVEXMSRW 'VMWXSJSVS7SVXISRISJXLIPIEHMRK:IRIXMERGEVXSKVETLIVWSJ LMW HE] TVSZMHIH XLI HIWMKR JSV XLI I\XVESVHMREVMP] IPEFSVEXI JVEQIWSRXLIGIMPMRKWSJXLI7EPEHIP7IREXSERHXLI7EPEHIP +VER'SRWMKPMSJVEQIWXLEX[SYPHGSRXEMRWSQISRILYRHVIH LMWXSVMGEPQSWXP]QMPMXEV]WGIRIWF]XLIƼRIWXTEMRXIVWSJXLI HE]-RXLIWEQIGSRXVEGX7SVXI[EWGSQQMWWMSRIHXSTVSHYGI EPEVKIQETSJ:IRMGIƅWQEMRPERHXIVVMXSVMIW terraferma JSVSRI [EPPSJXLI7EPEHIP7IREXSTIVTIXYEXMRKEXVEHMXMSRIWXEFPMWLIH EX XLI (SKIƅW 4EPEGI SZIV WIZIVEP LYRHVIH ]IEVW % HIWMKR JSV XLI GIMPMRK HEXIH  MW GSRWIVZIH EX XLI :MGXSVME ERH %PFIVX 1YWIYQ MR 0SRHSR Fig. 6 -X WLS[W GPSWI WMQMPEVMXMIW XS6MKLIXXMRSƅWHVE[MRKWMRTEVXMGYPEV XLIYWISJXVSTLMIWERH W]QFSPMG SFNIGXW EVVERKIH MRWMHI ERH EVSYRH XLI JVEQIW 7SVXIERH6MKLIXXMRSHSYFXPIWWORI[SRIERSXLIVQSWXPMOIP] XLVSYKL1EVGERXSRMS&EVFEVS[LSTPE]IHEOI]VSPIMR7SVXIƅW GEVIIVERH[EWSRISJXLIPIEHMRKQIQFIVWSJXLIGSQQMXXII MRGLEVKISJVIWXSVEXMSR[SVOEXXLI(SKIƅW4EPEGI ;EW6MKLIXXMRSƅWHVE[MRKEPWSMRXIRHIHJSVVITVSHYGXMSREWE TEMRXMRKSREGIMPMRK#8SHEXI[ILEZIRSHSGYQIRXEV]TVSSJ 0MOI7SVXI6MKLIXXMRSHIPMKLXWMRI\XVEZEKERXJVEQIWWYGLXLEX XLI PEXXIV FIGSQIW EX PIEWX EW MQTSVXERX EW XLI ƼKYVIW ERH WGIRIWMXMWHIWMKRIHXSSJJWIX%WMRXLIGIMPMRKHIWMKRWIZIVEP HMJJIVIRXZMI[TSMRXWERHWGEPIWGSI\MWX8LIQMRYXIP]HIXEMPIH HVE[MRKERHXLIdall’altoZMI[GPIEVP]VIJIVIRGIXLIMHIESJXLI visio deiɸXLII]ISJ+SH SVXLIQMVVSVSJ+SH EGSRGITXJYVXLIV VIMRJSVGIHF]XLIWGLIQISJEVSYRHWLETI XLITYTMP# [MXLMR ERSZEP XLII]I# ƁERSQRMTSXIRXZMWMSRSJXLI[SVPHGSRZI]IH LIVIMRXLIVIEPMWXMGXSTSKVETL]SJXLIGMX]ERHMXWXIVVMXSV]ERH XLIXSTSPSK]SJXLIZMVXYIWSJ+SSH+SZIVRQIRX 59 7 Detail of the upper left section of the View of Turin (Fig. 2): Duke Charles Emmanuel as a Christian Knight (miles christianus), with the arms of Pope Gregory XIII and an allegory of Natural Philosophy. 8 Detail of Fig. 2. 7 AN APOTHEOSIS OF THE CITY %WHMWGYWWIHEFSZIXLIZMI[SJ8YVMRMWFSXLEGIPIFVEXMSRSJ XLIGMX]ERHSJMXWTEXVSR(YOI'LEVPIW)QQERYIP-SJ7EZS] Ɓ MR EGGSVHERGI [MXL E [MHIP] YWIH 6IREMWWERGI XVSTI XLEX GSRƽEXIWXLIMQEKISJEGMX][MXLXLIMQEKISJTVMRGIP]TS[IV I\TVIWWIH MR XLI IWWIRXMEPP] W]QFSPMG KISQIXVM^EXMSR SJ XLI GMX]ƅWKISKVETLMGEPJSVQ %XXLIHVE[MRKƅWJSYVGSVRIVW6MKLIXXMRSTPEGIWJSYVEVGLIX]TEP TSVXVEMXWSJXLIHYOI IRXLVSRIHEWE'LVMWXMERORMKLXSVmiles christianus SR LSVWIFEGO ERH EW E TVSXIGXSV SJ XLI TISTPI MR ER EHETXEXMSR SJ XLI MGSRSKVETLMG MQEKI SJ XLI :MVKMR SJ 1IVG]  8LIWI HITMGXMSRW EVI TPEGIH EPSRKWMHI QIHEPPMSRW WLS[MRK4STI+VIKSV]<---/MRK,IRVM---SJ*VERGIERH4SPERH XLI:IRIXMER6ITYFPMGERHMRXLIFSXXSQVMKLXLERHGSVRIVXLI 3VHIVSJXLI0EXIVER'ERSRWFigs. 2, 4 and 78LIGEVXSYGLIW EGGSQTER]MRK XLIWI MHIEPM^IH TSVXVEMXW YRHIVWGSVI XLI HYGL]ƅW GPSWI XMIW [MXL :IRMGI Serenissime Reip. Ven. Filius  ERH 'LEVPIW )QQERYIPƅW WXEXYW EW E 4VMRGI ERH (IJIRHIV SJ XLI'LYVGLERH'LVMWXIRHSQ Universe Chr. Rel. Protector / S. Rom Ecclesie Defensor 8LMWQMPMXEV]EWTIGX[MXLMXWWXVSRKP] QIWWMERMG SZIVXSRIW GSRRIGXIH XS XLI MHIE SJ XLI GVYWEHIV ORMKLXMWGIRXVEPXSFSXLXLIQ]XLSKVETL]SJXLI(YOISJ7EZS] ERHXLITSPMXMGWSJ7M\XYW:[LSWIEPPMERGI[MXL:IRMGIEJI[ ]IEVWEJXIVXLIHIGMWMZI'LVMWXMERZMGXSV]EXXLI&EXXPISJ0ITERXS [EWHMVIGXP]PMROIHXSETVSNIGXIHGVYWEHI32,IVIMXMWI\TVIWWIH RSXSRP]MRTSVXVEMXWSJXLIVYPIVFYXEPWSMRXLIQEVXMEPGLEVEGXIV SJXLIHIGSVEXMZIZSGEFYPEV]IQTPS]IHXLVSYKLSYXXLIHVE[MRK XLIFSXXSQLEPJMRTEVXMGYPEV[MXLMXWXVSTLMIWSJ[IETSRV]ERH 8YVOMWLTVMWSRIVWSJ[EV 6MKLIXXMRSMWI\TPMGMXSRXLMWTSMRXMR LMW Dichiaratione XLI ZMVXYSYW 'LVMWXMER 4VMRGI LEW XLI TS[IV ERHHYX]XSI\XIVQMREXILMWIRIQMIWJSVIQSWXEQSRK[LSQ EVIXLI8YVOWERHLIVIXMGW338LIZMI[WEVIXSFIYRHIVWXSSH EW I\LSVXEXMSRW EHHVIWWIH XS XLIMV VYPIVW F] 6MKLIXXMRS ERH LMW 3VHIV XS HIJIRH XLI Respublica christiana ERH VIGSRUYIV 60 XLIMV YWYVTIH XIVVMXSVMIW QSWX RSXEFP] .IVYWEPIQ34 8LI 0EXIVER'ERSRWJSPPS[IHXLI6YPISJ7X%YKYWXMRIERHJIVZIRXP] IWTSYWIH XLI GSRGITX SJ XLI 'LVMWXMER 6ITYFPMG [LMGL XLI] HVIEQIHSJVIFYMPHMRKYRHIVXLIKSZIVRERGISJETLMPSWSTLIV OMRK6MKLIXXMRSƅWchorographic[SVOQYWXFIYRHIVWXSSHMRXLMW GSRXI\X-XMWHIITP]VSSXIHMR%YKYWXMRMERTSPMXMGWEWI\TVIWWIH MRThe City of GodXIQTSVEPTS[IVMWWYFWYQIHMRXSWTMVMXYEP TS[IV35 0EWXP] XLI QEVXMEP GLEVEGXIV SJ XLI HVE[MRKƅW MGSRSKVETL] MW WIIR MR XLI MQEKI SJ XLI GMX] MXWIPJ [MXL MXW IQTLEWMW SR 8YVMRƅW HIJIRWMZI [EPPW ERH JSVXVIWW [LMGL [IVI GSRWMHIVIH XLI JSVIJVSRX SJ QMPMXEV] EVGLMXIGXYVI MR XLIMV HE] Fig. 8 8LI HIWMKRFIGEQIXLIYRVMZEPPIHQSHIPJSVEPPTVMRGIP])YVSTIER GMXEHIPWJVSQXLIRSR2SXEFPIJSVMXWLMKLP]W]QFSPMGKISQIXV] MRGSVTSVEXMRK VIJIVIRGIW XS XLI GSWQSW XLI TIRXEKSR  XLI JSVXVIWW [EW FYMPX YRHIV XLI HMVIGXMSR SJ XLI 9VFMRSFEWIH EVGLMXIGX *VERGIWGS 4EGMSXXS ERH GSQTPIXIH MR 36 ,IVI HIXEGLIH JVSQ MXW WYVVSYRHMRK PERHWGETI XLI WUYEVI [EPPIH GMX][MXLMXWTIVJIGXP]EPMKRIHKEXIWERHXLSVSYKLJEVIWGPIEVP] VIJIVIRGIW XLI ideal city SV XLI ,IEZIRP] 'MX] SJ .IVYWEPIQ 8LI IRXMVI GMX] ETTIEVW EW MJ WYWTIRHIH MR XLI WO] Fig. 2 8LI FEWXMSRW XLEX QEVO XLI GSVRIVW SJ XLI VEQTEVXW ERH XLI GMX]ƅW JSVXVIWW EVI PMXIVEPP] VIWXMRK YTSR GPSYHW PMOI WSQI ZIVMXEFPIYVFERapotheosis8LIIJJIGXMWVIMRJSVGIHXSSF]XLI TIVWSRMƼIH ;MRHW E JEQMPMEV JIEXYVI MR [SVPH QETW FYX PIWW SJXIRTVIWIRXMRGMX]ZMI[W6MKLIXXMRS[EWHSYFXPIWWMRWTMVIH MRXLMWMRWXERGIF]XLI;MRHWMR.EGSTSHIƅ&EVFEVMƅWGIPIFVEXIH ZMI[ SJ :IRMGI (Iƅ &EVFEVMƅW ZMI[ QE] EPWS LEZI MRWTMVIH 6MKLIXXMRSƅWWGLIQIJSVXLI*MZI)PIQIRXWEWWSGMEXIH[MXLXLI ERGMIRX KSHW SJ Q]XLSPSK] EX XLI GIRXVI SJ XLI HIWMKR ,IVI EVI 'IVIW ERH &EGGLYW IEVXL  2ITXYRI [MXL LMW GLEVMSX ERH %ISPYWKSHSJXLI[MRHW[MXLLMWGSRGLWLIPP [EXIV .YTMXIV ERH .YRS IRXLVSRIH MR XLI WOMIW [MXL XLIMV IQFPIQEXMG FMVHW 8 XLI IEKPI ERH TIEGSGOɸ EMV  ERH ƼREPP] :YPGER ƼVI  FYW] QEOMRK [IETSRW EX LMW JSVKI Ɓ E GPIEV ZMWYEP TIRHERX XS XLI JSVXVIWWSJ4EGMSXXSFig. 