12. Chapter 5 Separation Eleonora Returns to Naples 225–66
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
THE PRINCE by Nicolo Machiavelli
THE PRINCE by Nicolo Machiavelli CHAPTER I HOW MANY KINDS OF PRINCIPALITIES THERE ARE, AND BY WHAT MEANS THEY ARE ACQUIRED All states, all powers, that have held and hold rule over men have been and are either republics or principalities. Principalities are either hereditary, in which the family has been long established; or they are new. The new are either entirely new, as was Milan to Francesco Sforza, or they are, as it were, members annexed to the hereditary state of the prince who has acquired them, as was the kingdom of Naples to that of the King of Spain. Such dominions thus acquired are either accustomed to live under a prince, or to live in freedom; and are acquired either by the arms of the prince himself, or of others, or else by fortune or by ability. CHAPTER II CONCERNING HEREDITARY PRINCIPALITIES I will leave out all discussion on republics, inasmuch as in another place I have written of them at length, and will address myself only to principalities. In doing so I will keep to the order indicated above, and discuss how such principalities are to be ruled and preserved. I say at once there are fewer difficulties in holding hereditary states, and those long accustomed to the family of their prince, than new ones; for it is sufficient only not to transgress the customs of his ancestors, and to deal prudently with circumstances as they arise, for a prince of average powers to maintain himself in his state, unless he be deprived of it by some extraordinary and excessive force; and if he should be so deprived of it, whenever anything sinister happens to the usurper, he will regain it. -
Il Passato Riscoperto Cap 05 Notizie Storiche 1451-1500
Il passato riscoperto CENNI SULLA STORIA DELLA CHIESA DI S. CALOCERO CAPITOLO 5 - IL 1450-1500 GLI ARTISTI CIVATESI – LA COMMENDA 1451 Riconferma e ampliamento di esenzioni ed immunità vennero dal duca Francesco Sforza nel 1451 (epoca dalla quale ricorre per il territorio della Martesana superiore la denominazione di “Monte di Brianza”), da Galeazzo Maria Sforza nel 1476, da Bona di Savoia nel 1478. 5 maggio 1451 . Il Duca Francesco Sforza concede al Monastero di San Pietro di Civate la conferma di tutte le esenzioni ed immunità già concesse da Filippo Maria Visconti il 1 ° ottobre 1423. 1 2 Conferma delle esenzioni concesse al Monastero di San Pietro di Civate, Ducato di Milano. 1 Atto originale.(ASM, Registri Ducali, Frammenti, Cartella 1’, fascicolo X °, fogli 583-584). 2 Confirmatio exemptionum Monasterij Sancti Petri de Clivate, Ducatus Mediolani. Dux Mediolani etc. Supplicato nobis pro parte domini abbatis et Monacorum, Capituli et conventus Monasterij Sancti Petri de Clivate, uti litteras exemptionis et immunitatis, alias sibi per illustres dominus Vicecomites praecessores meos et per illustrem dominum quondam principem et dominum Filippum Maria Vicecomitent patrem et socerum meum proxime decessum concessas et confirmatas, de speciali gratia approbare et confirmare dignaremur, quorum ordini litterarum tenor sequitur ut infra videlicet: Filippus Maria Anglus dux Mediolani etc. Supplicato nobis pro parte venerabilis abbatis, Monacorum Capituli et conventus Monasterij Sancti Petri de Clivate ducatus nostri Mediolani et alias cellebris memore, Illustrissimus quondam dominus dux Genitor noster, ob singularem devotionem quam ad ipsum habebat Monasterium, eiusdem abbati, Monacis, Capitulo et conventui, immunitatem et exemptionem concesserat per speciales eius litteras, per illustrem quondam dominum Germanum meum olim ducem Mediolani confirmatas continentie subsequentis videlicet: Dux Mediolani etc. -
EUI Working Papers
