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Acollection of Correspondence
© 2012 Capuchin Friars of Australia. All Rights Reserved. A COLLECTION OF CORRESPONDENCE Some Letters … and other things, from Sixteenth Century Italy in their original languages Bernardo, ben potea bastarvi averne Co’l dolce dir, ch’a voi natura infonde, Qui dove ‘l re de’ fiume ha più chiare onde, Acceso i cori a le sante opre eterne; Ché se pur sono in voi pure l’interne Voglie, e la vita al destin corrisponde, Non uom di frale carne e d’ossa immonde, Ma sète un voi de le schiere sperne. Or le finte apparenze, e ‘l ballo, e ‘l suono, Chiesti dal tempo e da l’antica usanza, A che così da voi vietate sono? Non fôra santità,capdox fôra arroganza Tôrre il libero arbitrio, il maggior dono Che Dio ne diè ne la primera stanza.1 Compiled by Paul Hanbridge Fourth edition, formerly “A Sixteenth Century Carteggio” Rome, 2007, 2008, Dec 2009 1 “Bernardo, it should be enough for you / With that sweet speech infused in you by Nature, / To light our hearts to high eternal works, / Here where the King of Rivers flows most clearly. / Since your own inner wishes are sincere, / And your own life reflects a pure intent, / You’re ra- ther an inhabitant of heaven. /As to these masquerades, dances, and music, /Sanctioned by time and by ancient custom - /Why do you now forbid them in your sermons? /Holiness it is not, but arrogance to take away free will, the highest gift/ Which God bestowed on us from the begin- ning.” Tullia d’Aragona (c. -
Printers and Power in Early Sixteenth-Century Rome
chapter 8 The Rise of the Stampatore Camerale: Printers and Power in Early Sixteenth-Century Rome Paolo Sachet More than any other early modern power, the sixteenth-century Catholic Church is generally identified with a strict, if not reactionary policy towards printing. As part of its struggle against the Reformation, the papacy developed a vast and centralised system of ecclesiastical censorship. While it failed to be as universal as originally envisaged, it had serious ramifications on the culture of Catholic countries, beginning with Italy. An ever-growing number of studies is devoted to this subject, benefiting from the opening of the archive of the Roman Inquisition in 1998 and from the ground-breaking critical edition of the Indexes of Forbidden Books.1 By contrast, almost all of the Church’s attempts to harness printing as a means of communication in support of its own cause have been largely overlooked. This observation is especially true for the very heart of Catholicism, the city of Rome. In the capital of the Papal States, how- ever, cardinals and popes did employ local publishers to print an array of scholarly books to challenge Protestantism mostly in the patristic and histo- riographical fields. As I have illustrated elsewhere, these innovative attempts took place long before the establishment of the Typographia Vaticana in 1587.2 1 To cite only the most relevant contributions, see Gigliola Fragnito, La Bibbia al rogo: la cen sura ecclesiastica e i volgarizzamenti della Scrittura (1471–1605) (Bologna: Il Mulino, 1997), as well as her Proibito capire: la Chiesa e il volgare nella prima età moderna (Bologna: Il Mulino, 2005); Vittorio Frajese, Nascita dell’Indice: la censura ecclesiastica dal Rinascimento alla Controriforma (Brescia: Morcelliana, 2006); Peter Godman, The Saint as Censor: Robert Bellarmine between Inquisition and Index (Leiden/Boston: Brill, 2000); Ugo Rozzo, La lette ratura italiana negli Indici del Cinquecento (Udine: Forum, 2005). -
Writers and Self-Consciousness: Book Publishing in Early Sixteenth Century Italy