8 -R LMW Dichiaratione SR XLI ZMI[ SJ 6SQI 6MKLIXXMRS EQTP] GSRƼVQW XLMW VIEHMRK F] EWWSGMEXMRK XLI GMX] [MXL 4EVEHMWI ƈIo hò dissegnato detto luogo, cioè il paradiso nella propettiva di sopra in mezzo à quelle nubi, che circondono la Città ?AƉ37 %GGSVHMRKXS6MKLIXXMRSXLI4STIƅW+SSH+SZIVRQIRXIRWYVIW XLEX XLI GMX]ƅW MRLEFMXERXW [MPP QIVMX IRXV] MRXS 4EVEHMWI 8LI MQEKI SJ XLI GMX] MW FSXL VIEP ERH E ZMWMSR SJ XLI ,IEZIRP] 'MX]TVSQMWIHXSMXWTSTYPEXMSRMRXLIEJXIVPMJI-RXLIHVE[MRK SJ8YVMRXLMWMHIEMWJYVXLIVI\TVIWWIHMREPSRKWGVSPPƽSEXMRK NYWX EFSZI XLI W]QFSPMG FYPP 8SVMRS  Fig. 8 FIEVMRK XLI MRWGVMTXMSR GLI GSRXYVFE IX EGUYIXE KPM IPIQIRXM ƈLI [LS VSYWIWERHGEPQWXLIIPIQIRXWƉ EUYSXEXMSRJVSQ4IXVEVGLƅW Triumphus Eternitatis  Z   8LI UYSXEXMSR IZSOIW ERH IRGETWYPEXIW XLI TSIQ EW E [LSPI E TEIER SJ TVEMWI XS EPQMKLX] +SH QEWXIV SJ XLI IPIQIRXW ERH XMQI MXWIPJ ERH E L]QR XS XLI JVEKMPMX] SJ EPP XLMRKW XIVVIWXVMEP EJXIV [LMGL GSQIW XLI MQQYXEFPI NS] SJ E RI[ [SVPH RS PSRKIV WYFNIGX XS,IVEGPMXIERXMQIFYXVEXLIVXS4EVQIRMHIWƅWGSRGITXSJER IXIVREPƈTVIWIRXƉ-RXLMW4IXVEVGLERZMWMSRSJtime out of time [IWIIXLIHMVIGXMRƽYIRGISJ7X%YKYWXMRIƅWGSRGITXSJXMQI ERH WTEGI WS HIEV XS XLI LIEVX SJ SYV %YKYWXMRMER GERSR 8LITPEGMRKSJ4IXVEVGLƅWZIVWIMQQIHMEXIP]FIRIEXLXLI(YOIƅW GSEX SJ EVQW WYKKIWXW E WIGSRH TEVEPPIP VIEHMRK LS[IZIV GSRRIGXIH[MXL'LEVPIW)QQERYIPƅWXIVVIWXVMEPTS[IVXLI(YOI VIMKRWSZIVPERHERHWIELILEWXLIGETEGMX]XSJSVKI[IETSRV] XLEX[MPPFVMRKTIEGIERHYRMX]XSLMWHYGL]ERHLIEWTMVIWXS E XVYP] MQTIVMEP HIWXMR] 6MWMRK YT MRXS XLI GPSYHW X[S W[ERW GEVV]EWGVSPPFIEVMRKXLIMRWGVMTXMSR CAROLUS MRXLIMVFIEOW ƁEVIJIVIRGIXSXLI(YOIƅWMPPYWXVMSYWMQTIVMEPPMRISJHIWGIRX JVSQ'LEVPIQEKRIXSXLI,SP]6SQER)QTIVSV'LEVPIW:-R WLSVX6MKLIXXMRSƅWHVE[MRKWYFWXMXYXIWXLI(YOIƅWEVQWJSVXLI ƼKYVISJ+SHXLI*EXLIVEWXVEHMXMSREPP]HITMGXIHMRRYQIVSYW 6IREMWWERGI VITVIWIRXEXMSRW SJ XLI Triumph of God WIEXIH EQMH XLI LIEZIRP] WTLIVIW ERH KE^MRK HS[R YTSR XLI )EVXL 4IXVEVGLƅWZIVWIEPWSGEWXWPMKLXSRXLIEPPIKSV]SJ6IRS[R XLI TSIXƅWTrionfo della FamaTVIGIHIWLMW8VMYQTLSJ)XIVRMX] ERH XLIEPPIKSVMIWSJ4IEGIERH;EV &IPPYQ EXXLIPIJXERHVMKLX LERHWMHIWSJXLIZMI[8LIPEXXIVEVIKMZIRWTIGMEPWMKRMƼGERGI F] 6MKLIXXMRS EW XLI SRP] GPIEVP] MHIRXMƼIH EPPIKSVMGEP ƼKYVIW MR XLI HVE[MRKW Fig. 2 8LI Dichiaratione WLS[W LS[ XLI] VIJIV XS XLI 4VMRGIƅW TVITEVIHRIWW JSV [EV ERH TIEGI EPMOI MR MQMXEXMSR SJ +SH LMQWIPJ Ɓ XLI QSHIP par excellence SJ +SSH +SZIVRQIRX42 PRINCELY VIRTUES AND TERRITORIAL POWER 8LIƈMHIEPGMX]ƉSJ8YVMRMWWYVVSYRHIHF]ƼZIGSRGIRXVMGGMVGPIW E JYVXLIV VIJIVIRGI XS XLI XLIQI SJ XLI )PIQIRXW VIJIVIRGIH MR XLI UYSXEXMSR JVSQ 4IXVEVGL ERH XS [IPPORS[R QIHMIZEP GSWQSKSRMIW MPPYWXVEXMRK XLI %VMWXSXIPMER GSRGITX SJ XLI YRMZIVWI XLI JSYV IPIQIRXW EW HIƼRIH F] )QTIHSGPIW ERH E ƼJXL Ɓ XLI UYMRXIWWIRGI SV IXLIV Ɓ [LMGL JSVQW XLI YTTIV WXVEXESJXLI)QT]VIER Figs. 2 and 8 )EGLSJXLIWITVMQSVHMEP IPIQIRXW LEW FIIR terrestrialized MR XIVQW SJ XLI GMX] WXEXIƅW XIVVMXSVMEPTSWWIWWMSRW&YXEFSZIEPPXLIXVEHMXMSREPhierarchySJ XLIIPIQIRXWLEWFIIRXYVRIHSRMXWLIEH8VEHMXMSREPQIHMIZEP ERH 6IREMWWERGI VITVIWIRXEXMSRW TPEGI XLI IPIQIRX SJ )EVXL XLIXIVVIWXVMEPVIEPQ EXXLIGIRXVIFYXMR6MKLIXXMRSƅWHVE[MRK XLI (YOIƅW PERHW EVI VIPIKEXIH XS XLI SYXIVQSWX GMVGPI [LMPI XLIGMX]SJ8YVMRSGGYTMIWXLIGIRXVIEXXLIXSTSJXLIGSWQMG LMIVEVGL] 'SRXEMRIH [MXLMR XLI SYXIV GMVGPI XLI XIVVMXSVMEP TSWWIWWMSRW SJ XLI (YGL] SJ 7EZS] EVI IRYQIVEXIH JSVIWLEHS[MRK XLI GIPIFVEXIH corona di delizie XLEX [SYPH HIZIPST EVSYRH 8YVMR MR XLI RI\X GIRXYV]  [MXL VIGSKRMWEFPI HITMGXMSRW SJ GMXMIW 61 VIGIRXP]GSRUYIVIHF])QQERYIP*MPMFIVXSJ7EZS]ERHSXLIVW XLEX XLI ]SYRK 'LEVPIW )QQERYIP TPERRIH XS ERRI\ MR XLIMV XYVRMRGPYHMRK+IRIZE43;MXLSRISVX[SI\GITXMSRWXLI]EVI WMXYEXIHMRXLIMVGSVVIGXKISKVETLMGEPVIPEXMSRWLMTXS8YVMR 8LI  WIGSRH  GMVGPI ƼKYVIW  XLI IPIQIRX SJ ;EXIV 8LI 1IHMXIVVERIER MWPERHW VITVIWIRXIH LIVI EVI RSX HYGEP TSWWIWWMSRWFYXJSVQIV'LVMWXMERXIVVMXSVMIWXLEXLEHJEPPIRXS XLI8YVOW8LIMWPERHWVIMRJSVGIXLIGIRXVEPXLIQISJXLIHIJIRGI SJ'LVMWXIRHSQEKEMRWXXLI8YVOMWLXLVIEXMRXLI1IHMXIVVERIER 8LI] EPWS IZSOI GIVXEMR SJ XLI JEQMP]ƅW ERGIWXVEP XMXPIW ERH TSWWIWWMSRW 3J XLIWI ']TVYW [MXL XLI :IRIXMER WXVSRKLSPH SJ2MGSWME [EWGETXYVIHF]XLI8YVOWMRERHWIVZIWLIVI EW E VIQMRHIV SJ 'LEVPIW )QQERYIPƅW GPEMQ XS XLI MWPERHƅW WSZIVIMKRX]EXMXPIGIRXVEPXSXLIMRXIRWIGSQTIXMXMSRJSVWXEXYW ERH VERO EQSRK XLI ZEVMSYW -XEPMER QSREVGLMIW SJ XLI HE] 4YVWYMRKLMWJEXLIVƅWSVMKMREPGPEMQ'LEVPIW)QQERYIPEWWIVXIH LMWVMKLXXSXLIXMXPIMRF]GMVGYPEXMRKETrattato delle ragioni sopra il Regno di Cipro, appartenenti alla Serenissima casa di Savoia.448LI ZMI[ SJ 6LSHIW MW LMKLP] MRXIVIWXMRK XSS Fig. 8 -RWGVMFIHEVSYRHMX[IWIIXLIHIZMGISJXLI7YTVIQI3VHIVSJ XLI1SWX,SP]%RRYRGMEXMSRXLIGLMZEPVMGSVHIVSJXLI,SYWISJ 7EZS]FERTJSVFortitudo eius Rhodum tenuit ƈ&]LMWGSYVEKI LI LIPH 6LSHIW  6LSHIWɸ [EW WEZIH F] LMW ZEPSYVƉ45  8LI 3VHIV[EWJSYRHIHMRF]%QEHIYW:- Ɓ [LS SVHEMRIHXLIHIZMGIMRLSRSYVSJLMWTVIHIGIWWSV%QIHIYW : GƁ  HIJIRHIVSJ6LSHIWEKEMRWXXLI8YVOWMR JMKLXMRKEPSRKWMHIXLI/RMKLXW,SWTMXEPPIV XLI3VHIVSJ/RMKLXW SJXLI,SWTMXEPSJ7EMRX.SLRSJ.IVYWEPIQ 8LI3VHIVƅWQIHEP MWHITMGXIHFIX[IIRXLIPIKWSJXLIEPPIKSVMGEPƼKYVISJ'LEVMX] [LSLSPHWXLI(YOIƅWLIVEPHMGEVQWEPSJXɸSZIVXLIGMX]Fig. 8 %PPYWMSRWWYGLEWXLIWI[IVIGSQQSRGYVVIRG]EXXLI8YVMRGSYVX XLI]WIIOXSIWXEFPMWL'LEVPIW)QQERYIPEWERI[%QEHIYW WGSYVKISJLIVIXMGWERHXLI8YVOWMRXLI1IHMXIVVERIER-RXLMW GSRXI\XMXMWJEWGMREXMRKXSGSQTEVI6MKLIXXMRSƅW[SVO[MXLXLEX SJ GIVXEMR TERIK]VMWXW WYGL EW %KSWXMRS &YGGM E TVSJIWWSV EX XLI 9RMZIVWMX] SJ 8YVMR [LS EYXLSVIH E XVIEXMWI MR  YRTYFPMWLIH