Bohemund of Brienne
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Vera O Presunta Data Di Nascita, L'anno Della Così Detta Prova Della
vera o presunta data di nascita, l’anno della così detta prova della balla d’oro, che cominciò regolarmente a funzionare in quell’anno e che veniva fatta dai patrizi fra i 18 ed i 25 anni; età quest’ultima della loro legale entrata nel Maggior Consiglio. Di tutti i dogi, eccezione fatta per nove, si sa dalle cronache e dalle storie, meno per qualcuno dei più antichi sui quali esiste qualche incertezza, dove siano stati sepolti. Risulta così che sono stati sepolti ad Eraclea due, a Mantova uno, nell’abazia di S. Ilario presso Fusina cinque, a Grado due, a S. Felice di Ammiana due, nell’abazia di Cuxa nel Rossiglione uno, a Ravenna uno, a Murano: due a S. Cipriano, uno a S. Maria degli Angeli ed uno a S. Chiara; uno a S. Sofia di Costantinopoli; a V e nezia: due in chiese non precisate, sei nella chiesa di S. Zaccaria, nove nella chiesa di S. Marco, cinque a S. Giorgio Maggiore, due a S. Croce di Luprio, diciannove ai Ss. Giovanni e Paolo, sei a S. Maria Gloriosa dei Frari, uno a S. Maria della Celestia, tre a S. Ste fano, uno a S. Marina, due a S. Maria dei Servi, due a S. Maria della Carità, due a S. Antonio di Castello, sei a S. Francesco del la Vigna, uno a S. Salvatore, due a S. Domenico di Castello, tre a S. Giobbe, uno a S. Maria Assunta dei Gesuiti, uno z S. Giuseppe di Castello, uno a S. Lorenzo, quattro a S. Nicolò da Tolentino, uno a S. -
Fraterna Et La Ramification Des Familles Du Patriciat Vénitien, Xve-Xviiie Siècles
La fraterna et la ramification des familles du patriciat vénitien, XVe-XVIIIe siècles Dorit RAINES Le double sens de la fraterna vénitienne Le monde vénitien a pu formuler seulement au cours du XVIIIe siècle une nette définition du terme fraterna. Le juriste Marco Ferro définit la fraterna dans son Dictionnaire du droit commun de la Vénétie comme « une compagnie de frères, qui après la mort du père commun1, ne divisent pas les biens. Cette compagnie continue aussi avec les neveux, petits-fils, toujours mâles, jusqu’à la décision de diviser les biens »2. Mais Ferro nous ne fournit pas de détails concernant l’histoire de la fraterna, son développement et son rôle à l’intérieur du groupe dirigeant vénitien – le patriciat. Par contre, l’historien Frederic Lane situe la propagation de ce type de rapport, qu’il ne considère qu’en termes strictement commerciaux, au XVe siècle, et davantage encore au XVIe siècle, car, explique-t-il, au Moyen Age, le type d’entreprise commerciale pratiqué à Venise avait besoin d’énormes investissements, et donc de plus d’une famille. A partir du XVe siècle, continue Lane, le type d’investissement dans le commerce change, et apparaissent les sociétés de famille, et, avec elles, les premiers livres comptables (comme celui de la famille Soranzo, rédigé entre 1406 et 1436 par quatre frères travaillant dans l’importation du coton)3. Lane relève aussi quelques cas où on trouve, au moins dans la première moitié du XVe siècle, des fraterne entre frères qui ne cohabitent pas4. Des études plus récentes ont établi que le phénomène de la fraterna, fondée dans le 1 En effet, tant que le père était en vie, il exerçait la patria potestas. -
Sacred Scripture / Sacred Space