DEPARTMENT OF HISTORY AND CIVILIZATION EUI Working Papers HEC 2010/02 DEPARTMENT OF HISTORY AND CIVILIZATION Moving Elites: Women and Cultural Transfers in the European Court System Proceedings of an International Workshop (Florence, 12-13 December 2008) Giulia Calvi and Isabelle Chabot (eds) EUROPEAN UNIVERSITY INSTITUTE , FLORENCE DEPARTMENT OF HISTORY AND CIVILIZATION Moving Elites: Women and Cultural Transfers in the European Court System Proceedings of an International Workshop (Florence, 12-13 December 2008) Edited by Giulia Calvi and Isabelle Chabot EUI W orking Paper HEC 2010/02 This text may be downloaded for personal research purposes only. Any additional reproduction for other purposes, whether in hard copy or electronically, requires the consent of the author(s), editor(s). If cited or quoted, reference should be made to the full name of the author(s), editor(s), the title, the working paper or other series, the year, and the publisher. ISSN 1725-6720 © 2010 Giulia Calvi and Isabelle Chabot (eds) Printed in Italy European University Institute Badia Fiesolana I – 50014 San Domenico di Fiesole (FI) Italy www.eui.eu cadmus.eui.eu Abstract The overall evaluation of the formation of political decision-making processes in the early modern period is being transformed by enriching our understanding of political language. This broader picture of court politics and diplomatic networks – which also relied on familial and kin ties – provides a way of studying the political role of women in early modern Europe. This role has to be studied taking into account the overlapping of familial and political concerns, where the intersection of women as mediators and coordinators of extended networks is a central feature of European societies. -
The Story of the Borgias (1913)
The Story of The Borgias John Fyvie L1BRARV OF UN ,VERSITV CALIFORNIA AN DIEGO THE STORY OF THE BORGIAS <Jt^- i//sn6Ut*4Ccn4<s flom fte&co-^-u, THE STORY OF THE BOEGIAS AUTHOR OF "TRAGEDY QUEENS OF THE GEORGIAN ERA" ETC NEW YORK G. P. PUTNAM'S SONS 1913 PRINTED AT THE BALLANTYNE PRESS TAVI STOCK STREET CoVENT GARDEN LONDON THE story of the Borgia family has always been of interest one strangely fascinating ; but a lurid legend grew up about their lives, which culminated in the creation of the fantastic monstrosities of Victor Hugo's play and Donizetti's opera. For three centuries their name was a byword for the vilest but in our there has been infamy ; own day an extraordinary swing of the pendulum, which is hard to account for. Quite a number of para- doxical writers have proclaimed to an astonished and mystified world that Pope Alexander VI was both a wise prince and a gentle priest whose motives and actions have been maliciously mis- noble- represented ; that Cesare Borgia was a minded and enlightened statesman, who, three centuries in advance of his time, endeavoured to form a united Italy by the only means then in Lucrezia anybody's power ; and that Borgia was a paragon of all the virtues. " " It seems to have been impossible to whitewash the Borgia without a good deal of juggling with the evidence, as well as a determined attack on the veracity and trustworthiness of the contemporary b v PREFACE historians and chroniclers to whom we are indebted for our knowledge of the time. -
The Choir Books of Santa Maria in Aracoeli and Patronage Strategies of Pope Alexander VI
University of South Florida Scholar Commons Graduate Theses and Dissertations Graduate School January 2013 The hoirC Books of Santa Maria in Aracoeli and Patronage Strategies of Pope Alexander VI Maureen Elizabeth Cox University of South Florida, [email protected] Follow this and additional works at: http://scholarcommons.usf.edu/etd Part of the History of Art, Architecture, and Archaeology Commons, and the History of Religion Commons Scholar Commons Citation Cox, Maureen Elizabeth, "The hoC ir Books of Santa Maria in Aracoeli and Patronage Strategies of Pope Alexander VI" (2013). Graduate Theses and Dissertations. http://scholarcommons.usf.edu/etd/4657 This Thesis is brought to you for free and open access by the Graduate School at Scholar Commons. It has been accepted for inclusion in Graduate Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. The Choir Books of Santa Maria in Aracoeli and Patronage Strategies of Pope Alexander VI by Maureen Cox-Brown A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts School of Art and Art History College of The Arts University of South Florida Major Professor: Helena K. Szépe Ph.D. Elisabeth Fraser Ph.D. Mary Fournier Ph.D. Date of Approval: June 28, 2013 Keywords: Humanism, Antonio da Monza, illuminated manuscripts, numismatics, Aesculapius, Pinturicchio, Borgia Copyright © 2013, Maureen Cox-Brown DEDICATION This is lovingly dedicated to the memory of my mother and her parents. Et benedictio Dei omnipotentis, Patris et Filii et Spiritus Sancti descendat super vos et maneat semper ACKNOWLEDGMENTS I would like to thank Dr. -
