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9780521895200 Index.Pdf
Cambridge University Press 978-0-521-89520-0 - The Renaissance in Italy: A Social and Cultural History of the Rinascimento Guido Ruggiero Index More information INDEX Abel (Bible), depiction in art, 561–2 classics and, 251 , 257–8 Abortion, 129–30 clothing, depiction of, 363–4 Academies, 539–47 consensus realities and, 254–6 , 363–4 Accademia della Crusca (Academy), 541–2 culture and, 251 , 254, 257 Accolti, Bernardo, 452 Dante compared, 253 Acta Ecclesiae Mediolanenesis Eugenius IV and, 275 (Borromeo), 521 Gianfrancesco Gonzaga and, 294 Adam (Bible) on honor, 254–6 depiction in art, 561–2 Lorenzo de’ Medici and, 316 Garden of Eden and, 1–2 , 7 Ludovico Sforza and, 294 , 295 knowledge of, 260 Nicholas V and, 276 naming of things by, 221 , 261 , as painter, 294 266–7 , 423 Petrarch compared, 253 Savonarola on, 489–90 Alberti, Lionardo, 254–6 Addormentati (Academy), 541 Albert of Stade, 21 Adoration of the Christ Child (Fra Filippo Albizzi family, 299–300 Lippi), 307–8 Albornoz, Egidio, 60–1 , 157 , 166 Adoration of the Magi (Leonardo), 350 Alexander III (Pope), 39 , 41 , 270 Adoration of the Magi, The (Botticelli), Alexander the Great (Macedon), 458 , 582 345–6 , 357–9 Alexander VI (Pope) Adrian VI (Pope), 503–4 , 507–8 generally, 278 , 379 , 510 Aeschylus, 397 death of, 355 , 442 Africa (Petrarch), 225 French invasion of Italy and, 404–5 , Agathocles (Greece), 448 , 449 410–11 , 412 Age of the Beloveds, The (Andrews and “New World” and, 427 Kalpaki), 582 Piero de’ Medici and, 401 Age of marriage, 375 , 474 , 478 , 480–1 , 483 Savonarola -
Introduction: the Queen Versus the People 1
N OTES Introduction: The Queen versus the People 1 . J e a n n e L o u i s e C a m p a n , Memoirs of the Court of Marie Antoinette, Queen of France , ed. M de Lamartine (Philadelphia, PA: Parry and McMillan, 1854), pp. 158–159. 2 . Nancy Nichols Barker, “Revolution and the Royal Consort,” in Proceedings of the Consortium on Revolutionary Europe (1989): 136–143. 3 . Barker, “Revolution and the Royal Consort,” p. 136. 4 . Clarissa Campbell Orr notes in the introduction to a 2004 collection of essays concerning the role of the European queen consort in the Baroque era that “there is little comparative work in English on any facet of European Court life in the period from 1660 to 1800.” See Clarissa Campbell Orr, “Introduction” in Clarissa Campbell Orr (ed.), Queenship in Europe: 1660–1815: The Role of the Consort (Cambridge: Cambridge University Press, 2004), p. 2. There are strong exceptions to Orr’s conclusion, including the works of Jeroen Duidam and T.C.W. Blanning, which compare the culture, structure, and politics of Early Modern courts revealing both change and continuity but these stud- ies devote little space to the specific role of the queen consort within her family and court. See Jeroen Duindam, Vienna and Versailles: The Courts of Europe’s Dynastic Rivals 1550–1780 (Cambridge: Cambridge University Press, 2003), and T.C.W. Blanning, The Culture of Power and the Power of Culture: Old Regime Europe 1660–1789 (Oxford: Oxford University Press, 2002). 5 . See Kevin Sharpe, The Personal Rule of Charles I (New Haven, CT: Yale University Press, 1996); Bernard Bourdin, The Theological-Political Origins of the Modern State: Controversy between James I of England and Cardinal Bellamine (Washington, DC: The Catholic University of America Press, 2010), pp. -
Defensive-Architecture-Of-The-Mediterranean VI 46.Pdf
