'Sforziada' Frontispieces of Giovan Pietro Birago
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Genealogical History of the Noble Families Fr Om Tuscany and Umbria Recounted by D
A few days ago, our common friend and Guadagni historian Henri Guignard, from Boutheon, Lyon, France, has sent me by email an old book written in 1668, 202 years before Passerini’s book, on the history and genealogy of the noble families of Tuscany in 17th century Italian, with many pages on the history of the Guadagni. It is a fascinating document, starting to relate the family history before the year 1000, so more than a century before Passerini, and I will start translating it hereafter. GENEALOGICAL HISTORY OF THE NOBLE FAMILIES FR OM TUSCANY AND UMBRIA RECOUNTED BY D. Father EUGENIO GAMURRINI Monk from Cassino, Noble from Arezzo, Academic full of passion, Abbot, Counselor and Ordinary Alms Giver OF HIS VERY CHRISTIAN MAJESTY LOUIS XIV, KING OF FRANCE AND OF NAVARRE, Theologian and Friend of HIS VERY SEREINE HIGHNESS COSIMO III Prince of Tuscany dedicated to the SAME HIGHNESS, FIRST VOLUME IN FLORENCE, In Francesco Onofri’s Printing House. 1668. With license of the Superiors. Louis XIV, King of France, known as the Sun King, 1638-1715 Cosimo III, Granduke of Tuscany, 1642-1723 Cosimo III as a child (left) and as a young man (right) THE GUADAGNI FAMILY FROM FLORENCE The Guadagni Family is so ancient and has always been so powerful in wealth and men that some people believe that they could originate from the glorious family of the Counts Guidi, as the latter owned many properties in proximity of the large fiefs of the former; however, after having made all the possible researches, we were unable to prove this hypothesis; on the other hand, we can confortably prove that they originate from families now extinct; to illustrate this opinion we will now tell everything we found. -
The Emergence of the Duchy of Milan: Language and the Territorial State
Jane Black The emergence of the duchy of Milan: language and the territorial state Reti Medievali Rivista, 14, 1 (2013) <http://rivista.retimedievali.it> ??????????????????????????????????????????????. ?????????????????????????? a cura di ??????????????????????????????? Firenze University Press 1 Reti Medievali Rivista, 14, 1 (2013) <http://rivista.retimedievali.it> ISSN 1593-2214 © 2012 Firenze University Press DOI 10.6092/1593-2214/388 The emergence of the duchy of Milan: language and the territorial state di Jane Black The map that appears opposite page one of Bueno de Mesquita’s biography of Giangaleazzo Visconti is labelled Northern and Central Italy, showing the ter- ritories of Giangaleazzo Visconti in 1402; no area on the map is identified as 1 the Duchy of Milan . The titles bestowed on Giangaleazzo by Wenceslas, king of the Romans, in 1395 and 1396 had raised Milan initially, and then the other Vis- 2 conti territories in Lombardy, to the status of duchy . Giangaleazzo himself al- luded to his cities collectively as such: in the testament of 1397, produced in the first flush of his acquisition of the second diploma, he appointed his son Giovanni Maria heir to two areas – «the duchy, or rather the city and diocese of Milan», and «the duchy of the cities of Brescia, Cremona, Bergamo, Como, Lodi, Piacenza, 3 Parma, Reggio and Bobbio» . The duke would surely have been disappointed that his greatest achievement was not recognized on Bueno de Mesquita’s map. And yet the author’s terminology was more realistic than Giangaleazzo’s: it would take more than a dazzling diploma to create a new territory with a name and a rec- ognized identity. -
Duchess and Hostage in Renaissance Naples: Letters and Orations