Writers and Self-consciousness: Book Publishing in Early Sixteenth Century Italy Anne Reynolds Dialogo contra i poe/i, printed in Rome in 1526 and the first published work ofthe Tuscan-born writer Francesco Berni, is difficult to account for. It could be suggested that reasons for its apparent neglect lie within it, that it is a slight work, of little consequence, by an author who has been at times dismissed as shal10w and ofinsigni ficant stature. It is, however, a work which has survived for almost half a mil1enium. Like its author, the Dialogo has been over time the object of intermiuent controversy. Cultural artifacts which inspire such reactions beyond their own epoch are likely to have had significant impact in their own time. For these reasons my primary motivation in working on a new edition ofDialogo contra i poeti was to piece togethersurviving evidence from the contempomryand near-contemporary period, not the leastofwhich was the evidence represented by the first edition of the work. That was my point of departure and these are the first of my findings. The physical evidence of the first edition provides fundamental leads to those who seek to begin the journey of interpretation and analysis. Perhaps the most conspicuous of these leads is the very fine woodcut il1ustration which accompanies the text in the first edition, which can be identified as the author's impresa. 1 To understand imprese a<; they were used in publishing in the first half of the sixteenth century in Italy is to comprehend something fundamental about the rendering public ofDialogo contra ipoetiand about the author's intentions in writing and publishing the work. -
Gian Matteo Giberti, Papal Politician' and Catholic Reformer
24 Jan. Downloaded from Gian Matteo Giberti, Papal Politician' and Catholic Reformer. http://ehr.oxfordjournals.org/ PART I. IAN MATTEO GIBEETI, bishop of Verona, scholar and G stylist, patron of men of letters, ambassador, confidential adviser of a pope during a critical period in the history of the papacy and of Italy, bishop and reformer, is one of those men who were famous in their own generation but who have been forgotten by posterity. The veil of oblivion has fallen so closely round him that the historical reader knows him only through a few brief at University of California, San Diego on June 13, 2015 references in Tiraboschi, Eanke, and Gregorovius. Yet it may be not without interest to try to lift that veil and see the man as he appeared to his contemporaries. The father of Gian Matteo Giberti belonged to an ancient and wealthy Genoese family,1 and had probably led a stirring and adventurous life, for he was first captain of the Genoese galleys and afterwards entered the service of Julius II and Leo X. Of the bishop's mother we know nothing but the fact that Franco Giberti met her during a visit to Palermo, and that Gian Matteo was born there out of wedlock in 1495.1 We do not even know of what race she came, and the population of Palermo, in common with the rest of Sicily, was very mixed and included many GreekB. We imagine that she was a woman with a strong bent for religion, since the boy lived with her till his twelfth year, and even as a boy was noted for a rare earnestness. -
1. Humanism and Honour in the Making of Alessandro Farnese 35
6 RENAISSANCE HISTORY, ART AND CULTURE Cussen Pope Paul III and the Cultural Politics of Reform of Politics Cultural the and III Paul Pope Bryan Cussen Pope Paul III and the Cultural Politics of Reform 1534-1549 Pope Paul III and the Cultural Politics of Reform Renaissance History, Art and Culture This series investigates the Renaissance as a complex intersection of political and cultural processes that radiated across Italian territories into wider worlds of influence, not only through Western Europe, but into the Middle East, parts of Asia and the Indian subcontinent. It will be alive to the best writing of a transnational and comparative nature and will cross canonical chronological divides of the Central Middle Ages, the Late Middle Ages and the Early Modern Period. Renaissance History, Art and Culture intends to spark new ideas and encourage debate on the meanings, extent and influence of the Renaissance within the broader European world. It encourages engagement by scholars across disciplines – history, literature, art history, musicology, and possibly the social sciences – and focuses on ideas and collective mentalities as social, political, and cultural movements that shaped a