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EUI Working Papers
DEPARTMENT OF HISTORY AND CIVILIZATION EUI Working Papers HEC 2010/02 DEPARTMENT OF HISTORY AND CIVILIZATION Moving Elites: Women and Cultural Transfers in the European Court System Proceedings of an International Workshop (Florence, 12-13 December 2008) Giulia Calvi and Isabelle Chabot (eds) EUROPEAN UNIVERSITY INSTITUTE , FLORENCE DEPARTMENT OF HISTORY AND CIVILIZATION Moving Elites: Women and Cultural Transfers in the European Court System Proceedings of an International Workshop (Florence, 12-13 December 2008) Edited by Giulia Calvi and Isabelle Chabot EUI W orking Paper HEC 2010/02 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 1725-6720 © 2010 Giulia Calvi and Isabelle Chabot (eds) Printed in Italy European University Institute Badia Fiesolana I – 50014 San Domenico di Fiesole (FI) Italy www.eui.eu cadmus.eui.eu Abstract The overall evaluation of the formation of political decision-making processes in the early modern period is being transformed by enriching our understanding of political language. This broader picture of court politics and diplomatic networks – which also relied on familial and kin ties – provides a way of studying the political role of women in early modern Europe. This role has to be studied taking into account the overlapping of familial and political concerns, where the intersection of women as mediators and coordinators of extended networks is a central feature of European societies. -
10. Chapter 3 Transformation from Naples to Ferrara 139–186
Chapter 3 Transformation: From Naples to Ferrara On 24 May 1473, Eleonora d’Aragona, accompanied by a vast entourage of Neapolitan and Ferrarese nobles, left Naples to begin the long overland journey to Ferrara. Travelling across half of the Italian peninsula, via the Papal States, Siena, Florence and Faenza, they would reach Ferrara on 3 July 1473 having been on the road for six weeks. The journey took on the character of a state visit as Eleonora stopped along the way at towns where she and her inner circle were met by local dignitaries and accommodated at the expense of the town’s leading citizens. The most significant of these visits was to Rome where Eleonora’s comitiva remained for five days, entertained at vast expense by the young cardinal, Pietro Riario, on behalf of his uncle, Pope Sixtus IV. The political significance of Eleonora’s nuptial journey, particularly her visit to Rome, has been greatly illuminated by the discovery of two documents in the Archivio di Stato in Modena. These documents are edited and translated for the first time in the Appendix as Documents 3 and 4. Both are sets of instructions, composed for Eleonora’s guidance along the way, one by Ferrante, while the other can be safely attributed to Diomede Carafa. While the primary concern of both men was to ensure that Eleonora appeared in the best possible light in her meetings with civic and religious leaders along the way, particularly in her audience with Sixtus IV, the tone of their instructions reflects their differing priorities: Ferrante’s were power and influence, Carafa’s were style and protocol. -
11. Chapter 4 Procreation the Early Years of Marriage 187–223
Chapter 4 Procreation: The Early Years of the Marriage The first years of her marriage to Ercole d’Este were a period of transition and adaptation for Eleonora: transition from her life as a relatively minor member of her father’s court in Naples, surrounded by a loving extended family and guided by a group of skilled and devoted mentors of the calibre of Diomede Carafa, and adaptation to life at a “foreign” court as the wife of a ruler almost twice her age, with the responsibilities which that position entailed, adaptation to new cultural traditions, climate and diet, and to doing without many of the men and women who had supported her as she grew to young womanhood. This chapter will follow Eleonora through the more significant events of the first four years of her marriage, including the birth to three children, two daughters and finally the longed-for son, and her successful defence of them from a violent coup d’état attempt by Niccolò di Leonello. Her contacts with Naples were limited to letters, of which very few survive in the Archivio di Stato in Modena, and to the visits of members of her family, her younger brother, Federigo, and sister, Beatrice, both passing through Ferrara en route to further destinations, and of dignitaries, such as Diomede Carafa’s son, Giovanni Tommaso, who conveyed Ferrante’s Order of the Ermine to Ercole in late 1475. Ercole honoured his wife by accommodating these visitors and entertaining their parties with lavish banquets, tournaments and days of hunting at both his city and country estates. -
