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Cardinals, Inquisitors, and Jesuits: Curial Patronage and Counter-Reformation in Cosimo I's Florence
Cardinals, Inquisitors, and Jesuits: Curial Patronage and Counter-Reformation in Cosimo I’s Florence Gregory Murry Cet article analyse les motivations du duc de Florence Côme I qui l’ont amené à soute- nir l’inquisition et les activités des jésuites entre 1540 et 1560. À travers l’examen de la correspondance gouvernementale et des archives concernant les bénéfices Toscan, cette étude met en lumière les liens entre le mécénat de la curie et les instances de la réforme Catholique, sous trois aspects interreliés. Premièrement, Côme n’a pas rompu ses liens spirituels avec Rome, puisque cela aurait mis en danger les intérêts séculiers de son réseau de clients, qui ceux-ci avaient une grande activité au sein des États Papaux. Deuxiè- mement, étant donné cette restriction, le duc a dû établir des liens avec des cardinaux de la curie pouvant lui garantir des faveurs séculières et spirituelles pour son réseau de clients. Troisièmement, par la suite, ces mêmes cardinaux ont profité de leur position stratégique pour renverser le rapport de force et ainsi imposer l’inquisition et les Jésuites au gouvernement florentin réticent. ith its large, literate middle class and burgeoning capitalist economy, Florence Wshould have been a city ripe for reformation. Indeed, if sociological considera- tions alone mattered, Cosimo I’s nasty personal relationship with Pope Paul III would have exploded into outright revolt, and the networks of heretical opinion circulating among the city’s cultured elite would have found fertile ground on Tuscan soil.1 However, sociology seems ill-suited to explain why Italy stayed Catholic since Italy had its cities, artisans, merchants, and nascent capitalism long before England, France, or Germany. -
A Bibliographical Guide to the Study of the Troubadours and Old Occitan Literature
A Bibliographical Guide to the Study of the Troubadours and Old Occitan Literature Robert A. Taylor RESEARCH IN MEDIEVAL CULTURE Bibliographical Guide to the Study of the Troubadours and Old Occitan Literature Medieval Institute Publications is a program of The Medieval Institute, College of Arts and Sciences Bibliographical Guide to the Study of the Troubadours and Old Occitan Literature Robert A. Taylor MEDIEVAL INSTITUTE PUBLICATIONS Western Michigan University Kalamazoo Copyright © 2015 by the Board of Trustees of Western Michigan University All rights reserved Manufactured in the United States of America This book is printed on acid-free paper. Library of Congress Cataloging-in-Publication Data Taylor, Robert A. (Robert Allen), 1937- Bibliographical guide to the study of the troubadours and old Occitan literature / Robert A. Taylor. pages cm Includes index. Summary: "This volume provides offers an annotated listing of over two thousand recent books and articles that treat all categories of Occitan literature from the earli- est enigmatic texts to the works of Jordi de Sant Jordi, an Occitano-Catalan poet who died young in 1424. The works chosen for inclusion are intended to provide a rational introduction to the many thousands of studies that have appeared over the last thirty-five years. The listings provide descriptive comments about each contri- bution, with occasional remarks on striking or controversial content and numerous cross-references to identify complementary studies or differing opinions" -- Pro- vided by publisher. ISBN 978-1-58044-207-7 (Paperback : alk. paper) 1. Provençal literature--Bibliography. 2. Occitan literature--Bibliography. 3. Troubadours--Bibliography. 4. Civilization, Medieval, in literature--Bibliography. -
9780521895200 Index.Pdf
