Cardinals' Testaments

Total Page:16

File Type:pdf, Size:1020Kb

Cardinals' Testaments Chapter 18 Cardinals’ Testaments: Piety and Charity Fausto Nicolai 1 Clerical Status and the licentia testandi The right to make a will or to leave one’s possessions to a designated heir ac- cording to universal principles recognized in Roman law gained a particular meaning for cardinals.1 This was due to their special status in canon law, ac- cording to which cardinals were beneficiaries of ecclesiastical income in the form of Church revenues (coming from titular churches, deaconries, etc.) and curial incomes as members of the Sacred College and as a result of certain positions (monasteries in commendam, prebends etc.; see the contribution by Lucinda Byatt in this volume) who could not freely dispose of the wealth ob- tained per ecclesiam but only of such possessions as they had obtained pri- vately, and/or through their family. When properties and assets accumulated during a cardinal’s life became part of a single undivided patrimony contain- ing possessions both obtained in private and per ecclesiam, the option of leav- ing these by testament to an heir was lessened – and with that also the faculty of making a will. Moreover, from the Middle Ages onwards the right to make a will was further limited by the practice of the papal jus spolii, the pope’s pre- rogative to appropriate possessions of deceased ecclesiastics, which was seen as an act of recuperation or restitution of that which had been obtained per ecclesiam.2 The lack of clear regulations guaranteeing cardinals full faculty for drawing up their testament was only resolved at the end of the 12th century when, first as customary practice and subsequently as formal act, the licentia testandi was introduced.3 This was a permission to draw up one’s own will which the pope 1 For a historical discussion of the regulations in canon law with respect to the administration of possessions and the legation of goods by cardinals, see Agostino Paravicini Bagliani, I tes- tamenti dei cardinali del Duecento (Rome: 1980), and Barbara McClung Hallman, Italian Car- dinals, Reform and the Church as Property 1492–1563 (Los Angeles: 1985); see also the contribu- tions by Arnold Witte and Mary Hollingsworth on titular churches and the cardinal’s household in the present volume. 2 On the papal jus spolii see the documentary material in Daniel Williman, Records of the Papal Right of Spoil, 1316–1412 (Paris: 1974). 3 Paravicini Bagliani, I testamenti, 42–46. © koninklijke brill nv, leiden, ���� | doi:10.1163/9789004415447_0�0 <UN> Cardinals’ Testaments: Piety and Charity 295 could concede upon request.4 This licentia testandi not only guaranteed a car- dinal complete disposal of his own patrimony, but it also placed it beyond the reach of the papal jus spolii. In conceding the faculty of bequeathing in the form of grace (grazia) or dispensation (dispensa), the pope on the one hand showed his sovereign powers by means of a relative submission of the Sacred College to his will, and on the other hand renounced the possibility of appro- priation of these possessions. The licence granted by the pope allowed a cardinal to formalize his last will, with full powers to administer his entire heritage with the sole exception of li- turgical vestments and the furnishings of his private chapel; these were to be reserved for churches or other holy institutions. From the 13th century on- wards, it became the norm for cardinals to arrange their last wishes; amongst the few who died intestate are Giovanni Battista Savelli (1422–98) and Ascanio Maria Sforza (1455–1505).5 Not only could a cardinal express his testamentary arrangements at any moment, he could also modify them in a new will – so long as he obtained a licentia testandi for every new testament. Therefore, mak- ing changes to a testament required a specific new papal license. The pope would grant this licence in the form of a papal letter or brief, which he addressed directly to the supplicant. A cardinal thus had to turn to the reigning pope with the request for a licence that, if obtained, would remain valid even after that pope’s death. It was only very seldom that a pope refused such a request; if this happened, it was due to the pope’s own personal inter- ests, as was the case when Alexander vi denied Ascanio Maria Sforza a licentia testandi and attempted to confiscate the substantial possessions of this Lom- bard ecclesiastic – the Borgia pope wanted to use these funds to finance his son Cesare’s military campaigns in the Romagna.6 The contents of a licentia testandi can be explained by means of the exam- ple of Cardinal Ottavio Bandini, who obtained permission from Paul v in 1616.7 The decision in the form of a brief consists of approximately ten pages, the majority of which defined the goods obtained per ecclesiam, the beneficiaries 4 From the 12th through to the early 17th century there were no legal premises or requirements for the concession of the licentia. Pope Gregory xv (1621–23) established a preliminary “tax on the ring” of 500 Roman scudi which allowed then the cardinals to receive it and being able in this way to dictate their last wills. See Moroni, 2:68. 5 Marco Pellegrini, Ascanio Maria Sforza: La parabola politica di un cardinale-principe del Rinascimento (Rome: 2002), 626. 6 Pellegrini, Ascanio Maria Sforza, 626. The lack of a licenza testandi resulted in Ascanio Sforza dying without a testament, which permitted Pope Julius ii to appropriate his possessions and use them for the construction of the new St. Peter’s. 7 asv, Segreteria dei Brevi, Reg. 534, fols. 530–40, 11 March 1616. <UN>.
