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Chapter Three the Genesis of the Black Legend
1 Chapter Three The Genesis of the Black Legend "Todo esto yo lo vide con mis ojos corporates mortales." Bartolomé de las Casas, 1504. "I saw all this with my very own eyes." “ I watched as the Lamb opened the first of the seven seals. Then I heard one of the four living creatures say in a voice like thunder, “Come!” I looked, and there before me was a white horse! Its rider held a bow, and he was given a crown, and he rode out as a conqueror bent on conquest.” [Revelation 6:1,2] Or, in Latin as Las Casas may have been accustomed to reading it “Et vidi quod aperuisset agnus unum de septem signaculis et audivi unum de quattuor animalibus dicentem tamquam vocem tonitrui veni. Et vidi et ecce equus albus et qui sedebat super illum habebat arcum et data est ei corona et exivit vincens ut vinceret.” 1Perhaps he also read it in Spanish: “Vi cuando el Cordero abrió uno de los sellos, y oí a uno de los cuatro seres vivientes decir como con voz un trueno: Ven y mira. Y miré, y he aquí un caballo banco; y el que lo montaba tenía un arco; le fue dada una corona, y salió venciendo, y para vencer.” "Like a partridge that hatches eggs it did not lay is the man who gains riches by unjust means." Jeremiah 17:11 Next to climbing aboard a ship for a long journey, there is probably nothing more exciting than getting off that same ship! Especially if after a long voyage, sometimes made terrifying by the perils of the sea. -
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. -
Reinhold C. Mueller
Reinhold C. Mueller Aspects of Venetian Sovereignty in Medieval and Renaissance Dalmatia [A stampa in Quattrocento Adriatico , Fifteenth Century Art of the Adriatic Rim , Papers from a colloquium, Florence, 1994, edited by Charles Dempsey (Villa Spelman Colloquia Series, 5), Bologna, Nuova Alfa Editoriale, 1996, pp. 29-56 – Distribuito in formato digitale da “Reti Medievali”] The reader is forewarned that this paper, which maintains the character of the original oral presentation, makes no attempt at covering completely such a vast subject, on which there is an extensive bibliography - much of it in Serbo-Croatian, a language I do not know. My intent is simply to offer for discussion some little-exploited historical materials on well-known themes that exemplify contacts between the two coasts of the Adriatic Sea, especially - but not only - during the Quattrocento. Following an overview of the history of Venetian sovereignty in that part of the Stato da mar, attention will turn to aspects of politics and society, that is, to the political, financial and monetary administration of the subject territories and to the movement of people and peoples across the Adriatic. I. AN OVERVIEW OF HISTORY AND MYTH Venetian efforts at domination of the eastern Adriatic can be said to have begun in the year 1000, with the naval expedition commanded personally by doge Pietro II Orseolo, which put an end to the activity of pirates installed at the mouth of the Narenta River and first avowed control over the Adriatic as the “Gulf of Venice.” Lordship over the Adriatic was central to Venetian historiography and mythology over the centuries: from the supposed papal grant of lordship at the peace of 1177 with Barbarossa and the ceremony each Ascension day of the doge wedding the sea, to invocations of Jove and Neptune - all depicted as part of a political program in the redecoration of the Ducal Palace after the fire of 1577 As late as the eighteenth century, Tiepolo still represented Neptune and the sea as the source of Venice’s wealth, when that was already history. -
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. -
Venetian Foreign Affairs from 1250 to 1381: the Wars with Genoa and Other External Developments
Venetian Foreign Affairs from 1250 to 1381: The Wars with Genoa and Other External Developments By Mark R. Filip for the Degree of Bachelor of Arts in History College of Liberal Arts and Sciences University of Illinois Urbana, Illinois 1988 Table of Contents Major Topics page Introduction 1 The First and Second Genoese Wars 2 Renewed Hostilities at Ferrara 16 Tiepolo's Attempt at Revolution 22 A New Era of Commercial Growth 25 Government in Territories of the Republic 35 The Black Death and Third ' < 'ioese War 38 Portolungo 55 A Second Attempt at Rcvoiut.on 58 Doge Gradenigo and Peace with Genoa 64 Problems in Hungary and Crete 67 The Beginning of the Contarini Dogcship 77 Emperor Paleologus and the War of Chioggia 87 The Battle of Pola 94 Venetian Defensive Successes 103 Zeno and