Daniele Barbaro
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Hermann Samuel Reimarus (1694–1768) Brill’s Studies in Intellectual History General Editor Han van Ruler (Erasmus University Rotterdam) Founded by Arjo Vanderjagt Editorial Board C.S. Celenza ( Johns Hopkins University, Baltimore) M. Colish (Yale University) J.I. Israel (Institute for Advanced Study, Princeton) A. Koba (University of Tokyo) M. Mugnai (Scuola Normale Superiore, Pisa) W. Otten (University of Chicago) VOLUME 237 The titles published in this series are listed at brill.com/bsih Hermann Samuel Reimarus (1694–1768) Classicist, Hebraist, Enlightenment Radical in Disguise By Ulrich Groetsch LEIDEN | BOSTON Cover illustration and frontispiece: Portrait of Hermann Samuel Reimarus (1694–1768) by Gerloff Hiddinga, 1749. Private collection. Photo by Sascha Fuis, Cologne 2004. Courtesy of Hinrich Sieveking, Munich. Library of Congress Cataloging-in-Publication Data Groetsch, Ulrich. Hermann Samuel Reimarus (1694–1768) : classicist, hebraist, enlightenment radical in disguise / by Ulrich Groetsch. pages cm. — (Brill’s studies in intellectual history, ISSN 0920-8607 ; VOLUME 237) Includes bibliographical references and index. ISBN 978-90-04-27299-6 (hardback : alk. paper) — ISBN 978-90-04-27298-9 (e-book) 1. Reimarus, Hermann Samuel, 1694–1768. I. Title. B2699.R44G76 2015 193—dc23 2014048585 This publication has been typeset in the multilingual ‘Brill’ typeface. With over 5,100 characters covering Latin, ipa, Greek, and Cyrillic, this typeface is especially suitable for use in the humanities. For more information, please see www.brill.com/brill-typeface. issn 0920-8607 isbn 978-90-04-27299-6 (hardback) isbn 978-90-04-27298-9 (e-book) Copyright 2015 by Koninklijke Brill nv, Leiden, The Netherlands. Koninklijke Brill NV incorporates the imprints Brill, Brill Hes & De Graaf, Brill Nijhoff, Brill Rodopi and Hotei Publishing. -
Palazzo Querini Stampalia Portego
Palazzo Querini Stampalia Museum Portego entrance Giovanni Mythology Bellini room room The earliest documents concerning the construction of the palace are from 1513-14 and point to Nicolò Querini as commissioner of the works. Grandson Francesco continued the works of enlargement and restoration in various stages throughout the first half of the century. From this period archival documents note nothing of importance until the acquisitions of the following century: in 1614 the building which is now the east wing of the palace and in 1653 part of the house between the canal and the church in Campo Santa Maria Formosa. The last radical transformation of Ca’ Querini was between 1789 and 1797 for the occasion of the marriage in 1790 between Alvise, son of Zuanne, and Maria Teresa Lippomano. In addition to the elevation of the third floor, completed after 1795, there was a large scale restructuring of the interiors with the reduction of the length of the portego and the evolution of the decorative scheme on which worked Jacopo Guarana, Davide Rossi, ornamentalist Giuseppe Bernardino Bison, gilder Domenico Sartori and brothers and stucco workers Giuseppe and Pietro Castelli. The museum is presented in such a way as to recall a patrician residence of the eighteenth century with the display of all of the collections of the family: furnishings, porcelain, sculpture, fabrics, chandeliers, globes, as well as paintings, in order to bring to life the spaces once truly inhabited by the Querini. A rich theatre where every detail plays an important role, from the fabrics in some rooms woven according to original patterns, to the curtains and the pelmets which adorn the windows to the original chandeliers. -
Otiziario Bibliografico Periodico Della Giunta Regionale Del Veneto 32
