Divine Love and Veronese's Frescoes at the Villa Barbaro

Paolo Veronese’s Art of Business: Painting, Investment, and the Studio as Social Nexus*

“… 90 Many scholars acknowledge the importance of Vincenzo Cartari’s Le imagini con la spositione de i dei degli antichi (Venice, 1556) in establishing a program of Olympian gods arranged around the theme of harmony, but the enigmatic female figure seated on a dragon at the center of the vault of the Sala dell’Olimpo has been variously identified as Eternity, Earth, Divine Wisdom, Thalia, Aristodama, or Divine Love. For the bibliography and corresponding interpretations, see Reist, 1985a and 1985b; Hope; Lewis, 1987 and 1990; Rogers. …”

“…90 Many scholars acknowledge the importance of Vincenzo Cartari's Le imagini con la spositione de i dei degli antichi (Venice, 1556) in establishing a program of Olympian gods arranged around the theme of harmony, but the enigmatic female figure seated on a dragon at the center of the vault of the Sala dell'Olimpo has been variously identified as Eternity, Earth, Divine Wisdom, Thalia, Aristodama, or Divine Love. For the bibliography and corresponding interpretations, see Reist, 1985a and1985b;Hope;Lewis, 1987 andRogers. that would seem to relate to Gandino's translation of Xenophon. Gandino's printed words and those of his son, when considered alongside the lengthy tomes of the translations themselves, suggest that the humanist was already deeply immersed in translating Plutarch's Moralia and Xenophon's Memorabilia at the time of his correspondence with Veronese in 1578.…”

Vice, Vagrancy and Villa Culture: Bonifacio de' Pitati's "Dives and Lazarus" in Its Venetian Context

“…22 The dangers of moral ignorance are also underlined in Matthew (25,(31)(32)(33)(34)(35)(36)(37)(38)(39)(40)(41)(42)(43)(44)(45)(46) in such a way as to frame the Last Judgement in a manner that directly echoes the sentiments of the Dives narrative. The charitable are received into the kingdom of heaven, while the miserly are condemned to eternal fire.…”