By Harold Spencer
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Extra resources for Readings in Art History
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Through the continuous interplay of creative and creative scholarship, a picture of antiquity has been formed, multiform but consistent. By and large this interplay came to an end around the middle of the nineteenth century. But the mutual impregnation of art and scholarship, extending over four centuries, has remained potent to this day. Indeed, it has led us to forget that when antiquity was rediscovered in the fourteenth and fifteenth centuries in Italy, such cross-fertilization did not necessarily exist.
37, 38, note 1; G. B. De Rossi, "SulT archeologia nel secolo decimo quarto," Bulletino di corrispondenza archeologica (1871), pp. 3 ff. 19 Francesco Petrarca, Le familiari, ed. V. ), I, p. 95 (Ep. fam. II, 9). 42 Ghiberti, Antiquity, 20 and Humanists the pp. 56 ff. (Ep. fam. VI, 2). Morelli, "De Joanne Dondio," Operette, II (1920), pp. , CI. XIV, 223, ff. 47-68v). , II, 21 J. 22 Letter to Fra Guglielmo da Cremona, op. pp. 303 f. 23 Letter to Paganino da Sala; Morelli, op. , fol. ; Morelli, op. cit, p.
34 Niccolo's junior by twenty years, and a point of some relevance not a gentleman by birth, Poggio was a literateur. When in 1429, in the company of Antonio Loschi, he looked at the ruins of Rome from the foot of the rupe Tarpeia, he was deeply imbued with the nostalgic, literary, moralizing mood of Petrarch and his circle. " Still, Poggio represented also a new kind of humanist. His list of Roman ruins was not only a good deal longer than Petrarch's, it also excluded all Christian sites; most important, it was based on visual impressions, on observations of monuments, not on mere sites.