changing world from ca 1250 to 1650. Series editors Christopher Celenza, Georgetown University, USA Samuel Cohn, Jr., University of Glasgow, UK Andrea Gamberini, University of Milan, Italy Geraldine Johnson, Christ Church, Oxford, UK Isabella Lazzarini, University of Molise, Italy Pope Paul III and the Cultural Politics of Reform 1534-1549 Bryan Cussen Amsterdam University Press Cover image: Titian, Pope Paul III. Museo di Capodimonte, Naples, Italy / Bridgeman Images. Cover design: Coördesign, Leiden Lay-out: Crius Group, Hulshout isbn 978 94 6372 252 0 e-isbn 978 90 4855 025 8 doi 10.5117/9789463722520 nur 685 © B. -
Gramática and Orlando Angela Delutis-Eichenberger
VOL. 17, NUM.2 SUMMER/VERANO 2020 Re-legitimizing the Unfaithful Bastard Traitor: Re-productive and Contestatory Intertextuality in Andrés Bello’s Gramática and Orlando Angela DeLutis-Eichenberger Conceived prior to his parents’ matrimony in Venezuela, Andrés Bello (1781-1865) was later accused of fathering an illegitimate child from an adulterous liaison in Chile. By then, some had also considered him a traitor of the patriots for his supposed deviant behavior at the onset of the revolution in Caracas in 1810. Following his departure from Venezuela that year, Bello had begun an unforeseen nineteen-year residency in England (1810-1829) that ended with his relocation to Chile (1829-1865). These “exiles” were marked by impressive strides in politics and scholarship. His grammatical studies advanced in London persisted in Santiago, and culminated in Gramática de la lengua castellana destinada al uso de los americanos (1847). Interpolating and examining quotes from various intertexts in the grammar book, Bello continued a previous propensity to dialog with Cervantes’s Don Quijote; however, he did so with a remarkable deviation in the typical citation pattern that Pedro Grases has observed in some of Bello’s other works.1 This divergent translinguistic order aids in an attempted re-legitimization of “Bello” to counter possible signifieds linked to his signifier as an unfaithful bastard traitor. Approximately 280 passages in Gramática are recited from Cervantine works, with more than 200 drawn from the polyphonic Quijote. Notably, few citations in Gramática derive from Bello’s normally cited Chapter 11 of the Quijote, with only one appropriated from the hidalgo’s discourse to the goatherds. -
Gian Matteo Giberti, Downloaded from Papal Politician and Catholic Reformer
266 Gian Matteo Giberti, Downloaded from Papal Politician and Catholic Reformer. PAST II. S datary and confidential adviser of the pope Giberti had not http://ehr.oxfordjournals.org/ A enjoyed full opportunities for carrying out his aims, but as bishop of Verona his work possessed the element of permanence. To the historian of the religious movements of the time Giberti is deeply interesting, but to the end somewhat of a problem. On the one side he touches the new opinions of the age, the revived Auguatinian theology, the new fervour of love and devotion ; on the other he belongs to the party which triumphs in the council of Trent, the. party which combines sweeping reform in ecclesiastical at Brunel University on July 20, 2015 discipline with the most resolute attitude of opposition to heresy and all that seemed likely to endanger the unity of the catholic church. Giberti is mentioned by Caracciolo in his Vita Pavli IV. as one of the earliest members of the Oratory of Divine Lwe. This society first met during the pontificate of Leo X in the church of SS. Silvestro and Dorothea in the Traatevere, near the site of the ancient inn dedicated by Calixtus I to the service of the ' true God,' and the place where, according to tradition, St. Peter suffered martyr- dom. Amid the indifference and semi-paganism of the Roman curia and people a few earnest men, mourning over the loss of all religion, and seeing the handle thus given to the opponents of the church, burned to make their own religion fervent and deep, that they might stimulate others to follow their example. -
Pietro Aretino, the Scourge of Princes
