Le Signorie Dei Rossi Di Parma Tra XIV E XVI Secolo
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Online Library of Liberty: the Historical, Political, and Diplomatic Writings, Vol
The Online Library of Liberty A Project Of Liberty Fund, Inc. Niccolo Machiavelli, The Historical, Political, and Diplomatic Writings, vol. 1 (Life of Machiavelli, History of Florence) [1532] The Online Library Of Liberty This E-Book (PDF format) is published by Liberty Fund, Inc., a private, non-profit, educational foundation established in 1960 to encourage study of the ideal of a society of free and responsible individuals. 2010 was the 50th anniversary year of the founding of Liberty Fund. It is part of the Online Library of Liberty web site http://oll.libertyfund.org, which was established in 2004 in order to further the educational goals of Liberty Fund, Inc. To find out more about the author or title, to use the site's powerful search engine, to see other titles in other formats (HTML, facsimile PDF), or to make use of the hundreds of essays, educational aids, and study guides, please visit the OLL web site. This title is also part of the Portable Library of Liberty DVD which contains over 1,000 books and quotes about liberty and power, and is available free of charge upon request. The cuneiform inscription that appears in the logo and serves as a design element in all Liberty Fund books and web sites is the earliest-known written appearance of the word “freedom” (amagi), or “liberty.” It is taken from a clay document written about 2300 B.C. in the Sumerian city-state of Lagash, in present day Iraq. To find out more about Liberty Fund, Inc., or the Online Library of Liberty Project, please contact the Director at [email protected]. -
9. Chapter 2 Negotiation the Wedding in Naples 96–137 DB2622012
Chapter 2 Negotiation: The Wedding in Naples On 1 November 1472, at the Castelnuovo in Naples, the contract for the marriage per verba de presenti of Eleonora d’Aragona and Ercole d’Este was signed on their behalf by Ferrante and Ugolotto Facino.1 The bride and groom’s agreement to the marriage had already been received by the bishop of Aversa, Ferrante’s chaplain, Pietro Brusca, and discussions had also begun to determine the size of the bride’s dowry and the provisions for her new household in Ferrara, although these arrangements would only be finalised when Ercole’s brother, Sigismondo, arrived in Naples for the proxy marriage on 16 May 1473. In this chapter I will use a collection of diplomatic documents in the Estense archive in Modena to follow the progress of the marriage negotiations in Naples, from the arrival of Facino in August 1472 with a mandate from Ercole to arrange a marriage with Eleonora, until the moment when Sigismondo d’Este slipped his brother’s ring onto the bride’s finger. Among these documents are Facino’s reports of his tortuous dealings with Ferrante’s team of negotiators and the acrimonious letters in which Diomede Carafa, acting on Ferrante’s behalf, demanded certain minimum standards for Eleonora’s household in Ferrara. It is an added bonus that these letters, together with a small collection of what may only loosely be referred to as love letters from Ercole to his bride, give occasional glimpses of Eleonora as a real person, by no means a 1 A marriage per verba de presenti implied that the couple were actually man and wife from that time on. -
Benedetto Reguardati of Nursia (1398-1469)
BENEDETTO REGUARDATI OF NURSIA (1398-1469) by JULIANA HILL COTTON BENEDETrO REGUARDATI was a physician and a diplomat.' His medical skill, shared by his younger son, Dionisio, was an inherited calling, for he came from the stock of the Norcini, medicine men, renowned throughout the ages for traditional skill in magic and healing. In his own lifetime Reguardati is said to have 'greatly increased the glory of his family' acquired in the past by his ancestors in the city of Nursia' (ac domus sue splendorem quem in Nurisina civitate vetustis temporibus comparatum a suis maioribus, ipse plurimum auxit, Cicco Simonetta, 1 September 1464). He himself bore the proud name ofhis more famous compaesano, St. Benedict ofNursia (480-543), whose mother had been Abbondanza Reguardati. Reguardati's diplomatic career deserves consideration in any detailed study of Renaissance diplomacy, a neglected field to which the late Garrett Mattingly has drawn attention. To the Reguardati family this also was a traditional vocation. Benedetto's brother, Marino, his son Carlo, both lawyers, became Roman Senators. Carlo served the court of Milan at Urbino (M.A.P. IX, 276, 14 March 1462)2 and at Pesaro. He was at Florence when Benedetto died there in 1469. Another diplomat, Giovanni Reguardati, described by Professor Babinger as 'Venetian' ambassador to Ladislaus, King of Hungary in 1444,3 was probably a kinsman, one of the many Norcini in the pay of Venice. Francesco Filelfo (1398-1481) in a letter to Niccolo Ceba, dated 26 February 1450, recalls that Benedetto Reguardati -
