In addition to more than forty articles and essays (including two works of fiction), he is the author and editor of three different books on Michelangelo: Michelangelo at San Lorenzo: the Genius as Entrepreneur (Cambridge 1994), Michelangelo: Selected Scholarship in English  (Garland, 1996), and most recently, Michelangelo: The Complete Sculpture, Painting and Architecture (1998). 
In 1990-91 he was a fellow at Villa I Tatti, Harvard University’s Center for Renaissance Studies in Florence, and in 1996-97 he was at the American Academy in Rome where he began working on a biography of Michelangelo, his current project. 
 

Michelangelo Merisi da Caravaggio (1573 - 1610) was born in Milan and went to Rome in the 1590’s.  He painted mainly secular subjects in a realistic manner and used models from the lower walks of life even in his religious paintings, a practice that was considered irreverent.  Caravaggio is particularly noted for his use of light, texture and for the focus of his paintings, which involve the viewers and almost draw them into the canvas.  His strong chiaroscuro technique, partially illuminating figures against a dark background, was adopted by many of his contemporaries.  His influence can be seen in the works of Orazio and Artemisia Gentileschi, as well as Rembrandt and Ribera. 
Caravaggio was a colorful character.  He had numerous police records, spent many hours with prostitutes, and was known as a ruffian.  In 1606, after a tennis game, he killed his opponent and fled to Naples and then to Sicily.  He later died on his journey back to Rome, three days before he was pardoned. 
Dr. Mann showed us the slides of several of his paintings:  Bacchus, Rest on the Flight to Egypt, The Calling of St. Matthew, Supper at Emmaus, The Arrest of Christ, and the paintings in the Cerasi Chapel.  Caravaggio is particularly known for two of his paintings, one of St. Peter and the other of St. Paul, that are in the Church of Santa Maria del Popolo.  He did two versions of the Conversion of Paul, the second showing Saul on the ground embracing the Light. 

While Caravaggio was working in the Cerasi Chapel, another artist was working there who in many ways was more innovative than Caravaggio, Annibale Carracci.  It is now widely believed that Caravaggio became more innovative in response to him.  Carracci first made caricatures, establishing the proper use of drawings in the standardized way which is now in use.  Later his portrayal of everyday life as well as of the local countryside led many to consider him the founder of Italian landscapes.  Carracci is also known for establishing an academy in Bologna where students studied nature and anatomy.  During the presentation we had the opportunity to see some of Carracci’s work, The Bean Eater, The Butcher’s Shop, a landscape, and his works in the Farnese Gallery. 

Another artist of this  period who was not as well known or gifted was Cavaliere d’Arpino.  People have spoken negatively about him and have seen him as the embodiment of all that was bad and boring in the late 16th century art.  His famous works are the ceiling the Olgiati Chapel, St. John Led to the Martyr’s Graves (a favorite of Pope Clement XIII) and small works such as Rest on the Flight into Egypt.  He painted many religious and mythological subjects, some on copper, slate, or other metals and stones. 
 

The Italian Club is proud to announce that two new members, Lillian Butler and John Scussell, were accepted into the membership at the April meeting.  Welcome to our Club, Lillian and John! 

La Divina Commedia
DISCUSSION PROGRAM

On March 21, the Club’s discussion group of Dante’s Divine Comedy held its first session.  We had originally planned on a group size of about 12 or 15 people but because of popular demand the group has grown to about 20 people.  Attendees are generally Italian Club members but some are not – we have participants from several other organizations.  There are absolutely no restrictions, everyone is welcome and there is no charge.  The group meets Tuesday evening for one hour under the gifted guidance of Carla Bossola.  At each session Carla spends about 45 minutes reading and explaining one canto in Italian, then about 15 minutes, sometimes more, are spent on questions and discussion which can be, and generally are, in English. 

