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~ A warning of the philosopher Leo Strauss
NOT TAUGHT IN A HIGH SCHOOL STATE ~

The Italian teachers, a corpaccione that, subject to the usual noble exceptions, spreads presumptuous moral platitudes and makes reading in class newspapers - how many years does not resonate in the lessons the word "virtue"? -, Sometimes complain loudly and coarsely, as befits a hungry unemployed, compared with the many reforms that are attempted, terrified by anyone should question his knowledge petty bourgeois, the lights Gomorrah, comedians Dantists, never questioning the contradictions of a school open to all, which requires teachers everywhere and eager humanity to learn and with the talent to succeed. To these teachers this afternoon marks, and are indignant in public squares, we devote a sentence of Leo Strauss, an inspiration to think about during their secular procession that marches in arrogant scrolls.

With a lot of flexibility and common sense, the jew-German philosopher wrote: "The human desire to make education accessible to all, leads to an increasing neglect of the quality of education. This does great harm, or at least there are new grounds for alarm, if it takes place in the disciplines of recent origin, but the situation is quite different if they have influenced the discipline itself responsible for the classical heritage. I veri liberali oggi non hanno dovere più pressante che contrastare il liberalismo pervertito, che pretende "che vivere sicuri, felici e protetti, ma per il resto senza regole" sia la mèta semplice ma suprema dell'uomo, e che dimentica qualità, eccellenza o virtù». Era il dopoguerra, Strauss insegnava in una università statunitense, privata, sotto il controllo di tycoons e banchieri, non in un puro liceo classico italiano, gratuito e democratico, ma gli era chiaro ugualmente il fatto incontrovertibile che la civiltà è posta in pericolo dai «futuristi superficiali» e ignoranti dell’eredità di cui sono venuti in possesso, non dai conservatori, anche i più gretti che, proprio for their sense of savings against the tradition, "not ever put in danger." So, forget the Italians Vincenzo Monti for a singer / songwriter from San Remo, physicists who fail Galilei and the splendor of his form to address lingering "problems of nuclear power," the Greek scholars who neglect the grammar, all hasten the end of the West. The computer teachers, teach anyway, do not hurt anyone. At least the high schools (not just classic) are then subtracted for reforms and be placed under protection, with greater care aggregates cultural heritage.

(The quotation is from the essay "Liberalism and classical philosophy 'harvest in Liberalism Ancient and Modern , tradotto in italiano da Giuffrè.)

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COME FORLI 'THE GREAT ART FIND THEM'


Melozzo degli Ambrogi, meglio noto come Melozzo da Forlì, nacque nel 1438. La sua prima educazione artistica avvenne forse a Padova, al seguito del pittore forlivese Ansuino, ma sicuramente sulla scia di Andrea Mantenga, negli anni precedenti il 1460. Fu infatti quest'ultimo a indirizzarlo a quelle ricerche di prospettiva aerea e di scorcio di 'sotto in su' che saranno alla base della sua scienza pittorica. L'arte di Melozzo trascese i confini della Romagna per divenire astro dominante sulle scuole dell'Italia centrale. Egli può essere considerato il legittimo precursore della grande pittura illusionistica, sviluppatesi in the following centuries, and particularly with the baroque.
The history is somewhat controversial Melozzo: 1460 to 1464 we find him at home in Urbino in 1465, stopping in Rome in 1471 where he worked until 1481, then to Loreto and Ancona. During his stay in Urbino he came into contact with Piero della Francesca, whose art was influenced but not conditional. Later he worked in the Vatican until 1481, there was 'pictor papalis', and was among the founders of the University of painters known as the San Luca. Before leaving Rome he executed the paintings in the apse of the church of the Holy Apostles, now reduced to fragments detached and stored at the Quirinal Palace and the Pinacoteca Vaticana (the famous musical angels).
Back in Forlì in May 1493, he worked for 18 months at a time of Feo Chapel in the church of San Biagio, producing extraordinary paintings the best with what became his successor, Mark Palmezzano, frescoes, unfortunately, lost in World War II. Melozzo died on 8 November 1494 and is buried in Holy Trinity Church in Forli.

From 29 January to 12 June, his hometown, Forlì, celebrates with the most comprehensive exhibition ever to have been dedicated. San Domenico will be exposed to virtually every mobile operating the artist, bringing even the colossal cycle of frescoes he created for the apse of the Church of the Holy Apostles in Rome, Vatican Museums and cycle between dispersed Quirinale.
The exhibition will also offer the great masterpieces by Mantegna, Piero della Francesca (in the show, for the first time after its restoration, even the "Madonna di Sinigaglia), from Bramante to Berruguete, from which he drew lessons and suggestions Melozzo or who, like Fra Angelico, Mino da Fiesole, Antoniazzo Romano, attended the papal Rome.




Finally, a large sequence of works, selected for specific affinity of artists who were inspired by him, in particular Raphael in this amazing show with a core of masterpieces, and that his pupils were, first of all Marco Palmezzano .

Along with works by Perugino, Benozzo Gozzoli, Paolo Uccello, to compose an exciting overview of the great interpreters of one of the happiest moments in art history.
"Without Melozzo, the sixteenth of Raphael and Michelangelo would not exist." The review of Antonio Paolucci, director of the Vatican Museums, makes it perfectly the idea of \u200b\u200bwhat the teacher has Forlì "weighed" the entire Renaissance.
The exhibition will be shown Saturday and Sunday from 9,30 to 20 and from Tuesday to Friday from 9.30 to
19.


image: Melozzo by Theodoric of Forlì