Abstract This article investigates Baldassarre Longhena’s funerary monument to Doge Giovanni Pesaro (Venice, 1669) and its late seventeenth-century description and reception in Giovanni Prati’s panegyric ekphrasis (published 1690). By imagining a seventeenth-century viewer marvelling at the monument, Prati’s epideictic description reinvents the sculptures of the monument, giving praise to the sculptor’s ability to infuse crude stone with tangible life. By using visual metaphors which excite a vivid picture of the monument before the viewer’s eyes, Prati’s poem confers on his description a brilliance that results in the illusion of life. Likewise, the lifelikeness of the sculptures of the monument, enlivened by the eloquence of Prati’s words, results in an image which appears alive and persuasive. As a whole, the comparative analysis of Prati’s poem and the Pesaro monument sheds new light on how the mutual interaction between verbal and visual languages enhanced seventeenth-century viewers’ experience by eliciting a response of an intellectual and emotional nature. It contributes to the reconsideration of the dynamic relationship between the poem, the monument, and their audiences.

中文翻译：

---

巴尔达萨尔·隆格纳（Baldassarre Longhena）的总督乔瓦尼·佩萨罗（Doge Giovanni Pesaro）的丧葬纪念碑

摘要本文研究了巴尔达萨尔·隆格纳（Baldassarre Longhena）对总督乔瓦尼·佩萨罗（Doge Giovanni Pesaro）的丧葬纪念碑（威尼斯，1669年）及其在17世纪后期对乔瓦尼·普拉蒂（Giovanni Prati）的古希腊化的ekphrasis（1690年出版）的描述和接待。通过想象一个十七世纪的观众惊叹于纪念碑，普拉蒂的流行描写重新塑造了纪念碑的雕塑，赞扬了雕刻家为原石注入有形生命的能力。通过使用视觉隐喻在观众眼前激发出生动的纪念碑形象，普拉蒂的诗在他的描写中赋予了生命以生命的幻觉。同样，纪念碑的雕塑栩栩如生，Prati的语言雄辩使之栩栩如生，从而形成了生动而具有说服力的图像。整体而言 对普拉蒂的诗和佩萨罗纪念碑的比较分析，为语言和视觉语言之间的互动提供了智力和情感上的回应，从而增强了17世纪观众的体验，提供了新的思路。它有助于重新考虑诗歌，纪念碑及其听众之间的动态关系。