Teddy Sim YH Source HSSE Online, 3(1)
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
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. -
Venice's Marriage to the Sea Blog Post by Jeanne Willoz-Egnor
Venice’s Marriage to the Sea Blog post by Jeanne Willoz-Egnor published May 31, 2019 This weekend marks the annual Festa della Sensa in Venice. Although the festival didn’t start until 1965 it commemorates and recreates the ancient traditional ceremony of Sposalizio del Mar, the event in which Venice is symbolically married to the sea. Hand-colored copperplate engraving titled The Doge in the Bucintoro Departing for the Porto di Lido on Ascension Day. The original artwork was created by Canaletto and engraved by Giovanni Battista Brustolo. This third state engraving was printed by Teodoro Viera in Venice sometime around 1787. [Accession# LE 831] The origins of the ceremony date to the period when Venice was a sovereign state (from 697 AD to 1797 AD). It commemorates two important events in the state’s history: the May 9, 1000 departure of Doge Pietro II Orseolo with a fleet on the successful mission to subdue Narentine pirates threatening Venetian power, trade and travel on the Adriatic and Doge Sebastiano Ziani’s successful negotiation of the Treaty of Venice in 1177. The treaty ended a long standing conflict between the Holy Roman Empire headed by Frederick Barbarossa and the Papacy. Following Orseolo’s victory, each year on Ascension Day Venice celebrated the Doge’s conquest of Dalmatia with a solemn procession of boats led by the doge’s maestà nave to the San Pietro di Castello where the Bishop blessed the doge. The procession then proceeded to the lido at San Nicolò, Venice’s entrée to the Adriatic Sea, where the prayer "for us and all who sail thereon, may the sea be calm and quiet" was offered. -
Caterina Corner in Venetian History and Iconography Holly Hurlburt
Early Modern Women: An Interdisciplinary Journal 2009, vol. 4 Body of Empire: Caterina Corner in Venetian History and Iconography Holly Hurlburt n 1578, a committee of government officials and monk and historian IGirolamo Bardi planned a program of redecoration for the Sala del Maggior Consiglio (Great Council Hall) and the adjoining Scrutinio, among the largest and most important rooms in the Venetian Doge’s Palace. Completed, the schema would recount Venetian history in terms of its international stature, its victories, and particularly its conquests; by the sixteenth century Venice had created a sizable maritime empire that stretched across the eastern Mediterranean, to which it added considerable holdings on the Italian mainland.1 Yet what many Venetians regarded as the jewel of its empire, the island of Cyprus, was calamitously lost to the Ottoman Turks in 1571, three years before the first of two fires that would necessitate the redecoration of these civic spaces.2 Anxiety about such a loss, fear of future threats, concern for Venice’s place in evolving geopolitics, and nostalgia for the past prompted the creation of this triumphant pro- gram, which featured thirty-five historical scenes on the walls surmounted by a chronological series of ducal portraits. Complementing these were twenty-one large narratives on the ceiling, flanked by smaller depictions of the city’s feats spanning the previous seven hundred years. The program culminated in the Maggior Consiglio, with Tintoretto’s massive Paradise on one wall and, on the ceiling, three depictions of allegorical Venice in triumph by Tintoretto, Veronese, and Palma il Giovane. These rooms, a center of republican authority, became a showcase for the skills of these and other artists, whose history paintings in particular underscore the deeds of men: clothed, in armor, partially nude, frontal and foreshortened, 61 62 EMWJ 2009, vol. -
Europa E Italia. Studi in Onore Di Giorgio Chittolini