otiziario Bibliografico periodico della Giunta regionale del Veneto 32 a n. 32 - settembre 1999 - sped. in abb. postale art. 2 comma 20/c Legge 662/96 - taxe perçue - tassa riscossa - Filiale di Padov Notiziario Bibliografico n. 32, settembre 1999 I N D I C E periodico quadrimestrale d’informazione bibliografica a cura della Giunta regionale del Veneto Comitato promotore Giancarlo Galan (presidente della Giunta regiona- le), Angelo Tabaro (dirigente regionale Cultura, Informazione e Flussi migratori) Comitato di redazione Claudio Bellinati (direttore dell’Archivio e della Biblioteca Capitolare di Padova), Massimo Canella (dirigente regionale Servizio Attività Editoriali), 5 Chiara Finesso, Bianca Lanfranchi Strina (sovrin- Collane editoriali e interventi regionali (Massimo Canella) tendente ai Beni archivistici del Veneto), Anelio Pellizzon, † Silvio Tramontin, Marino Zorzi (diretto- Fondi antichi nelle biblioteche della regione (Marino Zorzi) 14 re della Biblioteca Nazionale Marciana) Gli archivi parrocchiali veneziani (Francesca Cavazzana Romanelli) 16 Direttore responsabile Anelio Pellizzon Responsabile di redazione Chiara Finesso Segreteria di redazione RECENSIONI E SEGNALAZIONI Giovanna Battiston, Susanna Falchero Collaboratori alla redazione di questo numero Opere generali Giovanna Battiston, Marco Bevilacqua, Sonia Celeghin, Fiorino Collizzolli, Marilia Ciampi A. Cataldi Palau, Gian Francesco d’Asola e la tipografia aldina (Simonetta Pelusi)28 Righetti, Jolanda Dalla Vecchia, Susanna Falche- Aldus Manutius and Renaissance Culture, ed. by D.S. Zeidberg (Simonetta Pelusi)28 ro, Luigina Fontana, Andrea Fosco, Elio Franzin, Gabriella Imperatori, Giovanni P. Luisetto, Massi- M. Miato, L’Accademia degli Incogniti di Giovan Francesco Loredan (Simonetta Pelusi)28 mo Galtarossa, Barbara Giaccaglia, Cinzio Gibin, L. Augliera, Libri politica religione nel Levante del Seicento (Simonetta Pelusi)29 Vasco Gondola, Paola Martini, Cecilia Passarin, Simonetta Pelusi, Ferdinando Perissinotto, Franco Verso il Polifilo, a cura di D. -
Onore E Decoro Delle Muse Bresciane»1 La Letteratura Bresciana Del Settecento Nei Contributi Critici
CRISTINA CAPPELLETTI «Onore e decoro delle muse bresciane»1 La letteratura bresciana del Settecento nei contributi critici Un bilancio sui contributi critici dedicati alla letteratura bresciana de- gli ultimi quarant’anni dovrebbe presentare il «complessivo degli aspetti favorevoli e sfavorevoli di un’attività, il positivo e il negativo di un’espe- rienza», attenendosi al significato che il termine ha in ambito economi- co. In senso più lato, un bilancio dovrebbe proporsi di «determinare [...] quanto è fatto e quanto resta da fare; valutare qualità e difetti, vantaggi e svantaggi»2; e, riportandoci al caso presente, individuare quali autori o generi siano stati più o meno trattati, e proporre – ove possibile – spunti per ricerche future. Per ovviare alla noia che potrebbe ingenerare un mero elenco, o qua- si, di titoli, pur tenendo fede al resoconto delle entrate e delle uscite, si è ritenuto opportuno corredare il bilancio di un allegato con le cosiddette pezze giustificative; nello specifico, di demandare a un Allegato di bilan- cio la bibliografia dei contributi critici degli ultimi quattro decenni, per riservare al testo un consuntivo più “conversevole”, volto a individuare alcuni aspetti peculiari della letteratura bresciana del XVIII secolo, met- tendo in rilievo se e in quale misura la critica si sia occupata di essi. Considerando l’ambiente culturale bresciano settecentesco, già a suo tempo bene delineato dal contributo di Elisabetta Selmi3, ciò che emerge da subito è come lo status di provincia della terraferma veneta abbia po- chi riscontri in ambito letterario, almeno nella seconda metà del secolo. Nei primi cinquant’anni del Settecento, infatti, si guarda all’erudizione veneziana come a un modello da imitare, e Apostolo Zeno e Angelo Calo- gerà, animatori della cultura nella Serenissima di quegl’anni, sono assunti anche da Giammaria Mazzuchelli quali numi tutelari, al cui vaglio sotto- porre le proprie opere e le proprie iniziative. -
The Netherlandish Merchant Community in Venice, 1590-1650 Van Gelder, M