FYX GSRWIVZIH MR QERYWGVMTX JSVQ  YRHIV XLI XMXPIIl memorial del principe precetti della virtù; per poter meglio e con maggiore autorità esercitare sopra gli altri l’imperi.468LI WEQIQERYWGVMTXGSRXEMRWETSIQIRXMXPIHXLIAmedeide ƈXLI %QEIHMEHƉ ETEIERXSXLIPIKIRHEV]HIJIRHIVSJ6LSHIWERH XLIƼVWXSJEWIVMIWSJH]REWXMGTSIQWHIWMKRIHXSƽEXXIVXLI ]SYRKHYOIƅWXIVVMXSVMEPERHQSREVGLMGEQFMXMSRW478LITSIQ MWHEXIHXLIWEQI]IEVMR[LMGL6MKLIXXMRSTVIWIRXIHLMW HVE[MRKEXXLIGSYVXSJ8YVMR 8LIXLMVHGMVGPIEVSYRHXLIGMX]ƼKYVIWXLIIPIQIRXSJ%MV7[ERW MR ƽMKLX GEVV] WGVSPPW FIEVMRK XLI MRWGVMTXMSR CAROLUS 2I\X GSQIW *MVI [MXL XLI RSXEFPI MRGPYWMSR SJ E WEPEQERHIV XLI GLIVMWLIHIQFPIQSJXLI*VIRGL/MRK*VERʡSMW-XLIQEXIVREP KVERHJEXLIV SJ 'LEVPIW )QQERYIP [LS EHSTXIH XLI LIVEPHMG FIEWXEWLMWS[R8LIPEWXGMVGPI)XLIVMWHITMGXIHEWEVMRKSJ GPSYHWW]QFSPMWMRK4EVEHMWIMR6MKLIXXMRSƅW[SVO ;IWLEPPRS[PSSOEXXLIEPPIKSVMIW[MXLMRXLISVREQIRXEPJVEQI SJ[LMGL6MKLIXXMRSKMZIWERI\LEYWXMZIHIXEMPIHI\TSWMXMSRMR LMWDichiaratione8LIƼKYVIWVITVIWIRXXLIGPEWWMGEPZMVXYIWEW HITMGXIH MR RYQIVSYW PEVKIWGEPI HIGSVEXMZI WGLIQIW MR XLI 6IREMWWERGIXLIXLISPSKMGEPZMVXYIW *EMXL,STIERH'LEVMX] 62 WYVVSYRHMRK XLI HYGL]ƅW LIVEPHMG EVQW  ERH XLI JSYV GEVHMREP SVQSVEPZMVXYIW XSXLIPIJX4VYHIRGIERH8IQTIVERGIIMXLIV WMHISJXLIƼKYVISJ4IEGIXSXLIVMKLX.YWXMGIERH*SVXMXYHI ƽEROMRKXLIƼKYVISJ;EV  6MKLIXXMRSƅW MRGPYWMSR SJ XLI PIWW GSQQSRP] HITMGXIH WTIGYPEXMZI SV MRXIPPIGXYEP ZMVXYIW Ɓ E LMKLP] SVMKMREP ERH IWWIRXMEP IPIQIRX MR LMW GSQTSWMXMSREP ERH MGSRSKVETLMGEP WGLIQIƁQIVMXWGPSWIVWXYH]-RXLIYTTIVWIGXMSRJVSQPIJXXS VMKLX[IWII2EXYVEP4LMPSWSTL](MZMRI8LISPSK]1IXETL]WMGW ERH1EXLIQEXMGWFig. 78LIƼKYVIWEVIEPPIKSVMGEPXVERWPEXMSRW SJ%VMWXSXPIƅWTVMRGMTPIWSJ4L]WMGWERH1IXETL]WMGWLIVIXLI] VIƽIGX6MKLIXXMRSƅW:IRIXMERGYPXYVIERHLMWIHYGEXMSRMR4EHYE [LMGL ƼRHW SFZMSYW IGLSIW MR XLI GYPXYVI TVSQSXIH F] XLI ]SYRK(YOI'LEVPIW)QQERYIPMR8YVMR%GYPXYVEPFEGOKVSYRH [LMGL6MKLIXXMRSEPWSWLEVIH[MXLXLIQIQFIVWSJXLI&EVFEVS JEQMP] 6MKLIXXMRSMRGSVTSVEXIWXLIPERKYEKIWSJLIVEPHV]XSTSKVETL] ERH EPPIKSV] MRXS LMW HVE[MRK ERH [MXL XLIQ UYMXI REXYVEPP] XLI PERKYEKI SJ IQFPIQW -R XLI YTTIV WIGXMSR E QIHEPPMSR GSRXEMRW WIZIR G]TVIWW XVIIW SRI SJ [LMGL EX XLI GIRXVI SJ XLIKVSYTMWRSXMGIEFP]WQEPPIVXLERXLIVIWXFig. 2-R%RHVIE %PGMEXSƅW HIƼRMXMSR XLI G]TVIWW XVII W]QFSPMWIW ƈIUYEPMX] JSV EPPƉ8LIMQEKISJEWQEPPG]TVIWWXVIIWYVVSYRHIHF]SXLIV XEPPIVXVIIWMWZIV]PMOIP]HIWMKRIHXSWXVIRKXLIRXLMWQIWWEKI 8LI MRWGVMTXMSR NEC MINIMA DES PICIT ƈ(S RSX HMWHEMR XLI WQEPPƉ  VIMRJSVGIW XLI W]QFSPMG MPPYWXVEXMSR SJ Gran CarloƅW EQFMXMSRXSWIXLMQWIPJERHLMW(YGL]SRETEV[MXLXLIKVIEXIWX GSYVXWMR)YVSTI -RGSRGPYWMSR6MKLIXXMRSƅWGMX]ZMI[WEVIYRMUYIMRXLIMVKIRVI XLSYKL XLIMV GSQTSWMXMSREP IPIQIRXW [IVI JEQMPMEV ERH PSRK IWXEFPMWLIH %W EVGLIX]TEP I\EQTPIW SJ GSYVXP] HMTPSQEXMG EVXXLI]HITMGXXLIZMVXYIWSJTVMRGIP]ƼKYVIWWYGLEW'LEVPIW )QQERYIPSJ7EZS]SV7M\XYW:[LSWIGMX]FYMPHMRKERHPEVKI WGEPIEVXMWXMGERHGYPXYVEPGEQTEMKRWGSRWSPMHEXIHXLIMQEKI SJ XLI GMX]EWWXEXI ERH GSRXVMFYXIH XS XLI XLISVMWEXMSR SJ XLI 'SYRXIV6IJSVQEXMSR 4VMRGI E LIVSMG QSREVGL GETEFPI SJ YTLSPHMRK ERH FVMRKMRK XS JVYMXMSR XLI MHIE SJ XLI Respublica christianaEWERI[)EVXLP]4EVEHMWIERI['MX]SJ+SH 'SQFMRMRK EPPIKSV] ERH XSTSKVETL] XLIWI ZMI[W Ɓ EX SRGI HIGSVEXMZI ERH XVYI XS PMJI Ɓ TPE] SR XLI WMQYPXERISYWP] STEUYI ERH XVERWTEVIRX UYEPMX] SJ XLI HVE[R WYVJEGI MXWIPJ 8LI GSI\MWXIRGI SJ E ZEVMIX] SJ ƼKYVEXMZI VIKMWXIVW [MXLMR ER IWWIRXMEPP] HMEKVEQQEXMG HVE[MRK IRGSYVEKIW YW XS VIEH XLIMV QYPXMTPI MRXIVREP VIJIVIRGIW ERH IRKEKI [MXL XLI EGX SJ I\IKIWMW JSVIKVSYRHIH F] 6MKLIXXMRS MR LMW Dichiaratione %W E KIRVI XSTSKVETLMGEP HVE[MRKW WYGL EW XLMW IWXEFPMWL E WIX SJ EQFMZEPIRX VIPEXMSRWLMTW XLEX EVI MHIEPP] WYMXIH XS XLI I\TVIWWMSR SJ QYPXMPE]IVIH SRXSPSKMIW XLI] HITMGX GSRGVIXI ZMWYEPP] VIEPMWXMG WGIRIW [LMPI EX XLI WEQI XMQI TVSNIGXMRK XLIQMRXSXLIEFWXVEGX[SVPHSJMHIEW%REPPIKSVMGEPZMWMSRSJ XIVVMXSVMEPTS[IVEXSTSKVETL]SJTVMRGIP]ZMVXYIW ACKNOWLEDGMENTS 8LI TVIWIRX WXYH] ERH XLI SRKSMRK TVSNIGX [MXL [LMGL MX MW GSRRIGXIH LEZI FIIR QEHI TSWWMFPI F] E KVERX JVSQ XLI '67, 'SRWIMP HI VIGLIVGLIW IR WGMIRGIW LYQEMRIW HY 'EREHE Ɓ 1 Emmanuele Antonio Cicogna, Iscrizioni Veneziane :IRMGI Ɓ  Xɸ  JEWGɸ VI, 539–40. The meeting is also reported by a relative of Righettino, originally from Treviso, in Bartolomeo Burchelati, Commentariorum memorabilium multiplicis historiae Tarvisinae locuples promptuarium (Treviso: Angelum Righetinum, 1616), 57. 2 Sommario overo dichiaratione degli concetti posti per ornamento della città di Roma, fatta a penna et consacrata al Santiss. et Beatiss. Padre Nostro da D. Gironimo Righettino Veneziano Canonico Reg. Lateranense, per allegrezza della sua nova esaltazione (Rome, 1585); Ms. Federici 171. cart. XVI, Fano, Biblioteca Federiciana. The manucript is referred to in Giuseppe Mazzatinti, Inventari dei manoscritti delle biblioteche d’Italia (Florence: Olschki, ɸ?A XɸI am grateful to the staff at the Biblioteca Federiciana in Fano, who greatly facilitated my access to, and consultation of the manuscript. 3 A few brief remarks on Righettino were published in Giovanni Musolino, Storia di Caorle 'ESVPI)HM^MSRM4YFFPM'ESVPI?A ERH%XXLI%VGLMZMSHM7XEXSMR:IRMGI and the Archivio storico del Patriarcato di Venezia, the only references to Righettino I have FIIREFPIXSƼRHEVIGSRXEMRIHMRXLIEHQMRMWXVEXMZIVIGSVHWSJXLITEVMWLSJ'ESVPIHYVMRK his time as bishop. Archivio storico del Patriarcato di Venezia, Curia vescovile di Caorle, “varia”’ (busta 1, a folder from 1592 for a collection of letters sent and received by the bishop in 1591; and busta 2, folders 9, 13.2, 13.3 and 13.12); “atti diversi” (buste 1 to 3, containing folders dated 1586, 1587 and 1589 and a collection of letters written in 1588). 