Guido Aretino - Florence, Italy - Musician Statues on Waymarking.com

THE STATUE
This statue of Guido Aretino is one othe the 28 that decorate the columns of the Uffizi gallery. In it Guido Aretino has a musical sheet in his left hand. He his represented in real size and using monk's habit.

"With rescript grand-ducal of 11 March 1842 established the Florentine Deputation to implement in the Loggia degli Uffizi statues in honor of various famous Tuscan, chaired by John Ginori, intended to carry out the project of 28 statues of the Florentine Vincenzo Batelli typesetter, who had had to give up for lack of means. The statues, depicting personalities of politics, art, science, literature, etc.., Made in the course of several years (the first 11 in 15 years) were donated to the Community on the occasion of the feast of the patron and placed in the niches designed by Vasari for architectural purposes. To raise the necessary funds resorted to various means: the statue of Nicola Pisano (made from rings) and those of Giotto (Dupré) and Galileo (Costoli) were donated by Lorena, sometimes the States carried out of his own pocket, as in If the Statue of Amerigo Vespucci, paid by Sir Henry Danty or, famous artists such as Lorenzo Bartolini, with "generous patriotism," were content to be paid as other lesser-known artisans, "postergando any special interest." In general, however, to raise funds, the Deputation was organizing "a stake in the round ', or a horse race with jockeys, and some raffles at the Uffizi and Piazza S. Maria Novella. In June 1848, the Deputation, giving the statue by Donatello Bardi, announced that within two years he would donate the other three, 'without doubt, however, the event of the seven statues that then fail to complete the decoration of these Uffizi, because their existence is now exclusively connected making and the outcome of the public raffles."
Translated From: (visit link)


Guido Aretino
"Guido of Arezzo (also Guido Aretinus, Guido Aretino, Guido da Arezzo, Guido Monaco, or Guido d'Arezzo, or Guy of Arezzo also Guy d'Arezzo) (991/992 – after 1033) was an Italian music theorist of the Medieval era. He is regarded as the inventor of modern musical notation (staff notation) that replaced neumatic notation; his text, the Micrologus, was the second-most-widely distributed treatise on music in the Middle Ages (after the writings of Boethius).

Guido was a Benedictine monk from the Italian city-state of Arezzo. Recent research has dated his Micrologus to 1025 or 1026; since Guido stated in a letter that he was thirty-four when he wrote it, his birthdate is presumed to be around 991 or 992. His early career was spent at the monastery of Pomposa, on the Adriatic coast near Ferrara. While there, he noted the difficulty that singers had in remembering Gregorian chants.
He came up with a method for teaching the singers to learn chants in a short time, and quickly became famous throughout north Italy. However, he attracted the hostility of the other monks at the abbey, prompting him to move to Arezzo, a town which had no abbey, but which did have a large group of cathedral singers, whose training Bishop Tedald invited him to conduct.
While at Arezzo, he developed new techniques for teaching, such as staff notation and the use of the "ut–re–mi–fa–so–la" (do–re–mi–fa–so–la) mnemonic (solmization). The ut–re–mi-fa-so-la syllables are taken from the initial syllables of each of the first six half-lines of the first stanza of the hymn Ut queant laxis, whose text is attributed to the Italian monk and scholar Paulus Diaconus (though the musical line either shares a common ancestor with the earlier setting of Horace's "Ode to Phyllis" (Odes 4.11) recorded in the Montpellier manuscript H425, or may even have been taken from it.)[1] Giovanni Battista Doni is known for having changed the name of note "Ut" (C), renaming it "Do" (in the "Do Re Mi ..." sequence known as solfège). A seventh note, "Si" (from the initials for "Sancte Iohannes," Latin for St. John the Baptist) was added shortly after to complete the diatonic scale. In Anglophone countries, "Si" was changed to "Ti" by Sarah Glover in the nineteenth century so that every syllable might begin with a different letter (this also freed up Si for later use as Sol-sharp). "Ti" is used in tonic sol-fa and in the song "Do-Re-Mi".
The Micrologus, written at the cathedral at Arezzo and dedicated to Tedald, contains Guido's teaching method as it had developed by that time. Soon it had attracted the attention of Pope John XIX, who invited Guido to Rome. Most likely he went there in 1028, but he soon returned to Arezzo, due to his poor health. It was then that he announced in a letter to Michael of Pomposa ("Epistola de ignoto cantu") his discovery of the "ut–re–mi" musical mnemonic. Little is known of him after this time."
From: (visit link)

Name of Musician: Guido Aretino

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