Christianity and the Renaissance: Image and Religious Imagination in the Quattrocento

By Timothy Verdon; John Henderson | Go to book overview
Figure 16.1. Fra Filippo Lippi, The Feast of Herod. Prato, Duomo. Photo Alinari/Art Resource, N.Y.

tacle tradition distinct from the sacra rappresentazione -- notwithstanding elements of similarity in Lippi's fresco and in the Florentine play -- attests to the complex interrelationship of figurative art and dramatic production in the fifteenth century.


NOTES

For my father.

1.
The results of this investigation will be presented in the volume La sacra rappresentazione e lo spettacolo fiorentino del Quattrocento, now in preparation. The present short essay was translated by Timothy Verdon.
2.
I refer to Richard C. Trexler, Public Life in Renaissance Florence ( New York: Academic Press, 1980), and idem., "Florentine Theatre, 1280-1500: A Checklist of Performances and Institutions," Forum Italicum 14 ( 1980): 454-75.
3.
In addition to Newbigin's study in this volume, see her introduction to Nuovo corpus di sacre rappresentazioni fiorentine del quattrocento ( Bologna: Commissione per i testi di lingua, 1983).
4.
Alessandro d'Ancona, Origini del teatro italiano, 2 vols. ( Turin, 1891) 1:401-12.

-410-

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