IPPOLITA MARIA SFORZA Duchess and Hostage in Renaissance Naples: Letters and Orations • Edited and translated by DIANA ROBIN and LYNN LARA WESTWATER Iter Press Toronto, Ontario Arizona Center for Medieval and Renaissance Studies Tempe, Arizona 2017 Sforza_book.indb 9 5/25/2017 10:47:22 AM Iter Press Tel: 416/978–7074 Email: [email protected] Fax: 416/978–1668 Web: www.itergateway.org Arizona Center for Medieval and Renaissance Studies Tel: 480/965–5900 Email: [email protected] Fax: 480/965–1681 Web: acmrs.org © 2017 Iter, Inc. and the Arizona Board of Regents for Arizona State University. All rights reserved. Printed in Canada. Library of Congress Cataloging-in-Publication Data Names: Sforza, Ippolita, 1445-1488, author. | Robin, Diana Maury, editor, translator. | Westwater, Lynn Lara, editor, translator. Title: Duchess and hostage in Renaissance Naples : letters and orations / Ippolita Maria Sforza ; edited and translated by Diana Robin, Lynn Lara Westwater. Description: Tempe, Arizona : Arizona Center for Medieval and Renaissance Studies ; Toronto, Ontario : Iter Press : Arizona Center for Medieval and Renaissance Studies, 2017. | Series: Medieval and Renaissance Texts and Studies ; 518 | Series: The Other Voice in Early Modern Europe. The Toronto Series, 55 | Includes bibliographical references and index. Identifiers: LCCN 2016059386 | ISBN 9780866985741 (pbk. : alk. paper) Subjects: LCSH: Sforza, Ippolita, 1445-1488—Correspondence. | Naples (Kingdom)—Court and courtiers—Correspondence. | Naples (Kingdom)—History—Spanish rule, 1442-1707--Sources. Classification: LCC DG848.112.S48 A4 2017 | DDC 945/.706092 [B]—dc23 LC record available at https://lccn.loc.gov/2016059386 Cover illustration: Pollaiuolo, Antonio del (1433-1498), Portrait of a Young Woman, ca. -
Cotignola in the Opinion of Leonardo and Luca Pacioli
_full_alt_author_running_head (neem stramien B2 voor dit chapter en nul 0 in hierna): 0 _full_alt_articletitle_running_head (oude _articletitle_deel, vul hierna in): Ludovico il Moro and the Dynastic Homeland as the “Ideal City” _full_article_language: en indien anders: engelse articletitle: 0 Ludovico Il Moro And The Dynastic Homeland As The “ideal City” 355 Chapter 15 Ludovico il Moro and the Dynastic Homeland as the “Ideal City”: Cotignola in the Opinion of Leonardo and Luca Pacioli Raffaella Zama The influential House of Sforza originates from Romagna in the province of Ravenna, along a strip of land at the Senio river which, in olden times, was so favorable to the growth of quince trees (mele cotogne in Italian) that the small rural settlement was named Cotignola.1 At the time the Descriptio Romandiole was written by cardinal Anglic de Grimoard of Grizac (1371) for the Papal Household of Avignon, Cotignola was registered as a “villa,” which was the gen- eral word for a scattered population classified as an ‘almost village,’ a tiny ad- ministrative settlement with no curtain wall. Nevertheless, it is unlikely that Cotignola was strictly limited to the “villa” because the Descriptio assigns a re- markable number of ‘hearths’ to it, all of 144 focularia2 i.e. tax-paying family units, a considerable number for a late fourteenth century rural location in Romagna.3 In fact, in those days this ‘almost village’ must already have had a defensive wall build by the inhabitants of Faenza and Forlì in 1276, most prob- ably not a wall with a moat but a strong enclosure made of wood, or an em- bankment.4 The castrum may have been degraded to ‘villa’ because of the dire condition it was in when Anglic’s official visited, which is quite easy to imagine in consideration of the fact that the nearby Senio river must have frequently subjected the settlement to the perils of destructive floods. -
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. -
Leonardo Da Vinci and the Persistence of Myth Emily Hanson
