Senior Walk List 3/26/21 – Acevedo, Bernie Jr. Aguilar, Nicholas

Total Page:16

File Type:pdf, Size:1020Kb

Senior Walk List 3/26/21 – Acevedo, Bernie Jr. Aguilar, Nicholas Senior Walk List 3/26/21 – This list are those students who after successfully completing this current semester will graduate. Students not on this list are those who need to complete mdlp.org classes, credit recovery, or take the American Civics Test in May. Please contact your Counselor if you have any questions. Acevedo, Bernie Jr. Aguilar, Nicholas Anthony Jr Ahlman, Andre Ahlman, Dominic Jay Akin, Bailey Marie Alcaraz, Verenice Fernandez Alexander, Tyron Kelvon Allgier, Nadezhda Hope Alonzo, Aaron Jude Alvarado, Jimmy Rendon Alvarado-Menchaca, Nayeli Alvarez, Erik Andreas, Malechi Leandre Angelino, Jeconiah Mary Aragon-Spillman, Damian Elijah Araujo Luevano, Samantha Lizeth Arciniega Menchaca, Leslie Arechiga, Glenda Gabriela Arreola-Romero, Jacy Artates, Geremy Lance Aviles-Sanchez, John Henry Avina Naranjo, Jesenia Yamilete Badger, Tyler Murray Bagshaw, Tessa Ceann Baker, Kaycie Ann Barboa, Thomas Elijio Barraza, Dayanara Barrera Ramos, Izaiah Michael Barton, Madison Rylee Bay, Diamond Marye Ben, Victoria Adriana Beyer, Makenna Genae Bingham, Colter Ash Bird, Gavin Jeffrey Blaney, Katie Juliette Blissett, Jasper Isbella Bonilla, Bryan Adrian Botos, William Wayne Bowers, Grant Weldon Braden, Tony Antawn Bradley, Michael Eugene Jr Brandenburg, Christopher Aaron Branham, Marlon Ezekiel Brink, Mercy Madgeline Bromenschenkel, Olivia Paige Brook, Leon Elias Brown, Whitney Anne Bruce, Angelina Lynn Bryson, Kaitlynn Suzann Burby, Shire Rose Burton, Tore Emorie Byone, Jasmine Desiree Camilleri, John Thomas Campuzano, Ivan Cardenas Garcia, Juan Carlos Carter, Destiny Rae Castagnanova, Noah Dylan Castro Garcia, Luz Elena Castro Garcia, Thelma Bridgyth Castro Lopez, Kimberly Ceynar, Michael James Jr Chambers, Julia Sofia Chavez Pec, Jessica Araceli Chavez Rocha, Jonathan Alberto Colazo, Cintia Maria Coleman, Cory Christopher Collins, Vanessa Eugene Colmenero, Karla Marie Cook, Greyson Charles Cooper, Brandon Russell Cortez, Juan Covington, Evan Pascal Craig, Caleb Alexander Crawford, Abbie Claire Crowell, Maddox Rayne Crutcher, Andrew Atlas Cuevas Hernandez, Maria Fernanda Dasti, Taylor Lynn Davis, Ashton Lynial De Alba Sanchez, MaryAlondra DeLeon, Jaeden Trent DeLeon, Jason Giovanni Delgado Dones, Damyleth Marie Dieng, Khadidiatou Dimarino, Patience Rose Discianno, Tyler Joseph Dodson, Logan Daniel Doolan, Michael Scott Doucet, Luke Joseph Downs, Ashton Renee Duke, Trevor David Dunning, Brady Lawrence Eaton, Javarion Antonio Escamilla, Kendrick Ricardo Estrella, Belle Madison Dela Cruz Ewert, Braeden Daniel Ferguson, Zakary Russell Fernandez, Alexis Hennesy Finke, Caleb William Fitzpatrick, Kyller Jo Foster, Jaunaujhe Amore Frantz, Meagan Florence Fraser, Alyssa Jasmine Frier, Noah Perry Fritzsche, Crayton Todd Fyffe, Grant Nielsen Galaviz, Evelyn Belem Galindo, Marisella Rose Gapelu, Lupe'eva Fangu'ovava'u jelana Garcia Arechiga, Sulma Maggaly Garcia Rosales, Christian Jovani