Franca Leverotti
Franca Leverotti Gli officiali del ducato sforzesco [A stampa in “Annali della Classe di Lettere e Filosofia della Scuola Normale Superiore”, serie IV, Quaderni I (1997), pp. 17-77 – Distribuito in formato digitale da “Reti Medievali”] Una breve risposta al questionario Modi di nomina degli officiali È il duca che decide in ultima istanza i nomi degli officiali, anche se la scelta è teoricamente condizionata dall’approvazione della maggioranza dei consiglieri segreti e di giustizia allo scopo – così esplicitato “adeo quod officiis de personis idoneis provideatur, non autem personis de officiis” – di avere personale competente e idoneo. La scelta dei sindacatori e degli officiali periferici (podestà, capitani...) in particolare rimane per tutto il periodo sforzesco di competenza del Consiglio Segreto, così come nel caso di uffici venduti, o, più esattamente, di uffici concessi dietro un prestito (prestito che veniva restituito alla fine del mandato, non dal duca, ma dall’ufficiale che subentrava); prerequisito per la nomina in questi casi era infatti non soltanto il versamento della somma alle magistrature finanziarie, ma la valutazione del curriculum da parte del Consiglio Segreto, oltre all’attestazione che era stato assolto dai sindacatori per i precedenti incarichi. Nel caso di “novus officialis “ il Consiglio, prima di procedere alla nomina, doveva richiedere il parere di tre persone note, in genere esponenti di spicco della società milanese, cortigiani o burocrati, che vengono nominati nella nota di trasmissione al primo segretario Cicco Simonetta, il cui benestare era essenziale per perfezionare l’iter della pratica. Carriere Non c’è commistione tra uffici centrali e periferici. Si tratta di circuiti ben distinti che non hanno interferenze tra loro tranne poche eccezioni: i vicari promossi sindacatori generali hanno alle spalle una carriera di vicari di podestà cittadini e di podestà, mentre i referendari delle città possono diventare maestri delle entrate. -
Niccolo Machiavelli
HISTORICAL, POLITICAL, AND DIPLOMATIC WRITINGS OF NICCOLO MACHIAVELLI TRANSLATED FROM THB ITALIAN BY CHRISTIAN E. DETMOLD IN FOUR VOLUMES VOL. I. BOSTON JAMES R. OSGOOD AND COMPANY I882 Copynghf, 1882, CHRISTIANE. DETMOLD. BY - All rights reserved. UNIVERSITYPRESS: JOHN WILSONAND SON, CAMBRIDGS. C 0 R RI G EN’D A. -----t VOLUMEI. Page 143, lines 9 and 10 from top, instead of “ state their wishes to the rioters,” read, “learn the wishes of the rioters.” VOLUME11. Page 52. ‘1 THE PRINCE?”chapter 16, 3d line, instead of the words, ‘1 indulged in so that you will no longer be feared, will prove injurious. For liberality worthily exercised, as it should he, will not be recognized,” read, ‘1 practised so that you are not repufed liberal, will injure you. For iibitralit’y worthily exercised, as it should he, will not be known ,’ ’ &c. * K0.m. * This erroneous translation resulted from a difference in the text of the Testine Edition (1550),which wah used by me in the translation of “The Prince.” Page 39, chap. 16, 2d and 3d lines, read “ Knndimnnco la liheralita usata in modo, ahe tu non sia tem~to,ti offeiitle.” It should be, ‘I che tu non sia tenato.” c. E. I). TRANSLATOR’S PREFACE. INoffering the present translation of Machiavelli’s principal historical, political, and diplomatic writings, my original object was simply to afford to the general reader the opportunity of judging for himself of the character of the man, and of those of his works upon which his reputation for good or for evil mainly depends. -
Antonio Pistoia: the Poetic World of a Customs Collector
Valentina Olivastri ANTONIO PISTOIA: THE POETIC WORLD OF A CUSTOMS COLLECTOR A Thesis Submitted in Fulfilment of the Requirements for the Degree of Doctor of Philosophy University College London, University of London Supervisors of Research: Anna Laura Lepschy, Giovanni Aquilecchia September 1999 ProQuest Number: U641904 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest. ProQuest U641904 Published by ProQuest LLC(2015). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. Microform Edition © ProQuest LLC. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 Abstract The object of the present study is Antonio Pistoia (1436?- 1502); a jocular poet and customs collector who worked mainly in Northern Italy. Although his reputation as a notable literary figure has suffered from neglect in recent times, his work was appreciated by and known to his contemporaries including Pietro Aretino, Ludovico Ariosto, Matteo Bandello, Francesco Berni and Baldesar Castiglione. Research on his life and work came to a halt at the beginning of this century and since then he has failed to attract significant attention. The present study attempts to review and re-examine both the man and his work with a view to putting Antonio Pistoia back on the literary map. -