Due to time limitations, the program will consist of eight sessions and will cover only the Inferno.  Since only 8 cantos will be covered, participants are encouraged to read the other cantos between sessions so that by the end of the program they will be familiar with the entire Inferno.  At a later date we intend to have future programs to discuss the Purgatorio and Paradiso using a similar format, so that the entire Divina Commedia  will ultimately be covered. 

In addition to thanking Carla for her wonderful lectures, very special thanks are due to Barbara Klein, who plans, organizes, and handles all of the administrative details which have been so important in making our Dante program a success.  Many thanks also to  Ed Berra, President Emeritus of the Southwest Bank, for graciously providing the elegant meeting space – and coffee and biscotti as well. 
 

ITALIAN CLUB FILM SERIES

Interested in learning more about the history, tradition, and culture of Italy?  A great way to do it is through Italian cinema.  Want to do it in a convenient, attractive, and comfortable location – in the heart of the Hill, surrounded by an interesting and historical neighborhood with lots of nice little restaurants?  Then come to the Club’s classical Italian film series at the St. Louis Bocce Club. 

We initiated the series with two films and hope to follow this with additional films later in the year. The first film, shown on April 28, was The Garden of the Finzi-Contini.  We were greatly pleased with the attendance of approximately 70 people and especially by the many highly favorable comments received.  The next film is La Famiglia, shown on Saturday, May 6.  Istituto Italiano di Cultura Lecturer, Carla Bossola, currently teaching an Italian Cinema course at St. Louis University, gives a brief and interesting introduction to each film.  Both films provide a varied perspective of Italian life. 

For some time the Club has been interested in sponsoring a series on important Italian films but could not find what we felt was a suitable format and location.  With the Bocce Club, we think we have an ideal setting and we wish to thank Bocce Club’s President, Dominic Italiano, its Board of Directors, and especially Aldo Della Croce, our portavoce to the Bocce Club Board, for their support and cooperation on what we believe will be a very valuable and successful long-term project.  Many thanks also to Carla Bossola, our lecturer, and to Barbara Klein, who handled all of the administrative and publicity details. 

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PROFESSOR GARGANIGO SPEAKS
AT STUDENT AWARDS PRESENTATION

Each year the Club presents its Frank LoPiccolo and Mario Pertici Memorial Awards in an amount totaling $500 to a student or students of Italian language at Washington University.  This amount is matched by Southwest Bank with a similar award in memory of Fred Giacoma, past President of the Bank and a long time Italian Club member.  Award winners are selected by the Faculty of the Italian Studies Program.  The only condition placed by the Club is that the recipients use the award to assist in attending the University’s summer program at Arezzo. 

During the April meeting, the awards were presented to Washington University students Carolina Gallegos and Meredith Hall.  Following the presentation by Club President Gene Mariani, Gianfranco Garganigo, Professor of Romance Languages and Director of the University’s Arezzo Program, graciously thanked the Club for its long time support.  Prof. Garganigo commented on the academic excellence of the students who have received the Italian Club awards over the years.  For example, one has won a Fulbright Scholarship and several have gone on for graduate studies in Italian Language and Literature. 

20. A soli sedici anni Alessandro Guidi (Pavia 1650-Frascati 1712) fu poeta di corte presso i Farnese di Parma.  Nel 1691 venne ammesso nella prestigiosa Accademia dell’Arcadia, sorta per opera di alcuni scrittori che volevano riformare lo stato della poesia italiana.  Il loro intento era soprattutto rivolto contro le esasperate e artificiose rime settecentesche del Marini (cfr. TERZA PAGINA, febbraio 2000) e a favore del ritorno di una lirica equilibrata e classica; ma con la scelta contenutistica dell’Arcadia, il clima elegiaco usato dai poeti classici, l’Accademia promosse un tipo di poesia altrettanto artificiosa, popolata da giovani pastori e pastorelle in idilliaci ambienti campestri.  Il Guidi scrisse la favola pastorale Endimione (1692) e le Rime (1702).  In questa canzone egli celebra l’Accademia come fonte di mai sopite energie mentali e culturali. 

