布龙齐诺《诗人劳拉·巴蒂费里像》（Portrait of the poet Laura Battiferri，意大利佛罗伦萨旧宫）

布龙齐诺诗人劳拉巴蒂费里像 Portrait of the poet LauraBattiferri 意大利佛罗伦萨旧宫

作品介绍

Laura Battiferri (1523–1589), also called Laura BattiferriAmmannati, was an Italian poet during the Renaissance period. Shewas born in Urbino, Italy as the illegitimate daughter of GiovanniAntonio Battiferri and Maddalena Coccapani of Carpi. She publishedtwo books of poetry: The First Book of Tuscan Works (Florence,1560) and The Seven Penitential Psalms… with some Spiritual Sonnets(Florence, 1564). She died in 1589 while compiling a third, Rime,which was never published. She married the sculptor, BartolomeoAmmannati in 1550 and they remained married until her death.

Laura Battiferri was born in Urbino, Italy. Her father was awealthy cleric and nobleman of Urbino named Giovanni AntonioBattiferri and her mother was Maddalena Coccapani of Carpi, hisconcubine. Giovanni enjoyed many privileges due to his statuswithin the inner Vatican circle and as a “familiar” of Pope PaulIII. Laura was born into a high social position and cosmopolitanwealth. Her father ensured her education, resulting in her literaryfamiliarity with Latin, love of vernacular classics, andcompanionship with the Bible. Despite her illegitimate birth,Giovanni recognized Laura as his daughter and had her and two ofhis other children legitimized by Pope Paul III on February 9, 1543and eventually, she would become his rightful heir. As she becamean adult, she was well versed in literature, philosophy, andreligion.

Laura’s first husband was Vittorio Sereni, a court organist.After about five years of marriage, he died in 1549. Laura wasdevastated. Sonnet 240 from The First Book of Tuscan Worksex-pressed her grief.

As a result, she moved to a Battiferri family home in Rome.While living in Rome, she met her second husband, BartolomeoAmmannati (1511-1592), a sculptor from Florence, through mutualconnections in Vatican circles. Although it is suspected that herfather assisted in their meeting. On April 17, 1550, she remarriedat age 26 to Bartolomeo Ammannati at the Casa Santa in Loreto. Shebrought an unusually large dowry to the marriage, 2,000 scudi,about 10 times that of a typical bride of the time. However,Laura’s dowry was probably never been paid in full and remainedlisted as an “unsettled matter” at the death of Laura’sfather.

In the early 1550s, Laura’s husband, Bartolomeo wascommissioned for architectural works by Pope Julius III in Rome,which he achieved with the help of Michelangelo and Giorgio Vasari.In 1555, Pope Julius III died and Bartolomeo stopped receivingcommissions. Meanwhile, Giorgio Vasari had established himselfamong a group of illustrious artists in Florence and he invitedBartolomeo to join him, having found him a new patron in the area.Bartolomeo and Laura decided to move from Rome to Bartolomeo’svilla in Maiano, on the outskirts of Florence. Laura dreaded themove, as Rome was near and dear to her. She loved the city forsentimental reasons, but also because her career was just takingoff. She believed that the metropolis of Rome was the “hub of theworld” and the best place for her budding poetry career to blossom.She considered Florence to be uncivilized, unenlightened, and“blind wilderness”.

1566年版的劳拉巴蒂费里诗篇的标题页

Though the villa in Maiano was surrounded by beautiful naturallandscapes, she still felt homesick for Rome. Eventually, she foundher place in Florence, becoming widely popular for her talent andmorality and publishing many of her works. In fact, whenevermembers of the Florentine artistic community came together for alarge public event such as wedding, birth, battle victory, orfuneral, Laura participated by contributing occasional poetry,almost always as the sole woman. Furthermore, Laura was known to bedevoutly religious. She received a large inheritance in 1565 andshe and Bartolomeo began to give large contributions to support theJesuits' activities. From about 1570 to the end of their lives,Laura and Bartolomeo developed extremely close relations with theJesuits.

During her lifetime, Laura was celebrated for her talent andcharacter by her male peers and embraced in their literarycommunities. By 1560, Laura had assembled almost 200 poems andpublished her first book of poetry, The First Book of Tuscan Works,dedicated to the Medici duchess, Eleonora de Toledo. The book wasan anthology classified by Petrarchan sonnets. It won praise frompoets across Italy. She was sought after for membership in severalItalian academies, a remarkable feat for a woman at the time. In1560, she accepted entry into the most prestigious of theacademies, “the Intronati,” becoming the first woman ever admittedto an Italian academy. Each member of the Intronati adopted ahumorous, antiphrastic pseudonym, Laura’s being “la Sgraziata” or“the Graceless,” a characteristic contrary to her critiques. Shepublished her second book, The Seven Penitential Psalms… with someSpiritual Sonnets in 1564 and dedicated it to the duchess ofUrbino. In it, she proved successful as a biblical translator andexegete, both being skills typically reserved for men. Herprefatory letter to the duchess of Urbino signaled a step up in hercareer from secular to sacred literature. By 1565, she was at theheight of her fame.