6 DEFENSIVE ARCHITECTURE OF THE MEDITERRANEAN XV TO XVIII CENTURIES Vol. VI PROCEEDINGS of the International Conference on Modern Age Fortifications of the Mediterranean Coast FORTMED 2017 DEFENSIVE ARCHITECTURE OF THE MEDITERRANEAN XV TO XVIII CENTURIES Vol. VI Editor Ángel Benigno González Avilés Universidad de Alicante. Spain EDITORIAL PUBLICACIONS UNIVERSITAT D’ALACANT FORTMED 2017 Colección Congresos UA Los contenidos de esta publicación han sido evaluados por el Comité Científico que en ella se relaciona y según el procedimiento de la ``revisión por pares´´. © editor Ángel Benigno González Avilés © de los textos: los autores © 2017, de la presente edición: Editorial Publicacions Universitat d’Alacant. www.publicaciones.ua.es/ Imprime: ISBN: 978-84-16724-76-5 (Vol.VI) Depósito legal: A 494-2017 FORTMED – Modern Age Fortifications of the Mediterranean Coast, Alicante, October 26th, 27th, 28th 2017 Defensive Architecture of the Mediterranean. XV to XVIII centuries / Vol VI / González Avilés (Ed.) © 2017 Editorial Publicacions Universitat d’Alacant Digital tools for documentation and interpretation of the fortification system of Elba: the Giove Fort as a connection point between ancient routes and visual targets. Giulia Baldia, Mirco Puccib, Giorgio Verdianic aDipartimento di Architettura, Florence, Italy, [email protected] bDipartimento di Architettura, Florence, Italy, [email protected] cDipartimento di Architettura, Florence, Italy, [email protected] Abstract Elba territory presents a dense network of forts and outposts created by the various dynasties and conquerors that ruled the Island through the centuries. This defensive apparatus was connected by ancient paths, routes and visual systems, as it is possible to notice from the landscape, showing the various watch towers located on hills. -
382 Index.Qxd
405 INDEX INDEX More detailed or explanatory references (where there any many references listed), or references to an artist’s masterpiece (in cases where it is not listed by name), are given in bold. Numbers in italics are pic- ture references. Dates are given for all artists and sculptors. Saints’ names for towns are written out in full (San Gimignano); churches are listed as S. Martino, S. Agata etc. Note that artists in medieval and Renaissance Italy are often named for their parentage, provenance or occupation (Piero della Francesca = son of Francesca; Pietro da Cortona = Pietro from Cortona and Paolo Veneziano = Paolo the Venetian; Lorenzo Monaco = Lorenzo the monk). They are indexed under ther first names. A Florentine painter; 1343–77) 188 Abano Terme 109 Angelico, Fra’ (Guido di Pietro; Florentine painter; Aeneas, story of 236, 285, 310, 326, 375 c.1400–55) 186, 196, 270; (tomb of) 256 Agathocles of Syracuse 375 Angera 50 Agrate, Marco d’ (Lombard sculptor; active Angevin rulers of Naples and Sicily 312, 368 1534–71) 34 Annigoni, Pietro (painter; 1910–88) 106 Agrigento 378–79, 379 d’Annunzio, Gabriele, poet 111 Alba 24 Anselm, St 9, 355 Alba Longa, ancient city 236, 285 Anselmo da Campione (Campionese sculptor; Alban Hills 285–86 fl.1160–80) 142 Albenga 167 Antelami, Benedetto (architect, active in Parma; Alberobello 359–60, 359 c.1178–1230) 143 Alberti, Leon Battista (Florentine architect; Anthony of Padua, St 106 1404–72) 59, 60, 60, 156, 187, 188 Antinous, favourite of Hadrian 283 Albissola 167 Antonelli, Alessandro (Piedmontese -
STECSP-8.Pdf
Уредништво Др РАСТКО ВАСИЋ Др ИВАН ЈОРДОВИЋ Др СНЕЖАНА ФЕРJАНЧИЋ Др СВЕТОЗАР БОШКОВ Др КСЕНИЈА МАРИЦКИ ГАЂАНСКИ, главни уредник Лого РИМСКА БОГИЊА ДИЈАНА Аутор ДАМЈАН ВАСИЋ графички дизајнер Одржавање Међународног скупа и припрему ове књиге су помогли МИНИСТАРСТВО ПРОСВЕТЕ, НАУКЕ И ТЕХНОЛОШКОГ РАЗВОЈА РЕПУБЛИКЕ СРБИЈЕ АРХИВ СРЕМА СРЕМСКА МИТРОВИЦА ДРУШТВО ЗА АНТИЧКЕ СТУДИЈЕ СРБИЈЕ АНТИКА И САВРЕМЕНИ СВЕТ: ТУМАЧЕЊЕ АНТИКЕ Зборник радова ДРУШТВО ЗА АНТИЧКЕ СТУДИЈЕ СРБИЈЕ БУКЕФАЛ E.O. Н. Научне публикације Друштва за античке студије Србије Едиција Антика и савремени свет Том 1: Антика и савремени свет, 2007, стр. 404 Скуп одржан 2006. године Том 2: Европске идеје, античка цивилизација и српска култура, 2008, стр. 496 Скуп одржан 2007. године Том 3: Антички свет, европска и српска наука, 2009, стр. 432 Скуп одржан 2008. године Том 4: Античка култура, европско и српско наслеђе, 2010, стр. 508 Скуп одржан 2009. године Том 5: Антика и савремени свет: култура и религија, 2011, стр. 507 Скуп одржан 2010. године Том 6: Антика, савремени свет и рецепција античке културе, 2012, стр. 524 Скуп одржан 2011. године Том 7: Антика и савремени свет: научници, истраживачи и тумачи 2012, стр. 350 Скуп одржан 2012. године Том 8: Антика и савремени свет: тумачење антике, 2013; стр. 472 Скуп одржан 2013. године Proceedings of the Serbian Society for Ancient Studies Series Antiquity and Modern World Antiquity and Modern World, Proceedings of the Serbian Society for Ancient Studies,Vol. I, Belgrade 2007, pp. 404 European Ideas, Ancient Civilization and Serbian Culture, Proceedings of the Serbian So- ciety for Ancient Studies, Vol. II, Belgrade 2008, pp. 496 Ancient World, European and Serbian Scholarship, Proceedings of the Serbian Society for Ancient Studies, Vol. -