ALEXANDER VI: (1431 - 1503, Pope from 1492 - 1503)
ALEXANDER VI: (1431 - 1503, Pope from 1492 - 1503) Alexander is the most notorious pope in all of history. He conducted a pontificate of nepotism, greed, ruthlessness, murder, and, as McBrien has described it, "unbridled sensuality." He became the leading figure in the saga of the Borgia family, both as a perpetuator of evil and a facilitator of the activities of the two most famous of his children, Cesare and Lucrezia. The second and last of the Spanish popes literally bought his pontificate with bribes. Such a purchased election is called "simoniacal," and was easily accomplished with the greed of seventeen of the twenty-two cardinals voting for the new pope. He was born Rodrigo Borgia near Valencia, Spain, the nephew of Callixtus, who made him a cardinal at the age of twenty-five (1456) and vice-chancellor of the Holy See (1457). As vice-chancellor, he amassed great wealth, lived an openly promiscuous life, and fathered seven children, both as a cardinal and the pope. Pius II, who had succeeded Callixtus and continued to support the rise in the church hierarchy of Cardinal Rodrigo Borgia, had to warn the young cardinal to refrain from his practice of participating in orgies. It was, as Pius expressed it, "unseemly." As a young man, Rodrigo was described as tall and handsome. Sigismondo de Conti speaks of him as a large, robust man, with a sharp Alexander VI Adoring gaze, great amiability, and "wonderful skill in money matters." Others the Risen Christ admired his tall figure, florid complexion, dark eyes, and full mouth. (Pinturicchio) However, in his early sixties when he became pope, he apparently lost his physical charm. -
The Life of Cesare Borgia
The Life of Cesare Borgia Rafael Sabatini The Life of Cesare Borgia Table of Contents The Life of Cesare Borgia.........................................................................................................................................1 Rafael Sabatini...............................................................................................................................................1 PREFACE......................................................................................................................................................2 BOOK I. THE HOUSE OF THE BULL.....................................................................................................................8 CHAPTER I. THE RISE OF THE HOUSE OF BORGIA............................................................................8 CHAPTER II. THE REIGNS OF SIXTUS IV AND INNOCENT VIII.....................................................12 CHAPTER III. ALEXANDER VI...............................................................................................................21 CHAPTER IV. BORGIA ALLIANCES......................................................................................................29 BOOK II. THE BULL PASCANT...........................................................................................................................36 CHAPTER I. THE FRENCH INVASION..................................................................................................36 CHAPTER II. THE POPE AND THE SUPERNATURAL........................................................................44 -
Conclave 1492: the Election of a Renaissance Pope