Sacred Scripture / Sacred Space Unauthenticated Download Date | 2/4/19 9:22 AM Materiale Textkulturen Schriftenreihe des Sonderforschungsbereichs 933 Herausgegeben von Ludger Lieb Wissenschaftlicher Beirat: Jan Christian Gertz, Markus Hilgert, Hanna Liss, Bernd Schneidmüller, Melanie Trede und Christian Witschel Band 23 Unauthenticated Download Date | 2/4/19 9:22 AM Sacred Scripture / Sacred Space The Interlacing of Real Places and Conceptual Spaces in Medieval Art and Architecture Edited by Tobias Frese, Wilfried E. Keil and Kristina Krüger Unauthenticated Download Date | 2/4/19 9:22 AM ISBN 978-3-11-062913-2 e-ISBN (PDF) 978-3-11-062915-6 e-ISBN (EPUB) 978-3-11-063347-4 ISSN 2198-6932 This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 License. For details go to http://creativecommons.org/licenses/by-nc-nd/4.0/. Library of Congress Control Number: 2018964345 Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available on the Internet at http://dnb.dnb.de. © 2019 Frese et al., published by Walter de Gruyter GmbH, Berlin/Boston This book is published in open access at www.degruyter.com. Cover Images: Florenz, San Pancrazio, Capella Rucellai, facade. Photo: Miguel Hermoso Cuesta, Wikimedia Commons (CC BY-SA 4.0). Typesetting: Sonderforschungsbereich 933 (Nicolai Schmitt), Heidelberg Printing and binding: Hubert & Co. GmbH & Co. KG, Göttingen www.degruyter.com Unauthenticated Download Date | 2/4/19 9:22 AM Contents Acknowledgements V Tobias Frese, Kristina Krüger Sacred Scripture / Sacred Space The Interlacing of Real Places and Conceptual Spaces in Medieval Art and Architecture. -
VENICE Grant Allen's Historical Guides
GR KS ^.At ENICE W VENICE Grant Allen's Historical Guides // is proposed to issue the Guides of this Series in the following order :— Paris, Florence, Cities of Belgium, Venice, Munich, Cities of North Italy (Milan, Verona, Padua, Bologna, Ravenna), Dresden (with Nuremberg, etc.), Rome (Pagan and Christian), Cities of Northern France (Rouen, Amiens, Blois, Tours, Orleans). The following arc now ready:— PARIS. FLORENCE. CITIES OF BELGIUM. VENICE. Fcap. 8vo, price 3s. 6d. each net. Bound in Green Cloth with rounded corners to slip into the pocket. THE TIMES.—" Good work in the way of showing students the right manner of approaching the history of a great city. These useful little volumes." THE SCOTSMAN "Those who travel for the sake of culture will be well catered for in Mr. Grant Allen's new series of historical guides. There are few more satisfactory books for a student who wishes to dig out the Paris of the past from the im- mense superincumbent mass of coffee-houses, kiosks, fashionable hotels, and other temples of civilisation, beneath which it is now submerged. Florence is more easily dug up, as you have only to go into the picture galleries, or into the churches or museums, whither Mr. Allen's^ guide accordingly conducts you, and tells you what to look at if you want to understand the art treasures of the city. The books, in a word, explain rather than describe. Such books are wanted nowadays. The more sober- minded among tourists will be grateful to him for the skill with which the new series promises to minister to their needs." GRANT RICHARDS 9 Henrietta St. -
Allison M. Sherman Phd Thesis
THE LOST VENETIAN CHURCH OF SANTA MARIA ASSUNTA DEI CROCIFERI: FORM, DECORATION, AND PATRONAGE Allison Morgan Sherman A Thesis Submitted for the Degree of PhD at the University of St Andrews 2010 Full metadata for this item is available in St Andrews Research Repository at: http://research-repository.st-andrews.ac.uk/ Please use this identifier to cite or link to this item: http://hdl.handle.net/10023/1021 This item is protected by original copyright The Lost Venetian Church of Santa Maria Assunta dei Crociferi: Form, Decoration, and Patronage. Allison Morgan Sherman Submitted for the degree of Doctor of Philosophy School of Art History University of St Andrews 1 April 2010 Declaration 1. Candidate’s declarations: I, Allison Morgan Sherman hereby certify that this thesis, which is approximately 79,990 words in length, has been written by me, that it is the record of work carried out by me and that it has not been submitted in any previous application for a higher degree. I was admitted as a research student in September 2006 and as a candidate for the degree of Doctor of Philosophy in September 2006; the higher study for which this is a record was carried out in the University of St Andrews between 2006 and 2010. 2. Supervisor’s declaration: I hereby certify that the candidate has fulfilled the conditions of the Resolution and Regulations appropriate for the degree of Doctor of Philosophy in the University of St Andrews and that the candidate is qualified to submit this thesis in application for that degree. Date signature of supervisor 3. -