Ducks and Deer, Profit and Pleasure: Hunters, Game and the Natural Landscapes of Medieval Italy Cristina Arrigoni Martelli A
DUCKS AND DEER, PROFIT AND PLEASURE: HUNTERS, GAME AND THE NATURAL LANDSCAPES OF MEDIEVAL ITALY CRISTINA ARRIGONI MARTELLI A DISSERTATION SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR IN PHILOSOPHY GRADUATE PROGRAM IN HISTORY YORK UNIVERSITY TORONTO ONTARIO May 2015 © Cristina Arrigoni Martelli, 2015 ii ABSTRACT This dissertation is an ample and thorough assessment of hunting in late medieval and Renaissance northern and central Italy. Hunting took place in a variety of landscapes and invested animal species. Both of these had been influenced by human activities for centuries. Hunting had deep cultural significance for a range of social groups, each of which had different expectations and limitations on their use of their local game animal-habitat complexes. Hunting in medieval Italy was business, as well as recreation. The motivations and hunting dynamics (techniques) of different groups of hunters were closely interconnected. This mutuality is central to understanding hunting. It also deeply affected consumption, the ultimate reason behind hunting. In all cases, although hunting was a marginal activity, it did not stand in isolation from other activities of resource extraction. Actual practice at all levels was framed by socio-economic and legal frameworks. While some hunters were bound by these frameworks, others attempted to operate as if they did not matter. This resulted in the co-existence and sometimes competition, between several different hunts and established different sets of knowledge and ways to think about game animals and the natural. The present work traces game animals from their habitats to the dinner table through the material practices and cultural interpretation of a variety of social actors to offer an original survey of the topic. -
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. -
SIMONETTA Inkl
Nikolai Wandruszka: Un viaggio nel passato europeo – gli antenati del Marchese Antonio Amorini Bolognini (1767-1845) e sua moglie, la Contessa Marianna Ranuzzi (1771-1848) 5.12.2009, 28.9.2019 SIMONETTA inkl. Barbavara, Casati (I,II), Vinciguerra, Pietrasanta VIII.451 Simonetta Isabella1, oo (a) Gaspare Beccaria, Nobile Patrizio di Pavia, oo (b) Milano 1579 Pietro Maria IV Rossi dei Marchesi di San Secondo IX.902 Simonetta Scipione, * 04.1524 + Madrid 1585, oo Margherita, figlia di Dionigi Brivio, Patrizio Milanese, e di Isabella della Pusterla. Conte Palatino. Consignore di Torricella e Patrizio Milanese, Giureconsulto collegiato dal 1554, Vicario di Provvisione nel 1556, Decurione di Milano dal 1558, Senatore di Milano dal 24.11.1560, Reggente del Supremo Consiglio d’Italia. 23.5.1566 Schiedsspruch bzgl. der Teilung der Erbschaft Secco2. X.1804 Simonetta Alessandro, * post 1463 (ex 2°), oo Antonia Castiglioni, figlia del Conte Palatino Giannantonio Consignore di Garlasco e di Elisabetta Arconati. Collaterale Generale al servizio del Duca di Milano, Conte Palatino creato dall’Imperatore Carlo V il 6.1.1526, Consignore di Torricella dal 1530. I discendenti furono aggregati al patriziato milanese. XI.3608 Simonetta Giovanni, * ca. 1420 Caccuri/Calabria, + testamento: 1491, morto ca. 1491 Vercelli, oo (a) 23.4.1457 Margherita Meraviglia, oo (b) 1463 Caterina Barbavara, figlia di Marcolino 1467 signore di Gravellona und segretario visconteo 3 e 1 Genealogie nach GFNI, ed. Shama. 2 Signoria: atti civili nr.1035 – Liber divisionum bonorum D. Francisci Sicci. 3 Sui Barbavara, Giancarlo Andenna, Grandi casati e signorie feudali tra Sesia e Ticino dall'età comunale a quella sforzesca (1999) - In: Insediamenti medievali fra Sesia e Ticino. -
The Politics of Exile in Renaissance Italy
