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She coordinated the building of the chapel of Santa Monica in the church of San Gallo. This was the church where Fra
Antonio Dolciati had worked for several years. However, just about thirty years later, the convent was destroyed. Soon after the destruction of the church, the nuns of the convent that
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Mystery and miracle plays focused on the representation of Bible stories, and they reached their height of popularity during the 15th century before the rise of the professional theatre. Like many of the
Florentine mystery and miracle plays of her time, Antonia's works usually remained rather close
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The plays were all published in various editions thought the fifteenth and sixteenth centuries. The works probably sustained their popularity because nuns could use them for convent theatre and devotional reading. The Santa
Domitilla, the San Francesco, and the San Guglielma were the most often
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between 1452 and 1454. Her father was
Francesco d'Antonio di Giannotto Tanini, an Italian merchant. Her mother was Jacopa di Torello di Lorenzo Torelli, a Roman from Trastevere. Pulci had five sisters and a brother along with a half brother and a half sister, who were her father's natural and
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Rappresentazione di San
Francesco is another example of a play that Antonia created that did not follow its portrayal in the Bible closely. This play is unique because it includes allusions to Antonia's own life. Some of the characters are very similar to her family members. For example, the
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Many of the plays that
Antonia wrote may never have been performed. There is little to indicate that these plays were performed live in front of an audience. It is possible that these plays were intended to be read, although some of Antonia's more popular plays were acted out in later years.
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While Pulci's husband did come from a distinguished family, Bernardo Pulci's family was eventually bankrupted by the eldest son's thoughtless investments. When the eldest son died in 1470, Bernardo and his other brothers were left to face the dishonor on their family; they had to take on the
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Toward the end of her life, her dowry was finally returned from the Pulci family. Antonia used this money to purchase land outside of San Gallo, in between a monastery called Lapo and the
Mugnone River. She retired here with a small group of Augustinian tertiaries and decided to establish a
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A close friend of
Antonia, Fra Antonio Dolciata, attributed a few works to her after her death. One of these plays was the one about the story of Joseph, son of Jacob, whose story is detailed in the Bible. Other works that Dolciata attributed to Antonia include the
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Her play entitled
Destruzione di Saul e il pianto di Davit included some original writing. Here, some of her creative skills can be examined, because she included a story that is not found in the Bible. She wrote about the martyrdom of the wife of Saul.
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Antonia had established moved to the convent of San
Clemente. The convent at San Clemente was seen as safer because it was inside the city walls of Via San Gallo rather than outside like the convent at Santa Maria della Misericordia.
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with him before pursuing a more active role in her religion. She convinced Dolciati to enter the religious life, and he chose the Fra Antonio as his religious name in her honor. She spent many years studying
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published out of all of the early editions of Antonia's plays. These plays (except the Santa Domitilla) have been included in various literary collections published in the nineteenth and twentieth centuries
140:) was also published at the same time, and it was possibly written by Antonia, although it is uncertain. Together, these plays were published in the two volume anthology of sacre rappresentazioni called the
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229:. In the last year of her life, she created a will which provided funding for the convent, which she named Santa Maria della Misericordia (it was also sometimes referred to as the Assunta).
217:. This influenced her works; she continued to write, however she showcased the religious theme in the form of poems rather than plays. One of these poems was written on the corpus domini,
86:. Typically, these plays are narrated by an angel, who all of the actions of the characters in the story. The angel ends by explaining the lesson to be learned from the tale in an
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firstborn children. Pulci's father died in 1467, when she was only about 13–15 years old. Four of Pulci's sisters married well, and at least one sister joined a local convent.
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was of great help for solving the financial difficulties that Bernardo was forced to deal with. This was an impressive dowry for a merchant's daughter at the time.
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Antonia married Bernardo di Jacopo Pulci in either 1470 or 1471. Bernardo Pulci was notable in the literary sphere. He also held a notable position at the
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It was probably named after Antonio Miscomini, the person that may have published the work. Also included in the Raccolta Miscomini is Bernardo Pulci's
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Weaver, Elissa B. Convent Theatre in Early Modern Italy: Spiritual Fun and Learning for Women. Cambridge: Cambridge University Press, 2002. 97-104
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543:
271:. The plays were very well written in “pleasant, recitable verse.” Usually, the plays were between 400 and 800 lines. They were written in
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Antonia and Bernardo never had any children. In 1488, Bernardo died. Antonia became an ammantellata, which is a
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is renamed Jacopa da Roma. Antonia's mother was a Jacopa from Rome, so this may have been an homage to her
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197:, at a Dominican convent called Annalena. Later, she spent some time living at her mother's house near
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82:, or sacra rappresentazione. A play of this genre is heavily based on a religious story found in the
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Agata, Apollonia and Other Martyred Virgins: did Florentines really see these plays performed?