4 Tommaso Garzoni, Piazza universale di tutte le professioni del mondo (Seravalle di Venetia: ?A ƈ(IƅGSWQSKVEƼIKISKVEƼI(MWWIKREXMʫ'SVSKVEƼI8STSKVEƼ(MWGSVWS XXXVII”, 312 and 351. 5 See in particular, Carlo Promis, Storia dell’antica Torino: Julia Augusta Taurinorum, (Turin: Stamperia Reale, 1869), 170; Il Tesoro del Principe. Titoli, carte, memorie per il governo dello Stato%VGLMZMSHM7XEXSHM8SVMRSI\LGEX8YVMR%VGLMZMSHM7XEXS1E]Ɓ.YRIɸ 8YVMR %VGLMZMS HM 7XEXS  Ɓ WGLIHEɸ ɸ %RHVIMRE +VMWIVM  La Reggia di Venaria e i 7EZSME%VXIQEKRMƼGIR^EIWXSVMEHMYREGSVXIIYVSTIE, exh. cat., Turin, October 12 – March  8YVMR%PPIQERHM ƁɸWGLIHEɸ4.3 (Federica Paglieri); Anna Maria Bava and Enrica Pagella, eds., 0I QIVEZMKPMI HIP QSRHS 0I GSPPI^MSRM HM 'EVPS )QQERYIPIɸ - HM Savoia I\L GEX 8YVMR 1YWIM 6IEPM (IGIQFIV ɸ  Ɓ %TVMP   +IRSE 7EKIT )HM^MSRM WGLIHEɸ 1EVME'EVPE:MWGSRXM  6 The digital publishing project is being carried out at the University of Montréal in association with Emmanuel Château-Dutier, assisted by Fannie Caron-Roy and Joana Casenave. 7 Celso Rosino, Lyceum Lateranense 'IWIRE)\X]TSKVETLME2IVMM Xɸ-Ɓ 8 The essential work on the Order of the Canons Lateran remains Nicola Widloecher’s La congregazione dei canonici regolari lateranensi +YFFMS7GYSPE8MTSKVEƼGE3HIVMWM  9 7II%PFIVX6ɸ.SRWIRERH7XITLIR8SYPQMR The Abuse of Casuistry. A History of Moral Reasoning (Berkeley: University of California Press, 1988). 10 Antonio Niero, I patriarchi di Venezia: da Lorenzo Giustiniani ai nostri giorni (Venice: Studium Cattolico Veneziano, 1961), 100–02. 11 Rosino, Lyceum Lateranense, 399–400. I am grateful to Lise Otis for her help with the Latin translation. 12 Charles Yriarte, La vie d’un patricien de Venise au XVIeɸWMʢGPI (Paris: Plon, 1874); Deborah Howard, Venice disputed: Marc’Antonio Barbaro and Venetian Architecture, 1550–1600 (New Haven: Yale University Press, 2011). 13 Girolamo Righettino, De Numerorum Sophia algebraica ac mystica lib. VI (Venice: apud Jolitos, 1586) (“Ad Marcantonium Barbarum equitem ac Divi Marci Procuratorem”). On this work, see Rosino, Lyceum Lateranense, 401, and Salvatore Bongi, Annali di Gabriel Giolito de’ Ferrari, da Trino di Mongerrato, stampatore in Venezia (Rome: Presso i Principali Librai,   Xɸ  Ɓ [LMGL WYTTSWIW XLEX XLI [SVO [EW MRGPYHIH MR XLI Index librorum prohibitorum. On this subject, a useful summary is Jean-Pierre Brach’s La symbolique des nombres (Paris: PUF, 1994), 59–127. 14 Paola Modesti, Il convento della Carità e Andrea Palladio. Storie, progetti, immagini (Verona: Cierre Edizioni, 2005), 143 and 146. Franco Gaeta, “Barbaro, Marcantonio,” in (M^MSREVMSFMSKVEƼGSHIKPMMXEPMERM (Rome: Istituto dell’Enciclopedia Italiana, 1964), vol.ɸ(http://www.treccani.it/enciclopedia/marcantonioFEVFEVSC (M^MSREVMS&MSKVEƼGS  15 (Venice: Francesco De Franceschi & Johann Criegher, 1567). See Ilario Manfredini, “Le relazioni culturali tra Torino e Venezia nella seconda metà del Cinquecento,” Studi Veneziani,   Ɓ LIVISRTEKIɸ  19 Richard Cocke, Paolo Veronese. Piety and Display in an Age of Religious Reform (Aldershot, Ashgate, 2001) 66–9. See also Anna Maria Bava, ed., Il Veronese e i Bassano: grandi artisti veneti per il Palazzo Ducale di Torino, exh. cat., Venaria Reale, October 12, 2013 – February 2, 2014 (Savigliano: L’Artistica Editrice, 2013), 60–2. On the strongly political aspect of this episode in Venetian iconography, see for example Nicolai Kölmel, “The Queen in the Pawnshop: Shaping Civic Virtues in a Painting for the Palazzo dei Camerlenghi in Venice,” in Sites of Mediation. Connected Histories of Places, Processes, and Objects in Europe and Beyond, 1450–1650, eds. Susanna Burghartz, Lucas Burkart and Christine Göttler (Leiden: Brill, 2016), 94–124. 20 On Righettino’s small stature, see Rosino, Lyceum Lateranense, 399. The object carried by 6MKLIXXMRSMJXLIƼKYVIMWMRHIIHLMQMWRSXIEWMP]MHIRXMƼIH-XQE]FIEWIXSJVSPPIHLERH drawn parchments, or rolls of silk, which were often presented by Venetian ambassadors to European monarchs. 21 On the devotional aspect of the work of monastic scribes, see for example the celebrated text: Johannes Trithemius, De laude scriptorum manualium (Mainz: Peter von Friedberg, 1494). On the world map by Fra Mauro, showing the world and the cosmos, (simultaneously a chorography and a cosmogony) see Angelo Cattaneo, Fra Mauro’s Mappa Mundi and Fifteenth-century Venice (Turnhout: Brepols, 2011). 22 See especially Frank Lestringant, ed., Les méditations cosmographiques à la Renaissance (Paris, Presses de l’Université Paris-Sorbonne, 2009). 23 Rosino, Lyceum Lateranense, 401–2; Burchelati, Commentariorum. On the social, cultural and psychological connotations associated with left-handed artists during the Renaissance, see for example Carmen C. Bambach, “Leonardo, Left-Handed Draftsman and Writer,” in Leonardo da Vinci. Master Draftsman, edited by Carmen C. Bambach, exh. cat., New York: 8LI1IXVSTSPMXER1YWIYQSJ%VX.ERYEV]Ɓ1EVGLɸ 2I[=SVO8LI1IXVSTSPMXER Museum of Art, 2003), 31–58. 