Garibay Zuniga, Daniel Garza, Daniel Gerkin, Jaime Emma Ginez, Karla Mairet Githongo, Veronicah Wambui Gloria, Jordan Angelo Gomez, Kallena Monet Gondolfo, Daniela Marie Gonzalez, Daniel Antonio Gonzalez, Enrique Sergio Gonzalez, Jorge R Gonzalez, Violet Persephone Gooder, Xander Steven Grace, Christopher Paul Greer, Logen Michael Grijalva, Cameron-Hans Randall Griner, Mason Lehi Gurr, Abbygale Anne Hall, Lindsay Hamieh, Karim Ali Hamilton, Jaena Marie Hannon, Devinia Annisa Harrison, Brandon Taylor Hazelton Torres, Samuel Lee Hendrie, Greylynd Scott Hermosillo Solano, Deysi Hernandez, Isaac Hernandez, Leydi Briyid Hernandez, Selena Marie Herrera, Alan Herrera, Dylaina Raelynn Herrera, Patrick Cruz Herron, Jada Reanna Hifler, Kaiden Allen Hilario, Keven Michael Manuel Hokanson, Katelyn Paige Hooper, Jenna Michelle Hoover, Johnny Edward III Hopkins, Nicole Sydney Howard, Brady Andrew Howell, Cody Eugene Huebner, Zane Anthony Hughes, Leanna Justyne Hyter, Makayla Nicole Ibarra Espinoza, William Stefano Ibarra, Genesis Ibarra, Jesus Abraham Jacks, Emily Noel Jackson, Ashani Desrai Jackson, Christian Anthony Douglas Jacobson, Kylie Lynn Jaime, Christopher Ethan Janes, Cara Lucile Jimenez Santa Rosa, Benjamin Alexandro Jimenez, Paulo Sergio Jimenez, Tessa Rahe Johnson, Caitlin Ashleigh Johnson, Grace Kathryn Johnson, Jessica Anabelle Lee Johnson, Justin Douglas Jones, Javion Deante Juarez Castro, Jenifer Liliana Karnes, Bryant Darl Kelliher, Matthew Thomas Kelly, Laura Nicole Kiene, Karagyn Leah King, Evan Ray Kirschner, Caden Jack Kittler-Morich, Joseph Wayne Knapp, Kadin Korson Kohlstedt, Makenzi Christine Konrath, Allison Elizabeth Landavazo, Katie Marissa Larsen, Ethan Call Leon-Pesqueira-Urban, Alexandra Leticia Lincoln Vanzandt, Logan Dwayne Lopez Solis, Natalie Suzeth Lopez, Gabriella Jael Lopez, Sonia Lucero, Nadia Kristine Luster, MaJesta Skyy Lynch, Haley Marie Malina, Matthew Edward Marcano, Samuel Dan Marquez Hernandez, Belen Marshall, Carter Bradford Martinez, Brandon Nicholas Martinez, Estrella Teresa Martinez, Jael Elian Martinez, Mariah Aliese Matos, Alberto Jr Mauterer, Keeler Paul McNeese, Thomas Jumawan Mehr, Madison Ashley Mendoza Mendoza, Priscilla Messina, Mackinzie Marie Michaels, Hannah Joy Mills, Jaxon Brian Mills, Kaden Daniel Mockler, Joseph Caden Moncada Nava, Tomy Monroe, Savanna Faith Montelongo Rodriguez, Sairy Lizbeth Murray, Cooper Ethan Naranjo-Hurtado, Jaime Nelson, Jack Michael Nieto Martinez, Jose Nine, Thomas Brian Noriega, Alejandro Solomon Norton, Krista Lindsay Nunez, Deborah Ruth Nungaray, Joseph Israel Obispo, Princess Ariane Olivas Espinoza, Reynaldo Orozco Rodriguez, Marco Antonio Ortega Guerra, Bernardo David Ortega, Joshua Samuel Ovalles Tarazona, Jesus David Owens, Cyrus James Pacheco, Juan Armando Pacheco, Keesha Mari Padberg, Logan Mason Palacios, Briana Lexie Pappas, Bronte Belle Pemberton, Dylan Joseph Perez Gutierrez, Jonathan Perez Jimenez, Jerry Perez, Marcos Isacc Peterson, Dennalei Petrakis, Maria Angela Petty, Xander Gilbert Pino, Sarah Claire Pope, Ashley Jo Poulter, Kristina Ann Poulter, Tyler