[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"doc-detail-144749-en":3,"doc-seo-144749-105":30,"detail-sidebar-cat-0-en-105":91},{"code":4,"msg":5,"data":6},0,"success",{"doc_id":7,"user_id":8,"nickname":9,"user_avatar":10,"doc_module":4,"category_id":11,"category_name":12,"doc_title":13,"doc_description":14,"doc_content":15,"file_id":16,"file_url":17,"file_type":18,"file_size":19,"view_count":20,"is_deleted":4,"is_public":20,"is_downloadable":20,"audit_status":20,"page_count":21,"language":22,"language_code":23,"site_id":24,"html_lang":23,"table_of_contents":25,"faqs":26,"seo_title":27,"seo_description":14,"update_tm":28,"read_time":29},144749,24189269381491,"Bill Black","https://ap-avatar.wpscdn.com/avatar/160000cf11732dd8392?x-image-process=image/resize,m_fixed,w_180,h_180&k=1788146458752108895",2,"Literature","“No Stranger in Foreign Lands”: Francisco de Hollanda and the Translation of Italian Art and Art Theory","The chapter examines how Francisco de Hollanda, after traveling to Rome in the late 1530s, presented Italian artistic culture to the Portuguese court. It focuses on his engagement with humanist learning through extensive citations of Vitruvius and Pliny, even when his aim was not primarily translation of a classical text. By framing Hollanda’s Rome journey through Vitruvian anecdote and his dialogue persona, the study clarifies translation as a means of transferring valued knowledge across languages and courts.","Trust and Proof  \nTranslators in Renaissance Print Culture  \nEdited byAndrea Rizzi  \nBRILL  \nCover illustration:Detail of Laurent de Premierfait's offers his French translation ofBoccaccio's De casibusvirorumillustrium toJean Duke of Berry(London,British Library,Royal 14EV,fol.5r,ca.1479).Image reproduced from http://www.bl.uk/catalogues/illuminatedmanuscripts/illumin.asp?size=mid&illid=50625 undeCCo.See also Color Plate 5(fig.2.7)in this book.  \nThe Library of Congress Cataloging-in-Publication Data is available online at http://catalog.loc.gov  \nLC record available at http://lccn.loc.gov/2017040845  \nTypeface for the Latin,Greek,and Cyrillic scripts:\"\"Bil.See and download:;brill.com/brilltypeface.  \nISSN 1874-4834  \nISBN 978-90-04-32385-8(hardback with dustjacket)  \nISBN 978-90-04-32388-9(e-book)  \nCopyright 2018 by Koninklijke Brill NV,Leiden,The Netherlands.  \nKoninklijke Brill Nv incorporates the imprints Brill,BrillHes &De Graaf,Brill Nijhoff,Brill Rodopi,Brill Sense and Hotei Publishing.  \nAllrights reserved.No part of this publication may be reproduced,translated,stored in a retrieval system,or transmitted in any form or by any means,electronic,mechanical,photocopying,recording or otherwise,without prior written permission from the publisher.  \nAuthorization to photocopy items for internal or personal use is granted by Koninkljke Brill NV providedthat the appropriate fees are paid directly to The Copyright Clearance Center,22 Rosewood Drive,Suite910,Danvers,MA01923,USA.Fees are subject to change.  \n# “No Stranger in Foreign Lands”:Francisco deHollanda and the Translation of ItalianArt and Art Theory¹\n\nElena Calvillo  \nBetween 1538,when Francisco de Hollanda(1517-1585)travelled to Rome,and1548,when he completed his treatise and dialogues on antique and contempo-rary art,Da Pintura Antiga(On Ancient Painting),Hollanda dedicated himselfto representing the best aspects of Italian culture to the Portuguese court.2Although his primary goal was not to translate a classical text,his extensivecitations of Vitruvius's De Architectura and Pliny the Elder's Naturalis Historiain Books One and Two of his work suggest the degree to which he was engagedin this humanist pursuit.3 Hollanda introduces his project by referencing apassage in Vitruvius's preface to Book Six of De Architectura,in which the So-cratic philosopher Aristippus,having survived a shipwreck,supports himselfby disputing learned subjects in the Gymnasium of Rhodes.Aristippus thrivesin a foreign land,Vitruvius implies,because his education equipped him withknowledge and skills valued in whatever civilized place he found himself.4  \n1 I thank Nicholas Baker,Piers Baker-Bates,Andrea Rizzi,and the anonymous reader for theircomments,which much improved this chapter.I am also indebted to Harvard University'sVilla I Tatti where I began to work through these ideas and the University of Richmond whosupported my later research and the purchase of digital images for this essay.  \n2 Hollanda suggests that he began his treatise upon his arrival to Portugal,begging pardon forany deficiency in it as someone who had just arrived from a foreign land,removed from thelanguage and refinements of the court;see Francisco de Hollanda,OnAntique Painting,trans.and ed.Alice Sedgwick Wohl(University Park,PA.:Pennsylvania State University Press,2013),p.70,and Francisco de Hollanda,Da Pintura Antiga,ed.Angel González García(Lisbon:Im-prensa Nacional-Casa da Moeda,1984),p.17.  \n3 For Hollanda's extensive citation of Pliny,see González García's thorough notes for Da Pin-tura Antiga,which provide Pliny's Latin text;and Elena Calvillo,Reading Pliny in Francis-co de Holanda's Roman Dialogues',in Melinda Schlitt(ed.)Gifts in Return:Essays in Honorof Charles Dempsey(Toronto:Centre for Reformation and Renaissance Studies,2012),pp.263-296.  \n4 Henceforth I will quote from the English translation of Hollanda's treatise,On Ancient Paint-ing.I will also refer to the Portuguese original edited in Da PinturaAn","cbCaiadCw0fvvd91","https://ap.wps.com/l/cbCaiadCw0fvvd91","pdf",16151432,1,36,"English","en",105,"# “No Stranger in Foreign Lands”: Francisco de Hollanda and the Translation of Italian Art and Art Theory\n## Hollanda’s Roman journey and humanist goals\n## Vitruvian framing and professional ambition\n## Dialogue settings and Hollanda’s translator persona","[{\"question\":\"Why does the chapter connect Hollanda’s success in Rome to the Vitruvian anecdote?\",\"answer\":\"The author draws a parallel between Aristippus thriving in a foreign land and Hollanda’s own trip to Rome, using Vitruvius as a model for how education enables valuable cultural exchange across places.\"},{\"question\":\"What sources does Hollanda rely on to pursue humanist learning in his art writings?\",\"answer\":\"The chapter highlights Hollanda’s extensive citations of Vitruvius’s De Architectura and Pliny the Elder’s Naturalis Historia, especially in Books One and Two of his treatise.\"},{\"question\":\"How does Hollanda portray his purpose as a translator for the Portuguese court?\",\"answer\":\"In the dialogues, he emphasizes learning acquired in Italy and his desire to return to Portugal to express and translate what is newly known, insisting that knowledge should be communicated in Portuguese.\"}]","“No Stranger in Foreign Lands”: Francisco de Hollanda and the Translation of Italian Art and Art Theory | 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