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Camillo Camilli’s Imprese for the Academies
Liana De Girolami Cheney
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DOI:10.17265/2159-5836/2018.04.009
Independent Scholar, Boston, MA, USA
This study examines the humanistic influence of ancient and Renaissance art in Camillo Camilli’s Imprese of 1586. Camillo Camilli (ca. 1560-1615—his exact birth date is unknown) was an Italian poet of the sixteenth-century. His family came from Monte San Savino, Siena, and records mention that he died on July 13, 1615, in Ragusa. While personal documentation on Camilli’s life is scarce there are substantial sources about his literary career as a translator, compiler and poet. Camilli wrote extensively. There are the five canti on Erminia e Tancredi which were collated with Tarquo Tasso’s (1544-1595) unfinished poems, and his commentaries for Ludovico Ariosto’s Orlando Furioso in 1584 and for Tasso’s Gerusalemme Liberata in 1585. Under the influence of Tasso’s writings and his involvement in the commentary of Gerusalemme Liberata (1585), Camilli started formulating his concetto (conceit) of what an impresa is (badge, device or insignia). The focus of this essay is on Camilli’s Imprese for the Academies. The whole collection of the Imprese consists of three volumes. The frontispiece to each volume depicts three different stage settings filled with classical ornamentation and bearing in the center of the lintel the impresa or insignia of Francesco Ziletti’s printing company—a starfish surrounded by stars and bound by a ribbon. Camilli selected this image to announce through the imprese the significance of these famous men (uomini famosi) of the academy, granting them immortality and honor for their cultural and intellectual accomplishments.
Italian imprese, emblems, iconography, symbolism, famous men, academies, Camillo Camilli
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