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An important manuscript known as Palladium eruditum, preserved in the University Library in Bologna, contains copies of three unpublished, contemporary epigrams in praise of Michelangelo as a sculptor attributed to one Giovan Francesco Fabri2. His work and existence are unknown to seemingly exhaustive national and international bio-bibliographical indexes [40; 52; 58]. No eighteenthto twentieth-century comprehensive history of Italian literature ever mentions him [e.g. 2; 38; 56; 57; 60; 78; 81; 82; see also 10, 25, and 31], the only partial exception being Quadrio, who refers to two sonnets by him [70, II/1, p. 353 and V, p. 104]. He cannot be identified with Giovanni Francesco Fa[b]brini from Figline (the champion of Michelangelo’s art as a painter in Ludovico Dolce’s fictional dialogue on painting published in 1557, where he acts as the counterpart of Aretino exalting Titian and Venetian art) for various reasons, including age. Fabbrini lived for over 60 years [75], whereas the three unpublished sixteenth-century anonymous epitaphs in honor of Giovan Francesco Fabri lament that he died young3, whatever this might have meant (Raphael died young, at 37). This lack of basic biographical information is odd. Some sort of damnatio memoriae seems to be at work here. Reasons for this are usually political. In the 16th century, politics had often much to do with religious controversies, but Fabri’s name does not appear in the several lists of the Italian Protestants investigated, prosecuted or executed by the Catholic Church, nor of their Italian supporters and sympathizers, although several of his acquaintances (including Michelangelo) had well-known links with the Reformation.

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A New Narcissus Named “Lygdamus”: A Poetical Source for a Different Interpretation of Michelangelo’s Crouching Youth from the Collection of the State Hermitage.