the Venetian Victory 105 Conclusion 109 Endnotes 113 Annotated Bibliography 121 1 Introduction In the years preceding the War of Chioggia, Venetian foreign affairs were dominated by conflicts with Genoa. Throughout the thirteenth and fourteenth centuries, the two powers often clashed in open hostilities. This antagonism between the cities lasted for ten generations, and has been compared to the earlier rivalry between Rome and Carthage. Like the struggle between the two ancient powers, the Venetian/Gcnoan hatred stemmed from their competitive relationship in maritime trade. Unlike land-based rivals, sea powers cannot be separated by any natural boundary or agree to observe any territorial spheres of influence. Trade with the Levant, a source of great wealth and prosperity for each of the cities, required Venice and Genoa to come into repeated conflict in ports such as Chios, Lajazzo, Acre, and Tyre. -
Remembering Columbus: Blinded by Politics
Acad. Quest. (2019) 32:105–113 DOI 10.1007/s12129-018-9756-7 ARTICLES Remembering Columbus: Blinded by Politics Robert Carle Published online: 14 January 2019 # Springer Science+Business Media, LLC, part of Springer Nature 2019 The dozens of American cities, counties, and institutions that are named after Christopher Columbus (or his literary equivalent Columbia) signify the privileged role that Columbus holds in American civic life. Early Americans depicted Columbus as America’s first frontiersman, a hero who had left the comforts of Europe to search for a fresh start in a new world. They cheered him as an enlightened champion of science who upended obscurantist European ideas. Washington Irving popularized this interpretation of Columbus in his History of the Life and Voyages of Columbus, published in 1837. In Irving’s hands, Columbus became a man of science who liberated himself from the shackles of medieval and Catholic Europe to shape a progressive and Protestant America. Much of Irving’s biography of Columbus is pure fiction, but his book defined Columbus for nineteenth century Americans. The most enduring myth that Irving promoted was the false assertion that Ferdinand and Isabella believed that the earth was flat. The geographers and astronomers that the royal couple consulted knew the earth was spherical but correctly estimated that Japan was 12,000 miles from Spain, not 2,400 miles, as Columbus calculated.1 In 1940, Samuel Eliot Morison called Irving’s story “misleading and mischievous nonsense. The sphericity of the globe was not in question. The issue was the width of the ocean; and therein the opposition was right.”2 Fortunately for Columbus, the Bahamas lie where he thought he would find Japan. -
Medieval Mediterranean Influence in the Treasury of San Marco Claire
Circular Inspirations: Medieval Mediterranean Influence in the Treasury of San Marco Claire Rasmussen Thesis Submitted to the Department of Art For the Degree of Bachelor of Arts 2019 2 TABLE OF CONTENTS Page CHAPTER I. Introduction………………………...………………………………………….3 II. Myths……………………………………………………………………….....9 a. Historical Myths…………………………………………………………...9 b. Treasury Myths…………………………………………………………..28 III. Mediums and Materials………………………………………………………34 IV. Mergings……………………………………………………………………..38 a. Shared Taste……………………………………………………………...40 i. Global Networks…………………………………………………40 ii. Byzantine Influence……………………………………………...55 b. Unique Taste……………………………………………………………..60 V. Conclusion…………………………………………………………………...68 VI. Appendix………………………………………………………………….….73 VII. List of Figures………………………………………………………………..93 VIII. Works Cited…………………………………………………...……………104 3 I. Introduction In the Treasury of San Marco, there is an object of three parts (Figure 1). Its largest section piece of transparent crystal, carved into the shape of a grotto. Inside this temple is a metal figurine of Mary, her hands outstretched. At the bottom, the crystal grotto is fixed to a Byzantine crown decorated with enamels. Each part originated from a dramatically different time and place. The crystal was either carved in Imperial Rome prior to the fourth century or in 9th or 10th century Cairo at the time of the Fatimid dynasty. The figure of Mary is from thirteenth century Venice, and the votive crown is Byzantine, made by craftsmen in the 8th or 9th century. The object resembles a Frankenstein’s monster of a sculpture, an amalgamation of pieces fused together that were meant to used apart. But to call it a Frankenstein would be to suggest that the object’s parts are wildly mismatched and clumsily sewn together, and is to dismiss the beauty of the crystal grotto, for each of its individual components is finely made: the crystal is intricately carved, the figure of Mary elegant, and the crown vivid and colorful. -