Recommended publications
  • THE PRINCE by Nicolo Machiavelli
    THE PRINCE by Nicolo Machiavelli CHAPTER I HOW MANY KINDS OF PRINCIPALITIES THERE ARE, AND BY WHAT MEANS THEY ARE ACQUIRED All states, all powers, that have held and hold rule over men have been and are either republics or principalities. Principalities are either hereditary, in which the family has been long established; or they are new. The new are either entirely new, as was Milan to Francesco Sforza, or they are, as it were, members annexed to the hereditary state of the prince who has acquired them, as was the kingdom of Naples to that of the King of Spain. Such dominions thus acquired are either accustomed to live under a prince, or to live in freedom; and are acquired either by the arms of the prince himself, or of others, or else by fortune or by ability. CHAPTER II CONCERNING HEREDITARY PRINCIPALITIES I will leave out all discussion on republics, inasmuch as in another place I have written of them at length, and will address myself only to principalities. In doing so I will keep to the order indicated above, and discuss how such principalities are to be ruled and preserved. I say at once there are fewer difficulties in holding hereditary states, and those long accustomed to the family of their prince, than new ones; for it is sufficient only not to transgress the customs of his ancestors, and to deal prudently with circumstances as they arise, for a prince of average powers to maintain himself in his state, unless he be deprived of it by some extraordinary and excessive force; and if he should be so deprived of it, whenever anything sinister happens to the usurper, he will regain it.
    [Show full text]
  • Il Passato Riscoperto Cap 05 Notizie Storiche 1451-1500
    Il passato riscoperto CENNI SULLA STORIA DELLA CHIESA DI S. CALOCERO CAPITOLO 5 - IL 1450-1500 GLI ARTISTI CIVATESI – LA COMMENDA 1451 Riconferma e ampliamento di esenzioni ed immunità vennero dal duca Francesco Sforza nel 1451 (epoca dalla quale ricorre per il territorio della Martesana superiore la denominazione di “Monte di Brianza”), da Galeazzo Maria Sforza nel 1476, da Bona di Savoia nel 1478. 5 maggio 1451 . Il Duca Francesco Sforza concede al Monastero di San Pietro di Civate la conferma di tutte le esenzioni ed immunità già concesse da Filippo Maria Visconti il 1 ° ottobre 1423. 1 2 Conferma delle esenzioni concesse al Monastero di San Pietro di Civate, Ducato di Milano. 1 Atto originale.(ASM, Registri Ducali, Frammenti, Cartella 1’, fascicolo X °, fogli 583-584). 2 Confirmatio exemptionum Monasterij Sancti Petri de Clivate, Ducatus Mediolani. Dux Mediolani etc. Supplicato nobis pro parte domini abbatis et Monacorum, Capituli et conventus Monasterij Sancti Petri de Clivate, uti litteras exemptionis et immunitatis, alias sibi per illustres dominus Vicecomites praecessores meos et per illustrem dominum quondam principem et dominum Filippum Maria Vicecomitent patrem et socerum meum proxime decessum concessas et confirmatas, de speciali gratia approbare et confirmare dignaremur, quorum ordini litterarum tenor sequitur ut infra videlicet: Filippus Maria Anglus dux Mediolani etc. Supplicato nobis pro parte venerabilis abbatis, Monacorum Capituli et conventus Monasterij Sancti Petri de Clivate ducatus nostri Mediolani et alias cellebris memore, Illustrissimus quondam dominus dux Genitor noster, ob singularem devotionem quam ad ipsum habebat Monasterium, eiusdem abbati, Monacis, Capitulo et conventui, immunitatem et exemptionem concesserat per speciales eius litteras, per illustrem quondam dominum Germanum meum olim ducem Mediolani confirmatas continentie subsequentis videlicet: Dux Mediolani etc.