Washington University in St. Louis Washington University Open Scholarship All Theses and Dissertations (ETDs) 1-1-2012 Inventing the Sculptor: Leonardo da Vinci and the Persistence of Myth Emily Hanson Follow this and additional works at: https://openscholarship.wustl.edu/etd Recommended Citation Hanson, Emily, "Inventing the Sculptor: Leonardo da Vinci and the Persistence of Myth" (2012). All Theses and Dissertations (ETDs). 765. https://openscholarship.wustl.edu/etd/765 This Thesis is brought to you for free and open access by Washington University Open Scholarship. It has been accepted for inclusion in All Theses and Dissertations (ETDs) by an authorized administrator of Washington University Open Scholarship. For more information, please contact [email protected]. WASHINGTON UNIVERSITY Department of Art History & Archaeology INVENTING THE SCULPTOR LEONARDO DA VINCI AND THE PERSISTENCE OF MYTH by Emily Jean Hanson A thesis presented to the Graduate School of Arts and Sciences of Washington University in partial fulfillment of the requirements for the degree of Master of Arts May 2012 Saint Louis, Missouri ACKNOWLEDGEMENTS I wouldn’t be here without the help and encouragement of all the following people. Many thanks to all my friends: art historians, artists, and otherwise, near and far, who have sustained me over countless meals, phone calls, and cappuccini. My sincere gratitude extends to Dr. Wallace for his wise words of guidance, careful attention to my work, and impressive example. I would like to thank Campobello for being a wonderful mentor and friend, and for letting me persuade her to drive the nearly ten hours to Syracuse for my first conference, which convinced me that this is the best job in the world. -
Leardo Mascanzoni Muzio Attendolo Da Cotignola, Capostipite Degli Sforza*
Leardo Mascanzoni Muzio Attendolo da Cotignola, capostipite degli Sforza* [A stampa in “Nuova Rivista Storica”, LXXXIX-I (Gennaio-Aprile 2005), pp. 55-82 © dell’autore – Distribuito in formato digitale da “Reti Medievali”]. Il 10 aprile dell’anno 1500 Ludovico Sforza detto “il Moro”, a capo del ducato di Milano in guerra contro Venezia e contro Luigi XII re di Francia, incalzato dalle truppe nemiche di Gian Giacomo Trivulzio ed ormai senza speranza di successo, tentò la fuga tra i suoi mercenari svizzeri mescolato fra di loro e vestito come un umile fante. Presto riconosciuto, fu fatto prigioniero ed inviato in Francia dove morì otto anni più tardi. Lo spettacolo del suo travestimento e della sua cattura fu, a detta del Guicciardini, «sì miserabile che commosse le lacrime insino a molti degli inimici»1. Questa scena, che ci si incide nella memoria per il senso di pathos e di dramma che da essa promana, sembrò prefigurare l’inevitabile tracollo di casa Sforza. Invece le cose andarono diversamente ed i dinasti milanesi riuscirono, seppure a stento, a mantenersi in sella ancora per qualche decennio, fino al 1535. Colui dal quale tutto aveva preso le mosse, il capostipite della casata destinata a dominare Milano era stato quel Giacomuccio degli Attendoli, più noto col diminutivo di Muzio e col nomignolo, poi nobilitato in cognome, di “Sforza” affibbiatogli con tutta probabilità dal grande Alberico da Barbiano nella cui leggendaria compagnia di S. Giorgio egli aveva fatto le sue prime prove. “Sforza” a significare colui che è forte, virile, che ha coraggio e non si piega; o, anche, prepotente, come sembra adombrare una storia che attribuisce il soprannome alla violenza con cui avrebbe reclamato una parte di bottino maggiore di quella che gli era stata assegnata2. -
Art and Politics at the Neapolitan Court of Ferrante I, 1458-1494