24 See La Reggia di Venaria e i Savoia. %VXIQEKRMƼGIR^EIWXSVMEHMYREGSVXIIYVSTIE, 70–1, GEXɸ 2EHME3WXSVIVS[MXLTVII\MWXMRKFMFPMSKVETL] ERH4ESPE7IVIRSƈ'EVXSKVETL]MR the Duchy of Savoy during the Renaissance,” in The History of CartographyXɸCartography in the European Renaissance (Chicago: The University of Chicago Press, 2007), 831–53 (here, on page 846). Pingone’s work was published apud haeredes Nicolai Beuilaquae, publishers located in both Turin and Venice. It is dedicated to Charles Emmanuel, who only acceded to the ducal throne three years later. Both views show an identical street plan. A few differences may be seen in individual houses, regarding the number of windows and doors, and their position on each building. They suggest that Righettino took some liberties in his work as a copyist. 25 Roberto Almagia, “I porti delle isole adriatiche,” in 1SRSKVEƼEWXSVMGEHIMTSVXMHIPPƅERXMGLMXʚ nella penisola italiana 6SQI3ƾGMRE4SPMKVEƼGE-XEPMERE Ɓ LIVISRTEKIW 425–28). 26 Fabia Borroni Salvadori, Carte, piante e stampe storiche delle raccolte lafreriane della Biblioteca Nazionale di Firenze 6SQI-WXMXYXS4SPMKVEƼGSI>IGGEHIPPS7XEXS0MFVIVMEHIPPS 7XEXS Rɸ 27 See Juergen Schulz’s perennially useful study “Jacopo de’ Barbari’s View of Venice: Map Making, City Views, and Moralized Geography before the Year 1500,” The Art Bulletin 60, n. 3 (septemberɸ :ɸ–74. 28 Robert Klein, “L’urbanisme utopique de Filarete à Valentin Andreae,” in La forme et l’intelligible. Écrits sur la Renaissance et l’art moderne, edited by Robert Klein (Paris: Gallimard, 1970), 310–26. 29 Hans Belting, “The New Role of Narrative in Public Painting of the Trecento: Historia and Allegory,” Studies in the History of Art 16 (1985):ɸ–68 (here, on pageɸ  30 7II;SPJKERK;SPXIVWƈ>YIMRIQ[IRMKFIOERRXIR)RX[YVJHIW'VMWXSJIVS7SVXIJʳVHMI Decke der Sala del Senato im Dogenpalast,” Mitteilungen des Kunsthistorischen Institutes in Florenz 10, n. 2 (Decemberɸ :ɸ–45 (here, on pageɸ .YIVKIR7GLYP^“Cristoforo Sorte and the Ducal Palace of Venice,” Mitteilungen des Kunsthistorischen Institutes in FlorenzR .YRIɸ Ɓƈ2I[1ETWERH0ERHWGETI(VE[MRKWF]'VMWXSJSVS Sorte,” Mitteilungen des Kunsthistorischen Institutes in Florenz  R   ɸ Ɓ Silvino Salgaro, Cristoforo Sorte e il suo tempo (Bologna: Pátron, 2012), 188. I am indebted to Michel Hochmann for bringing this decorative scheme to my attention. 31 See especially (on the city of Milan): Patrick Boucheron, “Le passé mais pas exactement. Mémoire urbaine et miroir princier à Milan au XVeɸWMʢGPI” in Le miroir et l’espace du prince dans l’art italien de la RenaissanceIHMXIHF]4LMPMTTI1SVIPɸ 8SYVW4VIWWIWYRMZIVWMXEMVIW François-Rabelais, 2012) http://books.openedition.org/pufr/7875. 32  7II SR XLMW TSMRX 7XʣTLERI +EPɸ Ɖ'LEVPIW)QQERYIPɸ -er ou l’appel à être plus que soimême,” Chrétiens et sociétésWTIGMEPIHMXMSRɸ--La vocation du Prince, 121-51, (here on TEKIWɸƁ PEWXEGGIWWIH1EVGLhttp://chretienssocietes.revues.org/3459. On Sixtus V’s projected crusade, see Pastor, Storia dei papi, 383–86. 16 On Francesco Barbaro and the Barbaro family’s pro-Roman politics, see especially Giuseppe Trebbi, “Francesco Barbaro e la scelta romana,” in Una famiglia veneziana nella storia. I BarbaroIHMXIHF]1MGLIPEɸ1EVERKSRMERH1ERPMSɸ4EWXSVI7XSGGLMɸ :IRMGI-WXMXYXS Veneto di Scienze, Lettere ed Arti, 1996), 397–433. On the positive relations between Sixtusɸ:ERH:IRMGIWII0YH[MKZSR4EWXSVStoria dei papi 6SQI(IWGPʣI Xɸ 383–88. 33 Righettino, Dichiaratione ?ƏA JSPɸ Z ƈEGGMʫ XYXXS MP QSRHS GSRSWGE GLI 7 7Xʚ ʢ TSXIRXIʚZMRGIVIRSRWSPEQIRXIKPM8YVGLMIXEPXVMMRƼHIPMRSRFEXXI^^EXMQʚERGSVEKPM6ʢ IXEPXVM4VMRGMTMGLVMWXMERMGLIJSWWIVS MPGLI-HHMSRSRZSKPME MRƼHIPMLIVIXMGMWGMWQEXMGMIX GSRXVEVMNʚUYIWXE%TSWXSPMGE7IHIƅERHJSPɸƄ'SRPƅSVE^MSRMHM7MWXS8IV^SIXGSRPEJSV^E di Spagna, che gli è à canto si potrebbe vincer’ Algieri, che è in Affrica dove; quel Rè è molto SJJIWSHE8YVGLMIXTIVʫLʫHIWGVMXXS%PKIVMWSXXSEPPETVSXXIXXMSRIHM7MWXS8IV^SƉ 17 34  *SPɸ  SR XLI EPPMERGI [MXL *VERGI ƈ?A GSR PE JSV^E HM *VERGME GLI KPƅʢ ʚ GERXS WM potrebbe rihavere Gierusalem, che già fù presa, et posseduta da Francesi”. On the notion of Respublica christiana, see especially Denis Crouzet, “Chrétienté et Europe: aperçus sur une sourde interrogation du XVIe siècle,” in L’ordre européen du XVIe au XXeɸWMʢGPI, edited Francesco Barbaro, “Relazione della Corte di Savoja,” in Le relazioni degli ambasciatori veneti al senato durante il secolo decimosesto, edited by Eugenio Albèri (Florence: Società )HMXVMGIƼSVIRXMRE ndɸWIVMIWXɸ:Ɓ 18 I dieci libri dell’architettura di M. Vitruvio, Tradotti & commentati da Mons. Daniel Barbaro… 63 by Jean Béranger and George-Henri Soutouɸ Paris: Presses de l’Université Paris-Sorbonne, 1998) 11–50. 50 “Le Cypres monstre en sa fueille, comment il fault traicter les siens egalement”. Emblemes d’Alciat 0]SR+6SZMPPI ɸ 35 Étienne Gilson, Les Métamorphoses de la cité de Dieu (Paris: Vrin, 1952); Henri-Xavier Arquillière, L’augustinisme politique. Essai sur la formation des théories politiques du Moyen Age (Paris: Vrin, 1955); Michel Meslin and Jeannine Quillet, “Augustinisme,” in Encyclopædia Universalis, http://www.universalis-edu.com/encyclopedie/augustinisme/. 51 We may also see the emblem as a reference to Righettino himself. According to Rosino, Lyceum lateranense6MKLIXXMRS[EWSJXIRMHIRXMƼIH[MXLXLI&MFPMGEPƼKYVISJ >EGGLEIYWHYIXSLMWWLSVXWXEXYVI>EGGLEIYWGPMQFIHMRXSEW]GEQSVIXVIIXSWII.IWYW enter Jericho (Luke 19, 1–10). Righettino incorporated the tree into his personal coat of EVQWEWWSGMEXMRKMXMRTEVXMGYPEV[MXLXLI 'LVMWXMG PMSRSJLMWFIRIJEGXSV7M\XYW:8LIƼKYVI is drawn on the cover of the Dichiaratione (Fig. 1) and carved on the baptismal font of the cathedral of Caorle (with three mountains and a star), where Righettino was bishop from 1585 until his death in 1593. I am grateful to members of the parish of Santo Stefano (in the diocese of Caorle), who assisted my research. 