Gli autori della 'Porta dell'Onore'

[Autom. eng. transl.] In the spring of 1512 Massimiliano I, emperor of the Holy Roman Empire, conceived one of the most striking propaganda tools: a majestic triumphal arch on paper, a large poster high and over three meters wide, depicting the Hapsburg Triumph from ancient origins to present conquests . To transfigure history into myth, to feign reality in perennial symbols, the emperor calls the great Dürer, the German artist who had learned to update the classics since the Italian Renaissance. Its 192 engravings make up a marvelous blaze of words and images, destined, thanks to the reproducibility of the print, to resist almost more than marble. The chapter focuses in particular on the figures to which it is necessary to attribute the authorship of the work, both in the field of conceptual formulation and in the figurative field. My contribution to the essay deals with the first, deepening 'The culture of Maximilian and his court: between the Middle Ages and Humanism'.