ABSTRACT Title of Dissertation: KING OF THE RENAISSANCE: ART AND POLITICS AT THE NEAPOLITAN COURT OF FERRANTE I, 1458-1494 Nicole Riesenberger, Doctor of Philosophy, 2016 Dissertation directed by: Professor Meredith J. Gill, Department of Art History and Archaeology In the second half of the fifteenth century, King Ferrante I of Naples (r. 1458-1494) dominated the political and cultural life of the Mediterranean world. His court was home to artists, writers, musicians, and ambassadors from England to Egypt and everywhere in between. Yet, despite its historical importance, Ferrante’s court has been neglected in the scholarship. This dissertation provides a long-overdue analysis of Ferrante’s artistic patronage and attempts to explicate the king’s specific role in the process of art production at the Neapolitan court, as well as the experiences of artists employed therein. By situating Ferrante and the material culture of his court within the broader discourse of Early Modern art history for the first time, my project broadens our understanding of the function of art in Early Modern Europe. I demonstrate that, contrary to traditional assumptions, King Ferrante was a sophisticated patron of the visual arts whose political circumstances and shifting alliances were the most influential factors contributing to his artistic patronage. Unlike his father, Alfonso the Magnanimous, whose court was dominated by artists and courtiers from Spain, France, and elsewhere, Ferrante differentiated himself as a truly Neapolitan king. Yet Ferrante’s court was by no means provincial. His residence, the Castel Nuovo in Naples, became the physical embodiment of his commercial and political network, revealing the accretion of local and foreign visual vocabularies that characterizes Neapolitan visual culture. -
Città Ideale
Città di Vigevano VERSO EXPO 2015 CITTÀ IDEALE VERSO EXPO Si la Piazza Ducale est un splendide bijou “En date du 2 février 1494 à la évocatrice du mélange de la technologie Vigevano 2015 de la Renaissance lombarde, le château Sforzesca, je dessinai les 25 escaliers, et de l’art, le génie a travaillé comme La visite de Vigevano est toujours un des Visconti et des Sforza, qui se trouve chacun de 2/3 de la brasse et de largeur ingénieur pour le Duc, Ludovic Sforza, dit moment de grande émotion. Vigevano à côté, est la forteresse qui la protège 8” brasses (Léonard de Vinci – Manuscrit le More, pendant plus de vingt ans. Les a un cœur antique qui est resté intact et l’orne. Vigevano a une tradition H, feuille 65 v.). grands témoignages sont le château et la à partir de la Renaissance jusqu’à manufacturière liée à la mode: ici fut La présence de Léonard de Vinci sur le place ducale, qui évoquent sans aucun aujourd’hui. Ce fut le Duc de Milan, inventé le talon aiguille, on peut trouver sa territoire de Vigevano est documentée doute les dessins de la “Cité idéale”, mais Ludovic Sforza à vouloir la place ducale documentation au Musée de la chaussure; par le patrimoine culturel de manière aussi la Sforzesca avec le réseau des (Piazza Ducale): les architectes de on y fabrique encore des chaussures de pertinente, dont les origines se trouvent navires, des moulins et le Colombarone, la cour milanaise contribuèrent à sa haute qualité. A quelques kilomètres, le dans la période des Sforza. -
Id E a L T O W N Id E a L T O
CittàCittà didi VigevanoVigevano VV E E R R S S O O EEXX P P O O 22 0 0 1 1 5 5 II D D E E A A L L TT O O W W N N VigevanoVigevano Città di Vigevano V E R S O E X P O 2 0 1 5 Vigevano IDEAL TOWN With patronage of: V E R S O E X P O Vigevano 2 0 1 5 Leonardo da Vinci and the “Ideal Town” [This day 2 February 1494 at the Sforzesca I drew 25 steps of 2/3 of an arm each, 8 arms wide] Leonardo da Vinci’s time in Vigevano is documented by (Leonardo da Vinci - Manuscript H, sheet 65 v.) the town’s significant cultural heritage, origins of which “Adì 2 di febraio 1494 alla Sforzesca ritrassi scalini 25 di 2/3 di braccio l’uno largo braccia 8” can be traced back to the Sforzesca era. (Leonardo da Vinci - Manoscritto H, foglio 65 v.) A figure immediately evoking the happy combination of technology and art, Leonardo worked as an engineer for the Duke, Ludovico Sforza, known as “Il Moro”, for over twenty years. The Castle and Piazza Ducale clearly evoke the great master’s designs for the “Ideal Town”, as does the Sforzesca, with its network of canals, mills and the Colombarone, the first example of a Lombard farm. V E R S O E X P O Vigevano 2 0 1 5 Built between 1492 and 1494 at the wishes of Ludovico il Moro, Piazza Ducale was one of the first models of a Piazza Ducale Renaissance square and is one of the best examples of XV century Lombard architecture. -