36 On the Turin citadel and its pentagonal fortress, see especially Amelio Fara, “Geometrie HIPPEJSVXMƼGE^MSRIIEVGLMXIXXYVEHE&SVVSQMRME+YEVMRMƉMitteilungen des Kunsthistorischen Institutes in Florenz  R Ɓ  ɸ Ɓ LIVI SR TEKIWɸ Ɓ  Two pivotal monographs on this point are: Nadia Ragni, Francesco Paciotti, architetto urbinate (1521–1591) (Urbino: Accademia Raffaello, 2001), and Alessandra Coppa, Francesco Paciotto, architetto militare 1MPER )Hɸ 9RMGSTPM   3R XLI GSWQSPSKMGEP EWTIGX SJ pentagonal Renaissance fortresses, see Paolo Marconi, “Una chiave per l’interpretazione dell’urbanistica rinascimentale. La cittadella come microcosmo,” Quaderni dell’Istituto di Storia dell’Architettura 15, n. 85-90 (1968): 53–94. More generally, on Turin, see Martha (ɸ4SPPEOTurin 1564–1680: Urban Design, Military Culture and the Creation of the Absolutist Capital (Chicago: University of Chicago Press, 1991). 37 Righettino, Dichiaratione, fol. 35. 38 The principal Italian commentaries on Petrarch in the 15th and 16th centuries are by Bernardo Licinio (1475 ff), Alessandro Vellutello (1525 ff) and Giovanni Andrea Gesualdo (1533 ff). See -XVMSRƼHIP4IXVEVGLEGSRPEWTSWMXMSRIHM1+MSZERRM%RHVIE+IWYEPHSHE Traetto (Venice: Per Domenico Giglio, 1553), fol. 68r–68v; Il Petrarca con l’espositione di M. Alessandro Velutello (Venice: Gio. Antonio Bertano, 1573), fol. 206r.–208r.  %YKYWXMRI HIZIPSTW LMW XLMROMRK SR XMQI GLMIƽ] MR FSSO <- SJ LMW Confessions, a text FIPSZIH SJ 4IXVEVGL 7II 4EYP 6MGSIYVƅW JSYRHEXMSREP VIƽIGXMSRW SR XLMW MR Temps et récit, t. 1, together with a handful of classic commentaries, including Jean Guitton, Le temps et l’éternité chez Plotin et St Augustin 4EVMW :VMR  ?A  .YPIW 'LEM\6Y] Saint Augustin, Temps et Histoire (Paris: Études Augustiniennes, 1956); Aimé Solignac, “La conception du temps chez Augustin,” Recherches augustiniennes, 1 (1958): 113–48; Étienne Gilson, Introduction à l’étude de saint Augustin 4EVMW:VMR ɸERHQSVIVIGIRXP] Frédéric Vengeon, “Un temps pour l’éternité. Le temps dans la pensée de St Augustin,” in Le temps, edited by Alexander Schnell (Paris: Vrin, 2007), 61–90. 39 40 See Gal, “Charles-Emmanuel Ier,” 140.  %HE 0EFVMSPE ƈ(E 4EHSZE E *MVIR^I PƅMPPYWXVE^MSRI HIM 8VMSRƼƉ MR Francesco Petrarca, I 8VMSRƼ'SQQIRXEVMS (Biblioteca Medicea Laurenziana, ms. Strozzi 174), edited by Ida G. Raoɸ Castelvetro di Modena: Artcodex, 2012), 59–115. 41 42 Righettino, DichiarazioneJSPɸZƈ'SRUYIWXIHSRUYIZSKPMSHMQSRWXVEVIGLI77tà come Prencipe, pio generoso, et magnanimo, è atto, et pronto all’una, et all’altra. secondo che segli rappresentarà l’occasione, et in questo è imitatore non pur della bontà degl’antecessori del suo nome, i quali sempre in quanto à loro bramarono la pace, et felicemente quanto à se la goderono, mà molestati poi da perturbatori di tanto bene accettavano così prontamente, et intrepidamente la guerra, che col soggiogar quelli, et vincer’i regni loro, con prospera facilità, et di nuovo ritornando à godere la pace dimostravano à tutto il mondo, questa loro virtuosissima dispositione; mà ancora è imitatore dell’istesso Iddio, il quale ancora che sia Iddio degl’eserciti, et delle vendette, non di meno protesta essere ancora padre amorevole, et principe, e Dio di pace”. *SVEQSVITVIGMWII\TPEREXMSRSJXLIWMKRMƼGEXMSRSJ;EVERH Peace, see the preceding fol. 29v.. 43 For a study of Charles-Emmanuel and his territorial politics, see Stéphane Gal, CharlesEmmanuel de Savoie: La politique du précipice (Paris: Payot, 2012). 44 See Géraud Poumarède, “Deux têtes pour une couronne: la rivalité entre la Savoie et Venise pour le titre royal de Chypre au temps de Christine de France,” (M\WITXMʢQIWMʢGPI 262, n. 1 (2014): 53–64. 45 This is only one of several interpretations of the acronym. It seems, however, to have been widely accepted under the reign of Emmanuel Filibert and his successor Charles Emmanuel. See also Guillaume Paradin, Chronique de Savoye (Lyon: Jean de Tournes,  ƈGIWQSXW*)68?ƏAUYMWMKRMJ]SMIRXJSVXMXYHSIMYW6LSHYQXIRYMXIRQIQSMVIIX perpetuel moniment de la prouesse de son predecesseur Amé le Grand comte de Savoye, qui avoit assisté aux chevaliers de la religion de St Jean de Jerusalem à la prinse de Rhodes, IX WMKRMƼS]IRX GIW UYEXVI PIXXVIW GLEGYRI YR QSX IR GIWXI QERMIVI WE JSVGI LE SFXIRY Rhodes”. 46 Agostino Bucci, Il Memorial del Prencipe, nel quale sotto un breve trattato di quattro capi si discorre delle virtù piu principali, e necessarie a formare un buono e valoroso Prencipe, 8YVMR&MFPMSXIGE9RMZIVWMXEVME1W2:-ɸJ MR1EVME0YMWE(SKPMSƈ9RXVEXXEXSMRIHMXS sul principe di Agostino Bucci,” Il Pensiero Politico, 1 (1968): 209–24. 47 Mariarosaɸ 1EWSIVS ƈ9RE Ƅ%QIHIMHIƅ MRIHMXE HM %KSWXMRS &YGGMƉ Studi piemontesi, 3 (1974): 357–68. For more on this work and its wider context, see Rosanna Gorris, “Sous le signe des deux Amédée: l’Amedeide d’Alphonse Delbene et le poème dynastique à la cour de 7EZSMIWSYW'LEVPIW)QQERYIPɸ-er,” 2SYZIPPIVIZYIHY<:-I7MʢGPIǞ  Ɓ  *VERʡSMWɸ -ƅW WEPEQERHIV ERH MXW EGGSQTER]MRK QSXXS Nutrisco et extinguo refer to his capacity to nurture good and extinguish evil; as reported for example by Gabriele Simeoni in his Sententiose imprese dedicated to Emmanuel Philibert (Lyon: appresso Guglielmo 6SZMKPMS ɸ 48 49 In this context, it is interesting to compare the iconographical programme of Righettino’s paper cities with certain real-life projects such as the fortress and new city of Palmanova, overseen by Marcantonio Barbaro from 1593. The cosmic ideal, the interest in mathematics, the struggle against the Turks and numerous other themes connect these otherwise WYTIVƼGMEPP]  HMWTEVEXI [SVOW On Palmanova, see Howard, Venice Disputed, 193–212, and studies collected by Francesco Paolo Fiore, ed., in L’architettura militare di Venezia in terraferma e in Adriatico fra XVI e XVII secolo (Florence: Leo S. Olschki, 2014). 