O noi d’Arcadia fortunata gente, 
che dopo l’ondeggiar di dubbia sorte¹
sovra i colli romani abbiam soggiorno²! 
Noi qui miriamo intorno 
da questa illustre solitaria parte 
l’alte famose membra³
della città di Marte. 
Mirate là, tra le memorie sparte⁴, 
che glorioso ardire 
serbano ancora infra l’orror degli anni 
delle gran moli⁵ i danni, 
e caldo ancor dentro le sue ruine 
fuma il vigor delle virtù latine! 
Indomita e superba ancora è Roma, 
benché si veggia col gran busto a terra: 
la barbarica guerra 
de’ fatali Trioni⁶, 
e l’altra che le diede il tempo irato⁷, 
par che si prenda a scherno⁸; 
son piene di splendor le sue sventure 
e il gran cenere suo si mostra eterno; 

(vv. 1-21)

¹ dopo aver cambiato più volte dimora.  ² il Colle Palatino, residenza dei Farnesi. ³ le rovine dei Fori.  ⁴ sparse.  ⁵ degli enormi edifici.  ⁶ le sette stelle dell’Orsa Minore, e cioè il nord.  ⁷ allusione alla guerra greco-gotica del VI sec. D.C.  ⁸ pare che ne rida.
 

10.  Mario e Silla.  La vittoria aristocratica fu di breve durata.  Le guerre contro Giugurta (111-109) e contro i Cimbri e i Teutoni (102-101) avevano portato l’ascesa del democratico Gaio Mario, che aveva come aiutante Lucio Cornelio Silla, il suo futuro avversario.  Rieletto console nel 104 A.C., Mario riformò radicalmente la struttura della legione romana e introdusse un’innovazione di grande importanza destinata a portare nella storia di Roma le più imprevedute conseguenze:  la trasformazione dell’esercito da milizia cittadina a esercito professionale stipendiato e partecipe ai bottini di guerra.  Da allora le armate romane divennero lo strumento di potere dei loro generali, accelerando il processo di dissoluzione delle istituzioni repubblicane. 
Per cinque volte consecutive Mario fu eletto al consolato da una massa elettorale che militava o aveva militato in gran parte nei suoi eserciti, realizzando una specie di dittatura senza rispetto per le leggi.  Benché questa non fosse una cosa nuova, ora per la prima volta l’esercito si rivelava una forza indipendente e perturbatrice della costituzione romana, fedele al suo capo e staccata dal resto dello Stato.  L’ascesa di Mario, un homo novus, era una prova dell’indebolimento dell’oligarchia e dei cavalieri e del rafforzamento dei proletari arruolati nell’esercito. 

Nel frattempo la situazione fu complicata dal vecchio problema degli Italici, a cui il governo romano chiedeva soltanto sacrifici finanziari e militari e obbedienza alle decisioni di Roma.  Nell’anno 90 gli Italici formarono una confederazione con sede a Corfinium, cui fu cambiato il nome in quello di Italia, e insorsero contro Roma.  La lega dei ribelli aveva a capo due consoli e dodici pretori aiutati da un Senato di 500 membri.  Alla fine Roma dovette cedere alle loro richieste con una serie di leggi:  la legge Iulia concesse il diritto di cittadinanza agli alleati rimasti fedeli; la legge Plauzia Papiria estese la concessione a coloro che l’avessero richiesta entro sessanta giorni dalla pubblicazione della legge; il console Cneo Pompeo Strabone estese ai Transpadani la cittadinanza latina; e, nel 49 A.C., Cesare conferì loro la piena cittadinanza. 

Nell’anno 88 A.C. il Senato romano riuscì di nuovo a prevalere sulle forze democratiche e Mario fu costretto all’esilio.  Ma l’anno seguente, approfittando dell’assenza di Silla che era impegnato nella guerra contro Mitridate, Mario si impadronì ancora una volta del potere.  Eletto console per la settima volta, morì dopo soltanto due settimane di consolato il 14 gennaio dell’anno 86 A.C.