Autumn 2017 Cover
Volume 1, Issue 2, Autumn 2017 Front cover image: John June, 1749, print, 188 x 137mm, British Museum, London, England, 1850,1109.36. The Journal of Dress History Volume 1, Issue 2, Autumn 2017 Managing Editor Jennifer Daley Editor Alison Fairhurst Published by The Association of Dress Historians [email protected] www.dresshistorians.org i The Journal of Dress History Volume 1, Issue 2, Autumn 2017 ISSN 2515–0995 [email protected] www.dresshistorians.org Copyright © 2017 The Association of Dress Historians Online Computer Library Centre (OCLC) accession number: 988749854 The Association of Dress Historians (ADH) is Registered Charity #1014876 of The Charity Commission for England and Wales. The Association of Dress Historians supports and promotes the advancement of public knowledge and education in the history of dress and textiles. The Journal of Dress History is the academic publication of The Association of Dress Historians through which scholars can articulate original research in a constructive, interdisciplinary, and peer–reviewed environment. The journal is published biannually, every spring and autumn. The Journal of Dress History is copyrighted by the publisher, The Association of Dress Historians, while each published author within the journal holds the copyright to their individual article. The Journal of Dress History is distributed completely free of charge, solely for academic purposes, and not for sale or profit. The Journal of Dress History is published on an Open Access platform distributed under the terms of the Creative Commons Attribution License, which permits unrestricted use, distribution, and reproduction in any medium, provided the original work is properly cited. The editors of the journal encourage the cultivation of ideas for proposals. -
Xerox University Microfilms 300 North Zeeb Road Ann Arbor, Michigan 46100 I I
INFORMATION TO USERS This material was produced from a microfilm copy of the original document. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the original submitted. The following explanation of techniques is provided to help you understand markings or patterns which may appear on this reproduction. 1.The sign or "target" for pages apparently lacking from the document photographed is "Missing Page(s)". If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting thru an image and duplicating adjacent pages to insure you complete continuity. 2. When an image on the film is obliterated with a large round black mark, it is an indication that the photographer suspected that the copy may have moved during exposure and thus cause a blurred image. You will find a good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., was part of the material being photographed the photographer followed a definite method in "sectioning" the material. It is customary to begin photoing at the upper left hand corner of a large sheet and to continue photoing from left to right in equal sections with a small overlap. If necessary, sectioning is continued again - beginning below the first row and continuing on until complete. 4. The majority of users indicate that the textual content is of greatest value, however, a somewhat higher quality reproduction could be made from "photographs" if essential to the understanding of the dissertation. -
Cna85b2317313.Pdf