Nathan Presley, Jacinda Rachelle Price, Silicea Renee Pruitt, Erika Faith Ramirez, Perla Ramirez, Vanessa Lynn Randolph, Peyton Thomas Razcon Vasquez, Alejandro Reaves, Kyle Clark Redondo, Jessy Reed, Trinity Louise Reyes-Diaz, Roman Richards, Breanna Lee Richardson-Maguire, Brooke Lin Roberts, Christian Cole Rozell Dewey, Braydon Charles Nelson Ruiz Paz, Juliana Del Rosario Ruiz, Panapa Alena Sallas, Michael Anthony II Sanchez, Alex Joseph Secor, Alyissa Sekenski, Kevin Joseph Serrano, Carlos Adam Shepherd, Sidney Noel Short, Cody Lee Siemering, Kenneth Nicholas Simzyk, Zane David Skinner, Damian Matthew Skurjate, Amanda Smith, Vicente V. Snell, Emillie Marie Snider, William Douglas Solis Saldana, Priscila Soto, Auston Jackob Speece, Tyler Dean Stratton, Jade Elizabeth Suanico, Kyle Luis Takahashi, Giovanni Antonio Tapia, Arianna Nicole Thornburg, Gabriel Bennett Tinen, Aidan Neal Torres, Angelise Amaya Torres, Luis Antonio Townsend, Blake Matthew Treat, Julian Howard Tucker, Hayden Hope Tyson, Matthew Ray Valdez-Duarte, Gabriel Anthony Vega, Brianna Gizel Velasquez, Angelina Mia Vera-Alvarado, Moroni Cumorah Villar, Adrian Walstead, Zoey Alexa Washington, Charles Edward III Wax, Kaitlyn Michelle Ann Wells, Austin Cole Wesemeyer, Jasmine Isabella Williams, Shakira Moneah Wolfe, Brendan Liam Yepiz Aguilar, Kassandra Carolina Zamora Lopez, Gabriel Eduardo Zaragoza, Alliyah Rose Zimmerman, Kaitlynn Rika .
Recommended publications
  • 121-Santa Maria in Publicolis.Pages
    (121) Santa Maria in Publicolis The Church of Santa Maria in Publicolis, situated on Via in Publicolis at Piazza Costaguti in the rione of Sant'Eustachio, is the only Roman church dedicated to the Nativity of the blessed Virgin Mary. It is a little church built near the palace of the patrons, the Santacroce, who claimed to descend from Publio Valerio Publicola, a Roman consul who in 509 BC promulgated laws in favour of the lower classes. History: The church is mentioned in a papal bull promulgated in 1186 by Urban III. The consistory lawyer Andrea Santacroce had the church restored in 1465. Around 1640 the old church was in a state of disrepair, and it was pulled down. The cardinal Marcello Santacroce commissioned the architect Giovanni Antonio de' Rossi, who was the architect of the Santacroce family from c.1642-95, to design a new church. In 1835 Blessed Gaetano Errico instituted the Congregation of Missionaries of the Sacred Hearts of Jesus and Mary, and in 1858 he was given the church along with an adjacent building to house his congregation. Exterior: The façade is divided into three levels: the bottom two columns frame the entrance portal, above which is located a fresco surmounted by a broken pediment curved and four pilasters flank the two side niches. Inscription Deiparae Virgini in Publicolis MDCXLIII, or "the Virgin Mother of God in Publicolis 1643", separates the lower order from the central one, where there is a central window surmounted by a broken pediment. The third order presents a stained glass window surmounted by a curvilinear tympanum above which stands a cross.
