Book contents
- Learning through Images in the Italian Renaissance
- Learning through Images in the Italian Renaissance
- Copyright page
- Dedication
- Contents
- Illustrations
- Acknowledgements
- Editorial Note
- Abbreviations
- Chapter One Introduction
- Chapter Two Two Youths
- Chapter Three Mental Images
- Chapter Four Virtues, Sins, and the Senses in the Fior di Virtù
- Chapter Five Serving the State in the Fior di Virtù
- Chapter Six Dealing with Others in the Esopo Volgarizzato
- Chapter Seven The Flesh in the Fior di Virtù and the Esopo Volgarizzato
- Chapter Eight Mathematics, Body, Form, and Metaphor in Libri d’Abbaco
- Chapter Nine The Cosmos in Goro Dati’s Sfera
- Chapter Ten Navigation and Geography in the Sfera
- Chapter Eleven Conclusion
- Notes
- Bibliography
- Index
- Plate Section (PDF Only)
Chapter Three - Mental Images
Published online by Cambridge University Press: 11 June 2020
- Learning through Images in the Italian Renaissance
- Learning through Images in the Italian Renaissance
- Copyright page
- Dedication
- Contents
- Illustrations
- Acknowledgements
- Editorial Note
- Abbreviations
- Chapter One Introduction
- Chapter Two Two Youths
- Chapter Three Mental Images
- Chapter Four Virtues, Sins, and the Senses in the Fior di Virtù
- Chapter Five Serving the State in the Fior di Virtù
- Chapter Six Dealing with Others in the Esopo Volgarizzato
- Chapter Seven The Flesh in the Fior di Virtù and the Esopo Volgarizzato
- Chapter Eight Mathematics, Body, Form, and Metaphor in Libri d’Abbaco
- Chapter Nine The Cosmos in Goro Dati’s Sfera
- Chapter Ten Navigation and Geography in the Sfera
- Chapter Eleven Conclusion
- Notes
- Bibliography
- Index
- Plate Section (PDF Only)
Summary
In the previous chapter, we have seen how romigi and zanobi infused their illustrations with ideas they associated with the subjects they depicted. Zanobi’s chiesa di Santo Giovanni (Figure 2.14) is not a mere depiction of the Baptistery: it recalls the Roman foundation of Florence, and therefore it evokes the civic virtues that Florentines claimed to have inherited from their forefathers. Romigi’s Lucretia (Figure 2.17) embodies Roman republicanism and civic heroism, whilst his Griselda (Figure 2.18) carries echoes of communal government. In making their illustrations, Romigi and Zanobi were forming images in their minds, since the act of drawing would have facilitated the assimilation of ideas and later the recalling of information from memory.
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- Learning through Images in the Italian RenaissanceIllustrated Manuscripts and Education in Quattrocento Florence, pp. 50 - 57Publisher: Cambridge University PressPrint publication year: 2020