Franco Sacchetti

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The following article is from The Great Soviet Encyclopedia (1979). It might be outdated or ideologically biased.

Sacchetti, Franco


Born circa 1330 in Ragusa; died Sept. 1, 1400, in Florence. Italian writer.

Sacchetti belonged to the popolani (the stratum of merchants and artisans in Italian cities). He was the author of the collection Three Hundred Stories (223 stories are extant); he also wrote verses and sermons. His stories are based on popular superstitions, folk tales, and anecdotes. Their closeness to folklore is manifested by the use of vivid colloquial language. The stories depict the life of the lower classes, or ciompi. Their antifeu-dal satire was directed mainly against monks and priests and the popolo grasso, that is, the wealthy. In the 18th century Sac-chetti’s stories were placed on the Index of Forbidden Books by the Catholic Church.


II trecentonovelle. Edited by E. Faccioli. Turin, 1970.
In Russian translation:
Novelly. Moscow-Leningrad, 1962.


Balashov, N., A. Mikhailov, and R. Khlodovskii. “Epokha Vozrozhde-niia i novella.” Introduction to Evropeiskaia novella Vozrozhdeniia. Moscow, 1974.
De Sanctis, F. Istoriia ital’ianskoi literatury, vol. 1. Moscow, 1963.
Borlenghi, A., and F. Sacchetti. Letteratura italiana: I minori, 1. Milan [1969].


The Great Soviet Encyclopedia, 3rd Edition (1970-1979). © 2010 The Gale Group, Inc. All rights reserved.
References in periodicals archive ?
Effectively contextualizing their position through the writings of Franco Sacchetti (1335-1400), the authors convey an evolution wherein Thomas' touch became symbolic in the civic realm as the transition from belief to truth, and, in turn, that truth became synonymous with justice.
Franco Sacchetti questions in acid tones whether Lucca's 'Volto Santo', a revered wooden crucifix made in Christ's image, is all it claims: 'With all due respect, Christ's was the most beautiful and best proportioned body that ever was, and did not have frighteningly crossed eyes' (p.
Eight authors responded to this challenge and four Italian authors form the object of their studies: Guittone d'Arezzo, Dante, Petrarch, and Franco Sacchetti.
I soggetti includono recenti percorsi di critica letteraria con attenzione alle opere di Petrarca, Dante, Simone Prodenzani, Buona da Pisa, Sordello, Francesco Bolognetti, Franco Sacchetti e altri scrittori.
The interior of the palace was also decorated with images of some of Florence's favorite saints, such as John the Baptist (the commune's patron saint), Bernard of Clairvaux (who was adopted as the Palace's patron), Zenobius (an early Florentine bishop who was believed to have helped save the city from invasion by the Goths), Christopher (who because he provided protection against sudden death and accident "was a popular saint in public places"), Doubting Thomas (whose image in the audience chamber of the Signoria was accompanied by a sonnet of Franco Sacchetti, exhorting onlookers "to touch the truth" as Saint Thomas had done), and Victor (who was revered because the Florentines had won a victory against Pisa on his feast day in 1364).
Li Gotti was then interested in musical settings of 14th-century Italian poetry set to music, and in particular in the works of Franco Sacchetti, a Florentine merchant, writer and poet whose works were set to music by many of the major composers of the time, including Landini.
Writers such as Giovanni Boccaccio, Franco Sacchetti, and Matteo Bandello later developed the novella into a psychologically subtle and highly structured short tale, often using a frame story to unify the tales around a common theme.
The second medieval opinion about Cavalcanti, derived from descriptions of the poet such as those in Boccaccio's Decameron and Franco Sacchetti's Trecentonovelle, is that Guido was a "natural philosopher." The term "natural philosopher," Ardizzone explains, signified someone who applied logical reasoning to the exploration of natural phenomena, like the thinkers in the Averroistic tradition.
In Franco Sacchetti's Trecentonovelle, 171, the disgruntled wife of a drunkard artist complains that painters are "tutti fantastichi e lunatichi." In Cennini's text we might suppose fantastichetto signifies a state in which the fantasia is overly stimulated by the mind's desires.
This idea is found in one of Franco Sacchetti's Trecento Novelle, c.