fbpx
Wikipedia

Pontifical Academy of Arcadia

The Accademia degli Arcadi or Accademia dell'Arcadia, "Academy of Arcadia" or "Academy of the Arcadians", was an Italian literary academy founded in Rome in 1690. The full Italian official name was Pontificia Accademia degli Arcadi.

History Edit

Foundation Edit

The beginnings of the Accademia degli Arcadi date to February 1656, when a literary circle formed under the patronage of Queen Christina of Sweden, who had abdicated the Swedish crown in 1654, converted to Catholicism, and taken up her residence in Rome, where she spent much of the rest of her life. There she became a significant patron of music and opera, with composers including Alessandro Scarlatti, Alessandro Stradella and Arcangelo Corelli dedicating works to her. After her death in 1689, the academy was established in her memory and elected her as its symbolic head (basilissa, the Greek term for 'Queen'). For the next two hundred years, the Academy remained a leading cultural institution.

 
Stamp of the Academy of Arcadia

The first solemn gathering of the Arcadians was held on the Janiculum hill, in a wood belonging to the Reformed Minorites, on 5 October 1690. The Accademia degli Arcadi was so-called because its principal intention was to reform the diction of Italian poetry, which the founders believed had become corrupt through over-indulgence in the ornamentation of the baroque style. Under the inspiration of pastoral literature, the conventions of which imagined the life of shepherds, originally supposed to have lived in Arcadia in the golden age, divinely inspired in poetry by the Muses, Apollo, Hermes and Pan, the Academy chose as its emblem the pipe of Pan with its seven unequal reeds.

The fourteen founders selected as the first Custode di Arcadia or president of the academy, Giovanni Mario Crescimbeni who was the author of a history of Italian poetry and of various literary works.[1] The Arcadians resolved to return to the fields of truth, always singing of subjects of pastoral simplicity and drawing their inspiration from Greco-Roman bucolic poetry. The ideal parameters for the artistic work were simplicity and a sense of measure and beauty. Common to all the poets was the desire to oppose the poetry of the Marinists,[2] and return to classic poetry, embracing also the recent rationalist influence of Descartes. Norms and rituals of the academy took their cue from classic and pastoral mythology, as in the custom of assuming 'pastoral' names (Crescimbeni, for example, chose that of 'Alfesibeo Cario'). The fourteen founder members included the librettist Silvio Stampiglia and the poet Vincenzo Leonio.[3]

Orsini Gardens & Beyond Edit

In 1692, the meetings were transferred to the gardens of Duke Orsini on the Esquiline hill; in 1696, to the Farnese Gardens on the Palatine. Finally, the generosity of John V of Portugal, one of its members under the name of Arete Melleo, enabled the society to secure (1723) on the Janiculum a site known as the Bosco Parrasio or (Parrasian Grove). Here they held their meetings on summer days, in winter moving to the Teatro degli Arcadi in the Palazzo Salviati.[4] In 1696 the Accademia admitted seven musicians including Giovanni Bononcini.[5]

While the academy was still on the Palatine, its Statuto or Constitution was drawn up. This constitution (the work of co-founder Gian Vincenzo Gravina) was modelled on the ancient Roman laws of the 'Twelve Tables', and was engraved on marble. Differing tendencies soon asserted themselves, following the ideas of the two founders: that of Gravina stood in the tradition of Homer and Dante, while that of Crescimbeni was more influenced by Petrarch. Because of these differences, Gravina left to found the Accademia dei Quirini in 1711. Despite this loss, Arcadia retained its vigour in the following years, and created colonies in many cities of Italy. Many noblemen, ecclesiastics, and artists held membership in it to be an honour, and very soon it numbered 1,300. Much of what they produced, however, was either mediocre or pretentious (an example is Saverio Bettinelli's disparagement of Dante), although the Academy did receive some endorsement for its attack on the redundant Rococo style, then dominant in art and literature.

The celebrated opera librettist Pietro Metastasio (1698–1782) although he had his own differences with Arcadia, was a student of Gravina's, and a leading light of the academy's second generation. His works, of which the best remembered might be Il Re Pastore because of its setting by Mozart, may represent the closest thing to a justification of the program that Arcadia achieved.

