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Aiello Calabro (CS) Italy
Dr. Francesco Gallo OUTSTANDING FAMILIES of Aiello Calabro (CS) Italy from the XVI to the XX centuries EMIGRATION to USA and Canada from 1880 to 1930 Padua, Italy August 2014 1 Photo on front cover: Graphic drawing of Aiello of the XVII century by Pietro Angius 2014, an readaptation of Giovan Battista Pacichelli's drawing of 1693 (see page 6) Photo on page 1: Oil painting of Aiello Calabro by Rosario Bernardo (1993) Photo on back cover: George Benjamin Luks, In the Steerage, 1900 Oil on canvas 77.8 x 48.9 cm North Carolina Museum of Art, Raleigh. Purchased with funds from the Elizabeth Gibson Taylor and Walter Frank Taylor Fund and the North Carolina State Art Society (Robert F. Phifer Bequest), 98.12 2 With deep felt gratitude and humility I dedicate this publication to Prof. Rocco Liberti a pioneer in studying Aiello's local history and author of the books: "Ajello Calabro: note storiche " published in 1969 and "Storia dello Stato di Aiello in Calabria " published in 1978 The author is Francesco Gallo, a Medical Doctor, a Psychiatrist, a Professor at the University of Maryland (European Division) and a local history researcher. He is a member of various historical societies: Historical Association of Calabria, Academy of Cosenza and Historic Salida Inc. 3 Coat of arms of some Aiellese noble families (from the book by Cesare Orlandi (1734-1779): "Delle città d'Italia e sue isole adjacenti compendiose notizie", Printer "Augusta" in Perugia, 1770) 4 SUMMARY of the book Introduction 7 Presentation 9 Brief History of the town of Aiello Calabro -
The Petite Commande of 1664: Burlesque in the Gardens of Versailles Thomasf
The Petite Commande of 1664: Burlesque in the Gardens of Versailles ThomasF. Hedin It was Pierre Francastel who christened the most famous the west (Figs. 1, 2, both showing the expanded zone four program of sculpture in the history of Versailles: the Grande years later). We know the northern end of the axis as the Commande of 1674.1 The program consisted of twenty-four Allee d'Eau. The upper half of the zone, which is divided into statues and was planned for the Parterre d'Eau, a square two identical halves, is known to us today as the Parterre du puzzle of basins that lay on the terrace in front of the main Nord (Fig. 2). The axis terminates in a round pool, known in western facade for about ten years. The puzzle itself was the sources as "le rondeau" and sometimes "le grand ron- designed by Andre Le N6tre or Charles Le Brun, or by the deau."2 The wall in back of it takes a series of ninety-degree two artists working together, but the two dozen statues were turns as it travels along, leaving two niches in the middle and designed by Le Brun alone. They break down into six quar- another to either side (Fig. 1). The woods on the pool's tets: the Elements, the Seasons, the Parts of the Day, the Parts of southern side have four right-angled niches of their own, the World, the Temperamentsof Man, and the Poems. The balancing those in the wall. On July 17, 1664, during the Grande Commande of 1674 was not the first program of construction of the wall, Le Notre informed the king by statues in the gardens of Versailles, although it certainly was memo that he was erecting an iron gate, some seventy feet the largest and most elaborate from an iconographic point of long, in the middle of it.3 Along with his text he sent a view. -
Nini, Bloodshed, and La Marescialla D'ancre
28 Nini, bloodshed, and La marescialla d’Ancre Alexander Weatherson (This article originally appeared in Donizetti Society Newsletter 88 (February 2003)) An odd advocate of so much operatic blood and tears, the mild Alessandro Nini was born in the calm of Fano on 1 November 1805, an extraordinary centre section of his musical life was to be given to the stage, the rest of it to the church. It would not be too disrespectful to describe his life as a kind of sandwich - between two pastoral layers was a filling consisting of some of the most bloodthirsty operas ever conceived. Maybe the excesses of one encouraged the seclusion of the other? He began his strange career with diffidence - drawn to religion his first steps were tentative, devoted attendance on the local priest then, fascinated by religious music - study with a local maestro, then belated