Dosso Dossi's allegory at Florence about music

Author

Slim, H. Colin

Document type

Article (journal)

Language

English

Source

Journal of the American Musicological Society. 1990, Num. 1, Vol. 43, 43-98, 6 ill.

ISSN

0003-0139

Abstract (en)

The accuracy of Dosso's representations of musical instruments, his knowledge of their symbolism, and his inclusion of two canons, one circular and the other triangular, in the Allegory of Music (Firenze, Museo Horne) suggests that he belongs to a select company of doubly gifted 16th c. painters who were also musicians. The composer of the circular canon remains unknown; the triangular canon is Josquin Desprez' proportional canon from the Agnus Dei of his Mass, L'homme armé super voces musicales. These elements, the three blacksmiths' hammers, and the stone tablets on which the canons are inscribed are examined. Changing relationships between music and painting in this period, including statements by Leonardo da Vinci, provide a conceptual framework for Dosso's allegory.

Subject (en)

• General history of art -- 1400-1800 -- Pictorial arts -- Painting and drawing -- Italy
• Dossi, Dosso (Giovanni de Lutero), ca.1490-after 1541
• Italy
• Painting
• Allegory of Music
• Museo Horne||Firenze (ITA)
• Music
• Allegory
• Josquin des Prés, ca.1440-1521

Subject (fr)

• Histoire générale de l'art -- 1400-1800 -- Peinture et arts graphiques -- Peinture et dessin -- Italie
• Italie
• Peinture
• Allégorie de la Musique
• Museo Horne||Firenze (ITA)
• Musique
• Allégorie
• Josquin des Prés, v.1440-1521

Origin

DatabaseBHA (Inist-CNRS/GRI)

Identifier19920101-00415029

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