In 1795, the academy admitted the Italian Diodata Saluzzo Roero, as one of its first female members,[6] but some evidence does exist for earlier female members. In the 17th century, the poet Maria Antonia Scalera Stellini was elected a member, and the 1721 edition of the Academy's publication included work by Caterina Imperiale Lercari Pallavicini.

Anti-Arcadian Reaction Edit

A violent anti-Arcadian reaction soon developed, and, starting from the early 19th century, Arcadianism began to be regarded as a late and unconvincing expression of the ancien régime. After the end of the French Revolution, the Academy strove to renew itself in accord with the spirit of the times, without sacrificing its traditional system of sylvan associations and pastoral names. The Academy no longer represented a literary school, but a general interest in the classics and figures like Dante came to be greatly honoured by its members. Furthermore, the Academy's field of endeavour was enlarged to include many branches of study, including history and archaeology. The new Arcadian revival was marked by the foundation (1819) of the Giornale Arcadico. In 1925 the Academy was renamed to become the Arcadia – Accademia Letteraria Italiana, a historical institute.

Legacy Edit

The Accademia degli Arcadi counted among its members some of the principal literary men and women of the time, including Carlo Alessandro Guidi, Petronilla Paolini Massimi, Benedetto Menzini, librettist Pietro Metastasio, Francesco Redi Paolo Rolli, and linguist Clotilde Tambroni, among others. The famous composer George Frideric Handel is known to have often attended the meetings and symposia of the Arcadians when studying in Italy, under the patronage of Ruspoli, a leading member of the Academy. There is an interesting account of the Academy's history and program in Goethe's 'Italian Journey'.

The archives of the academy are currently housed in the Biblioteca Angelica, next to the church of Sant'Agostino in Rome. The paintings are housed in the Palazzo Braschi.

Atti e memorie dell'Accademia letteraria italiana was published by the academy.[7]

Notes Edit

  1. ^   One or more of the preceding sentences incorporates text from a publication now in the public domainChisholm, Hugh, ed. (1911). "Crescimbeni, Giovanni Mario". Encyclopædia Britannica. Vol. 7 (11th ed.). Cambridge University Press. pp. 411–412.
  2. ^ Britannica, The Editors of Encyclopaedia. "Academy of Arcadia". Encyclopedia Britannica
  3. ^ Estirpare il cattivo gusto e le bizzarrie che si erano introdotti nella lingua poetica
  4. ^ Tuker, Mildred Anna Rosalie and Malleson, Hope. Handbook to Christian and Ecclesiastical Rome, Parts 3-4, A. and C. Black, 1900, p. 559
  5. ^ Bennett, Lawrence E.; Lindgren, Lowell (2001). "Bononcini family [Buononcini". Grove Music Online (8th ed.). Oxford University Press. doi:10.1093/gmo/9781561592630.article.40140. ISBN 978-1-56159-263-0.(subscription required)
  6. ^ Letizia Panizza & Sharon Wood (2000). "A History of Women's Writing in Italy". p. 144.
  7. ^ Copac record; accessed 19 July 2019

References Edit

  • Barroero, L. and Susinno, S. 'Arcadian Rome, Universal Capital of the Arts', in Art in Rome in the Eighteenth Century, ed. E. P. Bowron and J. J. Rishel, 47–77 (Philadelphia: Philadelphia Museum of Art, 2000)
  • Dixon, S. M. (1999) "Women in Arcadia", Eighteenth Century Studies, 32(3), pp. 371–375.
  • Dixon, S. M. (2006) Between the real and the ideal: the Accademia degli Arcadi and its garden in eighteenth-century Rome (Newark, Del.: University of Delaware Press).
  • Forment, B. (2008) Moonlight on Endymion: In Search of “Arcadian Opera,” 1688-1721, Journal of Seventeenth-Century Music, 14(1). Online: https://sscm-jscm.org/v14/no1/forment.html
  • Giorgetti Vichi, A. M. (ed.) (1977) Gli Arcadi dal 1690 al 1800: Onomasticon (Rome, Arcadia – Accademia Letteraria Italiana). (List of members.)
  • Claudio Rendina, Enciclopedia di Roma, Rome: Newton Compton, 2000.

