Dervisci

2020

Mirsilo di Lesbo (III sec. a.C.) affermava che i Tirreni provenienti dall’Etruria “assunsero nel corso dei loro spostamenti senza meta fissa il nome di Pelasgi a somiglianza degli uccelli chiamati Pelargi (cioè cicogne) perché come questi migrano a stormi per la Grecia e le regioni barbariche; essi innalzarono anche il muro si cinta che circonda l'acropoli di Atene, cioè il cosiddetto muro Pelagico”

Enciclopedia Oraziana, 1997

Dizionario Biografico degli Italiani, vol. C (Vittorio Emanuele I-Zurlo), Roma, Istituto della Enciclopedia Italiana, 2020

In M. Guirguis ed., La Sardegna fenicia e punica. Storia e materiali (Corpora delle antichità della Sardegna), Nuoro 2017

This article examines the dye color perse and its various shades in the period 1200- 1500, discussing Dante’s use of the term and delving into the practices, commerce, and material production of dyes in Florence and Europe. The term’s use in Oitanic culture can be surmised from a sample of texts in which perse refers almost exclusively to a shade of blue. While this explains the use of the term in the Fiore (a work which may be attributed to Dante), the remaining cases refer to a black color with occasional red tones in Le dolce rime and Tre donne, as well as in Inf. V and VII, Purg. IX, Par. III and, most notably, in the Convivio. Meanwhile various sources in the 13th-15th centuries, including commentaries to the Comedy, continue to refer perso to shades of blue. The facts come together when seen in the professional context of medieval wool dyeing, in light of the existence in Florence of a “Florentine perse” which imitates the quality of the French version but favors a dark variant, with glints of red, which Dante may have intended in his use of the word perso.