THE PAINTERS OF THE SCHOOL OF FERRARA BY EDMUND G. .GARDNER, M.A. AUTHOR OF "DUKES AND POETS IN FERRARA" "SAINT CATHERINE OF SIENA" ETC LONDON : DUCKWORTH AND CO. NEW YORK : CHARLES SCRIBNER'S SONS I DEDICATE THIS BOOK TO FRANK ROOKE LEY PREFACE Itf the following pages I have attempted to give a brief account of the famous school of painting that originated in Ferrara about the middle of the fifteenth century, and thence not only extended its influence to the other cities that owned the sway of the House of Este, but spread over all Emilia and Romagna, produced Correggio in Parma, and even shared in the making of Raphael at Urbino. Correggio himself is not included : he is too great a figure in Italian art to be treated as merely the member of a local school ; and he has already been the subject of a separate monograph in this series. The classical volumes of Girolamo Baruffaldi are still indispensable to the student of the artistic history of Ferrara. It was, however, Morelli who first revealed the importance and significance of the Perrarese school in the evolution of Italian art ; and, although a few of his conclusions and conjectures have to be abandoned or modified in the light of later researches and dis- coveries, his work must ever remain our starting-point. vii viii PREFACE The indefatigable researches of Signor Adolfo Venturi have covered almost every phase of the subject, and it would be impossible for any writer now treating of Perrarese painting to overstate the debt that he must inevitably owe to him. -
Front Matter
Cambridge University Press 978-0-521-88521-8 - Portrait of a Castrato: Politics, Patronage, and Music in the Life of Atto Melani Roger Freitas Frontmatter More information Portrait of a Castrato This book explores the fascinating life of the most documented musician of the seventeenth century. Born in 1626 into a bourgeois family in Pistoia, Italy, Atto Melani was castrated to preserve his singing voice and soon rose to both artistic and social prominence. His extant letters not only depict the musical activities of several European centers, they reveal the real-life context of music and the musician: how a singer related to patrons and colleagues, what he thought about his profession, and the role music played in his life. Whether Atto was singing, spying, having sex, composing, or even rejecting his art, his life illustrates how music-making was always also a negotiation for power. Providing a rare glimpse of the social and political contexts of seventeenth-century music, Roger Freitas sheds light on the mechanisms that generated meaning for music, clarifying what music at this time actually was. Roger Freitas is Associate Professor in the Department of Musicology, Eastman School of Music, University of Rochester. His writing has appeared in journals including the Journal of Musicology, Music and Letters, and Opera News. This is his first book. © Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-88521-8 - Portrait of a Castrato: Politics, Patronage, and Music in the Life of Atto Melani Roger Freitas Frontmatter More information New perspectives in music history and criticism General editors: Jeffrey Kallberg, Anthony Newcomb and Ruth Solie This series explores the conceptual frameworks that shape or have shaped the ways in which we understand music and its history, and aims to elaborate structures of explanation, interpretation, commentary, and criticism which make music intelligible and which provide a basis for argument about judgements of value. -
Introduction
Cambridge University Press 978-0-521-88521-8 - Portrait of a Castrato: Politics, Patronage, and Music in the Life of Atto Melani Roger Freitas Excerpt More information Introduction In an age that prized extravagance, Atto Melani led a life that may itself seem an object of wonder. Born in 1626 into a bourgeois family in the Tuscan town of Pistoia, northwest of Florence, Atto was the second of seven brothers, all to become musicians, and the first of four to be castrated for the sake of his beautiful voice.1 By the age of fifteen he seems already to have been working for Prince Mattias de’ Medici, brother of the grand duke