English (United Kingdom)

https://curated-unify.zendy.io/wp-json/zendy-region/v1/featured_content/oa?rat=en

https://curated-unify.zendy.io/wp-json/zendy-region/v1/highlighted_journal/

Global: Zendy Plus annual

Presents the access of premium content as premium feature

Premium Content

Presents the keyphrase highlighting as premium feature

Keyphrase Highlighting

Presents the summarisation as premium feature

Summarisation

Insights

Presents the pdf analysis as premium feature

PDF Analysis

Presents the zaia usage as premium feature

ZAIA

Global: Zendy Tools annual

Global: Zendy Free Plan

Global: Zendy Tools monthly

Global: Zendy Plus monthly

Benedetto Varchi’s  Due Lezzioni  not only represent the high point of the debate on the  paragone  between painting and sculpture, but they also bring up the question of the comparison of painting and poetry. Building his argument on their common foundation in imitation, in the second lecture Varchi advocates the superiority of poetry over painting based on its mimetic capacity. My paper investigates this topic in Varchi’s sonnets, focusing on a rhetorically consistent series of poems addressed to the painter and poet Angolo Bronzino, with whom the poet enjoyed a close friendship, and culminating in a correspondence with the medalist Domenico Poggini. In these poems Varchi renovates the Petrarchan model of  Rvf  77–78 by setting up a Neo-platonically based dialectic between  dentro  as the domain of poetry and  fuori  as the domain of painting, thereby shifting the comparison from the field of their mimetic capacity to that of their glorifying and immortalizing function.

Der Dichter vor dem Porträt. Dichtung und Malerei um die Sonetti Benedetto Varchis