The comedies of the Accademia degli Intronati
The comedies of the Accademia degli Intronati were the subject of my PhD dissertation in 1974. A projected edition of the comedies did not eventuate, and the availability of texts and facsimiles on the net (and especially through the Biblioteca della Facoltà di Lettere e Filosofia of the University of Torino) has made it unlikely that the project will ever be resurrected. I will probably return to annotate these editions in the future, and include the full apparatus. I will also recheck all the transcriptions. In the meantime, this page makes available for the first time searchable copies of Ortensio of 1560/1, and Bulgarini’s Scambi of 1574/5, as well as Aurelia, Gli ingannati, I prigioni, Amor costante, and Alessandro.
Aurelia
Text, edited from MS 3.c.15 in the Grey Collection of the South African Library in Cape Town. The manuscript is copied by a hand very close to (or even the same as) the one that copied the 1525 version of Pietro Aretino’s La Cortigiana, now in Florence, MS Magliabechiano VII.84 .
Gli ingannati
Edition taking account of 1534 manuscript
Facsimile and preface (Bologna: Forni, 1984).
I prigioni di Plauto, tradotti da l’Intronati
Available for purchase from Accademia degli Intronati
Alessandro Piccolomini, Amor Costante
Alessandro Piccolomini, Alessandro
Edition based on the undated Ruffinelli edition and MS Escorial IV.b.12 / Est. 16.5
Preface prepared for Forni facsimile that was never published
Ortensio
Edition based on Siena, Luca Bonetti, 1571, taking account of Florence, Biblioteca Nazionale Centrale, MS Magliabechiano VII.196
Belisario Bulgarini, Gli scambi
Edition based on the autograph version in Venice, Biblioteca Marciana, MS Italiani XI.15, ff. 3r-36v, rather than on the heavily reworked version printed by Florimi, 1611.
And also, from the Congrega degli Insipidi:
Domenico di Gismondo Tregiani, La devota rappresentazione di santa Marina vergine
Edition based on the manuscript in Siena, Biblioteca Comunale degli Intronati, MS G.XI.56. Composed for the Convertite of Siena and performed by them on 25 September 1589.
See my discussion in “Deception, Gender, and Sainthood in the Plays of Santa Eufrosina and Santa Marina,” in Il teatro tra Quattrocento e Seicento. Studi in onore di Konrad Eisenbichler, ed. Pasquale Sabbatino (Naples: FedOA – Federico II University Press, 2024), 21–36. The volume brings together twelve articles from Konrad’s colleagues in Australia, Canada, England, France, Italy, and the USA: Nerida Newbigin, Francesca Bortoletti, Anna Maria Testaverde, Gianni Cicali, Matteo Leta, Michel Plaisance, Johnny L. Bertolio, Maria Galli Stampino, Rosalind Kerr, Pasquale Sabbatino, Francesco Divenuto, Ambra Moroncini. Open-access, DOI: https://doi.org/10.6093/978-88-6887-209-0.