THE POLITICS OF EXILE IN RENAISSANCE ITALY CHRISTINE SHAW published by the press syndicate of the university of cambridge The Pitt Building, Trumpington Street, Cambridge, United Kingdom cambridge university press The Edinburgh Building, Cambridge cb22ru,UK http://www.cup.cam.ac.uk 40 West 20th Street, New York, ny 10011±4211, USA http://www.cup.org 10 Stamford Road, Oakleigh, Melbourne 3166, Australia # Christine Shaw 2000 This book is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. First published 2000 Printed in the United Kingdom at the University Press, Cambridge Typeset in Bembo 11/12.5pt [ce] A catalogue record for this book is available from the British Library Library of Congress cataloguing in publication data Shaw, Christine. The politics of exile in Renaissance Italy / Christine Shaw. p. cm. ± (Cambridge studies in Italian history and culture) Includes bibliographical references. isbn 0 521 66325 3 (hardback) 1. Exiles ± Italy ± History. 2. Exiles ± Government policy ± Italy ± History. 3. Italy ± History ± 15th century. i. Title. ii. Series. jv8138.s47 2000 325'.21'094509024 ± dc21 99±30161 cip isbn 0 521 66325 3 hardback CONTENTS Acknowledgements page viii Abbreviations ix Introduction: The wheel of fortune 1 1 Into exile 5 2 The justice of exile 55 3 Places of exile 87 4 Life in exile 110 5 Keeping track 143 6 Finding friends 172 7 Going home 203 Conclusion 234 Bibliography 240 Index 247 vii chapter 1 INTO EXILE Italy was not the only region of Western Europe in which there were political exiles in the later ®fteenth century. -
Il Passato Riscoperto Cap 04 Notizie Storiche 1400-1450
Il passato riscoperto CENNI SULLA STORIA DELLA CHIESA DI S. CALOCERO CAPITOLO 4 - IL 1400-1450 LE COMPAGNIE DI VENTURA- GLI SFORZA Dalla descrizione delle chiese di Galbiate LA CHIESA DI SAN GIOVANNI EVANGELISTA IN GALBIATE Nei frammenti pittorici (Sant'Antonio, Sant'Apollonia e altra Santa) ritrovati nel 1921 sulla facciata occidentale è riconoscibile la stessa mano di un pittore viandante operante nella prima metà del Quattrocento. Tale pittore è anche autore di Madonna col Bambino in trono affrescata sul pilastro della navata nella Chiesa di San Calocero a Civate e Madonna col Bambino in trono fra San Cristoforo e un altro Santo dipinto sulla parere sinistra della Chiesa di San Dionigi alla Rocca di Valmadrera. L'autore dell'affresco si è probabilmente avvalso dello stesso cartone per la Vergine, e, con leggere modifiche, per il Bambino; simile è la decorazione per il dossale del trono. Sulla contro facciata occidentale si incontra per prima l'immagine di Sant'Apollonia; il contrasto rispetto all'analoga figura dipinta sulla facciata è marcato: là l'incarnato è di un bel rosa acceso, qui il viso è di una tonalità grigio−cinerea; nell'altra figura la veste era di un rosso fiammante, qui l'abito è bianco, solo con profilature gialle. Assegnabile al tardo Trecento. La stessa tecnica con il volto dipinto a colore giallo−cinereo si trova in due Santi monaci affiancati. Madonna in trono con il Bambino e San Pietro è attribuibile al primo Quattrocento e per quanto presentianalogie con la Madonna in trono con il Bambino di San Calocero, è opera di un frescante di formazione culturale e tecnica non molto elevate. -
Mastering Fortune in Lorenzo Leonbruno's Calumny of Apelles
“If So in Adversity”: Mastering Fortune in Lorenzo Leonbruno’s Calumny of Apelles Lisa K. Regan In the politically fraught first decades of the sixteenth century in Italy, the allegorical figure of Fortune made numerous literary appearances, thereby undergoing a constant and conflicted reinterpretation. Her most famous invocation is Machiavelli’s in The Prince, but she is also described by Boiardo, Fregoso, Castiglione, and Ariosto, among others—a list that includes only the authors most relevant to the following essay. Her resurgence in the years of the Italian Wars reflects an ad hoc attempt amongst courtier-authors to address a problem of disenfranchised identity initiated by political crisis. That is, as poet-courtiers struggled through a swamp of social and political change, Fortune provided a means of understanding individual circumstances in terms of a larger, temporally specific politics. Because her swings of change prevented the individual from integrating past and future experiences with the present, Fortune simultaneously represented the instability of identity experienced by cultural producers and offered the hope of securing that identity—if only she could be mastered.1 Yet despite Fortune's ubiquity as an allegory in the early-to-mid-sixteenth-century literary tradition, her presence in the art of the period is both less prevalent and less sophisticated. In the following pages, I will demonstrate that a little-known, dispossessed, and bitter Mantuan court painter, Lorenzo Leonbruno, in his ca. 1525 Calumny of Apelles engages