admission to the Liceo Musicale di Bologna (1827) while holding appointments as Maestro di Cappella at churches in Montenovo and Ancona; this stint capped,somewhat surprisingly - between 1830 and 1837 - by a spell in St. Petersburg teaching singing. Only on his return to Italy in his early thirties did he begin composing in earnest. Was it Russia that introduced him to violence? His first operatic project - a student affair - had been innocuous enough, Clato, written at Bologna with an milk-and-water plot based on Ossian (some fragments remain), all the rest of his operas appeared between 1837 and 1847, with one exception. The list is as follows: Ida della Torre (poem by Beltrame) Venice 1837; La marescialla d’Ancre (Prati) Padua 1839; Christina di Svezia (Cammarano/Sacchero) Genova 1840; Margarita di Yorck [sic] (Sacchero) Venice 1841; Odalisa (Sacchero) Milano 1842; Virginia (Bancalari) Genova 1843, and Il corsaro (Sacchero) Torino 1847. -
Allestimenti Di Ritratti E Narrative Storico Genealogiche Nei Palazzi Fiorentini, Ca
COLLANA ALTI STUDI SULL’ETÀ E LA CULTURA DEL BAROCCO PASQUALE FOCARILE Allestimenti di ritratti e narrative storico genealogiche nei palazzi fiorentini, ca. 1650-1750 COLLANA ALTI STUDI SULL’ETÀ E LA CULTURA DEL BAROCCO V - IL RITRATTO Fondazione 1563 per l’Arte e la Cultura della Compagnia di San Paolo Sede legale: Corso Vittorio Emanuele II, 75 – 10128 Torino Sede operativa: Piazza Bernini, 5 – 10138 Torino Tel. 011 4401401 – Fax 011 4401450 – [email protected] Codice fiscale: 97520600012 Consiglio di Amministrazione 2018-2020: Piero Gastaldo (Presidente), Walter Barberis (Vicepresidente) Consiglieri: Allegra Alacevich, Laura Barile, Blythe Alice Raviola Direttore scientifico del Programma Barocco: Michela di Macco Direttore: Anna Cantaluppi Vicedirettore: Elisabetta Ballaira Consiglio di Amministrazione 2015-2017: Rosaria Cigliano (Presidente), Michela di Macco (Vicepresidente) Consiglieri: Allegra Alacevich, Walter Barberis, Stefano Pannier Suffait Direttore: Anna Cantaluppi Responsabile culturale: Elisabetta Ballaira Programma di Studi sull’Età e la Cultura del Barocco Borse di Alti Studi 2017 Tema del Bando 2017: Il Ritratto (1680-1750) Assegnatari: Chiara Carpentieri, Pasquale Focarile, Ludovic Jouvet, Fleur Marcais, Pietro Riga, Augusto Russo Tutor dei progetti di ricerca: Cristiano Giometti, Cinzia M. Sicca, Lucia Simonato, Alain Schnapp, Beatrice Alfonzetti, Francesco Caglioti Cura editoriale: Alice Agrillo È vietata la riproduzione, anche parziale e con qualsiasi mezzo effettuata, non autorizzata. L’Editore si scusa per -
Sions. This Was a Reference to the Truly Anti-Slavery Royal Edict of August 2, 1530, See (Vi) (4) Above
sions. This was a reference to the truly anti-slavery Royal edict of August 2, 1530, see (vi) (4) above. And so the Pope writes to the Cardinal to say that although the Indians are non-Christians, they have not been deprived [i.e. by a juridical act of the Papacy] of their freedom or of ownership of their own possessions, nor are they to be deprived of these. They are not to be exterminated by slavery, but are to be invited to Christian life by preaching and example. The Cardinal is commanded by the Pope to provide an effective defence for the Indians in this matter, and to forbid all Spaniards to reduce the Indians into slavery by any means whatsoever or deprive them of their possessions in any manner, under pain of excommunication if they do so.(1M) The Pope clearly approved the Royal edict which had prohibited enslavement of American Indians by any one of the titles of Roman civil law. But the Pope had evidently not been informed that this Royal edict had already been abrogated on February 20, 1534, by a subsequent edict which had once more authorized the enslavement of Indian prisoners captured in just warfare, (vi) (4) above. Charles V was irritated by the Papal Brief to the Cardinal, and advised the Pope to annul it, since it was injurious to the Imperial right of colonization and harmful to the peace of the Indies. So Pope Paul III duly annulled Pastorale Offidum on June 19, 1538, by the Brief Nonlndecens Videtur.aM) Meanwhile, however, four days after writing Pastorale Offidum to the Cardinal Archbishop of Toledo, Pope Paul III on June 2,1537, addressed <"•> Brief Pastorale Offidum. -
Italian Theater Prints, Ca