Digitized by the Internet Archive in 2010 with funding from University of Toronto http://www.archive.org/details/pietroaretinoscoOOhutt Yt/ V " PIETRO ARETINO PIETRO ARETINO The Scourge of Princes By EDWARD HUTTON WiM a Portrait afttr Titian CONSTABLE & CO LTD LONDON : BOMBAY : SYDNEY 1922 Printed in Great Britain at Tkt MayAotuir Press, Plymouth. William Brendon & Son, Ltd. TO MY FRIEND NORMAN DOUGLAS NOTE My various debts to previous writers on the subject of this work are duly acknowledged in the notes throughout the book, but I wish here especially to mention Comm. Alessandro Luzio, of Mantua, to whom every writer upon Pietro Aretino owes so much, my friend Professor Cesare Foligno, of Oxford, who has generously given time and thought to reading the proofs, and my friend Comm. Biagi, of Florence, who obtained for me more than one rare opuscolo. INTRODUCTION ARETINE. The name is infamous. Why ? -^ ^ Was the man really the monster he is universally represented to have been from his time to our own ? His legend, as the French say, would seem to affirm it. There we read of one who was born in a hospital, the son of a courtesan, and boasted of it ; who was without name, without family, without friends and protectors, without education ; who at thirteen years of age robbed his mother and fled to Perugia ; who at eighteen fled from Perugia to Rome, where he robbed his master, Agostino Chigi, and presently appeared as the creature of Cardinal de' Medici, whom he supported with an infinite wealth of libel, calumny and the most vile and shameless -
Confraternal Gleanings from Post-Tridentine Piacenza: Bishop Paolo Burali D’Arezzo and the Confraternity of the Most Holy Sacrament
Confraternal Gleanings from Post-Tridentine Piacenza: Bishop Paolo Burali d’Arezzo and the Confraternity of the Most Holy Sacrament Serena Quagliaroli1 Summary: This article focuses on the situation in the diocese of Piacenza during the episcopate of Paolo Burali d’Arezzo (r. 1568–1576) by placing his work within the post-Tridentine context. One of the most important objectives of the Church after the Council of Trent was the recovery of a closer relationship between the clergy and the faithful and it was pursued through the establishment and renewal of confraternities. In Piacenza, Bishop Burali encouraged the founding of many lay associations and took care to amend and revitalize existing ones, such as the Confraternity of the Most Holy Sacrament. For the one in the cathedral, documentary sources give us much useful information that allows us to speculate on the decorations (no longer extant) in the chapel dedicated to the Most Holy Sacrament executed by Giulio Mazzoni (1519–ca. 1590). Archival sources and local historical-artistical guidebooks allow us to propose a comparison between what Mazzoni achieved in Piacenza and Rome. This article offers a first glimpse into the situation in the diocese of Piacenza in the post-Tridentine period through an analysis of the city’s lay confraternities. The decision to use confraternities as privileged sub- jects of analysis is founded on the awareness of the growing importance that confraternity studies has enjoyed over the last few decades, espe- cially in the lively academic discussions carried -
Il “Comento Alla Primiera” Di Francesco Berni: Un Enigma
Banca Dati “Nuovo Rinascimento” http://www.nuovorinascimento.org immesso in rete il 25 novembre 2001 DANILO ROMEI IL “COMENTO ALLA PRIMIERA” DI FRANCESCO BERNI: UN ENIGMA INTERPRETATIVO* Con il Comento alla Primiera mi sono incontrato/scontrato per la prima volta quasi trent’anni fa. Da allora di nuovo più volte; e sempre ho perso, «come faceva colui con la cena». Ho provato a interpretarlo in vari modi, che non mi convincono affatto. Questo commento io non lo capisco. Dopo questa spinosa confessione, posso provare a spiegare – se la cosa ancora v’interessa – perché non lo capisco. È strano. È fuori posto. Ha una data sbagliata. O meglio: la sua pubbli- cazione è fuori posto, ha una data sbagliata. Cominciamo col dire che la dedicatoria della stampa Al mio onorando compare messer Borgianni Baronci da Narni (arrabbiato “giocatore”), fir- mata – come tutta l’opera – «messer Pietropaulo da San Chirico»,1 porta la * È il testo del mio intervento al seminario Com notibusse et comentaribusse. L’esegesi parodistica e giocosa del Cinquecento, organizzato da Paolo Procaccioli, che si è tenu- to a Viterbo il 23-24 novembre 2001 presso la Facoltà di Conservazione dei Beni Cul- turali. 