    [Show full text]
  • The Story of the Borgias (1913)
    The Story of The Borgias John Fyvie L1BRARV OF UN ,VERSITV CALIFORNIA AN DIEGO THE STORY OF THE BORGIAS <Jt^- i//sn6Ut*4Ccn4<s flom fte&co-^-u, THE STORY OF THE BOEGIAS AUTHOR OF "TRAGEDY QUEENS OF THE GEORGIAN ERA" ETC NEW YORK G. P. PUTNAM'S SONS 1913 PRINTED AT THE BALLANTYNE PRESS TAVI STOCK STREET CoVENT GARDEN LONDON THE story of the Borgia family has always been of interest one strangely fascinating ; but a lurid legend grew up about their lives, which culminated in the creation of the fantastic monstrosities of Victor Hugo's play and Donizetti's opera. For three centuries their name was a byword for the vilest but in our there has been infamy ; own day an extraordinary swing of the pendulum, which is hard to account for. Quite a number of para- doxical writers have proclaimed to an astonished and mystified world that Pope Alexander VI was both a wise prince and a gentle priest whose motives and actions have been maliciously mis- noble- represented ; that Cesare Borgia was a minded and enlightened statesman, who, three centuries in advance of his time, endeavoured to form a united Italy by the only means then in Lucrezia anybody's power ; and that Borgia was a paragon of all the virtues. " " It seems to have been impossible to whitewash the Borgia without a good deal of juggling with the evidence, as well as a determined attack on the veracity and trustworthiness of the contemporary b v PREFACE historians and chroniclers to whom we are indebted for our knowledge of the time.
    [Show full text]
  • The Choir Books of Santa Maria in Aracoeli and Patronage Strategies of Pope Alexander VI
    University of South Florida Scholar Commons Graduate Theses and Dissertations Graduate School January 2013 The hoirC Books of Santa Maria in Aracoeli and Patronage Strategies of Pope Alexander VI Maureen Elizabeth Cox University of South Florida, [email protected] Follow this and additional works at: http://scholarcommons.usf.edu/etd Part of the History of Art, Architecture, and Archaeology Commons, and the History of Religion Commons Scholar Commons Citation Cox, Maureen Elizabeth, "The hoC ir Books of Santa Maria in Aracoeli and Patronage Strategies of Pope Alexander VI" (2013). Graduate Theses and Dissertations. http://scholarcommons.usf.edu/etd/4657 This Thesis is brought to you for free and open access by the Graduate School at Scholar Commons. It has been accepted for inclusion in Graduate Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. The Choir Books of Santa Maria in Aracoeli and Patronage Strategies of Pope Alexander VI by Maureen Cox-Brown A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts School of Art and Art History College of The Arts University of South Florida Major Professor: Helena K. Szépe Ph.D. Elisabeth Fraser Ph.D. Mary Fournier Ph.D. Date of Approval: June 28, 2013 Keywords: Humanism, Antonio da Monza, illuminated manuscripts, numismatics, Aesculapius, Pinturicchio, Borgia Copyright © 2013, Maureen Cox-Brown DEDICATION This is lovingly dedicated to the memory of my mother and her parents. Et benedictio Dei omnipotentis, Patris et Filii et Spiritus Sancti descendat super vos et maneat semper ACKNOWLEDGMENTS I would like to thank Dr.
    [Show full text]
  • ALEXANDER VI: (1431 - 1503, Pope from 1492 - 1503)
    ALEXANDER VI: (1431 - 1503, Pope from 1492 - 1503) Alexander is the most notorious pope in all of history. He conducted a pontificate of nepotism, greed, ruthlessness, murder, and, as McBrien has described it, "unbridled sensuality." He became the leading figure in the saga of the Borgia family, both as a perpetuator of evil and a facilitator of the activities of the two most famous of his children, Cesare and Lucrezia. The second and last of the Spanish popes literally bought his pontificate with bribes. Such a purchased election is called "simoniacal," and was easily accomplished with the greed of seventeen of the twenty-two cardinals voting for the new pope. He was born Rodrigo Borgia near Valencia, Spain, the nephew of Callixtus, who made him a cardinal at the age of twenty-five (1456) and vice-chancellor of the Holy See (1457). As vice-chancellor, he amassed great wealth, lived an openly promiscuous life, and fathered seven children, both as a cardinal and the pope. Pius II, who had succeeded Callixtus and continued to support the rise in the church hierarchy of Cardinal Rodrigo Borgia, had to warn the young cardinal to refrain from his practice of participating in orgies. It was, as Pius expressed it, "unseemly." As a young man, Rodrigo was described as tall and handsome. Sigismondo de Conti speaks of him as a large, robust man, with a sharp Alexander VI Adoring gaze, great amiability, and "wonderful skill in money matters." Others the Risen Christ admired his tall figure, florid complexion, dark eyes, and full mouth. (Pinturicchio) However, in his early sixties when he became pope, he apparently lost his physical charm.