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Agata, Apollonia and Other Martyred Virgins: did Florentines really see these plays performed?
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464:
268:
204:
Later in life, she met Francesco Dolciati, a student from the cathedral school. She studied
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Holmes, G. (2003). "Strong Words: Writing and Social Strain in the Italian Renaissance".
112:). This work was published in the 1490s together with several other plays. These include
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whose works were published in several editions in the fifteenth and sixteenth centuries.
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Antonia Pulci established herself as a prominent playwright by creating several
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responsibility of supporting their family financially. So, Antonia's
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Encyclopedia of Women in the Renaissance: Italy, France, and England
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Pulci, Antonia; Cook, James Wyatt; Cook, Barbara Collier (1996).
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sister living in secular society. For a few years, she lived in
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Florentine Drama for Convent and Festival: Seven Sacred Plays
486:. Camerino: Universita degli Studi di Camerino. p. 89.
429:. Camerino: Universita degli Studi di Camerino. p. 77.
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Robin, Diana Maury; Larsen, Anne R.; Levin, Carole (2007).
221:, and it was given to Dolciati as an autographed gift.
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Antonia's plays were written in her first language,
554:15th-century people from the Republic of Florence
409:. Santa Barbara, CA: ABC-CLIO. pp. 304–306.
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332:Rappresentazione di Giuseppe figlio di Giacob
130:Rappresentazione di Giuseppe figlio di Giacob
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356:The Demise of Saul and the Tears of David
247:to their sources, with a few exceptions.
534:Italian women dramatists and playwrights
352:Destruzione di Saul e il pianto di Davit
171:Destruzione di Saul e il pianto di Davit
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539:15th-century dramatists and playwrights
444:. Chicago: University of Chicago Press.
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146:Rappresentazione di Barlaam e Giosafat
104:Her first play, dated 1483, is called
342:Rappresentazione del figliuol prodigo
163:Rappresentazione del figliuol prodigo
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312:Rappresentazione di Santa Guglielma
302:Rappresentazione di Santa Domitilla
114:Rappresentazione di Santa Guglielma
106:Rappresentazione di Santa Domitilla
21:Rappresentazione di santa Domitilla
529:15th-century Italian women writers
524:Italian dramatists and playwrights
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322:Rappresentazione di San Francesco
275:, which is the standard metre of
122:Rappresentazione di San Francesco
336:The Play of Joseph, Son of Jacob
90:, called l'angelo che licenzia.
30:(1452/54 – 1501) was an Italian
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544:15th-century Italian writers
346:The Play of the Prodigal Son
316:The Play of Saint Guglielma
306:The Play of Saint Domitilla
42:Pulci was born sometime in
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219:the Feast of Corpus Chrisi
482:Newbigin, Nerida (1996).
457:English Historical Review
425:Newbigin, Nerida (1996).
326:The Play of Saint Francis
469:10.1093/ehr/118.477.771
56:University of Florence
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549:Writers from Florence
237:Analysis of the plays
199:Piazza della Signoria
142:“Raccolta Miscomini.”
38:Early life and family
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185:Later life and death
150:Barlaam and Josaphat
28:Antonia Tanini Pulci
257:Jacopa da Settesoli
99:Raccolta Miscomini
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283:verse narrative.
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126:Saint Francis
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116:(The Play of
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108:(The Play of
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281:hagiographic
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195:San Vincenzo
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519:1501 deaths
463:: 771–772.
287:Publication
273:ottava rima
191:third order
156:Other works
508:Categories
363:References
255:character
213:and doing
32:playwright
211:Scripture
136:, Son of
88:epilogue
44:Florence
23:(c.1495)
269:Italian
242:Content
227:convent
215:penance
68:florins
169:) and
134:Joseph
120:) and
74:Career
206:Latin
179:David
138:Jacob
84:Bible
64:dowry
48:Italy
279:and
277:epic
263:Form
175:Saul
465:doi
461:118
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