Anton Francesco Doni

Doni, Anton Francesco


Born May 16, 1513, in Florence; died September 1574 in Monselice. Italian writer, one of the early Utopian socialists, a precursor of T. Campanella. The son of an artisan.

In his works, written in Italian, Doni criticizes the social order of his day, attacking social inequality, parasitism, and ignorance. In the work Worlds, Doni depicted a just social order founded on collective property, universal equality, and the obligation of all to work. The picture he painted of ideal social relations is Utopian and bears the stamp of petit bourgeois leveling, limiting the material and spiritual needs of people.


[Selections.] In Novelly ital’ianskogo Vozrozhdeniia. Moscow, 1913. Pages 191-203. (Translated from Italian.)
I Mondi. Venice, 1552-53.
I Marmi. Venice, 1552-53.
La Zucca. Venice, 1551-52.


Chikolini, L. S. “Sotsial’naia utopiia Antonio Francesco Doni.” In the collection Srednie veka, vol. 17. Moscow, 1960.


References in periodicals archive ?
Biow treats artists Pietro Arento, Michelangelo, Cellini and Anton Francesco Doni as examples of different aspects of the creation of an image of genius that could thrive outside defined social limits.
Similarly, a second article furnishes an assortment of what are referred to as "Additions and Reflections" (69) on particular works, while still other essays explore the significance of certain passages penned by Vasari, Ludovico Domenichi, and Anton Francesco Doni and the use of antique statuary on the part of those in de' Rossi's circle.
As such, it is a welcome addition to Paul Grendler's 1969 study of Venetian poligrafi, Critics of the Italian World, 1530-1560: Anton Francesco Doni, Nicolo Franco & Ortensio Lando.
The chronology of their publications, some first published by Anton Francesco Doni and then reissued by the Torrentino press, suggests how their theories evolved over the decade.
Segue un saggio, il piu lungo della raccolta, di Lynn Westwater, che individua alcuni spezzoni dei Marmi di Anton Francesco Doni ricavati dal Relox de principes di Antonio de Guevara.
Among the more eccentric entries on the Novarese lists were writings of Anton Francesco Doni (1513-74).
69 On the professionalizing of Dante's motif of contrappasso, Glissenti had a notable Cinquecento predecessor (and possible influence) in Anton Francesco Doni, whose I mondi e gli inferni depicted a seven-part Inferno, five sections of which were devoted to professional categories detailing retribution for scholars and pedants (Doni, 230-31), prostitutes and procurers (276-77), lawyers, physicians, and theologians (321-22), poets (346-47), and soldiers (368-69) (on which see Grendler, 1969, 60- 61, 93-94).