UvA-DARE (Digital Academic Repository) Trading places : the Netherlandish merchant community in Venice, 1590-1650 van Gelder, M. Publication date 2007 Document Version Final published version Link to publication Citation for published version (APA): van Gelder, M. (2007). Trading places : the Netherlandish merchant community in Venice, 1590-1650. General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl) Download date:29 Sep 2021 TRADING PLACES: THE NETHERLANDISH MERCHANT COMMUNITY IN VENICE, 1590-1650 Maartje van Gelder Research in Venice, Rome, and Livorno was made possible by grants from the Institute of Culture and History at the University of Amsterdam, a fellowship from the Royal Dutch Institute in Rome, two fellowships from the Marie Curie-programme ‘European Doctorate in the Social History of Europe and the Mediterranean’, and a travel grant from the Netherlands Organisation for Scientific Research. -
VILLA DI MASER World Heritage
VILLA DI MASER World Heritage The Villa was built between 1550 and 1560 by Andrea Palladio for Daniele Barbaro, Patriarch of Aquileia, and his brother Marcantonio Ambassador of the Venetian Republic, trasforming the medieval palace of Maser into a splendid country residence, masterpiece of the Venetian Reneissance. Paolo Veronese decorated the Villa with his vastest and most important cycle of frescoes, while Alessandro Vittoria, brilliant pupil of Sansovino, cured the stuccos. The Villa passed by marriage from the Barbaro to the Trevisan, to the Basadonna, finally to the family of Ludovico Manin, the last Doge of Venice. In 1838, the Manin sold it to Gian Battista Colferai, who had been renting it as a country residence, but his daughters, suspicious of each other, not wanting to invest in a propriety individed within the family, let the Villa go into complete ruin. In 1850 the industrialist Sante Giacomelli bought it and completely restaured and rennovated it, with the assistance of artists like Zanotti and Moretto Larese. In 1934 Carlo Giacomelli sold it to Giuseppe Volpi di Misurata, and the Villa became the home of his daughter Marina who continued with immense care and love the works of restauration throughout the years. Her daughter now lives in it with her family. GUIDE TO THE VISIT 2. "CROCIERA" OR CRUCIFORM HALL The six illusionistic landscapes had been covered in 1850-52 by different paintings more in tune with the fashion of the time. Uncovered in 1934, the four landscapes towards the central balcony were reconstructed, while of the two near the entrance stairways one was left to testify the conditions in which it was discovered, the other was restaured more respectfully. -
The Wealth of Wives: a Fifteenth-Century Marriage Manual
FRANCESCO BARBARO The Wealth of Wives: A Fifteenth-Century Marriage Manual • Edited and translated by MARGARET L. KING Iter Academic Press Toronto, Ontario Arizona Center for Medieval and Renaissance Studies Tempe, Arizona 2015 Iter Academic Press Tel: 416/978–7074 Email: [email protected] Fax: 416/978–1668 Web: www.itergateway.org Arizona Center for Medieval and Renaissance Studies Tel: 480/965–5900 Email: [email protected] Fax: 480/965–1681 Web: acmrs.org © 2015 Iter, Inc. and the Arizona Board of Regents for Arizona State University. All rights reserved. Printed in Canada. Library of Congress Cataloging-in-Publication Data Barbaro, Francesco, 1390-1454, author. [De re uxoria. English] The wealth of wives : a fifteenth-century marriage manual / Francesco Barbaro ; edited and translated by Margaret L. King. pages cm -- (The other voice in early modern Europe ; 42) (Medieval and renaissance texts and studies ; volume 485) ISBN 978-0-86698-540-6 (alk. paper) 1. Marriage--Early works to 1800. I. King, Margaret L., 1947– II. Title. III. Series: Other voice in early modern Europe ; 42. IV. Series: Medieval & Renaissance Texts & Studies (Series) ; v. 485. HQ731.B2413 2015 306.8109’01--dc23 2015027681 Cover illustration: Licinio, Bernardino (c.1489–before 1565), Portrait of the Family of the Artist’s Brother. Galleria Borghese, Rome, Italy. Scala / Art Resource, NY. ART28297. Cover design: Maureen Morin, Information Technology Services, University of Toronto Libraries. Typesetting and production: Iter Inc. Introduction The Other Voice In 1415, the young and still unmarried Francesco Barbaro (1390–1454) wrote the revolutionary treatise The Wealth of Wives (De re uxoria) that posits the value a wife contributes to a marriage as the mother of offspring.1 It is revolutionary because it identifies the mother—a woman, not a man; an interloper in the house- hold, not its patriarch—as the critical figure for the rearing of the young and, consequently, for the social and cultural reproduction of the noble family. -