    [Show full text]
  • The Life of Cesare Borgia
    The Life of Cesare Borgia Rafael Sabatini The Life of Cesare Borgia Table of Contents The Life of Cesare Borgia.........................................................................................................................................1 Rafael Sabatini...............................................................................................................................................1 PREFACE......................................................................................................................................................2 BOOK I. THE HOUSE OF THE BULL.....................................................................................................................8 CHAPTER I. THE RISE OF THE HOUSE OF BORGIA............................................................................8 CHAPTER II. THE REIGNS OF SIXTUS IV AND INNOCENT VIII.....................................................12 CHAPTER III. ALEXANDER VI...............................................................................................................21 CHAPTER IV. BORGIA ALLIANCES......................................................................................................29 BOOK II. THE BULL PASCANT...........................................................................................................................36 CHAPTER I. THE FRENCH INVASION..................................................................................................36 CHAPTER II. THE POPE AND THE SUPERNATURAL........................................................................44
    [Show full text]
  • Conclave 1492: the Election of a Renaissance Pope
    Conclave 1492: The Election of a Renaissance Pope A Reacting to the Past Microgame Instructor’s Manual Version 1 – August 2017 William Keene Thompson Ph.D. Candidate, History University of California, Santa Barbara [email protected] Table of Contents Game Summary 1 Procedure 3 Biographical Sketches and Monetary Values 4 Role Distribution and Vote Tally Sheet 6 Anticipated Vote Distributions 7 Conclave Ballot Template 8 Role Sheets (23 Cardinals) 9 Additional Roles 33 Extended Gameplay and Supplementary Readings 34 William Keene Thompson, UC Santa Barbara [email protected] Conclave 1492: The Election of a Renaissance Pope The Situation It is August 1492. Pope Innocent VIII has died. Now the Sacred College of Cardinals must meet to choose his successor. The office of Pope is a holy calling, born of the legacy of Saint Peter the first Bishop of Rome, who was one of Christ’s most trusted apostles. The Pope is therefore God’s vicar on Earth, the temporal representation of divine authority and the pinnacle of the church hierarchy. However, the position has also become a political role, with the Holy Father a temporal ruler of the Papal States in the center of the Italian peninsula and charged with protecting the interests of the Church across Christendom. As such, the position requires not only spiritual vision but political acumen too, and, at times ruthlessness and deception, to maintain the church’s position as a secular and spiritual power in Europe. The Cardinals must therefore consider both a candidate’s spiritual and political qualifications to lead the Church.
    [Show full text]
  • Music at the Aragonese Court of Naples
    MUSIC AT THE ARAGONESE COURT OF NAPLES Allan W. Atlas The nght ·~f the Umrt'f.l'ill' of Cambrulgc 111 fir/Ill and 1cll ullmann('f ojh1mf....1 U'U\' grun/!•d hy l/,•,Jfl' Vltl in 1534. Tlw Unil't'f.\"11)' hw (lrinl<'rl und p11hlish"rl I'OIIIIIwou•J.r Wll'<' f58.f. Cambridge University Press Cambridge London New York New Rochelle Melbourne Sydney museo inter!1ozionale e b ibliote.:a ddl.2 mus ica di bolc g na 82 Music at the Aragonese Court of Naples Composers and Other 'Illustrissimi' 83 works only two can be safely assigned to Naples, the hymns Hostis Herodis impie sing and play the lute. Although his studies with Guarnerius could not have lasted and Christe Redemptor omnium, Ex Patre Patris, both of which are unique to the very long -the Flemish musician was back at the papal chapel by the Spring of Neapolitan manuscript Montecassino 8 71 and are the only hymn settings by 1479 at the latest (see note 125)-Calmeta tells us that he made such remarkable Gaffurius that use chants of the Roman, rather than of the Ambrosian, rite. 123 progress that 'a ciascuno altro musico italiano nel componere canti tolse la In the edition, Gaffurius is represented by Christe Redemptor omnium (No. 7). palma'. Serafino remained at Naples until 1481, when, upon the death of his father, he returned to Aquila. A second encounter with Neapolitan culture began Guillelmus Guarnerius. One of the more shadowy figures of the late fifteenth in 1487, when Serafino accompanied his patron, Ascanio Sforza, to Milan.