http://oac.cdlib.org/findaid/ark:/13030/kt9b69q7n7 No online items Finding aid for the Italian theater prints, ca. 1550-1983 Finding aid prepared by Rose Lachman and Karen Meyer-Roux. Finding aid for the Italian theater P980004 1 prints, ca. 1550-1983 Descriptive Summary Title: Italian theater prints Date (inclusive): circa 1550-1983 Number: P980004 Physical Description: 21.0 box(es)21 boxes, 40 flat file folders ca. 677 items (623 prints, 13 drawings, 23 broadsides, 16 cutouts, 1 pamphlet, 1 score) Repository: The Getty Research Institute Special Collections 1200 Getty Center Drive, Suite 1100 Los Angeles, California, 90049-1688 (310) 440-7390 Abstract: The Italian theater prints collection documents the development of stage design, or scenography, the architecture of theaters, and the iconography of commedia dell'arte characters and masks. Request Materials: Request access to the physical materials described in this inventory through the catalog record for this collection. Click here for the access policy . Language: Collection material is in Italian Access Open for use by qualified researchers. Publication Rights Contact Library Reproductions and Permissions . Preferred Citation Italian theater prints, ca. 1550-1983, Getty Research Institute, Research Library, Accession no. P980004. http://hdl.handle.net/10020/cifaP980004 Acquisition Information Acquired in 1998. Processing History The Italian theater prints collection was first processed in 1998 by Rose Lachman. Karen Meyer-Roux completed the processing of the collection and wrote the present finding aid in 2004. Separated Materials All of the approximately 4380 secondary sources from the Italian theater collection were separated to the library. In addition, ca. 1500 rare books, some of which are illustrated with prints, have also been separately housed, processed and cataloged. -
IL CENACOLO ITALIAN CULTURAL CLUB Founded in 1928
IL CENACOLO ITALIAN CULTURAL CLUB Founded in 1928 Regular Thursday Meetings, Noon to 2:00 P.M. San Francisco Italian Athletic Club 1630 Stockton Street (3rd floor), San Francisco, CA 94133 www.ilcenacolosf.org “Il Cenacolo is an organization that preserves, enhances and encourages all aspects of Italian arts, language and culture and recognizes the unique contribution of Italian heritage that is intertwined in the history and life of the San Francisco Bay Area.” DECEMBER 2020 Thursday, December 3, 2020 “Venice: The Most Improbable of Cities” (Part I) Carla Gambescia (ZOOM Meeting)* Thursday, December 10, 2020 “Venice: The Most Improbable of Cities” (Part II) Carla Gambescia (ZOOM Meeting)* Thursday, December 17, 2020 The Merrie Olde Christmas Carolers (ZOOM Meeting)* Thursday, December 24, 2020 No meeting in deference to Christmas This month’s programs arranged by Ron Fenolio. (* ZOOM link and instructions by David Cobb will be emailed the week of each meeting.) PROGRAM PROFILES ZOOM Thursdays, December 3 & 10, 2020 Venice, the Most Improbable of Cities (2-part series) Carla Gambescia Venezia is Queen of the Adriatic, La Serenissima, standing for triumph of human will over Nature, once a beehive of espionage, luxury, the pleasure capital of Europe, a mecca of extraordinary artists and personalities and the zenith of all Grand Tours…yet even today, Venice remains an enigma. Come explore Venice’s complexities and seeming contradictions as we discover some of its many secrets and celebrate the city of myth, mystery, majesty and might. Part I: From its inauspicious beginnings at the end of the Roman empire to its apex as a commercial, naval and financial juggernaut, a Xanadu of architecture and a nexus of cultural cross-currents. -
Cardinal Richelieu, La Rochelle and the Political Testament
“To Win Souls as well as Towns”?: Cardinal Richelieu, La Rochelle and the Political Testament Piper Moritz December 2008 1 Early seventeenth-century France stood at a crossroads. Several decades after the last religious war had been fought, France remained a nation divided between two religions. The years of civil wars perhaps too far behind to be remembered, fighting broke out once again between the Catholics and Huguenots in the 1620s. This last conflict reintroduced an old question for the largely Catholic nation: Could France survive with two religions? While it would be up to the royal government to decide the fate of the Huguenot community at the