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Mora Wade the RECEPTION of OPITZ's Ludith DURING the BAROQUE by Virtue of Its Status As the Second German Opera Libretto, Martin
Mora Wade THE RECEPTION OF OPITZ'S lUDITH DURING THE BAROQUE By virtue of its status as the second German opera libretto, Martin Opitz's ludith (1635), has received little critical attention in its own right. l ludith stands in the shadow of its predecessor, Da/ne (1627),2 also by Opitz, as weH as in that of a successor, Harsdörffer and Staden's See/ewig (1644), the first German-Ianguage opera to which the music is extant today.3 Both libretti by Opitz, Dafne and ludith, are the earliest examples of the reception of Italian opera into German-speaking lands.4 Da/ne was based on the opera ofthe 1. Martin Opitz: ludith. Breslau 1635. See also Kar! Goedeke: Grund risz zur Geschichte der deutschen Dichtung. Vol. III. Dresden 1886. p. 48. Aversion of this paper was given at the International Conference on the German Renaissance, Reformation, and Baroque held from 4-6 April 1986 at the University of Kansas, Lawrence. Support from the Newberry Library in Chicago and from the National Endowment for the Humani ties to use the Faber du Faur Collection at the Beinecke Library of Yale University enabled me to undertake and complete this project. A special thanks to Christa Sammons, curator of the German collection at the Beinecke, for providing me with a copy of ludith. 2. Martin Opitz: Dafne. Breslau 1627. 3. Georg Philipp Harsdörffer: Frauenzimmer Gesprächspiele. Vol. IV. Nürnberg 1644. Opitz's 'ludith' has only three acts and has no extant music. Löwenstern's music to Tscherning's expanded version of Opitz's 'ludith' was not published until 1646, a full two years after 'Seelewig'. -
Incisori Itineranti Nell'area Veneta Nel Seicento. Dizionario Bio-Bibliografico
UNIVERSITÀ DEGLI STUDI DI VERONA Incisori itineranti nell’area veneta nel Seicento. Dizionario bio-bibliografico di Luca Trevisan e Giulio Zavatta VERONA · MMXIII UNIVERSITÀ DEGLI STUDI DI VERONA Incisori itineranti nell’area veneta nel Seicento. Dizionario bio-bibliografico di Luca Trevisan e Giulio Zavatta VERONA · MMXIII Volume pubblicato con il contributo dell’Università di Verona nell’ambito del Prin 2008 Mobilità dei mestieri del libro in Italia tra il Quattrocento e il Seicento, Unità di Verona (responsabile: prof. Giancarlo Volpato) Le voci bio-bibliografiche sono state redatte da Luca Trevisan (M - Z) e Giulio Zavatta (A - L). Crediti fotografici: Biblioteca Panizzi (Reggio Emilia), figg. 1, 4, 5, 12 Luca Trevisan, figg. 8, 9, 11, 13, 14, 16 Giulio Zavatta, figg. 2, 3, 6, 7, 10, 15 Proprietà riservata © Copyright 2013, Università di Verona Impaginazione e stampa: Tipolitografia « La Grafica », Vago di Lavagno (Verona) ISBN 978-88-98513-25-3 Sommario 7 Giancarlo Volpato Una bella giornata con un pomeriggio felice 13 Giulio Zavatta Annotazioni sull’itineranza degli incisori del Seicento in area veneta 21 Luca Trevisan Appunti per l’incisione a Venezia nel XVII secolo: note di contesto 29 Dizionario bio-bibliografico 125 Iconografia 143 Bibliografia generale 151 Indice dei nomi Una bella giornata con un pomeriggio felice di Giancarlo Volpato Se Subiaco era stata l’aurora, Venezia fu l’alba dei libri a stampa: un’alba ra- diosa, splendente, ricca di straordinarie novità e che illuminò l’universo della cultura sino ad un mezzogiorno di grande fulgore, con un pomeriggio che s’avviò – lentamente e in un tempo piuttosto lungo – sino ad un tramonto con poca luce. -
BIBLIOTECA DI GALILEO GALILEO's LIBRARY