Columbus, Hispaniola Settlement, 1493
John Carter Brown Library, Brown University “THE FIRST IN THE INDIES” Columbus establishes the Town of Isabella on Hispaniola, 1493* Compiled from Spanish state papers by Antonio de Herrera y Tordesillas in Historia general de los hechos de los Castellanos en las islas y tierra firme del Mar Oceano (General History of the deeds of the Castilians on the Islands and Mainland of the Ocean Sea), Madrid, 1601-1615. Translated by John Stevens, 1740. Excerpts. ___________________________________________________ Columbus sailed on his first voyage with three ships and about 100 men, landing in the Bahamas on an island whose identity remains uncertain. After exploring the Bahamas and Cuba, he reached the island he named La Isla Español (Hispaniola). When the Santa Maria became grounded, he ordered a small fort to be built with its salvaged lumber, named it La Navidad, and left about forty men to remain there until his return. On his second voyage in 1493, he sailed with seventeen ships and about 1200 men, arriving in Hispaniola in late November to find the fort of La Navidad destroyed with no survivors. Near its ruins, on the northern coast of the present-day Dominican Republic, he founded the short-lived town of Isabella. Caribbean islands named by Columbus, THE ADMIRAL SETTLES THE COLONY 1493: Ferna[n]da, Hyspana, Isabella, Salvatorie, and Conceptoi[ne] marie CALL’D ISABELLA IN THE ISLAND HISPANIOLA . The Admiral was now in the Port de la Navidad, of the Nativity, very thoughtful how to behave himself to give a good beginning to his enterprise; and thinking that the Province of Marien, where his Ships were riding, was very low land and had no stone or other materials for building, though it had good harbors and fresh water, he resolved to turn back along the coast to the eastward to find out a proper place to build a town. -
The Evolution of Landscape in Venetian Painting, 1475-1525
THE EVOLUTION OF LANDSCAPE IN VENETIAN PAINTING, 1475-1525 by James Reynolds Jewitt BA in Art History, Hartwick College, 2006 BA in English, Hartwick College, 2006 MA, University of Pittsburgh, 2009 Submitted to the Graduate Faculty of The Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2014 UNIVERSITY OF PITTSBURGH KENNETH P. DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by James Reynolds Jewitt It was defended on April 7, 2014 and approved by C. Drew Armstrong, Associate Professor, History of Art and Architecture Kirk Savage, Professor, History of Art and Architecture Jennifer Waldron, Associate Professor, Department of English Dissertation Advisor: Ann Sutherland Harris, Professor Emerita, History of Art and Architecture ii Copyright © by James Reynolds Jewitt 2014 iii THE EVOLUTION OF LANDSCAPE IN VENETIAN PAINTING, 1475-1525 James R. Jewitt, PhD University of Pittsburgh, 2014 Landscape painting assumed a new prominence in Venetian painting between the late fifteenth to early sixteenth century: this study aims to understand why and how this happened. It begins by redefining the conception of landscape in Renaissance Italy and then examines several ambitious easel paintings produced by major Venetian painters, beginning with Giovanni Bellini’s (c.1431- 36-1516) St. Francis in the Desert (c.1475), that give landscape a far more significant role than previously seen in comparable commissions by their peers, or even in their own work. After an introductory chapter reconsidering all previous hypotheses regarding Venetian painters’ reputations as accomplished landscape painters, it is divided into four chronologically arranged case study chapters. -
Transnational, National, and Local Perspectives on Venice and Venetia Within the “Multinational” Empire
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Nottingham ePrints Laven, David and Parker, Laura (2014) Foreign rule?: transnational, national, and local perspectives on Venice and Venetia within the “multinational” empire. Modern Italy, 19 (1). pp. 5-19. ISSN 1469-9877 Access from the University of Nottingham repository: http://eprints.nottingham.ac.uk/44432/1/Laven%20-%20Foreign%20Rule.pdf Copyright and reuse: The Nottingham ePrints service makes this work by researchers of the University of Nottingham available open access under the following conditions. This article is made available under the University of Nottingham End User licence and may be reused according to the conditions of the licence. For more details see: http://eprints.nottingham.ac.uk/end_user_agreement.pdf A note on versions: The version presented here may differ from the published version or from the version of record. If you wish to cite this item you are advised to consult the publisher’s version. Please see the repository url above for details on accessing the published version and note that access may require a subscription. For more information, please contact [email protected] David Laven with Laura Parker Foreign Rule? Transnational, national, and local perspectives on Venice and Venetia within the ʻmultinationalʼ empire The so-called seconda dominazione austriaca of Venice and Venetia lasted from 1814 to 1866, punctuated only by the revolutionary parenthesis of 1848–9. This half century of rule from Vienna has traditionally been seen as a period of exploitative and insensitive government backed by heavy- handed policing, restrictive censorship, and ultimately dependent on the presence of regiments of white-coated Croat and Austrian troops. -
00 Prelims 1630
02 Howard 1630 13/11/08 11:01 Page 29 ITALIAN LECTURE Architectural Politics in Renaissance Venice DEBORAH HOWARD St John’s College, Cambridge WHATISTHE ROLE OF ARCHITECTURE in the self-definition of a political regime? To what extent are the ideologies of state communicated in public space? Can public confidence be sustained by extravagant building initiatives—or be sapped by their failures? These issues are, of course,as relevant today as they were in the Renaissance.Venice,in particular,seems closer to our own times than most other Early Modern states because of its relatively ‘democratic’ constitution, at least within the ranks of the rul- ing oligarchy. It was a democracy only for noblemen, since voting rights and eligibility for important committees and councils were limited to members (men only, numbering about 2,000) of a closed, hereditary caste. Nevertheless,many of the problems over decision-making ring true to modern ears.Indeed, it could be argued that the continual revision of public building projects during their execution is an essential characteristic of the democratic process. It has been claimed by architectural historians over the past few decades that ambitious programmes of building patronage in Renaissance Venice helped to communicate political ideals to the public.1 Read at the Academy 10 May 2007. 1 See,for example,Manfredo Tafuri, Jacopo Sansovino (Padua, 1969; 2nd edn., 1972); Deborah Howard, Jacopo Sansovino: Architecture and Patronage in Renaissance Venice (New Haven & London, 1975; rev.edn., 1987); Manfredo Tafuri, ‘“Renovatio urbis Venetiarum”: il problema storiografico’, in M. Tafuri (ed.), ‘Renovatio urbis’: Venezia nell’età di Andrea Gritti (1523–1538) (Rome,1984), pp.9–55; Manfredo Tafuri, Venezia e il Rinascimento (Turin, 1985; English edn., trans.Jessica Levine,Cambridge,MA and London, 1989). -
Santo Domingo
VERSION DESTINO » SANTO DOMINGO Con un inmenso patrimonio que abarca casi un centenar de hectáreas sembradas de edificios históricos, la Ciudad REPRO OP REPRO Colonial de Santo Domingo sigue hoy más viva que nunca SUBS ART PRODUCTION CLIENT DONDE TODO COMENZÓ texto Alejandro González Luna fotos Ricardo Monegro marzo-abril ronda / 058 BLACK YELLOW MAGENTA CYAN Destino, 1 WHERE IT ALL BEGAN With an extraordinary heritage evident in its 100 hectares of historical sites and buildings, Santo Domingo’s Colonial City is a vibrant fusion of past and present pursuits marzo-abril ronda / 059 91RON2103158.pgs 24.02.2021 07:33 VERSION The ruins of an old monastery sit at the top of a cobblestone slope. Charming passageways meander among bougainvillea and colourful houses. There are arches, picture windows and big doors with knockers. Alleys laid out like chessboards lead to squares, REPRO OP REPRO Las ruinas de un antiguo monasterio en la museums, colonial buildings, bars, book stores, souvenir cima de una cuesta empedrada. Coquetos pasadizos shops and a wall lined with rusty cannons that – aimed que se abren camino entre buganvillas y casas de colo- at the harbour – seem like something out of another res. Arcos. Ventanales. Grandes puertas con aldabas. time. In ‘La Zona’, as locals call Santo Domingo’s Callejuelas que dibujan un trazado en damero y que Colonial City, the past and the present come together conducen a plazas, museos, edificios coloniales, ba- and create an urban landscape of singular beauty and res, librerías, tiendas de souvenirs y una muralla con personality. Founded in 1498 on the eastern bank of the SUBS cañones oxidados que, apuntando al puerto, parecen River Ozama by Bartholomew Columbus (brother of asomar desde otro tiempo.