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The Tigress of Forlì
A Rome-based American historian tells the extraordinary story of Caterina Sforza, perhaps the most prominent woman of Renaissance Italy, who was a wife, a mother, a leader, and a warrior with the courage to battle a Borgia pope, the charm to beguile a Medici husband, and the fierceness to make Machiavelli himself wince.
Forli
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Forli
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Melozzo Da Forli
From obscure beginnings, Melozzo da Forli (1438-94) made his career in Rome, executing several of the most ambitious painting projects of the Della Rovere Pope Sixtus IV and his nephew, the future Julius II. The book surveys the miscellaneous range of attributed early works, but is chiefly devoted to the greatest frescoes. The text is accompanied by more than sixty color plates & approximately 100 b&w comparative illustrations. Published by Sotheby Parke Bernet Publications.
Tigress Of Forli
If I were to write the story of my life it would shock the world', Caterina Sforza, 1463-1509. As action packed as as a Game of Thrones novel, the complete life of one of Italy's most fearless women. Between her birth in 1463 as the illegitimate daughter of the Duke of Milan, and her death in 1509 as a member of the powerful Medici family, the life of Caterina Sforza crossed the firmament of Renaissance Italy like a shooting star. She was painted by Botticelli, feted by Pope Sixtus IV, slandered by Macchiavelli and celebrated as a warrior who led her own troops fearlessly into battle. While defending her fortress city-state of Forli, she was prepared to sacrifice her children rather than sur...
A Printed Icon in Early Modern Italy
In 1428, a devastating fire destroyed a schoolhouse in the northern Italian city of Forlì, leaving only a woodcut of the Madonna and Child that had been tacked to the classroom wall. The people of Forlì carried that print - now known as the Madonna of the Fire - into their cathedral, where two centuries later a new chapel was built to enshrine it. In this book, Lisa Pon considers a cascade of moments in the Madonna of the Fire's cultural biography: when ink was impressed onto paper at a now-unknown date; when that sheet was recognized by Forlì's people as miraculous; when it was enshrined in various tabernacles and chapels in the cathedral; when it or one of its copies was - and still is - carried in procession. In doing so, Pon offers an experiment in art historical inquiry that spans more than three centuries of making, remaking, and renewal.