Museo Galileo Istituto e Museo di storia della scienza Piazza Giudici 1, Firenze, ITALIA BIBLIOTECA www.museogalileo.it/biblioteca.html BIBLIOTECA DI GALILEO La ricostruzione dell’inventario della biblioteca di Galileo rappresenta uno strumento essenziale per comprendere appieno i riferimenti culturali del grande scienziato toscano. Già alla fine dell’Ottocento, Antonio Favaro, curatore dell’Edizione Nazionale delle Opere galileiane, individuò più di 500 opere appartenute a Galileo (cfr. A. Favaro, La libreria di Galileo Galilei, in «Bullettino di bibliografia e di storia delle scienze matematiche e fisiche», XIX, 1886, p. 219-293 e successive appendici del 1887 e 1896). Il catalogo di Favaro si è arricchito di ulteriori segnalazioni bibliografiche, frutto di recenti ricerche sul tema compiute da Michele Camerota (La biblioteca di Galileo: alcune integrazioni e aggiunte desunte dal carteggio, in Biblioteche filosofiche private in età moderna e contemporanea. Firenze : Le Lettere, 2010, p. 81-95) e Crystal Hall (Galileo's library reconsidered. « Galilaeana», a. 12 (2015), p. 29-82). Si è giunti così all’identificazione di un totale di 600 volumi che furono certamente nella disponibilità di Galileo. Alcune delle edizioni qui registrate sono possedute anche dalla Biblioteca del Museo Galileo, altre sono accessibili in versione digitale nella Banca dati cumulativa del Museo Galileo alla url: www.museogalileo.it/bancadaticumulativa.html GALILEO’s LIBRARY The reconstruction of the inventory of Galileo' s library represents an essential tool to fully understand the cultural references of the great Tuscan scientist. By the end of the nineteenth century, Antonio Favaro, curator of the National Edition of the Opere by Galileo, found more than 500 works belonging to the private library of the scientist (cfr. -
I Had to Fight with the Painters, Master Carpenters
‘I had to fight with the painters, master carpenters, actors, musicians and the dancers’: Rehearsals, performance problems and audience reaction in Renaissance spectacles Jennifer Nevile Early Dance Circle Annual Lecture, 21 February 2021 In 1513 Castiglione wrote about the difficulties he was having during the rehearsals for a production at Urbino. [the intermedio] about the battles was unfortunately true - to our disgrace. … [The intermedi] were made very much in a hurry, and I had to fight with the painters, the master carpenters, the actors, musicians and the dancers.1 Unfortunately, we do not know exactly what caused the arguments between Castiglione and all the personnel involved in this production, and neither do we know how these difficulties were resolved. But Castiglione’s letter reminds us that then, as now, not everything went as smoothly as those in charge would have hoped for. In spite of the many glowing reports as to the success of theatrical spectacles in early modern Europe, the wonder and amazement of the audience, the brilliance of the glittering costumes, the quantity of jewels and precious stones worn by the performers and the virtuosity of the dancing, problems were encountered during production and the performance. It is this aspect of Renaissance spectacles that is the focus of today’s lecture. I will begin with a discussion of the desire for a successful outcome, and what efforts went into achieving this aim, before moving to an examination of what disasters did occur, from audience over-crowding and noise, stage-fright of the performers, properties being too big to fit through the door into the hall in which the performance was taking place, to more serious catastrophes such as a fire during a performance. -
Die Mythologischen Musikdramen Des Frühen 17. Jahrhunderts: Eine Gattungshistorische Untersuchung
Die mythologischen Musikdramen des frühen 17. Jahrhunderts: eine gattungshistorische Untersuchung Dissertation zur Erlangung des Grades des Doctor der Philosophie (Dr. phil.) am Fachbereich Philosophie und Geisteswissenschaften der Freie Universität Berlin vorgelegt von Alessandra Origgi Berlin 2018 Erstgutachter: Prof. Dr. Bernhard Huss (Freie Universität Berlin) Zweitgutachter: Prof. Dr. Franz Penzenstadler (Eberhard Karls Universität Tübingen) Tag der Disputation: 18.07.2018 Danksagung Mein Dank gilt vor allem meinen beiden Betreuern, Herrn Prof. Dr. Bernhard Huss (Freie Universität Berlin), der mich stets mit seinen Anregungen unterstützt und mir die Möglichkeit gegeben hat, in einem menschlich und intellektuell anregenden Arbeitsbereich zu arbeiten, und Herrn Prof. Dr. Franz Penzenstadler (Eberhard Karls Universität Tübingen), der das Promotionsprojekt in meinen Tübinger Jahren angeregt und auch nach meinem Wechsel nach Berlin fachkundig und engagiert begleitet hat. Für mannigfaltige administrative und menschliche Hilfe in all den Berliner Jahren bin ich Kerstin Gesche zu besonderem Dank verpflichtet. Für die fachliche Hilfe und die freundschaftlichen Gespräche danke ich meinen Kolleginnen und Kollegen sowie den Teilnehmenden des von Professor Huss geleiteten Forschungskolloquiums an der Freien Universität Berlin: insbesondere meinen früheren Kolleginnen Maraike Di Domenica und Alice Spinelli, weiterhin Siria De Francesco, Dr. Federico Di Santo, Dr. Maddalena Graziano, Dr. Tatiana Korneeva, Thea Santangelo und Dr. Selene Vatteroni. -