conclusion of this final conflict, opinions on a proper course of action varied across the nation. Cardinal Richelieu, perhaps the most powerful man in all of France, once explained that, “Since princes are expected to establish God’s true church, they should be very thorough in banishing all false imitations of it, which are so dangerous to the state that one may say with complete truth that this kind of hypocrisy has always been used to clothe the enormity of the most pernicious undertakings.” This opinion is hardly surprising given the historical treatment that Richelieu has received over time. Believed for centuries to be the epitome of a sinister and calculating ruler, it seems logical to read that he would espouse a harsh extermination of any non-Catholic church in France. But there were also other sides to the debate. An opposing point of view countered, “There is not a single sovereign in the world who is not obliged by this principle to procure the conversion of those who, living within his kingdom, have deviated from the path to salvation. -
The Complete Sacred Music of Nicolò Isouard (1773 – 1818) and Maltese Sacred Music for the Order of Malta in the Late Eighteenth Century
The Complete Sacred Music of Nicolò Isouard (1773 – 1818) and Maltese Sacred Music for The Order of Malta in the Late Eighteenth Century. By Richard Sydney Benedict Divall Doctor of Letters (Honoris Causa – Monash 1992) and Doctor of the University (Honoris Causa – Australian Catholic University 2004) A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy MCD University of Divinity 2013 MCD University of Divinity To Whom it May Concern This is to certify that the thesis and music editions presented by me for the degree of Doctor of Philosophy comprises only my original work except where due acknowledgment is made in the text to all other material used. Signature: ____________________________________ Name in Full: ____________________________________ Date: ____________________________________ Abstract. Nicolò Isouard (1773-1818) is considered Malta’s national composer. After studies in France and Naples, he returned to his homeland, where from 1794 to 1798 he was an aspiring composer, and employee of the Order of Malta. In 1994 a collection of thirty-three autographs of hitherto unknown sacred music by Isouard appeared at the Bibliothèque Nationale, Paris, and I recognised the importance of these manuscripts. My intentions are to provide a précis on the Order, as the sovereign entity ruling Malta at the time, and the sacred music composed for them in their great Conventual Church in Valletta – now St John’s Co-Cathedral. The thesis will provide the background to Isouard’s early career and a complete edition and commentary of all of his sacred music, including additional works found during the research process, and a catalogue of his stage works. -
THE FLORENTINE HOUSE of MEDICI (1389-1743): POLITICS, PATRONAGE, and the USE of CULTURAL HERITAGE in SHAPING the RENAISSANCE by NICHOLAS J
THE FLORENTINE HOUSE OF MEDICI (1389-1743): POLITICS, PATRONAGE, AND THE USE OF CULTURAL HERITAGE IN SHAPING THE RENAISSANCE By NICHOLAS J. CUOZZO, MPP A thesis submitted to the Graduate School—New Brunswick Rutgers, The State University of New Jersey in partial fulfillment of the requirements for the degree of Master of Arts Graduate Program in Art History written under the direction of Archer St. Clair Harvey, Ph.D. and approved by _________________________ _________________________ _________________________ New Brunswick, New Jersey May, 2015 ABSTRACT OF THE THESIS The Florentine House of Medici (1389-1743): Politics, Patronage, and the Use of Cultural Heritage in Shaping the Renaissance By NICHOLAS J. CUOZZO, MPP Thesis Director: Archer St. Clair Harvey, Ph.D. A great many individuals and families of historical prominence contributed to the development of the Italian and larger European Renaissance through acts of patronage. Among them was the Florentine House of Medici. The Medici were an Italian noble house that served first as the de facto rulers of Florence, and then as Grand Dukes of Tuscany, from the mid-15th century to the mid-18th century. This thesis evaluates the contributions of eight consequential members of the Florentine Medici family, Cosimo di Giovanni, Lorenzo di Giovanni, Giovanni di Lorenzo, Cosimo I, Cosimo II, Cosimo III, Gian Gastone, and Anna Maria Luisa, and their acts of artistic, literary, scientific, and architectural patronage that contributed to the cultural heritage of Florence, Italy. This thesis also explores relevant social, political, economic, and geopolitical conditions over the course of the Medici dynasty, and incorporates primary research derived from a conversation and an interview with specialists in Florence in order to present a more contextual analysis. -