In her younger years, Laura aggressively sought recognitionfor her art, and actively forwarded her career but in her laterlife she withdrew from the public eye. She spent most of her daysmeditating, praying, or composing unprinted spiritual poetry in theprivate chapel that Bartolomeo had built for her at their villa inCamerata. While in the process of compiling the third and finalanthology of poetry, her Rime, Laura died in 1589. Her husbandattempted to have it completed, but Bartolomeo also died before theprocess was completed. Laura and Bartolomeo were both buried at theChurch of San Giovannino At least one-third of her entire writtenworks were never published. Her late productions—hundreds ofspiritual sonnets, biblical narrative poems, and her incompleteepic on the Hebrew kings—was entrusted to the BibliotecaCasanatense in Rome and nearly none of it ever came to light.

布龙齐诺诗人劳拉巴蒂费里像 ortrait of the poet LauraBattiferri 局部

参考译文

劳拉·巴蒂费里（LauraBattiferri，1523-1589），也被称为劳拉·巴蒂费里·安曼纳蒂，文艺复兴时期的意大利诗人。她出生于意大利乌尔比诺，是乔瓦尼·安东尼奥·巴特菲里的私生女。她出版了两本诗集：《托斯卡纳作品第一部》（佛罗伦萨，1560年）和《七悔诗篇......以及一些精神十四行诗》（佛罗伦萨，1564年），第三部作品《雾》从未出版过。先后有过两次婚姻，最终于1550年与雕塑家巴尔托罗梅奥·阿曼纳蒂(BartolomeoAmmannati,1511-1592)结婚，白头偕老。

劳拉出生于上流社会地位和国际化的富有家庭。她的父亲是乌尔比诺的富有的神职人员和贵族，由于他在梵蒂冈内部的地位以及教皇保罗三世的“熟悉”，乔万尼享有很多特权。她的父亲确保了她的教育，使她对拉丁文的文学熟悉，对白话经典的热爱，以及与圣经的友谊。尽管她非法出生，但乔万尼认为劳拉是他的女儿，并且她和他的两个孩子在1543年2月9日被教皇保罗三世合法化，最终，她将成为他的合法继承人。当她成年后，她精通文学，哲学和宗教。

劳拉的第一任丈夫是宫廷风琴师维托里奥·塞雷尼。结婚五年后，他于1549年去世。劳拉她搬到了罗马，遇见了她的第二任丈夫巴尔托罗梅奥·阿曼纳蒂，一位来自佛罗伦萨的雕塑家。1550年4月17日她26岁时，在洛雷托与巴尔托罗梅奥·阿曼纳蒂再婚。

在1550年代早期，劳拉的丈夫巴托洛梅奥受委托为教皇朱利叶斯三世在罗马的建筑创作作品，他是在米开朗基罗和乔治瓦萨里的帮助下完成的。1555年，教皇朱利叶斯三世去世，巴托洛梅奥停止接受佣金。与此同时，乔尔乔·瓦萨里在佛罗伦萨的一群杰出艺术家中脱颖而出，并邀请巴托洛梅奥加盟，并在该地区为他找到了新的赞助人。巴托洛梅奥和劳拉决定从罗马搬到迈亚诺的巴尔托罗梅奥别墅，在佛罗伦萨的郊区。劳拉并不愿意离开罗马，她出于感情上的原因热爱这座城市，也因为她的职业生涯刚刚起步。她相信罗马的大都市是“世界的中心”，也是她崭露头角的诗歌事业发展的最佳场所。她认为佛罗伦萨是不文明的，没有开悟的，也是“盲目的荒野”。

巴托洛梅奥作品意大利佛罗伦萨旧宫前领主广场海神尼普顿喷泉

虽然迈亚诺的别墅周围环绕着美丽的自然景观，但她仍然思念罗马。最终，她在佛罗伦萨找到了自己的位置，因其才华和道德而广受欢迎，并出版了许多作品。事实上，每当佛罗伦萨艺术社区的成员聚集在一起举行婚礼、生日庆典、庆祝战争胜利或葬礼等大型公共活动时，劳拉都会偶尔提供诗歌参与，几乎总是作为唯一的女性。此外，劳拉被认为有虔诚的宗教信仰。她在1565年获得了大量遗产，她和巴托洛梅奥开始为支持耶稣会士的活动做出巨大贡献。从大约1570年到他们的生命结束，劳拉和巴托洛梅奥与耶稣会士建立了非常密切的关系。

