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L'IMAGE DE GALILÉE OU LA TRAJECTOIRE SYMBOLIQUE DU PORTRAIT DE 1635
Bruniana & Campanelliana
Vol. 9, No. 1 (2003), pp. 45-59
Published by: Accademia Editoriale
Stable URL: http://www.jstor.org/stable/24333107
Page Count: 15
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The itinerary of the famous Galileo portrait painted by Joost Sustermans in 1635 coincided with two distinct symbolic phases: by sending the portrait to his Parisian correspondent Elie Diodati, Galileo acted as if he were entrusting his 'image' to his northern admirers. He thus becomes the incarnation of the libertas philosophandi that Diodati extols in the first public defense (1636) of the condemned Galileo. In 1656, Diodati gave this same painting to the Grand Duke of Tuscany, Ferdinand II, who planned to publish a majestic edition of Galileo's complete works, together with the Life written by Viviani. However, neither project was carried out: the return of Galileo's portrait to Italy led to the impoverishment of the symbol that he had represented for twenty years.
Bruniana & Campanelliana © 2003 Accademia Editoriale