Conclave 1492: The Election of a Renaissance Pope A Reacting to the Past Microgame Instructor’s Manual Version 1 – August 2017 William Keene Thompson Ph.D. Candidate, History University of California, Santa Barbara [email protected] Table of Contents Game Summary 1 Procedure 3 Biographical Sketches and Monetary Values 4 Role Distribution and Vote Tally Sheet 6 Anticipated Vote Distributions 7 Conclave Ballot Template 8 Role Sheets (23 Cardinals) 9 Additional Roles 33 Extended Gameplay and Supplementary Readings 34 William Keene Thompson, UC Santa Barbara [email protected] Conclave 1492: The Election of a Renaissance Pope The Situation It is August 1492. Pope Innocent VIII has died. Now the Sacred College of Cardinals must meet to choose his successor. The office of Pope is a holy calling, born of the legacy of Saint Peter the first Bishop of Rome, who was one of Christ’s most trusted apostles. The Pope is therefore God’s vicar on Earth, the temporal representation of divine authority and the pinnacle of the church hierarchy. However, the position has also become a political role, with the Holy Father a temporal ruler of the Papal States in the center of the Italian peninsula and charged with protecting the interests of the Church across Christendom. As such, the position requires not only spiritual vision but political acumen too, and, at times ruthlessness and deception, to maintain the church’s position as a secular and spiritual power in Europe. The Cardinals must therefore consider both a candidate’s spiritual and political qualifications to lead the Church. -
Music at the Aragonese Court of Naples
MUSIC AT THE ARAGONESE COURT OF NAPLES Allan W. Atlas The nght ·~f the Umrt'f.l'ill' of Cambrulgc 111 fir/Ill and 1cll ullmann('f ojh1mf....1 U'U\' grun/!•d hy l/,•,Jfl' Vltl in 1534. Tlw Unil't'f.\"11)' hw (lrinl<'rl und p11hlish"rl I'OIIIIIwou•J.r Wll'<' f58.f. Cambridge University Press Cambridge London New York New Rochelle Melbourne Sydney museo inter!1ozionale e b ibliote.:a ddl.2 mus ica di bolc g na 82 Music at the Aragonese Court of Naples Composers and Other 'Illustrissimi' 83 works only two can be safely assigned to Naples, the hymns Hostis Herodis impie sing and play the lute. Although his studies with Guarnerius could not have lasted and Christe Redemptor omnium, Ex Patre Patris, both of which are unique to the very long -the Flemish musician was back at the papal chapel by the Spring of Neapolitan manuscript Montecassino 8 71 and are the only hymn settings by 1479 at the latest (see note 125)-Calmeta tells us that he made such remarkable Gaffurius that use chants of the Roman, rather than of the Ambrosian, rite. 123 progress that 'a ciascuno altro musico italiano nel componere canti tolse la In the edition, Gaffurius is represented by Christe Redemptor omnium (No. 7). palma'. Serafino remained at Naples until 1481, when, upon the death of his father, he returned to Aquila. A second encounter with Neapolitan culture began Guillelmus Guarnerius. One of the more shadowy figures of the late fifteenth in 1487, when Serafino accompanied his patron, Ascanio Sforza, to Milan. -
Representations of Lucrezia Borgia and the Image of the Moral Exemplar in the Late Quattrocento and Early Cinquecento
University of Mary Washington Eagle Scholar Student Research Submissions Spring 5-5-2018 Representations of Lucrezia Borgia and the Image of the Moral Exemplar in the Late Quattrocento and Early Cinquecento Nina Wutrich Follow this and additional works at: https://scholar.umw.edu/student_research Part of the History of Art, Architecture, and Archaeology Commons Recommended Citation Wutrich, Nina, "Representations of Lucrezia Borgia and the Image of the Moral Exemplar in the Late Quattrocento and Early Cinquecento" (2018). Student Research Submissions. 237. https://scholar.umw.edu/student_research/237 This Honors Project is brought to you for free and open access by Eagle Scholar. It has been accepted for inclusion in Student Research Submissions by an authorized administrator of Eagle Scholar. For more information, please contact [email protected]. Nina Wutrich Representations of Lucrezia Borgia and the Image of the Moral Exemplar in the Late Quattrocento and Early Cinquecento ARTH 492: Individual Study in Art History Paper submitted in partial fulfillment of Honors in Art History 5 May 2018 Marjorie Och Professor of Art History Faculty Advisor Jon McMillan Chair, Department of Art and Art History Wutrich 1 During the late fifteenth- and early sixteenth-century lifetime of Lucrezia Borgia, daughter of Pope Alexander VI Borgia, Lucrezia profited from a carefully crafted image wherein comparisons were drawn between herself and saints, holy women, and moral exemplars from classical antiquity. This appropriation of imagery evolved as Lucrezia herself matured; the representations shift from those where Lucrezia completely disguises herself as a morally exemplary woman such as Saint Catherine of Alexandria, to those where she presents herself, in her role as Duchess of Ferrara, as a morally exemplary holy woman in her own right. -