Early Modern Catholic Reform and the Synod of Pistoia Shaun London Blanchard Marquette University
Marquette University e-Publications@Marquette Dissertations (2009 -) Dissertations, Theses, and Professional Projects Eighteenth-Century Forerunners of Vatican II: Early Modern Catholic Reform and the Synod of Pistoia Shaun London Blanchard Marquette University Recommended Citation Blanchard, Shaun London, "Eighteenth-Century Forerunners of Vatican II: Early Modern Catholic Reform and the Synod of Pistoia" (2018). Dissertations (2009 -). 774. https://epublications.marquette.edu/dissertations_mu/774 EIGHTEENTH-CENTURY FORERUNNERS OF VATICAN II: EARLY MODERN CATHOLIC REFORM AND THE SYNOD OF PISTOIA by Shaun L. Blanchard, B.A., MSt. A Dissertation submitted to the Faculty of the Graduate School, Marquette University, in Partial Fulfillment of the Requirements of the Degree of Doctor of Philosophy Milwaukee, Wisconsin May 2018 ABSTRACT EIGHTEENTH-CENTURY FORERUNNERS OF VATICAN II: EARLY MODERN CATHOLIC REFORM AND THE SYNOD OF PISTOIA Shaun L. Blanchard Marquette University, 2018 This dissertation sheds further light on the nature of church reform and the roots of the Second Vatican Council (1962–65) through a study of eighteenth-century Catholic reformers who anticipated Vatican II. The most striking of these examples is the Synod of Pistoia (1786), the high-water mark of “late Jansenism.” Most of the reforms of the Synod were harshly condemned by Pope Pius VI in the Bull Auctorem fidei (1794), and late Jansenism was totally discredited in the increasingly ultramontane nineteenth-century Catholic Church. Nevertheless, many of the reforms implicit or explicit in the Pistoian agenda – such as an exaltation of the role of bishops, an emphasis on infallibility as a gift to the entire church, religious liberty, a simpler and more comprehensible liturgy that incorporates the vernacular, and the encouragement of lay Bible reading and Christocentric devotions – were officially promulgated at Vatican II. -
Gaining Entrance to the Venetian Patriciate in the Seventeenth Century: the Van Axel and Ghelthof Families from the Low Countries Van Gelder, M
UvA-DARE (Digital Academic Repository) Gaining entrance to the Venetian patriciate in the seventeenth century: The van Axel and Ghelthof families from the Low Countries van Gelder, M. Published in: Mélanges de l'École française de Rome - Italie et Méditerranée Link to publication Citation for published version (APA): van Gelder, M. (2013). Gaining entrance to the Venetian patriciate in the seventeenth century: The van Axel and Ghelthof families from the Low Countries. Mélanges de l'École française de Rome - Italie et Méditerranée, 125(1). General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam (http://dare.uva.nl) Download date: 15 Jan 2020 Mélanges de l’École française de Rome - Italie et Méditerranée modernes et contemporaines 125-1 (2013) Famiglie al confine - Cultures marchandes - Varia ............................................................................................................................................................................................................................................................................................... -
Early Sources Informing Leon Battista Alberti's De Pictura