External links Edit

  • Official website

pontifical, academy, arcadia, accademia, degli, arcadi, accademia, dell, arcadia, academy, arcadia, academy, arcadians, italian, literary, academy, founded, rome, 1690, full, italian, official, name, pontificia, accademia, degli, arcadi, contents, history, fou. The Accademia degli Arcadi or Accademia dell Arcadia Academy of Arcadia or Academy of the Arcadians was an Italian literary academy founded in Rome in 1690 The full Italian official name was Pontificia Accademia degli Arcadi Contents 1 History 1 1 Foundation 1 2 Orsini Gardens amp Beyond 1 3 Anti Arcadian Reaction 1 4 Legacy 2 Notes 3 References 4 External linksHistory EditFoundation Edit This section needs additional citations for verification Please help improve this article by adding citations to reliable sources in this section Unsourced material may be challenged and removed Find sources Pontifical Academy of Arcadia news newspapers books scholar JSTOR October 2021 Learn how and when to remove this template message The beginnings of the Accademia degli Arcadi date to February 1656 when a literary circle formed under the patronage of Queen Christina of Sweden who had abdicated the Swedish crown in 1654 converted to Catholicism and taken up her residence in Rome where she spent much of the rest of her life There she became a significant patron of music and opera with composers including Alessandro Scarlatti Alessandro Stradella and Arcangelo Corelli dedicating works to her After her death in 1689 the academy was established in her memory and elected her as its symbolic head basilissa the Greek term for Queen For the next two hundred years the Academy remained a leading cultural institution Stamp of the Academy of ArcadiaThe first solemn gathering of the Arcadians was held on the Janiculum hill in a wood belonging to the Reformed Minorites on 5 October 1690 The Accademia degli Arcadi was so called because its principal intention was to reform the diction of Italian poetry which the founders believed had become corrupt through over indulgence in the ornamentation of the baroque style Under the inspiration of pastoral literature the conventions of which imagined the life of shepherds originally supposed to have lived in Arcadia in the golden age divinely inspired in poetry by the Muses Apollo Hermes and Pan the Academy chose as its emblem the pipe of Pan with its seven unequal reeds The fourteen founders selected as the first Custode di Arcadia or president of the academy Giovanni Mario Crescimbeni who was the author of a history of Italian poetry and of various literary works 1 The Arcadians resolved to return to the fields of truth always singing of subjects of pastoral simplicity and drawing their inspiration from Greco Roman bucolic poetry The ideal parameters for the artistic work were simplicity and a sense of measure and beauty Common to all the poets was the desire to oppose the poetry of the Marinists 2 and return to classic poetry embracing also the recent rationalist influence of Descartes Norms and rituals of the academy took their cue from classic and pastoral mythology as in the custom of assuming pastoral names Crescimbeni for example chose that of Alfesibeo Cario The fourteen founder members included the librettist Silvio Stampiglia and the poet Vincenzo Leonio 3 Orsini Gardens amp Beyond Edit In 1692 the meetings were transferred to the gardens of Duke Orsini on the Esquiline hill in 1696 to the Farnese Gardens on the Palatine Finally the generosity of John V of Portugal one of its members under the name of Arete Melleo enabled the society to secure 1723 on the Janiculum a site known as the Bosco Parrasio or Parrasian Grove Here they held their meetings on summer days in winter moving to the Teatro degli Arcadi in the Palazzo Salviati 4 In 1696 the Accademia admitted seven musicians including Giovanni Bononcini 5 While the academy was still on the Palatine its Statuto or Constitution was drawn up This constitution the work of co founder Gian Vincenzo Gravina was modelled on the ancient Roman laws of the Twelve Tables and was engraved on marble Differing tendencies soon asserted themselves following the ideas of the two founders that of Gravina stood in the tradition of Homer and Dante while that of Crescimbeni was more influenced by Petrarch Because of these differences Gravina left to found the Accademia dei Quirini in 1711 Despite this loss Arcadia retained its vigour in the following years and created colonies in many cities of Italy Many noblemen ecclesiastics and artists held membership in it to be an honour and very soon it numbered 1 300 Much of what they produced however was either