Asta Numismatica Ranieri N. 4 • Bologna
________________________________________________________________ASTA NUMISMATICA RANIERI N. 4 • BOLOGNA ASTA NUMISMATICA RANIERI Terza Sessione – inizio Sabato 27 Ottobre 2012 ore 10.00 Dal lotto n. 1233 al lotto n. 1811 Una Collezione di Monete Veneziane 1235 1233 1234 1233 Ludovico il Pio imperatore, 814-849. Denaro. Ar gr. 1,19 Legenda intorno a croce. Rv. + VEN ECIAS. CNI 21; Paolucci 2 Molto Raro. Tondello sbeccato. MB 300 1234 Anonime con Cristus Imper 1002-1024?. Denaro scodellato. Ar gr. 0,76 Croce con estremità trifogliate accantonata da 4 globetti. Rv. Tempio tetrastilo con al posto delle colonne la scritta VENECI, sotto A. CNI 2; Paolucci 1 Rarissimo. Tondello sbeccato. q. BB 300 1235 Enrico IV o V di Franconia Imperatore, 1056- 1125. Denaro Scodellato. Ar gr. 0,20. Croce bifida. Rv. Busto nimbato di fronte. Paolucci 1 Raro. MB 100 1236 1237 1238 1236 Sebastiano Ziani doge XXXIX, 1172-1178. Denaro scodellato. Mi gr. 0.29. D/ e R/ croce patente in un cerchio. CNI 17. Paolucci 1 Raro. Buon BB 30 1237 Orio Malipiero o Mastropiero doge XL, 1178-1192. Denaro Scodellato. Mi gr. 0,30 Tipo solito. CNI 7; Paolucci 1 Buon BB 30 1238 Enrico Dandolo doge XLI, 1192-1205. Grosso. Ar gr. 2,03 San Marco consegna il vessillo al doge, entrambi stanti di fronte. Rv. Il Redentore seduto in trono, ai lati IC XC. CNI 1; Paolucci 1 Molto Raro. q. BB 450 1239 1,5:1 1,5:1 1239 Grosso. Ar gr. 2,14 San Marco consegna il vessillo al Doge. Rv. Il Redentore. CNI 1; Paolucci 1 Rarissimo. -
At the Helm of the Republic: the Origins of Venetian Decline in the Renaissance
At the Helm of the Republic: The Origins of Venetian Decline in the Renaissance Sean Lee Honors Thesis Submitted to the Department of History, Georgetown University Advisor(s): Professor Jo Ann Moran Cruz Honors Program Chair: Professor Alison Games May 4, 2020 Lee 1 Contents List of Illustrations 2 Acknowledgements 3 Terminology 4 Place Names 5 List of Doges of Venice (1192-1538) 5 Introduction 7 Chapter 1: Constantinople, The Crossroads of Empire 17 Chapter 2: In Times of Peace, Prepare for War 47 Chapter 3: The Blinding of the Lion 74 Conclusion 91 Bibliography 95 Lee 2 List of Illustrations Figure 0.1. Map of the Venetian Terraferma 8 Figure 1.1. Map of the Venetian and Ottoman Empires 20 Figure 1.2. Tomb of the Tiepolo Doges 23 Figure 1.3. Map of the Maritime Empires of Venice and Genoa (1453) 27 Figure 1.4. Map of the Siege of Constantinople (1453) 31 Figure 2.1. Map of the Morea 62 Figure 2.2. Maps of Negroponte 65 Figure 3.1. Positions of Modone and Corone 82 Lee 3 Acknowledgements If brevity is the soul of wit, then I’m afraid you’re in for a long eighty-some page thesis. In all seriousness, I would like to offer a few, quick words of thanks to everybody in the history department who has helped my peers and me through this year long research project. In particular I’d like to thank Professor Ágoston for introducing me to this remarkably rich and complex period of history, of which I have only scratched the surface. -
The Role of the Thirteenth‐Century Mosaics of San Marco in Reforming the Venetian Past
