Study of the Paintings of Santi di Tito-Iconological Interpretations on the Basis of Dominican Thoughts

一个佛罗伦萨画家桑蒂迪蒂托（1536年至1603年）是自1568年以来的一个成员，公会的圣托马斯阿奎那在佛罗伦萨，致力于门外汉集团成立的多米尼加和尚，桑蒂获得了许多多米尼加委员会在他的职业生涯。我将他的138件真迹和工作室作品、35件遗失作品和26件错误归因的作品登记在一个目录中，以多明我会神学家和道德改革家托马斯阿奎那、安东尼诺皮耶罗齐和萨沃纳罗拉的文本为基础，从图像学的角度解读他的绘画。在他的肖像，我可以指出这样的主题之间的平衡积极的生活和奉献的生活，平衡之间的宽限期和优点，完善法律的爱，和沉思的人性和基督的神性。我还认为，桑蒂的比喻词汇，适当的品种和没有太暴力的扭曲人体，代表了理想的克制坚持路易斯德格拉纳达，当代多米尼加传教士。甚至桑蒂的信念，考虑艺术的dessin（disegno）作为一种做法，是可能的教育和纠正可以比较的实际方面多米尼加说教的修辞。最后，桑蒂的绘画活动作为专业实践可以与安东尼诺皮耶罗齐，谁看到了公平贸易的神圣正义。

A Florentine painter Santi di Tito (1536-1603) was since 1568 a member of the Confraternity of Saint Thomas Aquinas in Florence, devoted laymen's group founded by a Dominican monk, and Santi obtained many Dominican commissions during his career. Registering his 138 authentic and workshop works, 35 lost works and 26 wrongly attributed works in a catalogue raisonne, I interpret his paintings from the iconological point of view, on the basis of the texts of Dominican theologians and moral reformers as Thomas Aquinas, Antonino Pierozzi and Savonarola. In his iconographies I can indicate such subjects as equilibrium between active life and contemplative life, equilibrium between grace and merit, perfection of law by love, and contemplation of the humanity and divinity of Christ. I also suggest that Santi's figurative vocabularies, with appropriate variety and without too violent distortion of human bodies, represents the ideal restraint insisted by Luis de Granada, contemporary Dominican preacher. Even Santi's conviction to consider the art of dessin (disegno) as a practice that is possible to educate and correct can be compared to the practical aspects of the Dominican preaching rhetoric. Finally, Santi's painting activity as professional practice can be related to Antonino Pierozzi, who sees the divine justice in the fair trade.