21 CORE VENICE AND THE VENETO Metadata, citation and similar papers at core.ac.uk Provided by Reti Medievali Open Archive DURING THE RENAISSANCE THE LEGACY OF BENJAMIN KOHL Edited by Michael Knapton, John E. Law, Alison A. Smith thE LEgAcy of BEnJAMin KohL BEnJAMin of LEgAcy thE rEnAiSSAncE thE during VEnEto thE And VEnicE Smith A. Alison Law, E. John Knapton, Michael by Edited Benjamin G. Kohl (1938-2010) taught at Vassar College from 1966 till his retirement as Andrew W. Mellon Professor of the Humanities in 2001. His doctoral research at The Johns Hopkins University was directed by VEnicE And thE VEnEto Frederic C. Lane, and his principal historical interests focused on northern Italy during the Renaissance, especially on Padua and Venice. during thE rEnAiSSAncE His scholarly production includes the volumes Padua under the Carrara, 1318-1405 (1998), and Culture and Politics in Early Renaissance Padua thE LEgAcy of BEnJAMin KohL (2001), and the online database The Rulers of Venice, 1332-1524 (2009). The database is eloquent testimony of his priority attention to historical sources and to their accessibility, and also of his enthusiasm for collaboration and sharing among scholars. Michael Knapton teaches history at Udine University. Starting from Padua in the fifteenth century, his research interests have expanded towards more general coverage of Venetian history c. 1300-1797, though focusing primarily on the Terraferma state. John E. Law teaches history at Swansea University, and has also long served the Society for Renaissance Studies. Research on fifteenth- century Verona was the first step towards broad scholarly investigation of Renaissance Italy, including its historiography. -
Petar Ii. Orseolo – Dux Veneticorum Et Dalmaticorum∗
PETAR II. ORSEOLO – DUX VENETICORUM ET DALMATICORUM∗ Gherardo ORTALLI UDK 945.31:949.75“04/14” Dipartimento di studi storici Izvorni znanstveni rad Università di Venezia, Italija Primljeno: 1. IX. 2003. Autor analizira ekspediciju dužda Petra II. Orseola god. 1000. u Dalmaciju, koja je poznata po izvješću Ivana Đakona; utvrđuje nejasnoće tog izvješća o pravom značenju te ekspedicije i pri tome u prvom redu uzima u obzir unutrašnje stanje Mletaka u doba te ekspedicije; prikazuje borbu dviju tendencija u mletačkim vodećim porodicama: pristajanje uz Njemačko Carstvo, kojem je na čelu bila porodica Kandijana, ili uže povezivanje s Bizantom, za koje se zalagala porodica Orseolo. Pobijedila je drugonavedena tendencija dolaskom na vlast Petra II. Orseola, koji je u najtješnjoj suradnji s Bizantom poduzeo s mletačkom flotom pohod sve do Korčule. Taj je pohod bio Bizantu vrlo važan zbog njegove borbe sa Samuilom, jer mu je cilj bio odvlačenje dijela Samuilovih snaga na zapad, ali je bio od velike koristi i za Mletke, jer je Bizant za naplatu mletačke intervencije bio prisiljen ustupiti stvarnu vlast nad kvarnerskim otocima, pridržavajući za sebe samo formalni suverenitet nad njima. Kao daljnji primjer nove snažne nazočnosti Mletaka na Jadranu autor analizira i pomoć koju je Petar II. Orseolo pružio bizantskome Bariju 1003. godine. O toj pomoći sačuvan je dragocjen grafit na otočiću blizu mjesta Vieste na Garganu. Ključne riječi: dužd Petar II. Orseolo, Mleci, Bizant, Dalmacija, 1000.–1003. 1. Trijumfalni prikaz ekspedicije u 1000. godini Ima mnogo prigoda kada se čini kao da povijest juri s događajima koji nameću ubrzanja, koja će kasnije označiti – na više ili manje trajan način, na bolje ili na lošije – opće okolnosti i uvjetovati buduće situacije. -
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. -
Vincenzo Cappello C
National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS Italian Paintings of the Sixteenth Century Titian and Workshop Titian Venetian, 1488/1490 - 1576 Italian 16th Century Vincenzo Cappello c. 1550/1560 oil on canvas overall: 141 x 118.1 cm (55 1/2 x 46 1/2 in.) framed: 169.2 x 135.3 x 10.2 cm (66 5/8 x 53 1/4 x 4 in.) Samuel H. Kress Collection 1957.14.3 ENTRY This portrait is known in at least four other contemporary versions or copies: in the Chrysler Museum, Norfolk, Virginia[fig. 1]; [1] in the State Hermitage Museum, Saint Petersburg [fig. 2]; [2] in the Seminario Vescovile, Padua; [3] and in the Koelikker collection, Milan. [4] According to John Shearman, x-radiographs have revealed that yet another version was originally painted under the Titian workshop picture Titian and His Friends at Hampton Court (illustrated