PSU McNair Scholars Online Journal Volume 2 Issue 1 Challenging Paradigms: New Frontiers Article 27 in Graduate Research 2006 Molding the History of a Maritime Empire: The Role of the Thirteenth‐century Mosaics of San Marco in Reforming the Venetian Past Heather McCambly Portland State University Follow this and additional works at: https://pdxscholar.library.pdx.edu/mcnair Let us know how access to this document benefits ou.y Recommended Citation McCambly, Heather (2006) "Molding the History of a Maritime Empire: The Role of the Thirteenth‐century Mosaics of San Marco in Reforming the Venetian Past," PSU McNair Scholars Online Journal: Vol. 2: Iss. 1, Article 27. https://doi.org/10.15760/mcnair.2006.206 This open access Article is distributed under the terms of the Creative Commons Attribution-NonCommercial- ShareAlike 4.0 International License (CC BY-NC-SA 4.0). All documents in PDXScholar should meet accessibility standards. If we can make this document more accessible to you, contact our team. Portland State University McNair Research Journal 2006‐2008 Molding the History of a Maritime Empire: The role of the thirteenth‐century mosaics of San Marco in reforming the Venetian past by Heather McCambly Faculty Mentor: Anne McClanan Citation: McCambly, Heather. Molding the History of a Maritime Empire: The role of the thirteenth‐century mosaics of San Marco in reforming the Venetian past. Portland State University McNair Scholars Online Journal, Vol. 2, 2006‐2008: pages [206‐308]. McNair Scholars Program Page 1 of 103 Molding the History of a Maritime Empire: The role of the thirteenth-century mosaics of San Marco in reforming the Venetian past Heather McCambly Anne McClanan, Faculty Mentor The mosaics of the Venetian Church of San Marco embody how this empire used imagery for political and ecclesiastical purposes. -
Coins of Venice the First Town in Italy to Mint Silver Coins of a Stable Quantity and Purity Was Venice, Which on the Eve Of
Appendix 3 coins of Venice the first town in italy to mint silver coins of a stable quantity and purity was Venice, which on the eve of the fourth crusade, under doge enrico dandolo (1105 ?–1205; r. as doge of Venice 1192–1205) began to strike denari grossi with a silver content of .985 and an ideal weight of 2.18 grams. they differed from other silver coins of the same age by being a pure silver rather than a gold-silver alloy coin and by its beaded ring lined up with the edge of the flan. thus clipping of the coins was prevented and it could thus be transacted by count rather than having to be weighed. the old penny which shortly thereafter assumed the name of “small” penny or piccolo stood to the grosso most plausibly in a relationship of 1: 24. the grosso was used in large-scale commerce and credit, while the piccolo served the needs of local trade in towns and countryside and in the payment of wages. While the grosso remained unchanged for almost 200 years, the relation of the piccolo to the grosso started to deteriorate. exchange rates of 1231, 1259, and 1265 amount to 25, 26 2/3, and 27 piccoli per grosso. in february 1267 the official exchange rate was set at 26.11, in december of the same year at 28, and in may 1282 at 32 piccoli per grosso.1 the first truly successful gold coin was the celebrated florin, which was struck by the florentines in 1252. it was a pure gold coin of an intended weight of 3.545 grams.2 many references list giovanni dandolo (r. -
Il Doge / the Doge
