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to the ficta effigies we cannot add I imagine from the sonnet Poi che [[fiamma?]] (CXXX). "Che fe" nonzeusi, o [[Prasitete?]], o [[Fidia?]] Ma miglior mastro et di pui alto ingengo," as in the opinion of the commentators listed by the Chiòrboli, with which curiously enough Moschetti Lionello Venturi, Chiovenda and De Rinaldis (not Müntx and D'Essling, however group themselves; Simone may not have [[favored?]] himself ad mastro (ordinarily interpreted as Love) thus acclaimed as superior to the old masters, superseding whom, if the protrait was executed in Paradise ([[Pir?]] mirar) would be none other than The Creator Himself. Nor can we agree with | to the ficta effigies we cannot add I imagine from the sonnet Poi che [[fiamma?]] (CXXX). "Che fe" nonzeusi, o [[Prasitete?]], o [[Fidia?]] Ma miglior mastro et di pui alto ingengo," as in the opinion of the commentators listed by the Chiòrboli, with which curiously enough Moschetti Lionello Venturi, Chiovenda and De Rinaldis (not Müntx and D'Essling, however group themselves; Simone may not have [[favored?]] himself ad mastro (ordinarily interpreted as Love) thus acclaimed as superior to the old masters, superseding whom, if the protrait was executed in Paradise ([[Pir?]] mirar) would be none other than The Creator Himself. Nor can we agree with [[sigiore?]] Chiovenda that in the sonnet Pasco la mente (CXCIII) the object contemplated, measuring "less than a palm" is Martini's; [[accoustic?]] impressions, in fact tangle with visual ones, and recordings on tape did not exist to frame the pattern. But the secure allusions are enough: in one (Quando [[guinse?]]) [topically] lamenting that the likeness did not possess also voice and intellect (as on the case of Pygmalion, in the other, the [[extension?]] extending, projecting of | ||
Latest revision as of 19:03, 9 September 2022
to the ficta effigies we cannot add I imagine from the sonnet Poi che fiamma? (CXXX). "Che fe" nonzeusi, o Prasitete?, o Fidia? Ma miglior mastro et di pui alto ingengo," as in the opinion of the commentators listed by the Chiòrboli, with which curiously enough Moschetti Lionello Venturi, Chiovenda and De Rinaldis (not Müntx and D'Essling, however group themselves; Simone may not have favored? himself ad mastro (ordinarily interpreted as Love) thus acclaimed as superior to the old masters, superseding whom, if the protrait was executed in Paradise (Pir? mirar) would be none other than The Creator Himself. Nor can we agree with sigiore? Chiovenda that in the sonnet Pasco la mente (CXCIII) the object contemplated, measuring "less than a palm" is Martini's; accoustic? impressions, in fact tangle with visual ones, and recordings on tape did not exist to frame the pattern. But the secure allusions are enough: in one (Quando guinse?) [topically] lamenting that the likeness did not possess also voice and intellect (as on the case of Pygmalion, in the other, the extension? extending, projecting of