English-Palladianism.Pdf
702132/702835 European Architecture B Palladianism COMMONWEALTH OF AUSTRALIA Copyright Regulations 1969 Warning This material has been reproduced and communicated to you by or on behalf of the University of Melbourne pursuant to Part VB of the Copyright Act 1968 (the Act). The material in this communication may be subject to copyright under the Act. Any further copying or communication of this material by you may be the subject of copyright protection under the Act. do not remove this notice THETHE TRUMPETTRUMPET CALLCALL OFOF AUTHORITYAUTHORITY St George, Bloomsbury, London, by Hawksmoor, 1716- 27: portico Miles Lewis St Mary-le-Strand, London, by James Gibbs, 1714-17: in a view of the Strand Summerson, Architecture in Britain, pl 171A. In those admirable Pieces of Antiquity, we find none of the trifling, licentious, and insignificant Ornaments, so much affected by some of our Moderns .... nor have we one Precedent, either from the Greeks or the Romans, that they practised two Orders, one above another, in the same Temple in the Outside .... and whereas the Ancients were contented with one continued Pediment .... we now have no less than three in one Side, where the Ancients never admitted any. This practice must be imputed either to an entire Ignorance of Antiquity, or a Vanity to expose their absurd Novelties ... Colen Campbell, 'Design for a Church, of St Mary-le-Strand from the south-east my Invention' (1717) Miles Lewis thethe EnglishEnglish BaroqueBaroque vv thethe PalladianPalladian RevivalRevival Christopher Wren Colen Campbell -
Accounts of Debates in the House of Commons, March–April 1731, Supplementary to the Diary of the First Earl of Egmont
Accounts of Debates in the House of Commons, March–April 1731, Supplementary to the Diary of the First Earl of Egmont D. W. Hayton Introduction John Perceval (1683–1748), fourth baronet, of Burton Hall, near Kanturk in County Cork, created first Baron Perceval (in 1715), first Viscount Perceval (1723) and first Earl of Egmont (1733) in the Irish peerage, sat in the British House of Commons for the government borough of Harwich in the parliament of 1727–34, and left to posterity a diary containing accounts of debates in the Commons which constitute the best source for parliamentary proceedings during the period of Sir Robert Walpole’s prime ministership.1 This was published by the Historical Manuscripts Commission in three volumes between 1905 and 1909, as appendices to its sixteenth report.2 Elsewhere in Perceval’s large personal archive in the British Library other examples survive of the diarist’s craft and some of these have been published: in 1962 Robert McPherson edited the ‘journal’ compiled by Perceval from notes, minutes and papers while he was a trustee of the Georgia Society in the 1730s;3 in 1969 Aubrey Newman printed fragments from 1749–51 and 1760, illustrating the politics of the ‘Leicester House’ faction, with which Perceval was involved;4 in 1982 the present author published excerpts relating to Irish parliamentary proceedings in 1711 and 1713 from a ‘journal of public affairs’ kept by Perceval between 1711 and 1718;5 and in 1989 Mark Wenger edited Perceval’s diary of his travels in 1701 as a young man through the eastern and northern counties of England.6 Occasional references in the Historical Manuscripts Commission volumes indicate that Perceval had compiled other accounts of events – specifically of parliamentary debates – and forwarded them in correspondence. -
Insights from Stourhead Gardens