under Andrea de’ Franceschi). [5] Of these versions, the Gallery’s picture is now generally accepted as the earliest and the finest, and before it entered the Kress collection in 1954, the identity of the sitter, established by Victor Lasareff in 1923 with reference to the Hermitage version, has never subsequently been doubted. [6] Lasareff retained a traditional attribution to Tintoretto, and Rodolfo Pallucchini and W. R. Rearick upheld a similarly traditional attribution to Tintoretto of the present version. [7] But as argued by Wilhelm Suida in 1933 with reference to the Chrysler version (then in Munich), and by Fern Rusk Shapley and Harold Wethey with reference to the present version, an attribution to Titian is more likely. -
“Safe from Destruction by Fire” Isabella Stewart Gardner’S Venetian Manuscripts
“Safe from Destruction by Fire” Isabella Stewart Gardner’s Venetian Manuscripts Anne- Marie Eze Houghton Library, Harvard University ver a decade ago the exhibition Gondola Days: Isabella Stewart Gardner and the Palazzo Barbaro Circle explored the rich Pan- OEuropean and American expatriate culture that fl ourished in Venice at the end of the nineteenth century and inspired Isabella Stewart Gardner (1840–1924) to create a museum in Boston as a temple to Venetian art and architecture (fi g. 1). On this occasion, attention was drawn for the fi rst time to the museum’s holdings of Venetian manuscripts, and it was observed that in her day Gardner had been the only prominent American collector of manuscripts to focus on Venice.1 The Isabella Stewart Gardner Museum’s collection of Venetian manuscripts comprises more than thirty items, spanning the fi eenth to eighteenth centuries. The collections can be divided into four broad categories: offi cial documents issued by the Doges; histories of the Most Serene Republic of Venice—called the “Sereni- ssima”—its government, and its patriciate; diplomas; and a statute book of 1 Helena Szépe, “Isabella Stewart Gardner’s Venetian Manuscripts,” in Gondola Days: Isa- bella Stewart Gardner and the Palazzo Barbaro Circle, ed. Elizabeth Anne McCauley, Alan Chong, Rosella Mamoli Zorzi, and Richard Lingner (Boston: Isabella Stewart Gardner Museum, 2004), 233–3⒌ 190 | Journal for Manuscript Studies Figure 1. Veronese Room, Isabella Stewart Gardner Museum, Boston. a lay con aternity.2 Most of the manuscripts contain complete and dated texts, are illuminated, and survive in their original bindings. The Gardner’s collection not only charts the evolution over three centuries of Venetian book production, but also provides a wealth of sources for the study of the history, portraiture, iconography, genealogy, and heraldry of the Republic of Venice. -
Vendetta E Parentela Patrizia. Venezia, Inizio XVI Secolo
Corso di Laurea magistrale ( ordinamento ex D.M. 270/2004 ) in Storia Magistrale dal MedioEvo all’Età Contemporanea Tesi di L aurea Vendetta e parentela patrizia. Venezia, inizio XVI secolo Relatore Ch. Prof. Claudio Povolo Laureando Andrew Vidali Matricola 832943 Anno Accademico 20 14 / 20 15 INDICE Lista delle abbreviazioni pag. 3 Introduzione pag. 4 Capitolo Primo pag. 7 Capitolo Secondo pag . 26 Capitolo Terzo pag. 47 Capitolo Quarto pag. 68 Capitolo Quinto pag. 117 Capitolo Sesto pag. 146 Conclusioni pag. 171 Bibliografia pag. 174 2 LISTA DELLE ABBREVIAZIONI Diari : Marin Sanudo, Diarii (1496 - 1533) , a cura di R. Fulin, F. Stefani, N. Barozzi, M. Allegri, G. Berchet, Venezia, Tip. M. Visentini, 1879 - 1903, voll. 58 DBI : Dizionario Biografico degli Italiani, Roma, Istituto dell’Enciclopedia Italiana Treccani, 1960 - , 82 voll. Raspe : Archivio di Stato di Venezia, Avogaria di Comun, Registri Criminali : Archivio di Stato di Venezia, Consiglio di dieci, Deliberazioni, Criminali, Registri Miste : Archivio di Stato di Venezia, Consiglio di dieci, Deliberazioni, Miste, Registri 3 INTRODUZIONE In una breve recensione scritta circa vent’anni fa, Daniel Lord Smail 1 tirava le somme dei risultati raggiunti da due importanti opere da poco pubblicate, Mad Blood Stirring 2 e Faide e parentele 3 . Due opere significative, che ancora oggi meritano di essere menzionate negli studi che si o ccupano della tematica della vendetta. Lo studioso considerò che le opere sopracitate si occupavano di contesti storici periferici – la valle della Fontanabuona, nella parte orientale della Liguria, e la Patria del Friuli – e così altrimenti non poteva ess ere, poiché By the sixteenth century, Italian city - states, towns, and (elsewhere in Europe) kingdoms had restricted blood vengeance to the peripheries of society. -