A Papal Hall of State: Ceremony And
A PAPAL HALL OF STATE: CEREMONY AND MULTIFUNCTIONALITY IN THE BORGIA APARTMENT by EMILY BROWN KELLEY TANJA JONES, COMMITTEE CHAIR HEATHER MCPHERSON MINDY NANCARROW A THESIS Submitted in partial fulfillment of the requirements for the degree of Master of Arts in the joint program in Art History in the Graduate Schools of The University of Alabama and The University of Alabama at Birmingham TUSCALOOSA, ALABAMA 2014 Copyright Emily Brown Kelley 2014 ALL RIGHTS RESERVED ABSTRACT Situated on the second level (piano nobile) of the Vatican Palace, overlooking the south side of the Belvedere Courtyard, are eight rooms or sale that comprised the papal apartment of the Spanish native, Pope Alexander VI (Rodrigo Borgia, born c. 1431; r. 1492-1503). These spaces once hosted powerful cardinals and heads of state for diplomatic or religious matters. They also served as Alexander VI’s private living spaces. During meetings or meals with the Borgia pope, guests encountered a visual array of opulent fresco programs that included fictive tapestries along the lower half of the wall surface, vibrant narrative lunettes on the upper half, and lavishly gilded vault programs decorated by Bernardino Pinturicchio (1454-1513) and his workshop during 1492-94. Combining iconographic study, examination of primary source documents regarding court ceremony and use of the space, and architectural analyses of Roman palazzi from the period, this thesis offers the first sustained consideration of the multiple, and often overlapping, functions that the eight rooms of the Borgia apartment likely served during Alexander VI’s pontificate. Such an effort is especially important as Alexander VI’s apartment in the Vatican Palace represents the oldest surviving decorated papal apartment in Rome. -
State Barges, Embroideries and Power in Renaissance Ferrara
Splendour displayed: state barges, embroideries and power in Renaissance Ferrara A thesis submitted to The University of Manchester for the degree of Doctor of Philosophy in the Faculty of Humanities 2014 Beatrice Mezzogori School of Arts, Languages and Cultures Vol I of II Table of Contents Volume I List of Manuscript Sources (Appendix A) 4 List of Primary Printed Sources (Appendix B) 5 List of Charts and Tables 6 List of Illustrations 7 Abstract 16 Declaration 17 Copyright statement 17 Transcription, Currency and Presentation Norms 18 Acknowledgements 20 Foreword 22 1. Introduction 25 2. The cultural importance of having a bucintoro 40 Introduction 40 The Venetian Bucintoro, a model to outclass 42 Like a modern emperor: the discovery of Nemi ships 47 Courtly bucintori and Estense ambitions 53 Commissioning, maintaining and exploiting the Bucintoro 60 Dressed for the bucintori 65 3. Inside the Estense Bucintoro: the Hall of State 70 Introduction 70 The politics of bucintori 71 The coats of arms and devices of the Estense private stateroom 79 Brothers and rulers: Estense devices between Leonello, Borso and Ercole85 The embroidered stateroom of Borso: an interpretation 90 Colours for the duchy 104 4. The organizational structure for a splendid work: embroidering and painting Borso’s Bucintoro 110 Introduction 110 The painters of Borso’s Bucintoro and their activities 112 The patterns for the embroideries: pounced or etched? 118 The professional embroiderers of Borso’s Bucintoro 127 Embroiderers’ companions and workrooms 135 The circulation of embroideries in northern Italian courts 140 Talented amateurs: the embroideress 144 Female teams’ works for Borso 150 5.