64 BIBLIOGRAFIA %ǞȰǚ̻%Ǡȱǣȳǘ. Emblemes d’Alciat0]SR+6SZMPPI %Ǡǟȳǥǣȳ6ǝȲȨǚǘǝƈ-TSVXMHIPPIMWSPIEHVMEXMGLIƉ-R1SRSKVEƼEWXSVMGE dei porti dell’antichità nella penisola italianaƁ6SQI3ƾGMRE 4SPMKVEƼGE-XEPMERE %ǚǛǗǣǠǠǣ̺ǚȨ ,ȨǞǚǣ<ȳǖǣȨǚ L’augustinisme politique. Essai sur la formation des théories politiques du Moyen Age.4EVMW:VMR &ȳǟȲȳȱǤ'ȳǚǟȨǞ'ƈ0ISREVHS0IJX,ERHIH(VEJXWQERERH;VMXIVƉ -RLeonardo da Vinci. Master DraftsmanIHMXIHF]'EVQIR'&EQFEGL I\LGEXƁ2I[=SVO8LI1IXVSTSPMXER1YWIYQSJ%VX .ERYEV]  Ɓ 1EVGL ɸ   2I[ =SVO 8LI 1IXVSTSPMXER 1YWIYQ SJ %VX  &ȳǚȲȳǚǝ*ǚȳǞȱȨǙȱǝƈ6IPE^MSRIHIPPE'SVXIHM7EZSNEƉ-RLe relazioni degli ambasciatori veneti al senato durante il secolo decimosesto,IHMXIH F] )YKIRMS %PFʢVM RHɸ WIVMIW Xɸ : Ɓɸ *PSVIRGI 7SGMIXʚ )HMXVMGI ƼSVIRXMRE &ȳǖȳ%ǞǞȳ1ȳǚǣȳIHIl Veronese e i Bassano: grandi artisti veneti per il Palazzo Ducale di TorinoI\LGEX:IREVME6IEPI 3GXSFIVƁ *IFVYEV] 7EZMKPMERS0ƅ%VXMWXMGE)HMXVMGI &ȳǖȳ%ǞǞȳ1ȳǚǣȳERH)Ǟǚǣȱȳ4ȳǥȨǠǠȳIHWLe meraviglie del mondo. 0I GSPPI^MSRM HM 'EVPS )QQERYIPIɸ - HM 7EZSME I\L GEX 8YVMR 1YWIM 6IEPM (IGIQFIV ɸ  Ɓ %TVMP   WGLIHEɸ  1EVME 'EVPE :MWGSRXM ɸ+IRSE7EKIT)HM^MSRM &ȨǠǘǣǞǥ ,ȳǞǙ ƈ8LI 2I[ 6SPI SJ 2EVVEXMZI MR 4YFPMG 4EMRXMRK SJ XLI 8VIGIRXS ,MWXSVME ERH %PPIKSV]Ɖ Studies in the History of Art   ɸƁ &ǝǞǥǣ 7ȳǠǖȳǘǝǚȨ Annali di Gabriel Giolito de’ Ferrari, da Trino di Mongerrato, stampatore in VeneziaXɸ6SQI4VIWWSM4VMRGMTEPM0MFVEM  &ǝǚǚǝǞǣ 7ȳǠǖȳȰǝǚǣ *ȳȲǣȳ IH Carte, piante e stampe storiche delle raccolte lafreriane della Biblioteca Nazionale di Firenze.6SQI-WXMXYXS 4SPMKVEƼGSI>IGGEHIPPS7XEXS0MFVIVMEHIPPS7XEXS &ǝǗȱǤȨǚǝǞ 4ȳǘǚǣȱǡ ƈ0I TEWWʣ QEMW TEW I\EGXIQIRX 1ʣQSMVI YVFEMRIIXQMVSMVTVMRGMIVʚ1MPEREY<:IɸWMʢGPIƉ -R Le miroir et l’espace du prince dans l’art italien de la RenaissanceIHMXIHF]4LMPMTTI1SVIP 8SYVW 4VIWWIW YRMZIVWMXEMVIW *VERʡSMW6EFIPEMW  http://books. openedition.org/pufr/7875. &ǚȳȱǤ.ȨȳǞ4ǣȨǚǚȨ La symbolique des nombres. 4EVMW49* &ǗǚȱǤȨǠȳǘǣ&ȳǚǘǝǠǝǟȨǝ Commentariorum memorabilium multiplicis historiae Tarvisinae locuples promptuarium. 8VIZMWS %RKIPYQ 6MKLIXMRYQ 'ȳǚȳǙǙǣ1ȳǚȱǝ IH Il Tesoro del Principe. Titoli, carte, memorie per il governo dello Stato. Archivio di Stato di TorinoI\LGEX8YVMR%VGLMZMS HM7XEXS1E]Ɓ.YRIɸƁWGLIHEɸɸ %RHVIMRE+VMWIVM  8YVMR%VGLMZMSHM7XEXS 'ȳǙǘȨǠǞǗǝǖǝ )Ǟǚǣȱǝ IH La Reggia di Venaria e i Savoia. Arte, QEKRMƼGIR^E I WXSVME HM YRE GSVXI IYVSTIE, I\L GEX 8YVMR 1YWIS 8SVMRS 3GXSFIV  Ɓ 1EVGL   Ɓɸ WGLIHEɸ  *IHIVMGE 4EKPMIVM 8YVMR%PPIQERHM 'ȳǘǘȳǞȨǝ %ǞǥȨǠǝ Fra Mauro’s Mappa Mundi and Fifteenth-century Venice. 8YVRLSYX&VITSPW 'Ǥȳǣǔ6ǗǓ .ǗǠȨǙ Saint Augustin, Temps et Histoire. 4EVMW ʈXYHIW %YKYWXMRMIRRIW 'ǝȱǡȨ 6ǣȱǤȳǚȰ Paolo Veronese. Piety and Display in an Age of Religious Reform%PHIVWLSX%WLKEXI 'ǝǜǜȳ %ǠȨǙǙȳǞȰǚȳ Francesco Paciotto, architetto militare. 1MPER )Hɸ9RMGSTPM *VERGIƉDix-septième siècle R  Ɓ 'ǚǝǗǒȨǘ (ȨǞǣǙ ƈ'LVʣXMIRXʣ IX )YVSTI ETIVʡYW WYV YRI WSYVHI MRXIVVSKEXMSRHY<:-IWMʢGPIƉ-R LƅSVHVIIYVSTʣIRHY<:-IEY<<IɸWMʢGPI IHMXIH F] .IER &ʣVERKIV ERH +ISVKI,IRVM 7SYXSY Ɓ 4EVMW 4VIWWIWHIPƅ9RMZIVWMXʣ4EVMW7SVFSRRI 4ǚǝǟǣǙ 'ȳǚǠǝ Storia dell’antica Torino: Julia Augusta Taurinorum. 8YVMR7XEQTIVME6IEPI (ǝǥǠǣǝ1ȳǚǣȳ0ǗǣǙȳƈ9RXVEXXEXSMRIHMXSWYPTVMRGMTIHM%KSWXMRS&YGGMƉ Il Pensiero Politico  Ɓɸ 6ǣǥǤȨǘǘǣǞǝ +ǣǚǝǠȳǟǝ De Numerorum Sophia algebraica ac mystica lib. VI. :IRMGIETYH.SPMXSW *ȳǚȳ%ǟȨǠǣǝ ƈ+ISQIXVMIHIPPEJSVXMƼGE^MSRIIEVGLMXIXXYVEHE&SVVSQMRM E+YEVMRMƉ Mitteilungen des Kunsthistorischen Institutes in Florenz R Ɓ  ɸƁ +ȳǠ7ǘ̻ǜǤȳǞȨCharles-Emmanuel de Savoie: La politique du précipice. 4EVMW4E]SX +ȨǙǗȳǠȰǝ +ǣǝǖȳǞǞǣ%ǞȰǚȨȳ-XVMSRƼHIP4IXVEVGLEGSRPEWTSWMXMSRIHM M. Giovanni Andrea Gesualdo da Traetto.:IRMGI4IV(SQIRMGS+MKPMS  +ǣǠǙǝǞ ʈǘǣȨǞǞȨ Les Métamorphoses de la cité de Dieu. 4EVMW :VMR  +ǣǠǙǝǞ ʈǘǣȨǞǞȨ Introduction à l’étude de saint Augustin. 4EVMW :VMR  +ǝǚǚǣǙ 6ǝǙȳǞǞȳ ƈ7SYW PI WMKRI HIW HIY\ %QʣHʣI Pƅ%QIHIMHI Hƅ%PTLSRWI(IPFIRIIXPITSʢQIH]REWXMUYIʚPEGSYVHI7EZSMIWSYW 'LEVPIW)QQERYIPɸ -IVƉ Nouvelle revue du XVIe siècle  R ɸ   Ɓ +ǗǣǘǘǝǞ.ȨȳǞ Le temps et l’éternité chez Plotin et St Augustin. 4EVMW :VMR?A ,ǝǕȳǚȰ(ȨȲǝǚȳǤ Venice disputed: Marc’Antonio Barbaro and Venetian Architecture, 1550–1600. 2I[,EZIR=EPI9RMZIVWMX]4VIWW .ǝǞǙȨǞ%ǠȲȨǚǘ6ERH7ǘȨǜǤȨǞ8ǝǗǠǟǣǞThe Abuse of Casuistry. A History of Moral Reasoning. &IVOIPI] 9RMZIVWMX] SJ 'EPMJSVRME 4VIWW ɸ /ǠȨǣǞ6ǝȲȨǚǘ ƈ0ƅYVFERMWQIYXSTMUYIHI*MPEVIXIʚ:EPIRXMR%RHVIEIƉ -R La forme et l’intelligible. Écrits sur la Renaissance et l’art moderne, IHMXIHF]6SFIVX/PIMRƁ4EVMW+EPPMQEVH /͇ǠǟȨǠ2ǣȱǝǠȳǣ ƈ8LI5YIIRMRXLI4E[RWLST7LETMRK'MZMG:MVXYIW MR E 4EMRXMRK JSV XLI 4EPE^^S HIM 'EQIVPIRKLM MR :IRMGIƉ -R Sites of Mediation. Connected Histories of Places, Processes, and Objects in Europe and Beyond, 1450–1650, IHMXIH F] 7YWERRE &YVKLEVX^ 0YGEW &YVOEVXERH'LVMWXMRI+ʯXXPIVƁ0IMHIR&VMPP 0ȳȲǚǣǝǠȳ %Ȱȳ ƈ(E 4EHSZE E *MVIR^I PƅMPPYWXVE^MSRI HIM 8VMSRƼƉ -R *VERGIWGS 4IXVEVGE - 8VMSRƼ 'SQQIRXEVMS &MFPMSXIGE 1IHMGIE Laurenziana, ms. Strozzi 174), IHMXIHF]-HE+6ESƁ'EWXIPZIXVS HM1SHIRE%VXGSHI\ 0ȨǙǘǚǣǞǥȳǞǘ *ǚȳǞǡ IH Les méditations cosmographiques à la Renaissance. 