    [Show full text]
  • 3 Architects, Antiquarians, and the Rise of the Image in Renaissance Guidebooks to Ancient Rome
    Anna Bortolozzi 3 Architects, Antiquarians, and the Rise of the Image in Renaissance Guidebooks to Ancient Rome Rome fut tout le monde, & tout le monde est Rome1 Drawing in the past, drawing in the present: Two attitudes towards the study of Roman antiquity In the early 1530s, the Sienese architect Baldassare Peruzzi drew a section along the principal axis of the Pantheon on a sheet now preserved in the municipal library in Ferrara (Fig. 3.1).2 In the sixteenth century, the Pantheon was generally considered the most notable example of ancient architecture in Rome, and the drawing is among the finest of Peruzzi’s surviving architectural drawings after the antique. The section is shown in orthogonal projection, complemented by detailed mea- surements in Florentine braccia, subdivided into minuti, and by a number of expla- natory notes on the construction elements and building materials. By choosing this particular drawing convention, Peruzzi avoided the use of foreshortening and per- spective, allowing measurements to be taken from the drawing. Though no scale is indicated, the representation of the building and its main elements are perfectly to scale. Peruzzi’s analytical representation of the Pantheon served as the model for several later authors – Serlio’s illustrations of the section of the portico (Fig. 3.2)3 and the roof girders (Fig. 3.3) in his Il Terzo Libro (1540) were very probably derived from the Ferrara drawing.4 In an article from 1966, Howard Burns analysed Peruzzi’s drawing in detail, and suggested that the architect and antiquarian Pirro Ligorio took the sheet to Ferrara in 1569.
    [Show full text]
  • THE BERNARD and MARY BERENSON COLLECTION of EUROPEAN PAINTINGS at I TATTI Carl Brandon Strehlke and Machtelt Brüggen Israëls
    THE BERNARD AND MARY BERENSON COLLECTION OF EUROPEAN PAINTINGS AT I TATTI Carl Brandon Strehlke and Machtelt Brüggen Israëls GENERAL INDEX by Bonnie J. Blackburn Page numbers in italics indicate Albrighi, Luigi, 14, 34, 79, 143–44 Altichiero, 588 Amsterdam, Rijksmuseum catalogue entries. (Fig. 12.1) Alunno, Niccolò, 34, 59, 87–92, 618 Angelico (Fra), Virgin of Humility Alcanyiç, Miquel, and Starnina altarpiece for San Francesco, Cagli (no. SK-A-3011), 100 A Ascension (New York, (Milan, Brera, no. 504), 87, 91 Bellini, Giovanni, Virgin and Child Abbocatelli, Pentesilea di Guglielmo Metropolitan Museum altarpiece for San Nicolò, Foligno (nos. 3379 and A3287), 118 n. 4 degli, 574 of Art, no. 1876.10; New (Paris, Louvre, no. 53), 87 Bulgarini, Bartolomeo, Virgin of Abbott, Senda, 14, 43 nn. 17 and 41, 44 York, Hispanic Society of Annunciation for Confraternità Humility (no. A 4002), 193, 194 n. 60, 427, 674 n. 6 America, no. A2031), 527 dell’Annunziata, Perugia (Figs. 22.1, 22.2), 195–96 Abercorn, Duke of, 525 n. 3 Alessandro da Caravaggio, 203 (Perugia, Galleria Nazionale Cima da Conegliano (?), Virgin Aberdeen, Art Gallery Alesso di Benozzo and Gherardo dell’Umbria, no. 169), 92 and Child (no. SK–A 1219), Vecchietta, portable triptych del Fora Crucifixion (Claremont, Pomona 208 n. 14 (no. 4571), 607 Annunciation (App. 1), 536, 539 College Museum of Art, Giovanni di Paolo, Crucifixion Abraham, Bishop of Suzdal, 419 n. 2, 735 no. P 61.1.9), 92 n. 11 (no. SK-C-1596), 331 Accarigi family, 244 Alexander VI Borgia, Pope, 509, 576 Crucifixion (Foligno, Palazzo Gossaert, Jan, drawing of Hercules Acciaioli, Lorenzo, Bishop of Arezzo, Alexeivich, Alexei, Grand Duke of Arcivescovile), 90 Kills Eurythion (no.