1 In verità – come ha ben dimostrato ANNE REYNOLDS, Francesco Berni’s Second Publi- shed Work, “Capitolo del Gioco della Primiera col Comento di messer Pietropaulo da 1 data: «De Roma, alli XXVII d’agosto M. D. XXVI.».2 Anche la stampa, ad o- pera di Francesco Minizio Calvo, è di quell’anno. Dopo la vita scapestrata trascorsa nella “famiglia” dei Bibbiena, nel 1524 il Berni era entrato nella segreteria di Giovan Matteo Giberti, vescovo di Verona e datario del nuovo papa Clemente VII (al secolo Giulio de’ Me- dici). -
Antonio Pistoia: the Poetic World of a Customs Collector
Valentina Olivastri ANTONIO PISTOIA: THE POETIC WORLD OF A CUSTOMS COLLECTOR A Thesis Submitted in Fulfilment of the Requirements for the Degree of Doctor of Philosophy University College London, University of London Supervisors of Research: Anna Laura Lepschy, Giovanni Aquilecchia September 1999 ProQuest Number: U641904 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest. ProQuest U641904 Published by ProQuest LLC(2015). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. Microform Edition © ProQuest LLC. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 Abstract The object of the present study is Antonio Pistoia (1436?- 1502); a jocular poet and customs collector who worked mainly in Northern Italy. Although his reputation as a notable literary figure has suffered from neglect in recent times, his work was appreciated by and known to his contemporaries including Pietro Aretino, Ludovico Ariosto, Matteo Bandello, Francesco Berni and Baldesar Castiglione. Research on his life and work came to a halt at the beginning of this century and since then he has failed to attract significant attention. The present study attempts to review and re-examine both the man and his work with a view to putting Antonio Pistoia back on the literary map. -
List January 2017 Sixteenth-Century Books Illustrated with 32 Woodcut Vignettes Attributed to Benedetto Bordon 1
LIST JANUARY 2017 SIXTEENTH-CENTURY BOOKS ILLUSTRATED WITH 32 WOODCUT VIGNETTES ATTRIBUTED TO BENEDETTO BORDON 1. APULEIUS, Lucius (ca. 124-after 170)-BOIARDO, Matteo Maria (c. 1441-1494). Apulegio volgare, tradotto per el Conte Mattheo Maria Boiardo. Colophon: Venice, Niccolò Zoppino & Vincenzo di Paolo, September 10, 1518. 8vo (152x100 mm); early 20th-century red roan, panels with blind-stamped diamond-shaped centerpiece within an elaborated gilt frame and two blind-ruled fillets, lettered and dated spine with four raised bands, marbled endleaves (somewhat faded); (103) leaves. Signatures: A-N8. Lacking the last blank leaf. Title-page within woodcut border. Printer’s device on l. N7v. Large initial on l. A2v. With 32 woodcut vignettes in text at- tributed on stylistic evidence to Benedetto Bordon (c. 1455-1530) and his workshop (cf. L. Armstrong, Woodcuts in Classical Texts Printed in Venice, 1490-1520, and the Role of Benedetto Bordon as Designer, in: “Seven Perspectives on Woodcut. Presentation from A Heavenly Craft. Symposium and Exhibition”, D. De Simone, ed., Washington D.C., 2008, pp. 55-58). Provenance: Bookplate of Jean Furstenberg on front pastedown; pencil note on the back flyleaf by the bookseller Martin Breslauer (cf. Cat. 106, no. 29 $ 1,850); Otto Schäfer (The Collection of Otto Schäfer, Part I: Italian Books, Sotheby’s, December 8, 1994, lot 13 $ 6,900). Title-page a bit soiled, some browning and foxing, but a very good copy. VERY RARE FIRST EDITION of Matteo Maria Boiardo’s Italian translation of Apu- leius’ Golden Ass. Boiardo’s translation had a limited manuscript circulation during the author’s life- time and before it was first printed in 1518.