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Italian Academies and Their Facebooks

  • Simone Testa
Part of the Italian and Italian American Studies book series (IIAS)

Abstract

Now that I have investigated the circulation of knowledge within one city, I want to illustrate examples of the circulation of knowledge between academies in two different cities, Venice and Bologna, and then from the northern to the southern peninsula. Traditionally, the example of cross-fertilization that characterized the Italian academic movement has been identified with Alessandro Piccolomini and his transfer from Siena, where he was associated with the Accademia degli Intronati, and Padua, where he was key to the creation of the Infiammati Academy.1 Similar examples would require an entire chapter, and I hope that the Italian Academies Database (IAD) will help scholars visualize the connections that single academicians established among academies within the same city or between different cities. In this chapter, I analyze four cases of collaboration and cultural transfer.

Keywords

Alphabetical Order Biographical Sketch Cultural Interest Short Biography Church Authority 
These keywords were added by machine and not by the authors. This process is experimental and the keywords may be updated as the learning algorithm improves.

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Notes

  1. 1.
    Richard S. Samuels, “Benedetto Varchi, the Accademia degli Infiammati, and the Origins of the Italian Academic Movement,” Renaissance Quarterly 29 (1976): pp. 601ff.CrossRefGoogle Scholar
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  3. 3.
    David Kirkpatrick, The Facebook Effect (New York: Simon and Schuster, 2010), p. 180, tells how the application of pictures to Facebook came at a later stage: “The astonishing success of Facebook’s photos application led to a bout of soul-searching at the company. What was it, Zuckerberg and his colleague asked themselves, that made photos so successful?”Google Scholar
  4. 4.
    I am referring to Peter Burke, “The Renaissance, Individualism, and the Portrait,” History of European Ideas 21 (1995): pp. 393–400.CrossRefGoogle Scholar
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    As Francis Haskell, History and Its Images: Art and the Interpretation of the Past (New Haven, CT: Yale University Press, 1993), pp. 60–67 argues, there is usually little or no direct reference in the text between the sitter’s facial features and his character. Nevertheless, it is worth pointing out the common interest in this pseudoscientific approach to determining a person’s character.Google Scholar
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    James Lawrence Fuchs, “Vincenzo Coronelli and the Organization of Knowledge: The Twilight of Seventeenth Century Encyclopaedism” (unpublished PhD diss., University of Chicago, 1983);Google Scholar
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    Gabriel Naudé, Advice on Establishing a Library, trans. Archer Taylor (Westport, CT: Greenwood, 1976), p. 72.Google Scholar
  27. 32.
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  32. 38.
    For the reference work on physiognomy, see Martin Porter, Windows of the Soul: The Art of Physiognomy in European Culture 1470–1780 (Oxford: Clarendon Press, 2005).Google Scholar
  33. 41.
    Little relevance to this publication is given by Domenico Musti, “Allacci, Leone,” in Dizionario biografico degli italiani, vol. 2 (1960), pp. 467–71.Google Scholar
  34. On Allacci’s Apes, see Carmela Jacono, Bibliografia di Leone Allacci (1588–1669) (Palermo: Presso l’Accademia, 1962) (Quaderni dell’isitituto di filologia greca della Università di Palermo 2 [1962]): pp. 11–12 and 46;Google Scholar
  35. Thomas Cerbu, “Leone Allacci (1587–1669): The Fortunes of an Early Byzantinist” (unpublished PhD diss., Harvard University, 1986). Apes was also famous for its rather detached assessment of Galileo’s work, following the decision taken in 1633 by Pope Urban VIII to censor the Dialogo sopra i due massimi sistemi.Google Scholar
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    Nina Cannizzaro, “Guido Casoni padre degli Incogniti,” in I luoghi dell’immaginario barocco, ed. Lucia Strappini (Naples: Liguori, 2001), pp. 547–60.Google Scholar
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    Mario Infelise, “Ex ignoto notusl Note sul tipografo Sarzina e l’Accademia degli Incogniti,” in Libri, tipografi, biblioteche: Ricerche storiche dedicate a L. Balsamo, ed. Istituto di Biblioteconomia e Paleografia Università degli Studi, Parma (Florence: Olschki, 1997), p. 221: Loredan was “vero e proprio controllore dell’editoria veneziana degli anni ‘30 e ‘40.”Google Scholar
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