Storia dell'arte italiana.

I. Dai primordi dell'arte cristiana al tempo di Giustiniano.--II. Dall'arte barbarica alla romanica.--III. L'arte romanica.--IV. La scultura del trecento e le sue origini.--V. La pittura del trecento e le sue origini.--VI. La scultura del quattrocento.--VII. La pittura del quattrocento, parte I-IV.--VIII. L'architettura del quattrocento, parte I- .--IX. La pittura del cinquecento. parte I-IV.

El dinero fuente de pecados en el Inferno de Dante y en la traducción de Pedro Fernández de Villegas (Burgos, 1515)

El trabajo se centra en el análisis de los pecados relacionados con el dinero en el Inferno de Dante y en la primera traducción castellana de la primera cantiga de la Commedia, obra del arcediano de Burgos Pedro Fernández de Villegas. La traducción, compuesta en coplas de arte mayor y acompañada de un enciclopédico comentario, se publicó en 1515. Particular atención se dedica a la reflexión sobre el problema del mal uso del dinero que Villegas desarrolla en la glosa de los cantos en que con más vigor se levanta la voz de Dante para denunciar la gravedad del pecado de la sed de riquezas. Se analiza la postura del traductor español ante el tema comparándola no sólo con la de Dante sino también con la de Cristoforo Landino, autor del Comento sopra la Comedia, obra exégetica que se publicó por primera vez en Florencia en 1481 y que representó el punto de referencia privilegiado de Villegas.

Francesco Grimaldi, un mercader-banquero genovés entre Granada, la corte e Inglaterra (siglos xv-xvi)

Los estudios sobre la comunidad genovesa del Reino de Granada suelen centrarse en las actividades desarrolladas en el territorio y rara vez en la reconstrucción de trayectorias individuales, circunstancia determinada por el recurso casi exclusivo a los protocolos notariales. El caso de Francesco Grimaldi es singular por muchas razones: su localización en fuentes de naturaleza muy variada –protocolos notariales de Granada y Málaga, Registro del Sello de Simancas y Granada, Chancillería de Valladolid, el epistolario del comendador Fuensalida y el archivo privado de la familia Grimaldo de Cáceres– ha permitido seguir su presencia y sus actividades en Granada, la Corte e Inglaterra –donde desempeñó un papel fundamental en el matrimonio entre Catalina de Aragón y Enrique VIII–. Así se conoce su interés por los préstamos y el negocio de la renta, las circunstancias de su matrimonio con Francisca de Cáceres y la adquisición de un importante patrimonio en el reino granadino.

Ecohumanists. Protection of physical ecology demands respect human ecology

What is the human being? Which is its origin and its end? What is the influence of the nature in the man and what is his impact on nature? Forthe animalists, men are like other animals; freedom and rationality are not signs of superiority, nor having rights over the animals. For the ecohumanists, human beings are part of nature, but is qualitatively different and superior to animals; and is the creator of the civilization. We analyze these two ecological looks. A special point is the contribution ofecohumanists -from the first half of the Renaissance, who dealt in extenso the dignity and freedom of the human being-, of Michelangelo and finally, of Mozart, through his four insurmountable operas, which display the difficulty of physical ecology to engender so much beauty, so much wealth, so much love for the creatures and so much variety.

Enea Silvio Piccolomini en España. Con la edición del "Tratado de la miseria de los cortesanos", (Sevilla, Cromberger, 1520)

As it is well known, the Renaissance in Spain cannot be understood without a deep knowledge of the Italian quattrocento: art and thinking have an important debt with a culture that shaped a new society that can be named Modern Era. So, there are many intellectuals that are the main reference to our writers: Leonardo Bruni, Giannozzo Manetti, Bartolomeo Facio, Antonio Beccadelli, Poggio Bracciolini, Francesco Filelfo, Flavio Biondo, Lorenzo Valla, Vespasiano da Bisticci, Pier Candido Decembrio, Guarino da Verona, Pico della Mirandola, Marsilio Ficino, and a big number that includes necessarily the name of Enea Silvio Piccolomini (1405-1464). In effect, the creator that became Pope as Pío II is one outstanding figure of that Humanism that early putted down roots in Spain, a country in construction that produced very important fruits in those years. Under these circumstances, this study has as main objective to analyse the large work of the humanist Pope par excellence, and to establish the relationship between his writings and genres, works and authors in the Iberian peninsula that wrote under his influence. Furthermore, in the following pages can be found a edition of the translation, by Diego López de Cortegana, of one of Picolomini’s works, the Tratado de la miseria de los cortesanos, a work that can be taken as an example of the attention payed to his works by authors like Juan de Lucena, Rodrigo Sánchez de Arévalo, Cristóbal de Castillejo or fray Antonio de Guevara. After a brief introduction that points that the attention to Enea Silvio Piccolomini is not diminishing, that, on the contrary, is clearly alive if we consider modern editions and translations to different languages, I concentrate on the biography of Pío II. With this purpose I take as base the text that this humanist wrote with the aim of building an adequate imago vitae that related the achievements in the religious sphere (with a failed promotion of a last crusade against the Turk) and also his creative labour. I refer to the Commentarii rerum memorabilium quae temporibus suis contingerunt, an extensive autobiography that did not spare the self-praise and conceals some controversial author’s facts, such as the “reconciling” thesis that undermined the Popes authority and power. In addition, in that chapter can be found a study of the writing process of the titles that includes Piccolomini’s bibliography, since we can think that the author’s commentary is extremely relevant to inform about the moment of writing and its purpose...