    [Show full text]
  • Representations of Lucrezia Borgia and the Image of the Moral Exemplar in the Late Quattrocento and Early Cinquecento
    University of Mary Washington Eagle Scholar Student Research Submissions Spring 5-5-2018 Representations of Lucrezia Borgia and the Image of the Moral Exemplar in the Late Quattrocento and Early Cinquecento Nina Wutrich Follow this and additional works at: https://scholar.umw.edu/student_research Part of the History of Art, Architecture, and Archaeology Commons Recommended Citation Wutrich, Nina, "Representations of Lucrezia Borgia and the Image of the Moral Exemplar in the Late Quattrocento and Early Cinquecento" (2018). Student Research Submissions. 237. https://scholar.umw.edu/student_research/237 This Honors Project is brought to you for free and open access by Eagle Scholar. It has been accepted for inclusion in Student Research Submissions by an authorized administrator of Eagle Scholar. For more information, please contact [email protected]. Nina Wutrich Representations of Lucrezia Borgia and the Image of the Moral Exemplar in the Late Quattrocento and Early Cinquecento ARTH 492: Individual Study in Art History Paper submitted in partial fulfillment of Honors in Art History 5 May 2018 Marjorie Och Professor of Art History Faculty Advisor Jon McMillan Chair, Department of Art and Art History Wutrich 1 During the late fifteenth- and early sixteenth-century lifetime of Lucrezia Borgia, daughter of Pope Alexander VI Borgia, Lucrezia profited from a carefully crafted image wherein comparisons were drawn between herself and saints, holy women, and moral exemplars from classical antiquity. This appropriation of imagery evolved as Lucrezia herself matured; the representations shift from those where Lucrezia completely disguises herself as a morally exemplary woman such as Saint Catherine of Alexandria, to those where she presents herself, in her role as Duchess of Ferrara, as a morally exemplary holy woman in her own right.
    [Show full text]
  • A Papal Hall of State: Ceremony And
    A PAPAL HALL OF STATE: CEREMONY AND MULTIFUNCTIONALITY IN THE BORGIA APARTMENT by EMILY BROWN KELLEY TANJA JONES, COMMITTEE CHAIR HEATHER MCPHERSON MINDY NANCARROW A THESIS Submitted in partial fulfillment of the requirements for the degree of Master of Arts in the joint program in Art History in the Graduate Schools of The University of Alabama and The University of Alabama at Birmingham TUSCALOOSA, ALABAMA 2014 Copyright Emily Brown Kelley 2014 ALL RIGHTS RESERVED ABSTRACT Situated on the second level (piano nobile) of the Vatican Palace, overlooking the south side of the Belvedere Courtyard, are eight rooms or sale that comprised the papal apartment of the Spanish native, Pope Alexander VI (Rodrigo Borgia, born c. 1431; r. 1492-1503). These spaces once hosted powerful cardinals and heads of state for diplomatic or religious matters. They also served as Alexander VI’s private living spaces. During meetings or meals with the Borgia pope, guests encountered a visual array of opulent fresco programs that included fictive tapestries along the lower half of the wall surface, vibrant narrative lunettes on the upper half, and lavishly gilded vault programs decorated by Bernardino Pinturicchio (1454-1513) and his workshop during 1492-94. Combining iconographic study, examination of primary source documents regarding court ceremony and use of the space, and architectural analyses of Roman palazzi from the period, this thesis offers the first sustained consideration of the multiple, and often overlapping, functions that the eight rooms of the Borgia apartment likely served during Alexander VI’s pontificate. Such an effort is especially important as Alexander VI’s apartment in the Vatican Palace represents the oldest surviving decorated papal apartment in Rome.
