The relationship between Ugo Foscolo and Abbot Antonio Meneghelli was marked by the 1824 controversy in which the Paduan professor criticized Foscolo for his errors in interpreting Petrarch's works, including attributing apocryphal letters to Petrarch. Carlo Raggi also identified the portrait of Dante that Meneghelli showed to the young Foscolo around 1796 in Padua with one of Jacopo da Verona's frescoes in the Oratory of San Michele, thus clarifying that the mysterious "bishop's palace" mentioned by Foscolo in the Lettera apologetica was actually this religious building belonging to the bishop, where the fresco depicts Dante with other figures observing the Dormitio Virginis.
Colombo, D., Recensione a "Raggi C, Ugo Foscolo e l’Abate Meneghelli: dalla concordia nel nome di Dante alla contesa petrarchesca del 1824 Carocci, Roma 2018", <<RIVISTA DI STUDI DANTESCHI>>, 2019; XIX (2):444-444 [https://hdl.handle.net/10807/321836]
Carlo Raggi, Ugo Foscolo e l’Abate Meneghelli: dalla concordia nel nome di Dante alla contesa petrarchesca del 1824, in «Bollettino di italianistica», n.s., a. xv 2018, n. 1 pp. 161-69
Colombo, Davide
2019
Abstract
The relationship between Ugo Foscolo and Abbot Antonio Meneghelli was marked by the 1824 controversy in which the Paduan professor criticized Foscolo for his errors in interpreting Petrarch's works, including attributing apocryphal letters to Petrarch. Carlo Raggi also identified the portrait of Dante that Meneghelli showed to the young Foscolo around 1796 in Padua with one of Jacopo da Verona's frescoes in the Oratory of San Michele, thus clarifying that the mysterious "bishop's palace" mentioned by Foscolo in the Lettera apologetica was actually this religious building belonging to the bishop, where the fresco depicts Dante with other figures observing the Dormitio Virginis.
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