4EVMW4VIWWIWHIPƅ9RMZIVWMXʣ4EVMW7SVFSRRI 1ȳǞǦǚȨȰǣǞǣ -Ǡȳǚǣǝ ƈ0I VIPE^MSRM GYPXYVEPM XVE 8SVMRS I :IRI^ME RIPPE WIGSRHEQIXʚHIP'MRUYIGIRXSƉ Studi Veneziani   Ɓ 1ȳǚȱǝǞǣ 4ȳǝǠǝ ƈ9RE GLMEZI TIV PƅMRXIVTVIXE^MSRI HIPPƅYVFERMWXMGE VMREWGMQIRXEPI0EGMXXEHIPPEGSQIQMGVSGSWQSƉQuaderni dell’Istituto di Storia dell’Architecttura RR  Ɓ 1ȳǙǝȨǚǝ1ȳǚǣȳǚǝǙȳ ƈ9REƄ%QIHIMHIƅMRIHMXEHM%KSWXMRS&YGGMƉStudi piemontesi   Ɓ 6ȳǥǞǣ 2ȳȰǣȳ Francesco Paciotti, architetto urbinate (1521–1591). 9VFMRS%GGEHIQME6EJJEIPPS 6ǝǙǣǞǝ'ȨǠǙǝLyceum Lateranense Xɸ-'IWIRE)\X]TSKVETLME2IVMM  7ȳǠǥȳǚǝ 7ǣǠǖǣǞǝ Cristoforo Sorte e il suo tempo. &SPSKRE 4ʛXVSR  7ȱǤǗǠǒ .ǗȨǚǥȨǞ ƈ'VMWXSJSVS 7SVXI ERH XLI (YGEP 4EPEGI SJ :IRMGIƉ Mitteilungen des Kunsthistorischen Institutes in Florenz  R  .YRIɸ Ɓ 7ȱǤǗǠǒ.ǗȨǚǥȨǞƈ.EGSTSHIƅ&EVFEVMƅW:MI[SJ:IRMGI1ET1EOMRK 'MX] :MI[W ERH 1SVEPM^IH +ISKVETL] FIJSVI XLI =IEV Ɖ The Art Bulletin R WITXIQFIVɸ ɸƁ 7ȱǤǗǠǒ.ǗȨǚǥȨǞƈ2I[1ETWERH0ERHWGETI(VE[MRKWF]'VMWXSJSVS 7SVXIƉMitteilungen des Kunsthistorischen Institutes in FlorenzR  ɸƁ 7ȨǚȨǞǝ 4ȳǝǠȳ ƈ'EVXSKVETL] MR XLI (YGL] SJ 7EZS] HYVMRK XLI 6IREMWWERGIƉ -R 8LI ,MWXSV] SJ 'EVXSKVETL] Xɸ  'EVXSKVETL] MR XLI European Renaissance Ɓ 'LMGEKS 8LI 9RMZIVWMX] SJ 'LMGEKS 4VIWW 7ǣǟȨǝǞǣ +ȳȲǚǣȨǠȨ Sententiose imprese. 0]SR ETTVIWWS +YKPMIPQS 6SZMKPMS 7ǝǠǣǥǞȳȱ%ǣǟ̻ ƈ0EGSRGITXMSRHYXIQTWGLI^%YKYWXMR” Recherches augustiniennes   Ɓ 8ǚȨȲȲǣ +ǣǗǙȨǜǜȨ ƈ*VERGIWGS &EVFEVS I PE WGIPXE VSQEREƉ -R Una famiglia veneziana nella storia. I Barbaro, IHMXIHF]1MGLIPEɸ1EVERKSRM ERH 1ERPMSɸ 4EWXSVI 7XSGGLM Ɓ :IRMGI -WXMXYXS :IRIXS HM 7GMIR^I0IXXIVIIH%VXM 8ǚǣǘǤȨǟǣǗǙ.ǝǤȳǞǞȨǙ De laude scriptorum manualium. 1EMR^4IXIV ZSR*VMIHFIVK :ȨǞǥȨǝǞ*ǚ̻Ȱ̻ǚǣȱ ƈ9RXIQTWTSYVPƅʣXIVRMXʣ0IXIQTWHERWPETIRWʣI HI7X%YKYWXMRƉ-R Le tempsIHMXIHF]%PI\ERHIV7GLRIPPƁ4EVMW :VMR :ǣǘǚǗǖǣǗǙ 4ǝǠǠǣǝ I dieci libri dell’architettura di M. Vitruvio, Tradotti & commentati da Mons. Daniele Barbaro… :IRMGI *VERGIWGS (I *VERGIWGLM .SLERR'VMIKLIV ǖǝǞ4ȳǙǘǝǚ0ǗȰǕǣǥ Storia dei papi, Xɸ6SQI(IWGPʣI ;ǣȰǠǝȨȱǤȨǚ2ǣȱǝǠȳLa congregazione dei canonici regolari lateranensi. +YFFMS7GYSPE8MTSKVEƼGE3HIVMWMɸ ;ǝǠǘȨǚǙ ;ǝǠǦǥȳǞǥ ƈ>Y IMRIQ [IRMK FIOERRXIR )RX[YVJ HIW 'VMWXSJIVS 7SVXI JʳV HMI (IGOI HIV 7EPE HIP 7IREXS MQ (SKIRTEPEWXƉ Mitteilungen des Kunsthistorischen Institutes in Florenz  R  (IGIQFIVɸ ɸƁ =ǚǣȳǚǘȨ'ǤȳǚǠȨǙ0EZMIHƅYRTEXVMGMIRHI:IRMWIEY<:-IɸWMʢGPI4EVMW 4PSR 1ȳǒǒȳǘǣǞǘǣ+ǣǗǙȨǜǜȨ Inventari dei manoscritti delle biblioteche d’Italia Xɸ*PSVIRGI3PWGLOMɸ?A 1ǝȰȨǙǘǣ 4ȳǝǠȳ Il convento della Carità e Andrea Palladio. Storie, progetti, immagini. :IVSRE'MIVVI)HM^MSRM 1ǗǙǝǠǣǞǝ +ǣǝǖȳǞǞǣ Storia di Caorle. 'ESVPI )HM^MSRM 4YFFPM'ESVPI ?A 2ǣȨǚǝ%ǞǘǝǞǣǝ I patriarchi di Venezia: da Lorenzo Giustiniani ai nostri giorni. :IRMGI7XYHMYQ'EXXSPMGS:IRI^MERS 4ȳǚȳȰǣǞ +ǗǣǠǠȳǗǟȨ Chronique de Savoye. 0]SR .IER HI 8SYVRIW  4Ȩǘǚȳǚȱȳ *ǚȳǞȱȨǙȱǝ Il Petrarca con l’espositione di M. Alessandro Velutello. :IRMGI+MS%RXSRMS&IVXERS 4ǝǠǠȳǡ 1ȳǚǘǤȳ ( Turin 1564–1680: Urban Design, Military Culture and the Creation of the Absolutist Capital. 'LMGEKS 9RMZIVWMX] SJ 'LMGEKS4VIWW 4ǝǗǟȳǚ̺ȰȨ+̻ǚȳǗȰƈ(IY\XʤXIWTSYVYRIGSYVSRRIPEVMZEPMXʣIRXVIPE 7EZSMIIX:IRMWITSYVPIXMXVIVS]EPHI'L]TVIEYXIQTWHI'LVMWXMRIHI 65 Le vedute urbane di Girolamo Righettino: Le allegorie del principe cristiano, 1583–85 Denis Ribouillault KEYWORDS 6MREWGMQIRXS)WIKIWM(MTPSQE^ME(MWIKRS-PPYWXVE^MSRIZIHYXI YVFERI ABSTRACT Nella seconda metà del Cinquecento, Girolamo Righettino, geniale disegnatore e teologo (membro della Congregazione del Santissimo Salvatore lateranense), realizzò delle vedute di città contornate da ricami ornamentali caratterizzati da ricche illustrazioni allegoriche. I disegni affermarono la sua fama e furono fonte di generose ricompense. Un manoscritto autografo del Righettino scoperto di recente fa luce WYPPE WYE YRMGE STIVE WYTIVWXMXI YR IPEFSVEXS MR TMERXE HM 8SVMRS   5YIWXS EVXMGSPS SJJVI YR VMXVEXXS MRXVSHYXXMZS HM YRE TIVWSREPMXʚ dimenticata dalla storia e presenta una nuova ricerca che ci consente di situare la sua produzione unica – all'intersezione tra arte e scienza, XISPSKMEITSPMXMGEXSTSKVEƼEIEPPIKSVMEƁRIPPƅEQTMSGSRXIWXSHIPP -XEPME della Controriforma, quando le ambizioni dei governanti assolutisti furono alimentate dalla paura dell'avanzata turca nel Mediterraneo. Denis Ribouillault Université de Montréal | denis.ribouillault@umontreal.ca (IRMW6MFSYMPPEYPXʢYRSWXSVMGSHIPP EVXIHIP paesaggio e dei giardini, ed è professore EPP 9RMZIVWMXʚHM1SRXVIEP,EJVIUYIRXEXS :MPPE1IHMGME6SQEIHʢWXEXSFSVWMWXEHM :MPPE-8EXXMI(YQFEVXSR3EOWʇEYXSVIHM RYQIVSWMEVXMGSPMIHMYREQSRSKVEƼEWYPPI ville e i giardini della Roma rinascimentale 6SQIIRWIWNEVHMRW4E]WEKIIXTSYZSMV EY<:-IWMʢGPI4EVMW-2,%'8,7 ,E TYFFPMGEXSHYIZSPYQMHMWEKKM IRXVEQFM GSR0IS73PWGLOM 4E]WEKIWEGVʣ  GSEYXSVIGSR1MGLIP;IIQERW I(IPE TIMRXYVIEYNEVHMR GSEYXSVIGSR ,IVZʣ&VYRSR %XXYEPQIRXIWXEPEZSVERHS EHMZIVWISTIVIWYMKMEVHMRMIPIWGMIR^I WYPPEƼKYVEHIPHMWIKREXSVIRIPTEIWEKKMS IWY:MPPE&EVFEVSE1EWIVMRWMIQIE YREQSRSKVEƼEWYPP STIVEHM+MVSPEQS 6MKLIXXMRS Denis Ribouillault is a historian of art, landscape and gardens, and a professor at the Université de Montréal. He has been a resident at the Villa Médicis in Rome, and E*IPPS[SJXLI:MPPE-8EXXMERH(YQFEVXSR Oaks. He is the author of numerous articles and a monograph on the villas and gardens of Renaissance Rome (Rome en ses jardins. Paysage et pouvoir au XVIe siècle, 4EVMW-2,%'8,7 ,ILEWTYFPMWLIH two volumes of essays (both with Leo S. Olschki): Paysage sacré (2011, co-authored [MXL1MGLIP;IIQERW ERH(IPETIMRXYVIEY jardin (2016, co-authored with Hervé Brunon). He is currently preparing several works on KEVHIRWERHXLIWGMIRGIWXLIƼKYVISJXLI draughtsman in the landscape, and the Villa Barbaro in Maser, together with a monograph on the work of Girolamo Righettino.