DOI Artikel:
Kilian, Joanna: Locus amoenus, Delightful Place: the courtly return to nature in sixteenth century Northern Italian painting
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.18947#0039
6. Bonifazio de'Pitati,
The Rich Man and
lazatus, second quarter
of the 16th century,
Galleria delTAccademia,
Venice, detail
(Phot. Osvaldo Bohm)
for example Francesco Colonna, Piętro Bembo, Sannazaro, as well as a circle
of lesser writers, who translated the Bucolics of Yirgil into Italian.21
The literary concept of the garden, the myth of a land of happiness, of
naturę mastered and tamed, the concept of the country home as rifugio and
locus amoenus, all became iconographic sources for decorating Palladian villas.
But the ideał of the Renaissance villa involved morę than architecture. It was
21 Francesco Colonna, Hypnerotomachia Poliphili, Venice 1499; cf. M. Szafrańska, “Ogrody
Poliphila. Wczesny ogród renesansowy w świetle Hypnerotomachii Poliphili”, Biuletyn
Historii Sztuki, XFy 1992,1, pp. 1-25; Jacopo Sannazaro, “Arcadia”, in Jacobo Sannazaro, Opere
volgari, Bari 1961, pp. 3-132; Piętro Bembo, op. cit.
33
The Rich Man and
lazatus, second quarter
of the 16th century,
Galleria delTAccademia,
Venice, detail
(Phot. Osvaldo Bohm)
for example Francesco Colonna, Piętro Bembo, Sannazaro, as well as a circle
of lesser writers, who translated the Bucolics of Yirgil into Italian.21
The literary concept of the garden, the myth of a land of happiness, of
naturę mastered and tamed, the concept of the country home as rifugio and
locus amoenus, all became iconographic sources for decorating Palladian villas.
But the ideał of the Renaissance villa involved morę than architecture. It was
21 Francesco Colonna, Hypnerotomachia Poliphili, Venice 1499; cf. M. Szafrańska, “Ogrody
Poliphila. Wczesny ogród renesansowy w świetle Hypnerotomachii Poliphili”, Biuletyn
Historii Sztuki, XFy 1992,1, pp. 1-25; Jacopo Sannazaro, “Arcadia”, in Jacobo Sannazaro, Opere
volgari, Bari 1961, pp. 3-132; Piętro Bembo, op. cit.
33