    [Show full text]
  • The Streets of Rome Walking Through the Streets of the Capital
    Comune di Roma Tourism The streets of Rome Walking through the streets of the capital via dei coronari via giulia via condotti via sistina via del babuino via del portico d’ottavia via dei giubbonari via di campo marzio via dei cestari via dei falegnami/via dei delfini via di monserrato via del governo vecchio via margutta VIA DEI CORONARI as the first thoroughfare to be opened The road, whose fifteenth century charac- W in the medieval city by Pope Sixtus IV teristics have more or less been preserved, as part of preparations for the Great Jubi- passed through two areas adjoining the neigh- lee of 1475, built in order to ensure there bourhood: the “Scortecchiara”, where the was a direct link between the “Ponte” dis- tanners’ premises were to be found, and the trict and the Vatican. The building of the Imago pontis, so called as it included a well- road fell in with Sixtus’ broader plans to known sacred building. The area’s layout, transform the city so as to improve the completed between the fifteenth and six- streets linking the centre concentrated on teenth centuries, and its by now well-es- the Tiber’s left bank, meaning the old Camp tablished link to the city centre as home for Marzio (Campus Martius), with the northern some of its more prominent residents, many regions which had risen up on the other bank, of whose buildings with their painted and es- starting with St. Peter’s Basilica, the idea pecially designed facades look onto the road. being to channel the massive flow of pilgrims The path snaking between the charming and towards Ponte Sant’Angelo, the only ap- shady buildings of via dei Coronari, where proach to the Vatican at that time.
    [Show full text]
  • Lives of the Most Eminent Painters Sculptors and Architects
    Lives of the Most Eminent Painters Sculptors and Architects Giorgio Vasari Lives of the Most Eminent Painters Sculptors and Architects Table of Contents Lives of the Most Eminent Painters Sculptors and Architects.......................................................................1 Giorgio Vasari..........................................................................................................................................2 LIFE OF FILIPPO LIPPI, CALLED FILIPPINO...................................................................................9 BERNARDINO PINTURICCHIO........................................................................................................13 LIFE OF BERNARDINO PINTURICCHIO.........................................................................................14 FRANCESCO FRANCIA.....................................................................................................................17 LIFE OF FRANCESCO FRANCIA......................................................................................................18 PIETRO PERUGINO............................................................................................................................22 LIFE OF PIETRO PERUGINO.............................................................................................................23 VITTORE SCARPACCIA (CARPACCIO), AND OTHER VENETIAN AND LOMBARD PAINTERS...........................................................................................................................................31
    [Show full text]
  • On the Threshold of Poems: a Paratextual Approach to the Narrative/Lyric Opposition in Italian Renaissance Poetry
    This is a repository copy of On the Threshold of Poems: a Paratextual Approach to the Narrative/Lyric Opposition in Italian Renaissance Poetry. White Rose Research Online URL for this paper: http://eprints.whiterose.ac.uk/119858/ Version: Accepted Version Book Section: Pich, F (2019) On the Threshold of Poems: a Paratextual Approach to the Narrative/Lyric Opposition in Italian Renaissance Poetry. In: Venturi, F, (ed.) Self-Commentary in Early Modern European Literature, 1400-1700. Intersections, 62 . Brill , pp. 99-134. ISBN 9789004346864 https://doi.org/10.1163/9789004396593_006 © Koninklijke Brill NV, Leiden, 2019. This is an author produced version of a paper published in Self-Commentary in Early Modern European Literature, 1400-1700 (Intersections). Uploaded in accordance with the publisher's self-archiving policy. Reuse Items deposited in White Rose Research Online are protected by copyright, with all rights reserved unless indicated otherwise. They may be downloaded and/or printed for private study, or other acts as permitted by national copyright laws. The publisher or other rights holders may allow further reproduction and re-use of the full text version. This is indicated by the licence information on the White Rose Research Online record for the item. Takedown If you consider content in White Rose Research Online to be in breach of UK law, please notify us by emailing [email protected] including the URL of the record and the reason for the withdrawal request. [email protected] https://eprints.whiterose.ac.uk/ 1 On the Threshold of Poems: a Paratextual Approach to the Narrative/Lyric Opposition in Italian Renaissance Poetry Federica Pich Summary This contribution focuses on the presence and function of prose rubrics in fifteenth- and sixteenth-century lyric collections.