Occhiello Saggi
STUDI DI STORIA MEDIOEVALE E DI DIPLOMATICA NUOVA SERIE III (2019) BRUNO MONDADORI Studi di Storia Medioevale e di Diplomatica nuova serie III (2019) Dipartimento di Studi Storici dell’Università degli Studi di Milano ‐ Bruno Mondadori https://riviste.unimi.it/index.php/SSMD ISSN 2611‐318X ISBN 9788867743490 DOI 10.17464/9788867743490 © 2019 Pearson Italia, Milano – Torino Direzione Giuliana Albini Comitato Scientifico Marta Calleri, Cristina Carbonetti, Maria Nadia Covini, Beatrice Del Bo, Andrea Gamberini, Clelia Gattagrisi, Marina Gazzini, Paolo Grillo, Marta Luigina Man‐ gini, Liliana Martinelli, François Ménant, Hannes Obermair, Elisa Occhipinti, Ro‐ berto Perelli Cippo, Daniel Piñol Alabart, Antonella Rovere, Francesco Senatore, Folco Vaglienti, Martin Wagendorfer . Comitato di Redazione Francesco Bozzi, Elisabetta Canobbio, Marta Luigina Mangini (segretaria), Fa‐ brizio Pagnoni. Tutti i Saggi e le Prime ricerche sono stati sottoposti a un sistema di double‐blind peer review. Dopo la preliminare valutazione del Comitato Scientifico di confor‐ mità/pertinenza con la linea editoriale della rivista, i testi sono stati letti in forma anonima da almeno due revisori italiani o internazionali. I revisori hanno for‐ mulato un giudizio, secondo una scheda presentata loro, con l’impegno di di‐ screzione nei confronti dell’autore. I nomi dei revisori sono registrati in un apposito elenco conservato dal Direttore, pubblicato dopo l’uscita di questo terzo numero della rivista all’indirizzo https://riviste.unimi.it/index.php/SSMD/index e successivamente aggiornato ogni tre anni. La riproduzione dell’immagine di p. 268 si pubblica su concessione della Sovrin‐ tendenza Capitolina ai Beni Culturali ‐ Archivio Storico Capitolino; quella di p. 340 su concessione dell’Archivio degli Istituti Provinciali di Milano (prot. -
“Under the Shade of the Mulberry Tree”: Reconstructing Nature in Leonardo’S Sala Delle Asse
_full_alt_author_running_head (neem stramien B2 voor dit chapter en nul 0 in hierna): 0 _full_alt_articletitle_running_head (oude _articletitle_deel, vul hierna in): “Under the shade of the mulberry tree” _full_article_language: en indien anders: engelse articletitle: 0 168 Pederson Chapter 7 “Under the Shade of the Mulberry Tree”: Reconstructing Nature in Leonardo’s Sala delle Asse Jill Pederson Painted by Leonardo da Vinci during the last decade of the fifteenth century while in the service of Duke Ludovico Maria Sforza of Milan, the Sala delle Asse, or the “Room of the Wooden Boards” as it is known,1 prominently dis- plays Visconti and Sforza coat of arms and four plaques with laudatory inscrip- tions set against an elaborate pattern of branches and verdant leaves (Fig. 7.1).2 * I would like to thank Raffaella Fabiani Giannetto and Anatole Tchikine for the opportunity to present the original version of this paper during their session at the annual meeting of the Renaissance Society of America in New York, 2014. Earlier iterations of this essay were gener- ously read by Carlo Catturini, Allie Terry Fritsch, David Young Kim, Lia Markey, and Timothy McCall. Research was made possible by fellowships from the Center for Medieval and Renaissance Studies at UCLA and the American Philosophical Society. 1 Recent bibliography on the Sala delle Asse includes: Claudio Salsi, “Riflessi düreriani e tedeschi nella Sala delle Asse del Castello di Milano,” in Dürer e il Rinascimento: tra Germania e Italia, ed. Bernard Aikema and Andrew John Martin (Milan: