DOCSLIB.ORG

Summary for Saint Jerome and the Angel

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Summary for Saint Jerome and the Angel KRESS COLLECTION DIGITAL ARCHIVE Simon Vouet, 1590-1649 Saint Jerome and the Angel KRESS CATALOGUE NUMBER IDENTIFIER K1891 1846 ARTIST NATIONALITY Vouet, Simon, 1590-1649 French DATE MEDIUM c. 1622/1625 oil on canvas TYPE OF OBJECT Painting DIMENSIONS 144.8 x 179.8 cm (57 x 70 13/16 in) LOCATION National Gallery of Art, Washington, District of Columbia PROVENANCE Cardinal Carlo Barberini [d. 1704], Rome, by 1692/1704; by descent in the Barberini family, Rome; [1] (Gabriel Sonnino, New York); [2] sold 1952 to the Samuel H. Kress Foundation, New York; gift 1961 to NGA. [1] The Barberini inventories include three separate paintings that have been confused in the literature: one unattributed saint with an angel playing the trumpet in a vertical format, variously called Mark or Jerome; one Saint Jerome with an angel by Vouet in a square format; and finally the horizontal format Saint Jerome with an angel holding a trumpet by Vouet that can be identified as the Gallery's picture. The vertical picture appears in both the 1648-1649 inventory of Taddeo Barberini, Principe di Palestrina (d. 1647), and the 1655 inventory of his brother, Maffeo (d. 1685), who became Pope Urban VIII. The square picture appears in Cardinal Antonio's 1671 inventory and probably in his 1672 bequests, and again in the inventory of Cardinal Carlo drawn up between 1692 and 1704. The horizontal Saint Jerome first appears only in the inventory of Cardinal Carlo; see Lavin 1975, 441, VI. inv. 92-04, 337, "Un S. Girolamo con l'angelo con tromba in mano al: p.mi 7: L:9 Cornice dorata intagliata di monsù Ouuet." ("A St. Jerome with an angel holding a trumpet, 7 palms high, 9 wide, [in a] gilded carved frame, by Mr. Vouet.") Since the horizontal and square pictures are both listed, in two separate rooms, in Carlo's inventory of 1692/1704, they are clearly two separate paintings. For the other inventories, see Marilyn Aronberg Lavin, Seventeenth- Century Barberini Documents and Inventories of Art, New York, 1975: V inv. 48-49, 417; VII inv. 55, 210; VI inv. 92-04, 337; IV inv. 71, 330; IV hered 72, 125; VI. inv. 92-04, 123. Active collectors, the Barberini could have acquired the painting at any moment NATIONAL GALLERY OF ART, WASHINGTON, DC, GALLERY ARCHIVES Page 1 KRESS COLLECTION DIGITAL ARCHIVE during the 17th century, and the question of patronage for the Saint Jerome remains open. The "St Mathieu de Mr. Vouet," which Robert de Cotte reported seeing in the Barberini palace at Palestrina around 1689 has been connected with the Gallery's picture, but it could have been the square version; see Jacques Thuillier, "Pour un 'Corpus Poussinianum'," in André Chastel, ed., Actes du colloque international Nicolas Poussin: Paris, 19-21 septembre 1958, 2 vols., Paris, 1960: 2:205. [2] See the letter from Ettore Sestieri to William Suida, 2 February 1952, copy in NGA curatorial files. ACCESSION NUMBER 1961.9.52 KRESS NUMBER 1891 LEGACY NGA NUMBER 1415 1 ACQUISITION Sestieri, Ettore (via Gabriel Sonnino), February 6, 1952 1 DISTRIBUTION Gift to National Gallery of Art, December 09, 1961 EXTERNAL LINKS Related Collection Record https://www.nga.gov/collection/art-object-page.46151.html Related National Gallery of Art Library Image Collections Record https://library.nga.gov/permalink/01NGA_INST/1p5jkvq/alma99156253804896 Related National Gallery of Art Systematic Catalog https://library.nga.gov/permalink/01NGA_INST/1cl1g8d/alma992891233504896 5 ARCHIVAL ITEMS K1891 - Condition and restoration record, circa 1950s-1960s K1891 - Work summary log, 1970 NATIONAL GALLERY OF ART, WASHINGTON, DC, GALLERY ARCHIVES Page 2 KRESS COLLECTION DIGITAL ARCHIVE K1891 - Scientific analysis report, 1991 K1891 - Examination summary and treatment proposal, 1990 K1891 - Scientific analysis report, 1990 RECORD LINK https://kress.nga.gov/Detail/objects/1846 NATIONAL GALLERY OF ART, WASHINGTON, DC, GALLERY ARCHIVES Page 3.
Load more

Recommended publications
  • Galileo in Rome: the Rise and Fall of a Troublesome Genius (2004) By: William R
    Galileo in Rome: The Rise and Fall of a Troublesome Genius (2004) by: William R. Shea & Mariano Artigas Review on Galileo’s Fifth and Sixth Trip to Rome Maria Briones 1. Overview William R. Shea is a professor of history of science in the University of Padua located in Italy, and Mariano Artigas is both a physicist and a Roman Catholic Priest.1 Shea and Artigas decided to connect their extensive knowledge in order to collaborate together and publish a book counteracting the overall dominant response of the Galileo affair. The Galileo affair is often seen as a black/white dilemma in which the Roman Catholic Church was at complete fault for persecuting Galileo based on his revolutionary discoveries, while Galileo, on the other hand, is often, and almost naturally, seen as being completely innocent of a genuine wrongdoing. Traveling back in time and analyzing each of the six trips Galileo took to Rome, Shea and Artigas attempt to find flaw in the black/white logic by pointing out life changing mistakes Galileo made during the course of his lifetime and ultimately put together an argument stating that, although the Roman Catholic Church was at fault, Galileo played an equal part in digging his own grave. Although Shea and Artigas discuss the six trips made to Rome, this review will cover the most controversial chapters; trips five and six are covered in their respective chapter (five and six) and highlight the argument attempted by the authors. 2. Background !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 1 Pg. xi Galileo’s fifth trip to Rome was when he was just over 60-years-old and took place on May 3rd 1630, lasting a little over a month until June 26th.2 During this time, Galileo published The Dialogue on the Two Chief World Systems; a play in four acts about three friends (Filippo Salvati, Giovanfrancesco Sagredo, and Simplicio).
    [Show full text]
  • Grabmalskultur Und Soziale Strategien Im Frühneuzeitlichen Rom Am Beispiel Der Familie Papst Urbans VIII
    Grabmalskultur und soziale Strategien im frühneuzeitlichen Rom am Beispiel der Familie Papst Urbans VIII. Barberini Autor(en): Köchli, Ulrich Objekttyp: Article Zeitschrift: Zeitschrift für schweizerische Kirchengeschichte = Revue d'histoire ecclésiastique suisse Band (Jahr): 97 (2003) PDF erstellt am: 11.10.2021 Persistenter Link: http://doi.org/10.5169/seals-130330 Nutzungsbedingungen Die ETH-Bibliothek ist Anbieterin der digitalisierten Zeitschriften. Sie besitzt keine Urheberrechte an den Inhalten der Zeitschriften. Die Rechte liegen in der Regel bei den Herausgebern. Die auf der Plattform e-periodica veröffentlichten Dokumente stehen für nicht-kommerzielle Zwecke in Lehre und Forschung sowie für die private Nutzung frei zur Verfügung. Einzelne Dateien oder Ausdrucke aus diesem Angebot können zusammen mit diesen Nutzungsbedingungen und den korrekten Herkunftsbezeichnungen weitergegeben werden. Das Veröffentlichen von Bildern in Print- und Online-Publikationen ist nur mit vorheriger Genehmigung der Rechteinhaber erlaubt. Die systematische Speicherung von Teilen des elektronischen Angebots auf anderen Servern bedarf ebenfalls des schriftlichen Einverständnisses der Rechteinhaber. Haftungsausschluss Alle Angaben erfolgen ohne Gewähr für Vollständigkeit oder Richtigkeit. Es wird keine Haftung übernommen für Schäden durch die Verwendung von Informationen aus diesem Online-Angebot oder durch das Fehlen von Informationen. Dies gilt auch für Inhalte Dritter, die über dieses Angebot zugänglich sind. Ein Dienst der ETH-Bibliothek ETH Zürich, Rämistrasse 101, 8092 Zürich, Schweiz, www.library.ethz.ch http://www.e-periodica.ch Grabmalskultur und soziale Strategien im frühneuzeitlichen Rom am Beispiel der Familie Papst Urbans Vili. Barberini Ulrich Köchli Wer je die römische Petersbasilika mit offenen Augen durchmessen hat, dem werden die zahlreichen, zum Teil monumentalen Grablegen vergangener Päpste in Erinnerung geblieben sein.
    [Show full text]
  • Downloaded from Brill.Com09/29/2021 02:20:15AM Via Free Access 20 Prologue in Private Notes, Only
    prologue GIACINTO GIGLI, CHRONICLER, OR: POWER IN THE STREETS OF ROME Introduction High culture, low culture—elite and populace. Such constructed oppo- sites have haunted the pages of cultural history for the past decades, and although the more sophisticated practitioners of the genre already seem to have abandoned them for a more integralist stance, the di- chotomy still dominates the imagination. The study of Roman culture seems especially characterized by this divisive image: the refined civ- ilization of the papal court, manifest in the grandiose monuments of the arts, of literature and of music—the culture of a group who can- not have numbered more than a few thousand people, mostly men— at times seems a completely different world from the life of the other 90.000 or so Romans who made up the capital of the Papal States and of Catholic Christendom in a normal year. But do we actually now how an ‘ordinary’ Roman, who did not really belong to this upper class, looked upon ‘The Town’, his town? The title of this Prologue shows I work from the assumption that who- ever chronicled life in papal Rome would be primarily preoccupied with power. Indeed, after a first glance at the available material, I felt that such persons were indeed so inclined: most of the sources that fall in the category of texts chronicling the Town’s daily life seem to record the many visible manifestations of power: power temporal, power spir- itual and, of course, power supernatural. They concern the rituals of a capital that was excessively attuned to the outward manifestations of the complex power system that, within the theatre that was Rome, cen- tred around the pope, his family and all the other persons and institu- tions that, together, embodied the Church which was the vessel of those powers.
    [Show full text]
  • The Theater of Piety: Sacred Operas for the Barberini Family In
    The Theater of Piety: Sacred Operas for the Barberini Family (Rome, 1632-1643) Virginia Christy Lamothe A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music. Chapel Hill 2009 Approved by: Tim Carter, chair Annegret Fauser Anne MacNeil John Nádas Jocelyn Neal © 2009 Virginia Christy Lamothe ALL RIGHTS RESERVED ii Abstract Virginia Christy Lamothe: “The Theater of Piety: Sacred Operas for the Barberini Family (Rome, 1632-1643)” (Under the direction of Tim Carter) In a time of religious war, plague, and reformation, Pope Urban VIII and his cardinal- nephews Antonio and Francesco Barberini sought to establish the authority of the Catholic Church by inspiring audiences of Rome with visions of the heroic deeds of saints. One way in which they did this was by commissioning operas based on the lives of saints from the poet Giulio Rospigliosi (later Pope Clement IX), and papal musicians Stefano Landi and Virgilio Mazzocchi. Aside from the merit of providing an in-depth look at four of these little-known works, Sant’Alessio (1632, 1634), Santi Didimo e Teodora (1635), San Bonifatio (1638), and Sant’Eustachio (1643), this dissertation also discusses how these operas reveal changing ideas of faith, civic pride, death and salvation, education, and the role of women during the first half of the seventeenth century. The analysis of the music and the drama stems from studies of the surviving manuscript scores, libretti, payment records and letters about the first performances.
    [Show full text]
  • Panegírico a Taddeo Barberini (1631)
    BIBLIOTECA DIGITAL – PROYECTO ARELPH LAS ARTES DEL ELOGIO: POESÍA, RETÓRICA E HISTORIA EN LOS PANEGÍRICOS HISPANOS GABRIEL DE CORRAL Panegírico a Taddeo Barberini (1631) Edición de Jesús Ponce Cárdenas PANEGIRICOS.COM 2017 GABRIEL DE CORRAL – Panegírico a Taddeo Barberini – PROYECTO ARELPH – PANEGIRICOS.COM ÍNDICE 3 APES URBANAE: INTRODUCCIÓN A UN PANEGÍRICO ROMANO 35 PANEGÍRICO A TADDEO BARBERINI 39 APÉNDICE: LOS SONETOS DE GABRIEL DE CORRAL EN ELOGIO DE LA CASA BARBERINI - 2 - GABRIEL DE CORRAL – Panegírico a Taddeo Barberini – PROYECTO ARELPH – PANEGIRICOS.COM APES URBANAE: INTRODUCCIÓN A UN PANEGÍRICO ROMANO La obra de Gabriel del Corral (Valladolid, 1588-Toro, 1646) abarca una rica variedad de géneros y formas, que van desde la novela cortesana hasta la poesía jocosa de academia, pasando por la escritura encomiástica, el teatro palaciego o las relaciones de sucesos. Pese al manifiesto interés que presentan los textos de este poeta barroco, la crítica no se ha detenido en trazar debidamente su perfil biográfico y literario. Con la intención de paliar esa llamativa laguna en los estudios áureos, abordamos el estudio y edición del panegírico en octavas reales que el autor castellano compuso y editó en Roma en 1631. La dilucidación de dicho texto laudatorio hace necesaria una indagación previa en torno a varios elementos significativos en la trayectoria vital y literaria de un ingenio aún mal conocido1. Por ese motivo, el estudio preliminar se articulará en cuatro partes netamente diferenciadas. En primer lugar se abordará el examen de diversas claves biográficas, a la luz de nuevos datos documentales. Seguidamente se estudiará la valoración que se hace de este autor en dos famosos compendios eruditos entre 1630 y 1633, coincidiendo con su estancia en Roma.
    [Show full text]
  • Download (11Mb)
    A Thesis Submitted for the Degree of PhD at the University of Warwick Permanent WRAP URL: http://wrap.warwick.ac.uk/90103 Copyright and reuse: This thesis is made available online and is protected by original copyright. Please scroll down to view the document itself. Please refer to the repository record for this item for information to help you to cite it. Our policy information is available from the repository home page. For more information, please contact the WRAP Team at: [email protected] warwick.ac.uk/lib-publications 1 Scenography at the Barberini court in Rome: 1628-1656 by Leila Zammar A thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy The University of Warwick Renaissance Studies Centre for the Study of the Renaissance 2 Table of contents List of Abbreviations…………………………………………................ p. 4 List of Illustrations………………………………………………..……. p. 5 Acknowledgements……………………………………………………... p. 10 Abstract…………………………………………………………………. p. 12 Introduction…………………………………………………………….. p. 13 Chapter 1 New light on early performances (August 1628 and Carnival of 1632)……………………………………….. p. 36 Il contrasto di Apollo con Marsia: August 1628……....... p. 41 Il Sant’Alessio: Carnival 1632…………………………... p. 51 Chapter 2 Operas staged with the collaboration of Francesco Guitti (1633-1634)……………………………………… p. 62 Erminia sul Giordano (Carnival 1633)…………………. p. 64 Il Sant’Alessio (Carnival 1634)…………………………. p. 88 Chapter 3 Further developments (1635-1638)………………..…… p. 120 I Santi Didimo e Teodora (Carnivals 1635 and 1636)…... p. 123 La pazzia d’Orlando and San Bonifacio (Carnival 1638)... p. 145 Chapter 4 Inaugurating the newly-built theatre (1639 and 1642). p. 163 The Teatro Barberini from its construction to its demolition (1637-1932)………………………………….
    [Show full text]
  • Visible Spirit
    Visible Spirit The Art of Gianlorenzo Bernini Vol. I Irving Lavin The Pindar Press London 2007 Published by The Pindar Press 40 Narcissus Road London NW6 1TH · UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library ISBN 978-1-899828-39-5 (hb) ISBN 978-1-904597-54-4 (pb) Printed by Estudios Gráficos ZURE 48950 Erandio Spain This book is printed on acid-free paper Contents Foreword i I Review of Rudolf Wittkower, Gian Lorenzo Bernini. The Sculptor of the Roman Baroque 1 II Bernini and the Theater 15 III Bozzetti and Modelli. Notes on sculptural Procedure from the Early Renaissance through Bernini 33 IV Bernini and the Crossing of Saint Peter’s 62 V Five New Youthful Sculptures by Gianlorenzo Bernini and a revised Chronology of his Early Works 186 VI Bernini’s Death 287 VII Afterthoughts on “Bernini’s Death” 354 VIII Letter to the Editor on a review by Howard Hibbard of Bernini and the Crossing of St. Peter’s 371 IX Calculated Spontaneity. Bernini and the Terracotta Sketch 376 X On the Pedestal of Bernini’s Bust of the Savior 393 XI High and Low before their Time: Bernini and the Art of Social Satire 397 XII Bernini’s Memorial Plaque for Carlo Barberini 469 XIII Bernini’s Baldachin: Considering a Reconsideration 480 XIV Bernini’s Bust of Cardinal Montalto 496 XV Bernini’s Cosmic Eagle 509 XVI Bernini’s Image of the Sun King 524 Lavin XII. Revised:Lavin 2 Chap 17 13/8/07 06:51 Page 1 XII Bernini’s Memorial Plaque for Carlo Barberini* ARLO BARBERINI, brother of Pope Urban VIII and commander of Cthe papal armies (Generale di Santa Chiesa), died during a mission in Bologna on 25 February 1630.1 The event was commemorated in Rome by three major works in which Bernini had a hand.
    [Show full text]
  • 1 Chapter 10 Astrology and the End of Science in Early Modern Italy
    Chapter 10 Astrology and the End of Science in Early Modern Italy Brendan Dooley It has become a truism of studies on early science that the Renaissance philosophy of nature, both in Italy and in Northern Europe, drew upon a powerful mix of seemingly contradictory elements: geometry and mysticism, scholasticism and vitalism. And to be convinced of the striking range of combinations, even in the case of Galileo Galilei, there is no need to pay any more than due attention to his dabbling in astrology and his affinity with Neoplatonism. 1 Among many thinkers, long-standing beliefs about the relation between the macrocosm of heavenly spheres and the microcosm of human affairs combined with humanist attitudes to ancient texts and new conceptions about the application of mathematical models to physical reality. What has not yet been examined in any great detail is the extent to which popular ideas may have influenced certain aspects of this culture that are better known in their erudite formulations. 2 Recent work on the social history of science, meanwhile, has drawn the gaze of the researcher from the heights of intellectual creativity down to the level of the daily practice of many important protagonists. Daily practice compelled an interchange with individuals at many different social levels, put the protagonists in situations where the common language of natural knowledge was spoken in many different dialects—high and low. 3 From this perspective, Galileo’s involvement with astrology, a set of concepts and activities as deeply inscribed within circuits of popular as of erudite knowledge, takes on new significance.
    [Show full text]
  • Carlo Maratti and the Barberini Family: Two Paintings for Churches in Palestrina
    Carlo Maratti and the Barberini family: two paintings for churches in Palestrina by GIOVAN BATTISTA FIDANZA IN THE SEVENTEENTH CENTURY, Palestrina, about 40 kilometres east of Rome, was the main town of an important principal- ity, which in 1630 was acquired by the Barberini family from Francesco Colonna.1 It is not widely known that Carlo Maratti (1625–1713) painted two altarpieces for churches in Palestrina. One, which has not survived, was for the high altar of S. Rosa- lia, the other for the church of the Annunciation. The first of Maratti’s biographers to mention the S. Rosalia painting was G.P. Bellori (1613–96), who accurately describes its subject, S. Rosalia interceding for victims of the plague in Palestrina. He also states that the painting was commissioned by Prince Maffeo Barberini (1631–85), whose palace was attached to the church of S. Rosalia, to fulfil a vow made by the town council during an outbreak of plague in 1656, when the people prayed to S. Rosalia of Palermo, known for her protection from epidemics. Bellori adds that the painting had already been moved to Palazzo Barberini in Rome and replaced with a copy by Francesco Reale, whom Bellori de- scribes as a pupil of Maratti. According to Bellori, this transfer was made for reasons of conservation, above all because the can- vas was in direct contact with the rock on which the church was built.2 Regarding the date of the painting, Bellori writes only that it was executed after the epidemic. Of Maratti’s other biographers, Francesco Saverio Baldi- nucci (1663–1738), writing around 1725–30, adds no useful in- formation about the date of the altarpiece.
    [Show full text]
  • Violence and Disorder in the Sede Vacante of Early Modern Rome, 1559-1655
    VIOLENCE AND DISORDER IN THE SEDE VACANTE OF EARLY MODERN ROME, 1559-1655 DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of the Ohio State University By John M. Hunt, M. A. ***** The Ohio State University 2009 Dissertation Committee Professor Robert C. Davis Professor Noel G. Parker ______________________________ Professor Barbara A. Hanawalt Advisor History Graduate Program Professor Terri Hessler ABSTRACT From the death of every pope until the election of his successor in the early modern era, the entire bureaucratic and judicial apparatus of the state in Rome and the Papal States effectively ceased to function. During this interregnum, known as the sede vacante (literally, “the vacant see”), violence and disorder dramatically increased as the papal government temporarily lost its control over the populace and its monopoly of violence. The College of Cardinals and local civic governments throughout the Papal States, authorities deputized to regulate affairs during sede vacante, failed to quell the upsurge of violence that commenced immediately upon the pope’s death. Contemporary observers and modern scholars have labeled the violence of sede vacante as meaningless and irrational. I argue, rather, that this period of unrest gave Romans and subjects of the Papal States an opportunity to perform actions increasingly forbidden by the centralizing papal government—and thus ultimately to limit the power of the government and prevent the development of the papacy into an absolute monarchy. Acting as individuals or as collectivities, Romans and papal subjects sought revenge against old enemies, attacked hated outsiders, criticized papal policies, and commented on the papal election.
    [Show full text]
  • A Lost Raffaello
    A LOST RAFFAELLO Carla De Petris AGENDA • Background of the Artist and his students • Timeline of the ownership of the painting • Research about the ”Madonna of Divine Love” • Analysis of the paintings authenticity • Conclusion IS THIS THE ORIGINAL “MADONNA OF DIVINE LOVE” ? • Since 1734, this painting has been known as “The Madonna of Divine Love” panted by Raffaello in 1518 for Pope Paul III (a member of the Farnese family). • The painting is in CapodiMonte Museum, Naples, Italy IS THIS THE ORIGINAL “MADONNA OF DIVINE LOVE” BY RAFFAELLO? • This was painted by Raffello in 1514 for Leonello Pio da Carpi for his 90th birthday • It was inherited by his grandson, Cardinal Rodolfo Pio da Carpi in late 1520 • Vasari describe this painting in his book, 1544, and much later was describe as the “Madonna of Divine Love” • It was later inherited by Falco Pio di Savoia Family in 1564 after the death of Cardinal Rodolfo HOW I FOUND THE REAL “MADONNA OF DIVINE LOVE” • A local art restorer, Mr. Vanderbuilt, referred “Elma” to me to help lead the research into a mysterious painting originally purchased by her aunt “Anna. Names change to protect the owners. Anna wrote a letter to document the story of the painting while she were dining at Monsignor Nardi’s home on March 6, 1871 in Rome • Anna outlined how Leonello Pio da Carpi commissioned this painting to Raffaello Sanzio da Urbino ”Raphael” in 1514 LIVES OF THE ARTISTS” BY GIORGIO VASARI • Vasari first saw the “Sacred Family” painted by Raffaello on canvas in the home of Leonello Pio da Carpi in Campo Marzio, Rome • His detailed description of the painting inspired the historians to name the painting “Madonna of Divine Love” • “…Raphael painted a picture of marvelous coloring and outstanding beauty.
    [Show full text]
  • Cronologia Della Prima Guerra Di Castro (1641-1644)
    QUADERNI DELLA RIVISTA DEL CONSORZIO PER LA GESTIONE DELLE BIBLIOTECHE COMUNALE DEGLI ARDENTI E PROVINCIALE ANSELMO ANSELMI DI VITERBO a prima e Carte Barberini A cura di RENZO CHIOVELLI Inserto del n. 2, anno XIII, 30 giugno 1994, di "Biblioteca e Società" Rivista del Consorzio per la gestione delle Biblioteche degli Ardenti e Anselmo Anselmi di Viterbo A cura di RENZO CHIOVELLI uella che viene definita come "Prima guerra di Castro", scaturì dagli impedimenti che Odoardo Farnese, duca di Parma, Piacenza, e Ronciglione, poteva arrecare alla politica espansionistica familiare dei Barberini. Gli occasio- nali contrasti verificatisi tra membri delle due casate e soprattutto il deciso proposito del pontefice Urbano VIII, Maffeo Barberini, coadiuvato dai tre nipoti Francesco, Antonio e Taddeo, di sottrarre ad Odoardo il ducato di Castro, creato su parte dei ter- ritori del Patrimonio di San Pietro in Tuscia e dei cui privilegi la famiglia Farnese godeva da alcuni secoli,molto prima di papa Paolo 111, portarono ine- vitabilmente al conflitto, scoppiato nel 1641 e pro- trattosi fino al 1644. L'azione dei Barberini contro gli interessi del Farnese, prima dell'invasione e dell'occupazione del ducato castrense, iniziò proprio con l'abolizione dei privilegi commerciali sulle vie di comunicazione e sull'esportazione del grano dai territori farnesiani compresi all'interno dei confini storici dello Stato pontificio. I mancati introiti di quelle che costituiva- no le maggiori rendite del ducato di Castro e che permettevano ad Odoardo di assicurare in gran parte i monti di pegno dei Farnese in Roma, dettero vita ben presto alle lamentele dei creditori dei 'Monti farnesiani'.
    [Show full text]