    [Show full text]
  • The Scultori and Ghisi Engraving Enterprise in Sixteenth-Century Mantua and Beyond
    “OLD IN SUBSTANCE AND NEW IN MANNER”: THE SCULTORI AND GHISI ENGRAVING ENTERPRISE IN SIXTEENTH-CENTURY MANTUA AND BEYOND by Hilary Letwin A dissertation submitted to Johns Hopkins University in conformity with the requirements for the degree of Doctor of Philosophy Baltimore, Maryland December, 2013 Part 1 Abstract: This dissertation seeks to reframe the way in which the prints of the incisori Mantovani, Giovanni Battista (1503-1575), Adamo (1530?-1587) and Diana Scultori (1547-1612), and Giorgio Ghisi (1520-1582), are examined. Previously, their contributions in the printmaking process, largely engraving prints that are after the designs of other artists, have been dismissed as reproductive. This dissertation examines the ways in which these printmakers worked to elevate their engravings from simply reproductive to creative works of art in their own right. Their engravings, which certainly took inspiration from the designs of Giulio Romano, among others, were not the product of a close collaboration between a master and the engravers. Instead, the engravers appear to have worked fairly autonomously, in Mantua and elsewhere, engaging with and manipulating their source material, experimenting technically and in the design of their prints, and finally questioning the role of engraving within the greater framework of artistic practice in the sixteenth century. Chapter one examines the work of Giovanni Battista, who used printmaking as a creative outlet, seeking a freedom not possible in his other sculptural projects that were carried out according to the specifications of patrons and artistic masters. His engravings can be seen as an attempt to “conquer” these outside influences. Chapter two considers the prints and career of Adamo Scultori, who used his prints to comment on the “enslavement” of reproductive printmakers to their sources.
    [Show full text]
  • Volume 21 —,M— E-Mail: [email protected] 2001 Telephone: +39-055-603-251 / Fax: +39-055-603-383
    The Harvard University Center for Italian Renaissance Studies Villa I Tatti Via di Vincigliata 26, 50135 Florence, Italy Volume 21 —,m— E-mail: [email protected] 2001 Telephone: +39-055-603-251 / Fax: +39-055-603-383 his year’s “Letter from Florence” tural plans for this have long since been Tcomes, in fact, not from Florence Letter From Florence drawn, and a considerable part of the at all. Unexpectedly, I am writing it P money has been raised, yet until yester- from Manhattan, on a steamy August day we have been stymied by the morning in a room high over refractory Fiesolan bureau- the East River. As I look in cracy. It has been ten years the direction of Montauk, Italy now since we first applied for is an indiscernible speck on an permits to replace the indeterminable horizon, hid- unsightly row of shabby den by the curvature of the garages at the back of the earth. Yet uncannily, I Tatti parking lot with a handsome itself is very much present in new building, essentially the this room. I’ve been spending same size and in the same every morning in e-mail com- footprint, which will provide munication with members of an office for each Fellow and a the staff, working on acade- room for small lectures or mic, budgetary, and other seminars. What should have matters, and I’ve been confer- been a simple matter was ring regularly with Charles transformed into a Kafkaesque Brickbauer, our devoted archi- labyrinth by interminable tect, about current and future Walter Kaiser and Allen Grieco delays, tergiversations, equivo- building renovations.