Cambridge University Press 978-0-521-89520-0 - The Renaissance in Italy: A Social and Cultural History of the Rinascimento Guido Ruggiero Index More information INDEX Abel (Bible), depiction in art, 561–2 classics and, 251 , 257–8 Abortion, 129–30 clothing, depiction of, 363–4 Academies, 539–47 consensus realities and, 254–6 , 363–4 Accademia della Crusca (Academy), 541–2 culture and, 251 , 254, 257 Accolti, Bernardo, 452 Dante compared, 253 Acta Ecclesiae Mediolanenesis Eugenius IV and, 275 (Borromeo), 521 Gianfrancesco Gonzaga and, 294 Adam (Bible) on honor, 254–6 depiction in art, 561–2 Lorenzo de’ Medici and, 316 Garden of Eden and, 1–2 , 7 Ludovico Sforza and, 294 , 295 knowledge of, 260 Nicholas V and, 276 naming of things by, 221 , 261 , as painter, 294 266–7 , 423 Petrarch compared, 253 Savonarola on, 489–90 Alberti, Lionardo, 254–6 Addormentati (Academy), 541 Albert of Stade, 21 Adoration of the Christ Child (Fra Filippo Albizzi family, 299–300 Lippi), 307–8 Albornoz, Egidio, 60–1 , 157 , 166 Adoration of the Magi (Leonardo), 350 Alexander III (Pope), 39 , 41 , 270 Adoration of the Magi, The (Botticelli), Alexander the Great (Macedon), 458 , 582 345–6 , 357–9 Alexander VI (Pope) Adrian VI (Pope), 503–4 , 507–8 generally, 278 , 379 , 510 Aeschylus, 397 death of, 355 , 442 Africa (Petrarch), 225 French invasion of Italy and, 404–5 , Agathocles (Greece), 448 , 449 410–11 , 412 Age of the Beloveds, The (Andrews and “New World” and, 427 Kalpaki), 582 Piero de’ Medici and, 401 Age of marriage, 375 , 474 , 478 , 480–1 , 483 Savonarola -
Moma's Folk Art Museum and DS+R Scandal 14
017 Index MoMA's Folk Art Museum and DS+R 01 Editor´s Note Scandal 14 A Brief History of 02 Gabriela Salazar’s!In Advance Artwork Commission 22 of a Storm!Art Book Top Commissioned Promotion 26 Art Pieces by Top Commissioners of All Time 08 27 Contact Editor´s note Who were the first patrons in the history of art to commissioning artwork and what was their purpose? How has commissioning changed for the artist and for the entity requesting the art piece? What can be predicted as the future of the commissioning world? Our May issue explores the many and different ramifications of art commission in the past and in the present. Historical facts and recent scandals can make a quirky encapsulation of what is like to be commissioned to do art; to be commissioned an art piece for an individual, business, or government can sometimes be compared to making an agreement with the devil. “Commissioned artwork can be anything: a portrait, a wedding gift, artwork for a hotel, etc. Unfortunately, there are no universal rules for art commissions. Consequently, many clients take advantage of artists,” says Clara Lieu, an art critic for the Division of Experimental and Foundation studies and a professor at the Rhode Island School of Design. This issues aims to track down the history of ancient civilizations and the Renaissance in its relation to commissioned work, and its present manifestations in within political quarrels of 01 respectable art institutions. A Brief History of Artwork Commission: Ancient Rome and the Italian Renaissance An artwork commission is the act of soliciting the creation of an original piece, often on behalf of another. -
ROLLI DAYS Palazzi, Ville E Giardini Genova, 28 - 29 Maggio 2016
ROLLI DAYS palazzi, ville e giardini Genova, 28 - 29 maggio 2016 I Palazzi dei Rolli, Patrimonio dell’Umanità UNESCO IL SISTEMA DEI PALAZZI DEI ROLLI I PALAZZI DEI ROLLI Nel 2016 ricorre il decennale del riconoscimento da parte dell’UNESCO del sito “Le Strade Nuove e il Sistema dei Palazzi dei Rolli” , conferito nel 2006. Per celebrare l’anniversario, Genova propone tre edizioni dei Rolli Days: ) o c 2-3 Aprile, 28-29 maggio, 15-16 ottobre n a i B 2016 marks the tenth anniversary of UNESCO’s recognition of "The Strade Nuove and the o z system of the Palazzi dei Rolli" as a World Heritage Site in 2006. z a l To celebrate this anniversary, Genoa will be putting on three editions of the Rolli Days in 2016: a P ( i April 2-3, May 28-29 and October 15-16 d l a m i r G Il sito UNESCO “Genova, le Strade nuove e il sistema dei palazzi dei Rolli” conserva spazi urbani unitari di epoca a c u tardo-rinascimentale e barocca, fiancheggiati da oltre cento palazzi di famiglie nobiliari cittadine. Le maggiori L o dimore, varie per forma e distribuzione, erano sorteggiate in liste ufficiali (rolli) per ospitare le visite di Stato. I palazzi, z z a spesso eretti su suolo declive, articolati in sequenza atrio-cortile-scalone-giardino e ricchi di decorazioni interne, l a P esprimono una singolare identità sociale ed economica che inaugura l’architettura urbana di età moderna in Europa. i d L’iscrizione nella Lista del Patrimonio Mondiale conferma l’eccezionale valore universale di un sito culturale che o n i merita di essere protetto per il bene dell’umanità intera. -