mediocre or pretentious an example is Saverio Bettinelli s disparagement of Dante although the Academy did receive some endorsement for its attack on the redundant Rococo style then dominant in art and literature The celebrated opera librettist Pietro Metastasio 1698 1782 although he had his own differences with Arcadia was a student of Gravina s and a leading light of the academy s second generation His works of which the best remembered might be Il Re Pastore because of its setting by Mozart may represent the closest thing to a justification of the program that Arcadia achieved In 1795 the academy admitted the Italian Diodata Saluzzo Roero as one of its first female members 6 but some evidence does exist for earlier female members In the 17th century the poet Maria Antonia Scalera Stellini was elected a member and the 1721 edition of the Academy s publication included work by Caterina Imperiale Lercari Pallavicini Anti Arcadian Reaction Edit A violent anti Arcadian reaction soon developed and starting from the early 19th century Arcadianism began to be regarded as a late and unconvincing expression of the ancien regime After the end of the French Revolution the Academy strove to renew itself in accord with the spirit of the times without sacrificing its traditional system of sylvan associations and pastoral names The Academy no longer represented a literary school but a general interest in the classics and figures like Dante came to be greatly honoured by its members Furthermore the Academy s field of endeavour was enlarged to include many branches of study including history and archaeology The new Arcadian revival was marked by the foundation 1819 of the Giornale Arcadico In 1925 the Academy was renamed to become the Arcadia Accademia Letteraria Italiana a historical institute Legacy Edit The Accademia degli Arcadi counted among its members some of the principal literary men and women of the time including Carlo Alessandro Guidi Petronilla Paolini Massimi Benedetto Menzini librettist Pietro Metastasio Francesco Redi Paolo Rolli and linguist Clotilde Tambroni among others The famous composer George Frideric Handel is known to have often attended the meetings and symposia of the Arcadians when studying in Italy under the patronage of Ruspoli a leading member of the Academy There is an interesting account of the Academy s history and program in Goethe s Italian Journey The archives of the academy are currently housed in the Biblioteca Angelica next to the church of Sant Agostino in Rome The paintings are housed in the Palazzo Braschi Atti e memorie dell Accademia letteraria italiana was published by the academy 7 Notes Edit One or more of the preceding sentences incorporates text from a publication now in the public domain Chisholm Hugh ed 1911 Crescimbeni Giovanni Mario Encyclopaedia Britannica Vol 7 11th ed Cambridge University Press pp 411 412 Britannica The Editors of Encyclopaedia Academy of Arcadia Encyclopedia Britannica Estirpare il cattivo gusto e le bizzarrie che si erano introdotti nella lingua poetica Tuker Mildred Anna Rosalie and Malleson Hope Handbook to Christian and Ecclesiastical Rome Parts 3 4 A and C Black 1900 p 559 Bennett Lawrence E Lindgren Lowell 2001 Bononcini family Buononcini Grove Music Online 8th ed Oxford University Press doi 10 1093 gmo 9781561592630 article 40140 ISBN 978 1 56159 263 0 subscription required Letizia Panizza amp Sharon Wood 2000 A History of Women s Writing in Italy p 144 Copac record accessed 19 July 2019References EditBarroero L and Susinno S Arcadian Rome Universal Capital of the Arts in Art in Rome in the Eighteenth Century ed E P Bowron and J J Rishel 47 77 Philadelphia Philadelphia Museum of Art 2000 Dixon S M 1999 Women in Arcadia Eighteenth Century Studies 32 3 pp 371 375 Dixon S M 2006 Between the real and the ideal the Accademia degli Arcadi and its garden in eighteenth century Rome Newark Del University of Delaware Press Forment B 2008 Moonlight on Endymion In Search of Arcadian Opera 1688 1721 Journal of Seventeenth Century Music 14 1 Online https sscm jscm org v14 no1 forment html Giorgetti Vichi A M ed 1977 Gli Arcadi dal 1690 al 1800 Onomasticon Rome Arcadia Accademia Letteraria Italiana List of members Claudio Rendina Enciclopedia di Roma Rome Newton Compton 2000 External links EditOfficial website Notes on the Accademia dell Arcadia from the Scholarly Societies project Retrieved from https en wikipedia org w index php title Pontifical Academy of Arcadia amp oldid 1168744897, wikipedia, wiki, book, books, library,

article

, read, download, free, free download, mp3, video, mp4, 3gp, jpg, jpeg, gif, png, picture, music, song, movie, book, game, games.