Thursday, March 23, 2006 Time: 8:45–10:15 Room: Corintia Panel Title: Renaissance Medals and Coins I Organizer: Arne R
Thursday, March 23, 2006 8:45–10:15 AM Date: Thursday, March 23, 2006 Time: 8:45–10:15 Room: Corintia Panel Title: Renaissance Medals and Coins I Organizer: Arne R. Flaten, Coastal Carolina University Chair: Charles Rosenberg, University of Notre Dame Presenter: Stephen K. Scher, Independent Scholar Paper Title: Reggio Emilia, Milan, and the Mannerist Medal in Italy Abstract: In the entire history of medallic art there is little that can compare with the curious and fantastic group of medals centered upon Reggio Emilia in the sixteenth century. With an oblique reference to Leone Leoni’s medal of Ippolita Gonzaga and the similar piece by Jacopo da Trezzo, the Emilian medallists, whose work is usually uniface and cast in a lead alloy, produced a series of portraits of great originality. Both male and female subjects are clothed in agitated, filmy garments, and, in the case of the latter, with richly coiffed hair as if they were participating in some elaborate court masque. Often they are presented on pedestals following the form of ancient busts, with arms cut off just below the shoulder. This paper will attempt to discover the sources of such fascinating imagery as an element of Italian Mannerist art, and explain its presence in the medallic context. Presenter: Raymond B. Waddington, University of California, Davis Paper Title: Breaking News: Representing the Other on Portrait Medals Abstract: One purpose of the portrait medal has always been to make accessible the faces of famous people, whether from the past or in the present. During an age of exploration and increasing crosscultural encounters, a particular and neglected function was the representation of foreigners. -
ABSTRACT Title of Document: LYING with the SAINTS: HEAVENLY
ABSTRACT Title of Document: LYING WITH THE SAINTS: HEAVENLY BODIES AND EARTHLY BODIES IN THE SUCCORPO OF SAN GENNARO Nicole Riesenberger, Master of Arts, 2011 Directed By: Professor Meredith J. Gill, Department of Art History and Archaeology In January 1497, when the powerful Carafa family translated the relics of San Gennaro, patron saint of Naples, to the city’s cathedral, a devastating plague that had ravished the region is said to have immediately ceased. The presence and miraculous power of the saint’s relics give meaning to the Succorpo, Cardinal Oliviero Carafa’s funerary chapel in the cathedral. This magnificent foundation serves two functions: first, it is the private funerary chapel of Carafa and select members of his family; second, it is the locus of the cult of San Gennaro himself. My thesis examines the chapel’s dual functions and explores the iconography of its decoration. I present new propositions regarding the architectural plan and artistic attributions of the chapel, and I provide a close reading of the portrait sculpture of Cardinal Carafa in the Succorpo, considering how its strategic placement informs our understanding of the program and its meaning. LYING WITH THE SAINTS: HEAVENLY BODIES AND EARTHLY BODIES IN THE SUCCORPO OF SAN GENNARO By Nicole Joy Riesenberger Thesis submitted to the Faculty of the Graduate School of the University of Maryland, College Park, in partial fulfillment of the requirements for the degree of Master of Arts 2011 Advisory Committee: Professor Meredith J. Gill, Chair Professor Anthony Colantuono Professor Marjorie S. Venit © Copyright by Nicole Joy Riesenberger 2011 Disclaimer The thesis or dissertation document that follows has had referenced material removed in respect for the owner’s copyright. -
The Funerary Monuments of the Carafa Family