The COMICAL HISTORY of ALPHONSUS, KING of ARAGON
ElizabethanDrama.org presents the Annotated Popular Edition of The COMICAL HISTORY of ALPHONSUS, KING OF ARAGON By Robert Greene Written c. 1588-1591 Earliest Extant Edition: 1599 Featuring complete and easy-to-read annotations. Annotations and notes © Copyright Peter Lukacs and ElizabethanDrama.org, 2021. This annotated play may be freely copied and distributed. The COMICAL HISTORY of ALPHONSUS, KING OF ARAGON by ROBERT GREENE Written c. 1588-1591 Earliest Extant Edition: 1599 DRAMATIS PERSONAE: European Characters: Carinus, the rightful heir to the crown of Aragon. Alphonsus, his son. Flaminius, King of Aragon. INTRODUCTION to the PLAY. Albinius, a Lord of Aragon Laelius, a Lord of Aragon There is no point in denying that Alphonsus, King of Miles, a Lord of Aragon Aragon, Robert Greene's first effort as a dramatist, is Belinus, King of Naples. clearly inferior to Christopher Marlowe's Tamburlaine, the Fabius, a Lord of Naples. play (or plays, really) that inspired it. Having said that, a Duke of Millain (Milan). modern reader can still enjoy Greene's tale of his own un- conquerable hero, and will appreciate the fact that, unlike Eastern Characters: the works of other lesser playwrights, Alphonsus does move briskly along, with armies swooping breathlessly on Amurack, the Great Turk. and off the stage. Throw in Elizabethan drama's first talking Fausta, wife to Amurack. brass head, and a lot of revenge and murder, and the reader Iphigina, their daughter. will be amply rewarded. Arcastus, King of the Moors. The language of Alphonsus is also comparatively easy Claramont, King of Barbary. to follow, making it an excellent starter-play for those who Crocon, King of Arabia. -
Defensive-Architecture-Of-The-Mediterranean VI 46.Pdf
6 DEFENSIVE ARCHITECTURE OF THE MEDITERRANEAN XV TO XVIII CENTURIES Vol. VI PROCEEDINGS of the International Conference on Modern Age Fortifications of the Mediterranean Coast FORTMED 2017 DEFENSIVE ARCHITECTURE OF THE MEDITERRANEAN XV TO XVIII CENTURIES Vol. VI Editor Ángel Benigno González Avilés Universidad de Alicante. Spain EDITORIAL PUBLICACIONS UNIVERSITAT D’ALACANT FORTMED 2017 Colección Congresos UA Los contenidos de esta publicación han sido evaluados por el Comité Científico que en ella se relaciona y según el procedimiento de la ``revisión por pares´´. © editor Ángel Benigno González Avilés © de los textos: los autores © 2017, de la presente edición: Editorial Publicacions Universitat d’Alacant. www.publicaciones.ua.es/ Imprime: ISBN: 978-84-16724-76-5 (Vol.VI) Depósito legal: A 494-2017 FORTMED – Modern Age Fortifications of the Mediterranean Coast, Alicante, October 26th, 27th, 28th 2017 Defensive Architecture of the Mediterranean. XV to XVIII centuries / Vol VI / González Avilés (Ed.) © 2017 Editorial Publicacions Universitat d’Alacant Digital tools for documentation and interpretation of the fortification system of Elba: the Giove Fort as a connection point between ancient routes and visual targets. Giulia Baldia, Mirco Puccib, Giorgio Verdianic aDipartimento di Architettura, Florence, Italy, [email protected] bDipartimento di Architettura, Florence, Italy, [email protected] cDipartimento di Architettura, Florence, Italy, [email protected] Abstract Elba territory presents a dense network of forts and outposts created by the various dynasties and conquerors that ruled the Island through the centuries. This defensive apparatus was connected by ancient paths, routes and visual systems, as it is possible to notice from the landscape, showing the various watch towers located on hills. -