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. -
Summary for Gambello, Vittore, 1455/1460-1537 (NAM0437)
KRESS COLLECTION DIGITAL ARCHIVE Gambello, Vittore, 1455/1460-1537 IDENTIFIER NAM0437 NATIONALITY Venetian BIRTH DATE 1455 DEATH DATE 1537 EXTERNAL LINKS UNION LIST OF ARTIST NAMES RECORD http://vocab.getty.edu/page/ulan/500023226 VIRTUAL INTERNATIONAL AUTHORITY FILE RECORD http://viaf.org/viaf/65180005 12 RELATED ART OBJECTS Vittore Gambello "Augustus" (Self-Portrait) [obverse]; Male Figure and Winged Caduceus [reverse] Vittore Gambello A Lion Style of Vittore Gambello Agostino Barbarigo, 1420-1501, Doge of Venice 1486 [obverse]; Venetia on Throne [reverse] NATIONAL GALLERY OF ART, WASHINGTON, DC, GALLERY ARCHIVES Page 1 KRESS COLLECTION DIGITAL ARCHIVE Circle of Vittore Gambello Andrea Gritti, 1455-1538, Doge of Venice 1523 [obverse]; Venetia Holding Scales and Cornucopiae [reverse] Vittore Gambello Classical Subject: Male Figure Carrying a Stag [obverse]; Classical Subject: Flaming Tripod on Altar [reverse] Vittore Gambello Gentile Bellini, 1429-1507, Venetian Painter [obverse]; Incised Inscription [reverse] Vittore Gambello Giovanni Bellini, c. 1430-1516, Venetian Painter [obverse]; An Owl [reverse] Style of Vittore Gambello Giuliano II de' Medici, 1479-1516, Duc de Nemours 1515 [obverse]; Virtue and Fortune [reverse] NATIONAL GALLERY OF ART, WASHINGTON, DC, GALLERY ARCHIVES Page 2 KRESS COLLECTION DIGITAL ARCHIVE Style of Vittore Gambello Leonardo Loredano, 1436-1521, Doge of Venice 1501 [obverse]; Equity Holding Scales and Septre [reverse] Circle of Vittore Gambello Marco Barbarigo, c. 1413-1486, Doge of Venice 1485 [obverse]; Inscription in Wreath of Ivy [reverse] Vittore Gambello Self-Portrait [obverse]; Sacrificial Scene [reverse] Vittore Gambello Sixtus IV (Francesco della Rovere, 1414-1481), Pope 1471 [obverse]; The Pope in Audience [reverse] RECORD LINK https://kress.nga.gov/Detail/entities/NAM0437 NATIONAL GALLERY OF ART, WASHINGTON, DC, GALLERY ARCHIVES Page 3. -
{DOWNLOAD} Venice, a Maritime Republic Pdf Free Download
VENICE, A MARITIME REPUBLIC PDF, EPUB, EBOOK Frederic Chapin Lane | 528 pages | 01 Dec 1973 | JOHNS HOPKINS UNIVERSITY PRESS | 9780801814600 | English | Baltimore, MD, United States Republic of Venice | Account Options Sign in. Try the new Google Books. Check out the new look and enjoy easier access to your favorite features. Try it now. No thanks. Get print book. JHU Press Amazon. Shop for Books on Google Play Browse the world's largest eBookstore and start reading today on the web, tablet, phone, or ereader. Venice, A Maritime Republic. Frederic Chapin Lane. JHU Press , - History - pages. The children's version of the 1 New York Times bestselling classic Seriously, Just Go to Sleep is the G-rated, child-friendly version of the book every parent has been talking about. Of course, kids are well aware of how difficult they can be at bedtime. With Mansbach's new child-appropriate narrative, kids will recognize their tactics, giggle at their own mischievousness, and empathize with their parents' struggles--a perspective most children's books don't capture. Most importantly, it provides a common ground for children and their parents to talk about one of their most stressful daily rituals. This is a fixed-format ebook, which preserves the design and layout of the original print book. User Review - Flag as inappropriate Seamen. Selected pages Title Page. Table of Contents. Contents The Beginnings. A Community Center by Canaletto. Venice about woodcut by Vavassore. Victories BeyondtheSea and in Romania. Illuminated Initial from the Maritime Code of Doge Leonardo Loredan by Giovanni Bellini. The Condottiere in front of San Marco.