Manuscript Culture in Renaissance Italy

Drama, Poetry and Music in Late-Renaissance Italy

“…Both convents were important centres for manuscript production, with San Domenico boasting among its founders the scribe and illuminator Eufrasia Burlamacchi (1478-1548), a substantial portion of whose production survives. 30 San Giorgio had among its earliest prioresses the learned Beatrice Palmieri (c. 1462Palmieri (c. -1532, granddaughter of the humanist Giovanni Aurispa (c. and the author of a life of St Dominic, as well as of many 'laude, sonnets, prayers and sacred plays '. 31 Although the evidence for mixed lay cultural sociability in Lucca is thin, we do have one literary document of a veglia-type gathering there: a dialogue by the Erasmian thinker Ortensio Lando (1510Lando ( -c. 1558).…”

“…1 Grell, Brethren, 22. 2 On the Lucchese political system, see BNo, [19][20][21][22][23][24][25][26][27][28][29][30][31]BTr,[19][20][21][22][23][24][25] On the economy, see BNo,[64][65][66][67][68][69][70][71][72][73][74][75][76][77][78][79][80][81][82]Brethren,22;BTr,BNo,[25][26][27][28][29][30]also ABCi,9. On the Bernardi and Trenta families, see Mansi,I patrizi,[73][74][75]…”

“…29 Some common features in Bernardi and Bonarelli's pastoral plays might suggest shared influences. 30 Intriguingly, the Pocaterra preface also lists three other women alongside Bernardi. Of these, Sidonia Zerbinati is still unknown; her production is exemplified solely by a spiritual madrigal.…”

“…It is also conceivable that Sbarra came into contact with Antonio Sarti, or his father, when or after fighting at Lepanto, given the close working relations on the battlefield between military engineers and captains, or in Hungary, Corfu, Vicenza, Flanders and other places where Sarti worked. 80 This might further explain the inclusion of burlesque sonnets in M satirizing the Turks (44) -and also on Lepanto (46) and the disastrous Hungarian campaigns of Canissa and Buda (30), as well as the response to Tasso's sonnet in praise of Alessandro Farnese (34), possibly by Walter Scott of Buccleuch, a Scot active in Flanders in the late-sixteenth century. 81 Sbarra's status as a marginal military figure would explain the irregular and libertine nature of the verse in M. His violent and erotic past history with Bernardi could also account for the prominent place given to her work, and the apparently personalized response to it in M through anti-feminism and satire.…”

“…First, you must remember that when my beloved Nisa departed this life to ascend to Heaven, she left behind Dalinda, my dear beloved daughter. 30 I had been planning Dalinda's marriage to Filemone with great joy, after an agreement made with Filemone's father Ergasto. 31 Then, one night, she ran away from me in secret, I know not how.…”