Handbook to Life in Renaissance Europe
HANDBOOK TO LIFE IN RENAISSANCE EUROPE HANDBOOK TO LIFE IN RENAISSANCE EUROPE SANDRA SIDER Handbook to Life in Renaissance Europe Copyright © 2005 by Sandra Sider All rights reserved. No part of this book may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage or retrieval system, without permission in writing from the publisher. For information contact: Facts On File, Inc. 132 West 31st Street New York NY 10001 Library of Congress Cataloging-in-Publication Data Sider, Sandra. Handbook to life in Renaissance Europe / Sandra Sider. p. cm. Includes bibliographical references and index. ISBN 0-8160-5618-8 1. Renaissance—Handbooks, manuals, etc. I. Title. CB361.S498 2005 940.2´1—dc222004020088 Facts On File books are available at special discounts when purchased in bulk quantities for businesses, associations, institutions, or sales promotions. Please call our Special Sales Department in New York at (212) 967-8800 or (800) 322-8755. You can find Facts On File on the World Wide Web at http://www.factsonfile.com Text design by Cathy Rincon Cover design by Semadar Megged Maps by Jeremy Eagle Printed in the United States of America VB Hermitage 10 987654321 This book is printed on acid-free paper. This book is dedicated to my husband CONTENTS LIST OF ILLUSTRATIONS ix Major Figures 58 Reading 63 LIST OF MAPS x 3 ART AND VISUAL CULTURE 65 Painting 67 ACKNOWLEDGMENTS xi Tapestries 78 Sculpture 80 INTRODUCTION: Prints 85 ORIGINS OF THE RENAISSANCE xiii Decorative -
382 Index.Qxd
405 INDEX INDEX More detailed or explanatory references (where there any many references listed), or references to an artist’s masterpiece (in cases where it is not listed by name), are given in bold. Numbers in italics are pic- ture references. Dates are given for all artists and sculptors. Saints’ names for towns are written out in full (San Gimignano); churches are listed as S. Martino, S. Agata etc. Note that artists in medieval and Renaissance Italy are often named for their parentage, provenance or occupation (Piero della Francesca = son of Francesca; Pietro da Cortona = Pietro from Cortona and Paolo Veneziano = Paolo the Venetian; Lorenzo Monaco = Lorenzo the monk). They are indexed under ther first names. A Florentine painter; 1343–77) 188 Abano Terme 109 Angelico, Fra’ (Guido di Pietro; Florentine painter; Aeneas, story of 236, 285, 310, 326, 375 c.1400–55) 186, 196, 270; (tomb of) 256 Agathocles of Syracuse 375 Angera 50 Agrate, Marco d’ (Lombard sculptor; active Angevin rulers of Naples and Sicily 312, 368 1534–71) 34 Annigoni, Pietro (painter; 1910–88) 106 Agrigento 378–79, 379 d’Annunzio, Gabriele, poet 111 Alba 24 Anselm, St 9, 355 Alba Longa, ancient city 236, 285 Anselmo da Campione (Campionese sculptor; Alban Hills 285–86 fl.1160–80) 142 Albenga 167 Antelami, Benedetto (architect, active in Parma; Alberobello 359–60, 359 c.1178–1230) 143 Alberti, Leon Battista (Florentine architect; Anthony of Padua, St 106 1404–72) 59, 60, 60, 156, 187, 188 Antinous, favourite of Hadrian 283 Albissola 167 Antonelli, Alessandro (Piedmontese -
The Latinist Poet-Viceroy of Peru and His Magnum Opus
Faventia 21/1 119-137 16/3/99 12:52 Página 119 Faventia 21/1, 1999119-137 The latinist poet-viceroy of Peru and his magnum opus Bengt Löfstedt W. Michael Mathes University of California-Los Angeles Data de recepció: 30/11/1997 Summary Diego de Benavides A descendent of one of the sons of King Alfonso VII of Castile and León, Juan Alonso de Benavides, who took his family name from the Leonese city granted to him by his father, Diego de Benavides de la Cueva y Bazán was born in 1582 in Santisteban del Puerto (Jaén). Son of the count of Santisteban del Puerto, a title granted by King Enrique IV to Díaz Sánchez in Jaén in 1473, he studied in the Colegio Mayor of San Bartolomé in the University of Salamanca, and followed both careers in letters and arms. He was the eighth count of