Open Research Online The Open University’s repository of research publications and other research outputs Myth In Reception: Insights From Stourhead Gardens Thesis How to cite: Harrison, John Edward (2018). Myth In Reception: Insights From Stourhead Gardens. PhD thesis The Open University. For guidance on citations see FAQs. c 2017 The Author https://creativecommons.org/licenses/by-nc-nd/4.0/ Version: Version of Record Link(s) to article on publisher’s website: http://dx.doi.org/doi:10.21954/ou.ro.0000d97e Copyright and Moral Rights for the articles on this site are retained by the individual authors and/or other copyright owners. For more information on Open Research Online’s data policy on reuse of materials please consult the policies page. oro.open.ac.uk Myth in reception: Insights from Stourhead gardens John Edward Harrison BSc (Hons) Psychology, University of Hertfordshire, UK Dip CS, Open University, UK PhD Neuroscience, University of London, UK Thesis submitted to The Open University in partial fulfilment of the requirement for the degree of Doctor of Philosophy Faculty of Arts and Social Sciences (FASS) The Open University December 2017 1 Declaration I declare that this thesis represents my own work, except where due acknowledgement is made, and that is has not been previously submitted to the Open University or to any other institution for a degree, diploma or other qualification. 2 Abstract The focus of my thesis is the reception of classical myth in Georgian Britain as exemplified by responses to the garden imagery at Stourhead, Wiltshire. Previous explanations have tended to the view that the gardens were designed to recapitulate Virgil’s Aeneid. -
Universalist Aspirations of the Utraquist Church
194 Zdeněk V. David Universalist Aspirations of the Utraquist Church Zdeněk V. David (Washington, D.C.) An important legacy of Utraquism to the subsequent Czech political culture was its universalist outlook. This conclusion may appear paradoxical consider - ing that the national accent seemed so strong in the Bohemian Reformation and especially during the Bohemian religious wars. Such an assumption of national exclusivity led to the mistaken view that the Bohemians might be sat - isfied with an exceptional ecclesiastical status, as Rome saw it at the Council of Basel in 1434-1436 and in the issuance of a special privilege of the lay chalice for the Bohemians by Pope Pius IV in 1564. These tactics of appeasement, however, failed. They ignored the basic fact that the Bohemians’ goal was to reform the (Western) Church as a whole. In the eyes of the Utraquists, the purpose of the Czech nation was not to assert a peculiar set of ethnically grounded beliefs, but to serve as a vehicle for the realisation of a universal purpose. Subsequently, this outlook harmonised with the cosmopolitan character of the Enlighten - ment and eventually with that of political liberalism. In an earlier article, I discussed the Utraquist legacy of liberal ecclesiology. 1 In this paper the Utraquists’ universalism is treated in terms of their contin - ued, albeit qualified, attachment to the Roman Church, as well as their rela - tionship to other groups that sought to reform the entire scope of Western Christendom along the lines of liberal Catholicism. 2 This essay also seeks to answer the charges that the Utraquists’ ambition to reform the Church of Rome revealed signs of sycophancy, quixotic idiosyncrasy, and megalomania in their actions. -
The Library of Robert Carter of Nomini Hall
W&M ScholarWorks Dissertations, Theses, and Masters Projects Theses, Dissertations, & Master Projects 1970 The Library of Robert Carter of Nomini Hall Katherine Tippett Read College of William & Mary - Arts & Sciences Follow this and additional works at: https://scholarworks.wm.edu/etd Part of the United States History Commons Recommended Citation Read, Katherine Tippett, "The Library of Robert Carter of Nomini Hall" (1970). Dissertations, Theses, and Masters Projects. Paper 1539624697. https://dx.doi.org/doi:10.21220/s2-syjc-ae62 This Thesis is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Dissertations, Theses, and Masters Projects by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. THE LIBRARY OF ROBERT