Abstract Benedetto Varchi’s Due Lezzioni not only represent the high point of the debate on the paragone between painting and sculpture but also bring up the question of the comparison of painting and poetry. The present article investigates this topic in Varchi’s sonnets, focusing on a rhetorically consistent series of poems addressed to the painter Agnolo Bronzino. In these texts, Varchi renovates the Petrarchan model of Rvf 77–78 by setting up a Neoplatonic dialectic between dentro as the domain of poetry and fuori as the domain of painting, thereby shifting the comparison from the field of their mimetic capacity to that of their glorifying and immortalizing function. The final suggestion is that Bronzino’s renowned portrait of Laura Battiferri marks a turning point in the contemporary debate on the superiority of poetry or painting as well as in Varchi’s opinion about it, opening the way to integration and collaboration between the two arts within the realm of the dentro.

中文翻译：

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贝内德托·瓦尔基的十四行诗中的绘画，诗歌和不朽

摘要Benedetto Varchi的Due Lezzioni不仅代表了绘画与雕塑之间的比喻辩论的高峰，而且提出了绘画与诗歌比较的问题。本文在瓦尔基的十四行诗中研究了这个主题，重点是针对画家Agnolo Bronzino的一系列修辞上连贯的诗歌。在这些文本中，Varchi通过在dentro（诗歌领域）和fuori（绘画领域）之间建立了新柏拉图辩证法，从而革新了Rvf 77-78的Petrarchan模型，从而将比较从模仿能力领域转移到了模仿能力领域。美化和永生的功能。