UNIVERSITY OF CALIFORNIA Los Angeles Alberti Before Florence: Early Sources Informing Leon Battista Alberti’s De Pictura A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Art History by Peter Francis Weller 2014 © Copyright by Peter Francis Weller 2014 ABSTRACT OF THE DISSERTATION Alberti Before Florence: Early Sources Informing Leon Battista Alberti’s De Pictura By Peter Francis Weller Doctor of Philosophy in Art History University of California, Los Angeles, 2014 Professor Charlene Villaseñor Black, Chair De pictura by Leon Battista Alberti (1404?-1472) is the earliest surviving treatise on visual art written in humanist Latin by an ostensible practitioner of painting. The book represents a definitive moment of cohesion between the two most conspicuous cultural developments of the early Renaissance, namely, humanism and the visual arts. This dissertation reconstructs the intellectual and visual environments in which Alberti moved before he entered Florence in the curia of Pope Eugenius IV in 1434, one year before the recorded date of completion of De pictura. For the two decades prior to his arrival in Florence, from 1414 to 1434, Alberti resided in Padua, Bologna, and Rome. Examination of specific textual and visual material in those cities – sources germane to Alberti’s humanist and visual development, and thus to the ideas put forth in De pictura – has been insubstantial. This dissertation will therefore present an investigation into the sources available to Alberti in Padua, Bologna and Rome, and will argue that this material helped to shape the prescriptions in Alberti’s canonical Renaissance tract. By more fully accounting for his intellectual and artistic progression before his arrival in Florence, this forensic reconstruction aims to fill a gap in our knowledge of Alberti’s formative years and thereby underline impact of his early career upon his development as an art theorist. -
The Use of Space in Early Modern Venice
University of Kentucky UKnowledge Theses and Dissertations--History History 2013 SACRED, SUSPECT, FORBIDDEN: THE USE OF SPACE IN EARLY MODERN VENICE Julie D. Fox University of Kentucky, [email protected] Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Fox, Julie D., "SACRED, SUSPECT, FORBIDDEN: THE USE OF SPACE IN EARLY MODERN VENICE" (2013). Theses and Dissertations--History. 11. https://uknowledge.uky.edu/history_etds/11 This Doctoral Dissertation is brought to you for free and open access by the History at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--History by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained and attached hereto needed written permission statements(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine). I hereby grant to The University of Kentucky and its agents the non-exclusive license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known. I agree that the document mentioned above may be made available immediately for worldwide access unless a preapproved embargo applies. I retain all other ownership rights to the copyright of my work. -
Veronese Ebook, Epub
VERONESE PDF, EPUB, EBOOK Xavier F. Salomon | 272 pages | 13 May 2014 | Yale University Press | 9781857095531 | English | New Haven, United States Veronese PDF Book The theme of the latter—depicted in such paintings as The Pilgrims of Emmaus and Feast in the House of Levi —allowed him to compose large groups of figures in increasingly complex Renaissance architectural settings that attest to his knowledge of the works of the 16th-century Venetian architects Michele Sanmicheli , Andrea Palladio , and Jacopo Sansovino. The figures in his works are often described as having the subtle foreshortening of Correggio and Michelangelo's heroism and Veronese typically placed them against a painted architectural "stage" that was redolent of a city Venice that was and still is thought to resemble a magnificent living arena in its own right. Marco —57 and the Ducal Palace early s and —82 , and his fresco decorations of the Villa Barbaro at Maser around , as well as a range of major altarpieces. Every day is a new day at Veronese. Their advice was not given in vain and the multitudes were persuaded by the voices of reason and necessity: you pay if you don't abandon your defensive posts, keep yourselves calm, and no longer put forth cannon fire or gunshots. Saint Nicholas lived in the fourth century and was a bishop of Myra, on the southern coast of modern Turkey. A master of the use of colour, he also excelled at illusionary compositions that extend the eye beyond the actual confines of the room. The French commanders then directed troops into the town, and stationed men in piazza Bra to monitor the situation.