在她的一生中，劳拉以她的男性同伴的才华和品格而闻名，并在文学社区受到欢迎。到1560年，劳拉已经收集了近200首诗并出版了她的第一本诗集《托斯卡纳作品第一部》，献给梅迪奇公爵夫人埃莱奥诺拉·德·托莱多。这本书是彼特拉克体十四行诗分类的选集。它赢得了意大利各地诗人的赞誉。她被几个意大利学院的会员资格所追捧，这对当时的女性来说是一项了不起的壮举。1560年，她接受了进入最负盛名的学院英特罗纳蒂剧社（Intronati），成为第一位进入意大利学院的女性。英特罗纳蒂剧社的每个成员都使用了一个幽默、反讽的假名，劳拉是“不幸”或“亵”，这是一个与她的批评相反的特征。她于1564年出版了她的第二本书《七悔诗篇......带有灵性十四行诗》（TheSeven Penitential Psalms ... with a SpiritualSonnets），并将其献给乌尔比诺公爵夫人。在书中，她被证明是成功的圣经的翻译和注释家，两者都是通常为男性保留的技能。她给乌尔比诺公爵夫人的封信表明她的职业生涯从世俗文学到神圣文学都有了进步。到1565年，她处于成名的高度。

劳拉年轻的时候积极寻求对她的艺术的认可，并积极转发她的职业生涯，但在她的晚年，她退出了公众的视线。她大部分时间都在巴托洛梅奥在他们在卡梅拉塔的别墅为她建造的私人小教堂里冥想，祈祷或撰写未印刷的精神诗歌。在编写第三部也就是最后一部诗歌集的过程中，劳拉于1589年去世。她丈夫试图完成它，但在这个过程完成之前就去世了。劳拉和巴托洛梅奥都被埋葬在圣乔瓦尼诺教堂。劳拉的整篇书面作品中至少有三分之一从未发表过。她的晚期作品- 数百首精神十四行诗，圣经叙事诗，以及她对希伯来国王的不完整史诗 - 被委托给罗马的卡萨纳特图书馆，都没有出版。

作品细节

布龙齐诺诗人劳拉巴蒂费里像 ortrait of thepoet Laura Battiferri 局部

布龙齐诺诗人劳拉巴蒂费里像 ortrait of the poet LauraBattiferri 局部

画家简介

布龙齐诺（Bronzino，1503-1572），托斯卡纳大公科西莫一世美第奇的宫廷画师，意大利佛罗伦萨的风格主义画家。全名阿格诺洛·迪·科西莫（Agnolodi Cosimo），亦称阿格诺洛·布龙齐诺（AgnoloBronzino）。布龙齐诺这个绰号可能和他黝黑的肤色或他常用的肖像画主题有关。

根据同时代的学者乔尔乔·瓦萨里（GiorgioVasari，1511-1574）记载，布龙齐诺是拉法利诺·德尔加博（Raffaellino delGarbo，1466-1527）的第一个学生，14岁成为意大利佛罗伦萨画派风格主义画家蓬托尔莫（Pontormo，1494-1557）的学徒。蓬托尔莫对布龙齐诺的艺术风格产生了决定性的影响，他们合作了许多重要的作品。1539年，布龙齐诺首次接受Medici的邀请，参与科西莫一世和那不勒斯总督的女儿托雷多的伊莲诺拉（Eleonoradi Toledo，1522-1562）的婚礼绘画的创作。此后，他成为公爵的官方宫廷画家，在科西莫一世美第奇的宫廷里度过了他的大部分职业生涯。1563年，以科西莫宫廷杰出艺术家为主的佛罗伦萨美术学院成立，布龙齐诺是创始人和核心成员。

布龙齐诺是一位出色的肖像画家，他的画风和老师蓬托尔莫极为相近，以至于直到今天学术界依然在争论二人作品的归属问题。布龙齐诺最著名的作品是科西莫一世公爵和伊莲诺拉公爵夫人系列，以及他们的宫廷人物，如巴托洛梅奥·潘恰蒂基和他的妻子卢克雷齐娅。这些作品以对人物的个性化表现和对服装细节的细致刻画而闻名。作为梅第奇家族的宫廷画家，为满足宫廷贵族的趣味，他的肖像往往追求艳丽、华贵的效果。他以熟练的油画技巧展现出富丽堂皇、珠光宝气的奢侈场面。他画的肖像人物安静而优雅，冷峻而高贵，被视为宫廷肖像画的经典，影响了整个欧洲宫廷肖像画一个世纪的发展历程。

（阴山工作室根据维基百科和乌菲齐美术馆资料编写）

作品资料

Artist Bronzino (1503–1572)

Title

Italian: Ritratto di Laura Battiferri, moglie dello scultoreBartolomeo Ammannati

Portrait of the poet Laura Battiferri, wife of sculptorBartolomeo Ammannati

Italiano: La donna tiene in mano, un "petrarchino" (ilCanzoniere del Petrarca), alludendo la proprio nome (Laura)

Date 1550-1555

Medium oil on panel

Dimensions Height: 83 cm (32.6 in); Width: 60 cm (23.6in)

Current location PalazzoVecchio Loeser Collection