of Tuscany. Within a few years, Mattias loaned his singer to the court of France, where in the 1640s Atto first rose to prominence. On the one hand, his singing won him the favor of the queen regent Anne of Austria, mother of the young Louis XIV; on the other, his taste for political intrigue attracted the attention of Cardinal Mazarin, the queen’s formidable first minister. This blend of music and politics set the tone for much of Atto’s career. Over the next fifteen years Atto in fact engineered a remarkable self- metamorphosis, from professional singer to gentleman diplomat. Early in his career, he performed whatever was commanded of him, from the title role of Luigi Rossi’s historic Orfeo to the tiny female part of La Primavera in a one-off Mantuan spectacular. But as his ambitions grew, he became increasingly concerned about prestige. He realized that, as long as he continued to sing, especially publicly, he limited his social standing. -
Field Dissertation 4
OUTLANDISH AUTHORS: INNOCENZO FEDE AND MUSICAL PATRONAGE AT THE STUART COURT IN LONDON AND IN EXILE by Nicholas Ezra Field A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Music: Musicology) in the University of Michigan 2013 Doctoral Committee: Associate Professor Stefano Mengozzi, Co-Chair Associate Professor Mark Clague, Co-Chair Professor Linda K. Gregerson Associate Professor George Hoffmann ACKNOWLEDGEMENTS In writing this dissertation I have benefited from the assistance, encouragement, and guidance of many people. I am deeply grateful to my thesis advisors and committee co-chairs, Professor Stefano Mengozzi and Professor Mark Clague for their unwavering support as this project unfolded. I would also like to extend my heartfelt gratitude to my dissertation committee members, Professor Linda Gregerson and Professor George Hoffmann—thank you both for your interest, insights, and support. Additional and special thanks are due to my family: my parents Larry and Tamara, my wife Yunju and her parents, my brother Sean, and especially my beloved children Lydian and Evan. ii TABLE OF CONTENTS ACKNOWLEDGEMENTS................................................................................................ ii LIST OF FIGURES ............................................................................................................ v ABSTRACT....................................................................................................................... vi CHAPTER ONE: Introduction -
Genealogy of the Royal House of Bourbon - Two Sicilies
GENEALOGY OF THE ROYAL HOUSE OF BOURBON - TWO SICILIES HRH Prince D. PEDRO Giovanni María Alejo Saturnino y Todos los Santos, DUKE OF CALABRIA, COUNT OF CASERTA (succeeded 5 October 2015, assumed these titles as Head of the Royal House on 6 November 2015) was created DUKE OF NOTO (by his father following his birth), born at Madrid 20 Apr 1971, Grand Master of the Sacred Military Constantinian Order of Saint George, Grand Master of the Illustrious Royal Order of Saint Januarius, Grand Commander of the Order of Alcántara, Bailiff Grand Cross of Honour and Devotion of the Sovereign Military Order of Malta, Grand Cross of the Order of the Immaculate Conception of Vila Viçosa, married at Madrid, 30 Mar 2001 D. Sofia Landaluce y Melgarejo, born Madrid, 23 Nov 1973, (H.R.H. the Duchess of Calabria), Dame Grand Cross of Justice of the Sacred Military Constantinian Order of Saint George, and has issue, 1) HRH Prince D. JAIME de Borbón-dos Sicilias y Landaluce, DUKE OF Noto, born Madrid 26 June 1992, Grand Prefect and Knight Grand Cross of Justice of the Constantinian Order, Grand Constable of the Royal Order of Saint George of the Reunion, Knight of Alcántara, Knight of Honour and Devotion of the Sovereign Military Order of Malta, 2) HRH Prince D. Juan de Borbón-dos Sicilias y Landaluce, born 19 Apr 2003 3) HRH Prince D. Pablo de Borbón-Dos Sicilias y Landaluce, born Madrid 28 Jun 2004 4) HRH Prince D. Pedro born Madrid, 3 Jan 2007 5) HRH Princess D. Sofia, born Madrid 12 Nov 2008 6) HRH Princess D.