Miscellanea Medicea Ii (201-450). Inventario
STRUMENTI CLXXXVI MISCELLANEA MEDICEA MISCELLANEA MEDICEA II II ROMA 2009 MINISTERO PER I BENI E LE ATTIVITÀ CULTURALI DIREZIONE GENERALE PER GLI ARCHIVI Stemma ligneo della famiglia Medici, Archivio di 2009 Stato di Firenze STRUMENTI PUBBLICAZIONI DEGLI ARCHIVI DI STATO CLXXXVI STRUMENTI CLXXXVI ISBN 978-88-7125-305-3 ARCHIVIO DI STATO DI FIRENZE MISCELLANEA MEDICEA MISCELLANEA MEDICEA II II (201-450) (201-450) Inventario a cura di BEATRICE BIAGIOLI GABRIELLA CIBEI VERONICA VESTRI Inventario a cura di BEATRICE BIAGIOLI, GABRIELLA CIBEI, VERONICA VESTRI Coordinamento scientifico e revisione PIERO MARCHI MINISTERO PER I BENI E LE ATTIVITÀ CULTURALI ROMA DIREZIONE GENERALE PER GLI ARCHIVI 2009 2009 Nel ricordo di Anna Bellinazzi: ci mancheranno i suoi consigli e la sua amicizia Il lavoro di schedatura è stato finanziato dalla Direzione generale per gli archivi attraverso una convenzione con l’Istituto nazionale di studi sul Rinascimento. PUBBLICAZIONI DEGLI ARCHIVI DI STATO STRUMENTI CLXXXVI ARCHIVIO DI STATO DI FIRENZE MISCELLANEA MEDICEA II (201-450) Inventario a cura di BEATRICE BIAGIOLI, GABRIELLA CIBEI, VERONICA VESTRI Coordinamento scientifico e revisione PIERO MARCHI MINISTERO PER I BENI E LE ATTIVITÀ CULTURALI DIREZIONE GENERALE PER GLI ARCHIVI 2009 DIREZIONE GENERALE PER GLI ARCHIVI Servizio III - Studi e ricerca Direttore generale per gli archivi: Luciano Scala Direttore del Servizio III: Patrizia Ferrara Cura redazionale: Maria Grazia Lippolis Elaborazione schede: Beatrice Biagioli, Gabriella Cibei, Veronica Vestri (le specifiche a p. 1095) Si ringraziano: Patrizia Ferrara e Maria Grazia Lippolis della Direzione generale per gli archivi. Carla Zarrilli, direttrice dell’Archivio di Stato di Firenze. Rosalia Manno Tolu, già direttrice dell’Archivio di Stato di Firenze, per avere promosso la realizzazione di questo lavoro. -
Music Migration in the Early Modern Age
Music Migration in the Early Modern Age Centres and Peripheries – People, Works, Styles, Paths of Dissemination and Influence Advisory Board Barbara Przybyszewska-Jarmińska, Alina Żórawska-Witkowska Published within the Project HERA (Humanities in the European Research Area) – JRP (Joint Research Programme) Music Migrations in the Early Modern Age: The Meeting of the European East, West, and South (MusMig) Music Migration in the Early Modern Age Centres and Peripheries – People, Works, Styles, Paths of Dissemination and Influence Jolanta Guzy-Pasiak, Aneta Markuszewska, Eds. Warsaw 2016 Liber Pro Arte English Language Editor Shane McMahon Cover and Layout Design Wojciech Markiewicz Typesetting Katarzyna Płońska Studio Perfectsoft ISBN 978-83-65631-06-0 Copyright by Liber Pro Arte Editor Liber Pro Arte ul. Długa 26/28 00-950 Warsaw CONTENTS Jolanta Guzy-Pasiak, Aneta Markuszewska Preface 7 Reinhard Strohm The Wanderings of Music through Space and Time 17 Alina Żórawska-Witkowska Eighteenth-Century Warsaw: Periphery, Keystone, (and) Centre of European Musical Culture 33 Harry White ‘Attending His Majesty’s State in Ireland’: English, German and Italian Musicians in Dublin, 1700–1762 53 Berthold Over Düsseldorf – Zweibrücken – Munich. Musicians’ Migrations in the Wittelsbach Dynasty 65 Gesa zur Nieden Music and the Establishment of French Huguenots in Northern Germany during the Eighteenth Century 87 Szymon Paczkowski Christoph August von Wackerbarth (1662–1734) and His ‘Cammer-Musique’ 109 Vjera Katalinić Giovanni Giornovichi / Ivan Jarnović in Stockholm: A Centre or a Periphery? 127 Katarina Trček Marušič Seventeenth- and Eighteenth-Century Migration Flows in the Territory of Today’s Slovenia 139 Maja Milošević From the Periphery to the Centre and Back: The Case of Giuseppe Raffaelli (1767–1843) from Hvar 151 Barbara Przybyszewska-Jarmińska Music Repertory in the Seventeenth-Century Commonwealth of Poland and Lithuania.