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.