Santisteban del Puerto, commander of Monreal in the Order of Santiago, count of Cocentina, title granted to Ximén Pérez de Corella by King Alfonso V of Aragón in 1448; count of El Risco, title granted to Pedro Dávila y Bracamonte by the Catholic Monarchs in 1475; and marquis of Las Navas, title granted to Pedro Dávila y Zúñiga, count of El Risco in 1533. As a result of his heroic actions in the Italian wars, on 11 August 1637 Benavides was granted the title of marquis of Solera by Philip IV, and he was subsequently appointed governor of Galicia and viceroy of Navarra. A royal coun- selor of war, he was a minister plenipotentiary at the Peace of the Pyrenees in 1659, and arranged the marriage of Louis XIV with the Princess María Teresa of Austria as part of the terms of the teatry1. -
Cna85b2317313.Pdf
THE PAINTERS OF THE SCHOOL OF FERRARA BY EDMUND G. .GARDNER, M.A. AUTHOR OF "DUKES AND POETS IN FERRARA" "SAINT CATHERINE OF SIENA" ETC LONDON : DUCKWORTH AND CO. NEW YORK : CHARLES SCRIBNER'S SONS I DEDICATE THIS BOOK TO FRANK ROOKE LEY PREFACE Itf the following pages I have attempted to give a brief account of the famous school of painting that originated in Ferrara about the middle of the fifteenth century, and thence not only extended its influence to the other cities that owned the sway of the House of Este, but spread over all Emilia and Romagna, produced Correggio in Parma, and even shared in the making of Raphael at Urbino. Correggio himself is not included : he is too great a figure in Italian art to be treated as merely the member of a local school ; and he has already been the subject of a separate monograph in this series. The classical volumes of Girolamo Baruffaldi are still indispensable to the student of the artistic history of Ferrara. It was, however, Morelli who first revealed the importance and significance of the Perrarese school in the evolution of Italian art ; and, although a few of his conclusions and conjectures have to be abandoned or modified in the light of later researches and dis- coveries, his work must ever remain our starting-point. vii viii PREFACE The indefatigable researches of Signor Adolfo Venturi have covered almost every phase of the subject, and it would be impossible for any writer now treating of Perrarese painting to overstate the debt that he must inevitably owe to him. -
CYCLOPEDIA of BIBLICAL, THEOLOGICAL and ECCLESIASTICAL LITERATURE G - Izquierdo, Sebastiano by James Strong & John Mcclintock
THE AGES DIGITAL LIBRARY REFERENCE CYCLOPEDIA of BIBLICAL, THEOLOGICAL and ECCLESIASTICAL LITERATURE G - Izquierdo, Sebastiano by James Strong & John McClintock To the Students of the Words, Works and Ways of God: Welcome to the AGES Digital Library. We trust your experience with this and other volumes in the Library fulfills our motto and vision which is our commitment to you: MAKING THE WORDS OF THE WISE AVAILABLE TO ALL — INEXPENSIVELY. AGES Software Rio, WI USA Version 1.0 © 2000 2 G Gabata (or Gabbatha) Picture for Gabata properly a bowl; hence a pensile lamp of similar form, for a church, made of different metals-gold, silver, brass, and electrum. These lamps were frequently embossed, or decorated in bass-relief, and ornamented with lilies, heads of gryphons or lions, or even fashioned in the form of these animals. Like the corone used for lighting, they very often had crosses. attached to them. Gabbai, Isaac ibn- a Jewish writer, who flourished at Leghorn at the beginning of the 17th century, is the author of tjn ãk or, a commentary on the Mishna (Venice, 1614, and often). See Furst, Bibl. Jud. 1:311; Jocher, Allgemeines Gelehrten-Lexikon, s.v. B.P.) Gabbai, Meir ibn- a Jewish writer of Italy, in the 16th century, is the author of, hnwma ˆrd , a cabalistic work, which treats of the ten sephiroth (Iadua, 1563; latest edition, by Goldberg, Berlin, 1850): çdqh tdb[, also µyhla twarm, a cabalisticophilosophical work (Mantua, 1545): — bq[y t[lwt, cabalistic explanations of the Jewish prayers (Constantinople, 1560). See De' Rossi, Dizionario Storico (Germ.