    [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]
  • Vasari’S Lives
    THE SCOTT LIBRARY. VASARI’S LIVES. i Vasari’s Lives of Italian Painters, selected and Prefaced by Havelock Ellis. LONDON: WALTER SCOTT, LTD. PATERNOSTER SQUARE. / ' ' THE GETTY CENTER LIBRARY CONTENTS. PAGE CiMABUE (Born 1240—Died 1302) 1 Giotto (Born 1266—Died 1336) .... 4 Buonamico Buffalmacco (Living in 1351) . 11 Dello (Born 1404— Living in 1464) . .22 Luca Della Robbia (Born 1400—Died 1481) . 27 Paolo (Born 1397—Died . Uccello 1475) . 34 . Lorenzo Ghiberti (Born 1378—Died 1455) . 42 Masaccio (Born 1401 —Died 1428) . -5° Filippo Brunelleschi (Born 1377—Died 1445) . 52 Donatello (Born 1386— Died 1466) . .80 Frate Giovanni da Fiesole (Born 1387— Died 1455) 87 . Alesso Baldovinetti (Born 1422— Died 1499) . 91 Lippi (Born 1406 . Fra Filippo —Died 1469) . 94 Sandro Botticelli (Born 1447— Died 1510) . 102 Nanni Grosso . .108 Pietro Perugino (Born 1446—Died 1523) . 109 Luca Signorelli (Born 1441— Died 1523) . 115 Leonardo da Vinci (Born 1452—Died 1519) . .118 Piero di Cosimo (Born 1441— Died 1521) . 133 Fra Bartolommeo di San Marco (Born 1475—Died 1517) hi — 1 VI CONTENTS. PAGE Mariotto Albertinelli (Born 1474—Died 1515) 146 Torrigiano (Born 1472—Died 1528) 150 Raphael Sanzio (Born 1483—Died 1520) 154 Andrea del Monte Sansovino (Born 1460— Died 1529) 160 Baldassare Peruzzi (Born 1481— Died 1536) . 162 Andrea del Sarto (Born i486— Died 1531) . 167 Madonna Properzia de’ Rossi (Born 1490— Died 1530) 1S1 Rosso (Born 1496— Died 1541) 187 Amico Aspertini (Born 1475— Died 1552) 194 Francia Bigio (Born 1482—Died 1525) 197 Morto da Feltro . 201 Parmigiano (Born 1504—Died 1540) 203 Fra Sebastiano del Piombo (Born 1485— Died 1547) 21 Cristofano Gherardi, called Doceno (Born 1508— Died 1556) .....
    [Show full text]
  • Reading, Interpreting and Historicizing: Letters As Historical Sources
    EUROPEAN UNIVERSITY INSTITUTE, FLORENCE DEPARTMENT OF HISTORY AND CIVILIZATION EUI Working Paper HEC No. 2004/2 Reading, Interpreting and Historicizing: Letters as Historical Sources Edited by REGINA SCHULTE and XENIA VON TIPPELSKIRCH BADIA FIESOLANA, SAN DOMENICO (FI) All rights reserved. No part of this paper may be reproduced in any form without permission of the author(s). © 2004 Regina Schulte and Xenia von Tippelskirch and individual authors Published in Italy December 2004 European University Institute Badia Fiesolana I – 50016 San Domenico (FI) Italy www.iue.it Index INTRODUCTION............................................................................................. 5 RITA COSTA GOMES, Letters and Letter-writing in Fifteenth Century Portugal ........................... 11 GABRIELLA ZARRI, Sixteenth Century Letters: Typologies and Examples from the Monastic Circuits.......................................................................... 39 PERNILLE ARENFELDT, Provenance and Embeddedness. The Letters from Elisabeth, Countess Palatine (1552-1590) to Anna, Electress of Saxony (1532-1585)................................................. 53 XENIA VON TIPPELSKIRCH, Reading Italian Love Letters around 1600.................................................. 73 BEATRIX BASTL, “Wer wird schon Gellert sein? Hier schreibe ich!” - Geschriebene Äußerungen als mündliche Herausforderungen ......................................... 89 BENEDETTA BORELLO, Family Networking. Purpose and Form of Epistolary Conversation between Aristocratic Siblings
    [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]