    [Show full text]
  • And His Ambassadors Paul M
    Kennesaw State University DigitalCommons@Kennesaw State University Faculty Publications 12-2005 Royal Diplomacy in Renaissance Italy: Ferrante d’Aragona (1458–1494) and his Ambassadors Paul M. Dover Kennesaw State University, [email protected] Follow this and additional works at: https://digitalcommons.kennesaw.edu/facpubs Part of the Diplomatic History Commons Recommended Citation Dover, P. M. (2005). Royal diplomacy in renaissance italy: Ferrante d'aragona (1458-1494) and his ambassadors. Mediterranean Studies, 14(1), 57-94. This Article is brought to you for free and open access by DigitalCommons@Kennesaw State University. It has been accepted for inclusion in Faculty Publications by an authorized administrator of DigitalCommons@Kennesaw State University. For more information, please contact [email protected]. ROYAL DIPLOMACY IN RENAISSANCE ITALY: FERRANTE D’ARAGONA (1458–1494) AND HIS AMBASSADORS1 Paul M. Dover IN UNDERTAKING A STUDY OF THE HISTORIOGRAPHY of Renaissance Italy, one might be forgiven if he or she came to the conclusion that the Kingdom of Naples was not a constituent part of the Italian peninsula. In the cultural, social and political narratives of the Renaissance, Naples is largely missing—Italy’s largest and most populous state is rendered vestigial. This is certainly in part a function of being obscured in the great historiographical glare of Florence and Venice, a fate that has visited other Renaissance princely states as well. It is also the case that in some very important ways Naples was an outlier. It was the peninsula’s only kingdom and thus faced political challenges unique to Italy. Although shorn of its Spanish territories in the division of the House of Aragon’s inheritance by Alfonso in 1458, the Kingdom of Naples retained a Catalan veneer and was connected to Iberian affairs in a way unlike in any other state in Italy.2 The Kingdom also lacked, despite significant achievements in Naples itself, the urban dynamism that has so often been associated with Renaissance culture.
    [Show full text]
  • Elena Und Michela Martignoni Borgia Die Verschwörung
    Elena und Michela Martignoni Borgia Die Verschwörung 142_48961_01_Martignoni_INH_s001-384.indd 1 14.06.19 12:30 142_48961_01_Martignoni_INH_s001-384.indd 2 14.06.19 12:30 Elena & Michela MARTIGNONI BORGIA DIE VERSCHWÖRUNG Historischer Roman Aus dem Italienischen von Ingrid Exo und Christine Heinzius 142_48961_01_Martignoni_INH_s001-384.indd 3 14.06.19 12:30 Die Originalausgabe erschien 2005 unter dem Titel »Requiem per il giovane Borgia« bei Carte Scoperte, Mailand, und 2007 bei TEA DUE, Mailand, und 2018 zusammen mit den Borgia-Romanen »Autunno rosso porpora« und »Vortice di inganni« bei Garzanti, Mailand. Dieses Buch ist auch als E-Book erhältlich. Sollte diese Publikation Links auf Webseiten Dritter enthalten, so übernehmen wir für deren Inhalte keine Haftung, da wir uns diese nicht zu eigen machen, sondern lediglich auf deren Stand zum Zeitpunkt der Erstveröffentlichung verweisen. Verlagsgruppe Random House FSC® N001967 1. Auflage Deutschsprachige Erstausgabe September 2019 Copyright © der Originalausgabe by Elena e Michela Martignoni Copyright © der deutschsprachigen Ausgabe 2019 by Wilhelm Goldmann Verlag, München, in der Verlagsgruppe Random House GmbH, Neumarkter Str. 28, 81673 München Gestaltung des Umschlags und der Umschlaginnenseiten: UNO Werbeagentur München Umschlagfoto: © gettyimages/ZU_09 FinePic®, München Redaktion: Kerstin von Dobschütz BH · Herstellung: kw Satz: Vornehm Mediengestaltung GmbH, München Druck und Einband: CPI books GmbH, Leck Printed in Germany ISBN 978-3-442-48961-9 www.goldmann-verlag.de (( Socia-Media-Icons für eBook in Farbe! )) Besuchen Sie den Goldmann Verlag im Netz 142_48961_01_Martignoni_INH_s001-384.indd 4 14.06.19 12:30 Für Sergio Altieri 142_48961_01_Martignoni_INH_s001-384.indd 5 14.06.19 12:30 Stammbaum Papst Kalixt III. (Borgia) Ferdinand I.
    [Show full text]