Louisiana State University LSU Digital Commons LSU Master's Theses Graduate School 2014 The funerary monuments of the Carafa family: self- commemoration and ecclesiastic influence in early- Renaissance Naples Carmen Marie Hamel Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_theses Part of the Arts and Humanities Commons Recommended Citation Hamel, Carmen Marie, "The funerary monuments of the Carafa family: self-commemoration and ecclesiastic influence in early- Renaissance Naples" (2014). LSU Master's Theses. 2767. https://digitalcommons.lsu.edu/gradschool_theses/2767 This Thesis is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Master's Theses by an authorized graduate school editor of LSU Digital Commons. For more information, please contact [email protected]. THE FUNERARY MONUMENTS OF THE CARAFA FAMILY: SELF-COMMEMORATION AND ECCLESIASTIC INFLUENCE IN EARLY-RENAISSANCE NAPLES A Thesis Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Master of Arts in The School of Art by Carmen Marie Hamel B.A., Humboldt State University, 2011 August 2014 To the many educators in my life, who encouraged me to find my purpose in teaching, and who have helped me discover my love of art, and its importance in the world. Without this encouragement, I would have followed a different path, and this thesis would not have been written. ii ACKNOWLEDGEMENTS I would like to extend gratitude to my thesis director, Dr. -
Culture and Self-Representation in the Este Court: Ercole
CULTURE AND SELF-REPRESENTATION IN THE ESTE COURT: ERCOLE STROZZI’S FUNERAL ELEGY OF ELEONORA OF ARAGON, A TEXT, TRANSLATION, AND COMMENTARY Dean Marcel Cassella, B.A., B.A., M.A. Dissertation Prepared for the Degree of DOCTOR OF PHILOSOPHY UNIVERSITY OF NORTH TEXAS December 2010 APPROVED: Laura Stern, Major Professor Guy Chet, Committee Member Christopher Fuhrmann, Committee Member Craig Kallendorf, Committee Member Steven Forde, Committee Member Richard McCaslin, Chair of the Department of History James D. Meernik, Acting Dean of the Robert B. Toulouse School of Graduate Studies Cassella, Dean Marcel. Culture and self-representation in the Este court: Ercole Strozzi’s funeral elegy of Eleonora of Aragon, a text, translation, and commentary. Doctor of Philosophy (History), December 2010, 206 pp., references, 138 titles. This dissertation presents a previously unedited text by one of the most distinguished— yet neglected—Latin writers of the Italian Renaissance, Ercole Strozzi (1471–1508), a poet and administrator in the court of Ferrara. Under the Este Dukes, Ferrara became a major center of literary and artistic patronage. The Latin literary output of the court, however, has received insufficient scholarly scrutiny. The text is a verse funeral elegy of Eleonora of Aragon (1450–1493), the first Duchess of Ferrara. Eleonora was a remarkable woman whose talents and indefatigable efforts on behalf of her husband, her children, and her state, won her accolades both at home and abroad. She also served as a prototype for the remarkable careers of her two daughters, Isabella d’Este, and Beatrice d’Este, who are celebrated for their erudition and patronage of arts and letters. -
The Case of Bona Sforza
Patrik Pastrnak A BRIDAL JOURNEY: THE CASE OF BONA SFORZA MA Thesis in Medieval Studies Central European University Budapest CEU eTD Collection May 2017 A BRIDAL JOURNEY: THE CASE OF BONA SFORZA by Patrik Pastrnak (Slovakia) Thesis submitted to the Department of Medieval Studies, Central European University, Budapest, in partial fulfillment of the requirements of the Master of Arts degree in Medieval Studies. Accepted in conformance with the standards of the CEU. ____________________________________________ Chair, Examination Committee ____________________________________________ Thesis Supervisor ____________________________________________ Examiner CEU eTD Collection ____________________________________________ Examiner Budapest Month YYYY A BRIDAL JOURNEY: THE CASE OF BONA SFORZA by Patrik Pastrnak (Slovakia) Thesis submitted to the Department of Medieval Studies, Central European University, Budapest, in partial fulfillment of the requirements of the Master of Arts degree in Medieval Studies. Accepted in conformance with the standards of the CEU. ____________________________________________ External Reader CEU eTD Collection Budapest May 2017 A BRIDAL JOURNEY: THE CASE OF BONA SFORZA by Patrik Pastrnak (Slovakia) Thesis submitted to the Department of Medieval Studies, Central European University, Budapest, in partial fulfillment of the requirements of the Master of Arts degree in Medieval Studies. Accepted in conformance with the standards of the CEU. ____________________________________________ External Reader CEU eTD Collection Budapest May 2017 I, the undersigned, Patrik Pastrnak, candidate for the MA degree in Medieval Studies, declare herewith that the present thesis is exclusively my own work, based on my research and only such external information as properly credited in notes and bibliography. I declare that no unidentified and illegitimate use was made of the work of others, and no part of the thesis infringes on any person’s or institution’s copyright. -
The Basilica of San Domenico Maggiore in Naples
THE BASILICA OF SAN DOMENICO MAGGIORE IN NAPLES: THE ART, TRADITION, AND POWER OF A SACRED SPACE by Elizabeth Nogan Ranieri APPROVED BY SUPERVISORY COMMITTEE: ___________________________________________ Dr. Mark Rosen, Chair ___________________________________________ Dr. Richard Brettell ___________________________________________ Dr. J. Michael Farmer ___________________________________________ Dr. Peter Park ___________________________________________ Dr. Scott Hendrix Copyright 2017 Elizabeth Nogan Ranieri All Rights Reserved To Mom and Dad THE BASILICA OF SAN DOMENICO MAGGIORE IN NAPLES: THE ART, TRADITION, AND POWER OF A SACRED SPACE by ELIZABETH NOGAN RANIERI, BA, MA DISSERTATION Presented to the Faculty of The University of Texas at Dallas in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY IN AESTHETIC STUDIES THE UNIVERSITY OF TEXAS AT DALLAS August 2017 ACKNOWLEDGMENTS I would like to thank my Mother and Father for always believing in me. My husband, who has encouraged me and put up with me. My beautiful daughter, for the time she sacrificed with me as I was working. Mark Rosen, for being an excellent mentor. Rick Brettell, for helping me fund all my travel. Mike Farmer, for believing in me. Scott Hendrix, for being a great person and an amazing cheerleader. The city of Naples, for welcoming me and for being so easy to love. My friends and colleagues at UTD, especially Poe Johnson and Marina Jenkins. Sarah Kozlowski, for being a mentor and a friend. The many kind people who I met during my travels in Naples. My childcare providers. My extended family. Cat, Christi, and Lindsay. The University of Dallas. My mom (and dad) friends. May 2017 v THE BASILICA OF SAN DOMENICO MAGGIORE IN NAPLES: THE ART, TRADITION, AND POWER OF A SACRED SPACE Elizabeth Nogan Ranieri, PhD The University of Texas at Dallas, 2017 ABSTRACT Supervising Professor: Dr. -
The Role of Internal Politics in American Diplomacy
Francesco di Giorgio and the Formation of the Renaissance Architect Elizabeth Mays Merrill Evanston, Illinois B.A., Columbia College, Columbia University, New York, 2007 M.A., History of Art and Architecture, University of Virginia, 2010 A Dissertation presented to the Graduate Faculty of Art and Architectural History at the University of Virginia for the Degree of Doctor of Philosophy McIntire Department of Art University of Virginia May, 2015 TABLE OF CONTENTS Acknowledgements ............................................................................................................ i Abstract .............................................................................................................................. ii Introduction ....................................................................................................................... 1 Francesco di Giorgio Martini (1439 – 1501): A chronology ....................................... 14 Chapter I: Critical Biography of Francesco di Giorgio, Architect of Siena.............. 19 Beginnings in Siena: 1439 – 1464................................................................................. 22 Early success, Siena: 1464 – 1475 ................................................................................ 28 Transfer to Urbino: 1475 – 1482 ................................................................................... 35 Political service: Siena, Urbino and Naples (1475 – 1482) .......................................... 39 “Purveyor” to the Court of Urbino: 1483 –