CARTER OF NOMINI HALL A Thesis Presented to The Faculty of the Department of History The College of William and Mary in Virginia In Partial Fulfillment Of the Requirements for the Degree of Master of Arts By Katherine Tippett Read 1970 APPROVAL SHEET This thesis is submitted in partial fulfillment of the requirements for the degree of Master of Arts Author Approved, May 1970 Jane Cdrson, Ph. D Robert Maccubbin, Ph. D. John JEJ Selby, Pm. D. ACKNOWLEDGMENTS The writer wishes to express her appreciation to Miss Jane Carson, under whose direction this investigation was conducted, for her patient guidance and criticism throughout the investigation. The author is also indebted to Mr. Robert Maccubbin and Mr. John E. Selby for their careful reading and criticism of the manuscript. -
ARTS CALENDAR LEEDS ARTS CALENDAR MICROFILMED Starting with the First Issue Published in 1947, the Entire Leeds Art Calendar Is Now Available on Micro- Film
LEEDS ARTS CALENDAR LEEDS ARTS CALENDAR MICROFILMED Starting with the first issue published in 1947, the entire Leeds Art Calendar is now available on micro- film. Write for information or send orders direct to: University Microfilms, Inc., 300N Zeeb Road, Ann Arbor, Michigan 48106, U.S.A. Leeds Art Collections Fund fhis is an appeal to all who are interested in the Arts. The Leeds Art Collections Fund is the source of regular funds for buying works of art for the Leeds collection. We want more subscribing members to give one and a half guineas or upwards each year. Why not identify yourself with the Art Gallery and Temple Newsam; receive your Arts Calendar free, receive invitations to all functions, private views and organised visits to places of interest, by writing for an application form to the Cover Design Hon Treasurer, E. AL Arnold Esq,, Buttrrleg~ Street, Leeds 10 Detail of oak panel from the Bretton Room at Temple Newsam, c. 1540 LEEDS ARTS GALENDAR No. 68 1971 THE AMENITIES COMMITTEE The Lord Mayor Alderman J. T. V. Watson, LL.B (Chairman) Alderman T. W. Kirkby Contents Alderman A. S. Pedley, D.F.c. Alderman S. Symmonds Gouncillor P. N. H. Clokie Councillor R. I. Fllis, A.R.A.M. Editorial 2 Councillor J. H. Farrell Councillor Mrs. E. Haughton Two Wentworth Houses 5 Councillor Mrs. D. E. Jenkins Councillor Mrs. A. Malcolm Gouncillor Miss C. A. Mathers New on the Firm of Seddon 17 Light Councillor D. Pedder, J.p., Ms.c. Councillor Mrs. S. M. C. Tomlinson Hummerston Brothers of'eeds 20 Co-opted Members An Alabaster of the Assumption W. -
EUI Working Papers
MAX WEBER PROGRAMME EUI Working Papers MWP 2011/15 MAX WEBER PROGRAMME "THOSE WHO GIVE ARE NOT ALL GENEROUS": TIPS AND BRIBES AT THE SIXTEENTH-CENTURY PAPAL COURT Catherine Fletcher EUROPEAN UNIVERSITY INSTITUTE, FLORENCE MAX WEBER PROGRAMME "Those who give are not all generous": Tips and Bribes at the Sixteenth-Century Papal Court CATHERINE FLETCHER EUI Working Paper MWP 2011/15 This text may be downloaded for personal research purposes only. Any additional reproduction for other purposes, whether in hard copy or electronically, requires the consent of the author(s), editor(s). If cited or quoted, reference should be made to the full name of the author(s), editor(s), the title, the working paper or other series, the year, and the publisher. ISSN 1830-7728 © 2011 Catherine Fletcher Printed in Italy European University Institute Badia Fiesolana I – 50014 San Domenico di Fiesole (FI) Italy www.eui.eu cadmus.eui.eu Abstract Ambassadors in early modern Europe were frequent disbursers of tips, rewards and bribes, and usually expected something in return for their liberality. This paper considers the conventions, both written and unwritten, that governed such activities in Renaissance Rome, setting them in the context of the extensive literature on gift-giving. While official, ceremonial gifts were often recorded in writing, the less licit payments with which this article is concerned were often not. However, there is enough of a paper trail to reconstruct at least some of the gift-giving practices at the papal court, and the essay considers diplomatic letters, trial records and prescriptive treatises in order to do so.