Fondazione Musei Civici di Venezia — Il Doge / The Doge ITA / ENG Il Doge / The Doge Il Doge è la più antica e potere, tra successioni The Doge was the oldest an elected position la più alta magistratura ereditarie, conflitti e and highest political and became more and della Repubblica di morti violente. position in the Venetian more powerful, with Venezia. A partire dal secolo Republic. hereditary successions, La parola deriva dal XI una Venezia ormai The word comes from conflicts and violent latino dux, che significa indipendente e in the Latin dux, which deaths. By the eleventh guida, capo ed è il titolo pieno sviluppo pone means leader, head and century, developing attribuito ai governatori fine a qualunque was the title given to the rapidly Venice had delle province pretesa dinastica governors of provinces become independent nell’impero bizantino, del doge, stabilisce in the Byzantine and put an end to any di cui il territorio della poi di affiancargli dei Empire, of which the dynastic claims of the laguna di Venezia è consiglieri, limitarne Venice lagoon was a doge. It was decided he parte quando, tra il VII e i poteri e vincolarlo, part in the seventh should be assisted by l’VIII secolo, si ha notizia all’elezione, con il and eighth centuries, councillors and that his Gentile Bellini, Ritratto del doge Giovanni Mocenigo (1478-1485), 1479 ca. dei primi dogi. giuramento della when documentation powers would be limited Tempera su tavola, cm 62 x 45 La sede del Promissione, un of the first doges is to upon his election, when Museo Correr, Venezia ducato è allora meticoloso insieme di be found. -
The Use of Space in Early Modern Venice
University of Kentucky UKnowledge Theses and Dissertations--History History 2013 SACRED, SUSPECT, FORBIDDEN: THE USE OF SPACE IN EARLY MODERN VENICE Julie D. Fox University of Kentucky, [email protected] Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Fox, Julie D., "SACRED, SUSPECT, FORBIDDEN: THE USE OF SPACE IN EARLY MODERN VENICE" (2013). Theses and Dissertations--History. 11. https://uknowledge.uky.edu/history_etds/11 This Doctoral Dissertation is brought to you for free and open access by the History at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--History by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained and attached hereto needed written permission statements(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine). I hereby grant to The University of Kentucky and its agents the non-exclusive license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known. I agree that the document mentioned above may be made available immediately for worldwide access unless a preapproved embargo applies. I retain all other ownership rights to the copyright of my work. -
Domenico Tintoretto
DOMENICO TINTORETTO (Venice 1560 - Venice 1635) Portrait of Paolo Tiepolo (1523 - 1585) oil on canvas 45.5 x 40.4 cm (17⅞ x 15⅞ in) Literature: Roland Krischel, ‘Porträt eines Diplomaten: Jacopo Tintorettos Bildnis des Paolo Tiepolo’ in Sonderdruck aus dem Wallraf-Richartz- Jahrbuch (vol. LXXIII, 2012), pp.135-136, illustrated fig. 15. Exhibition: The Venetian Diplomat – Tintoretto’s Portrait of Paolo Tiepolo, Wallraf-Richartz-Museum, Cologne, 3rd May – 15th September 2013. HIS STRIKING BUST-LENGTH POrtrAIT HAS 2). The physiognomy of this bust is remarkably close to that of the two recently been identified as an image of the noted diplomat Tintoretto portraits, and as the subject had died six years previously, it and senator Paolo Tiepolo (1523 – 1585), one of the most seems del Moro must have used one of the two paintings as his model. powerful and influential figures in sixteenth-century Venetian For reasons of practicality we can discount the larger and more unwieldy politics. Tiepolo emerges from the dark background, dressed Cologne picture. Similarly Andrea Vicentino’s famous depiction of King Tin distinctive garb of the Venetian senate, and his confident gaze meets that of the viewer. His closely cropped hair and moustache are tinged with grey, and in his thinning hairline, the dark splash of colour is evidence of a ‘port-wine stain’ birthmark. The circumstances surrounding the execution of the present work have recently been explored by Dr. Roland Krischel, who believes it to be a copy by Domenico Tintoretto, after an earlier version by Domenico’s father Jacopo Tintoretto (1519-1594) (fig.