DOCSLIB.ORG

Don Camillo Borghese. La Sangre De Los Papas

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Don Camillo Borghese. La Sangre De Los Papas DON CAMILLO BORGHESE. LA SANGRE DE LOS PAPAS. Por Carlos Robles do Campo Académico de Número En 1803, Napoleón Bonaparte, Primer Cónsul desde 1799, autorizó a su hermano José a iniciar las negociaciones necesarias para concertar el matrimo­ nio de su hermana Paulina, viuda del General Leclerc, con algún miembro sobresaliente de la nobleza romana. El empeño que José Bonaparte puso en esta misión dio como resultado el enlace de Paulina con el príncipe don Camilla Borghese. Éste, descendiente de una de las principales familias roma­ nas, era además, entre sus coetáneos, el que mantenía relación de parentesco con un mayor número de papas. Entre 1187 y 1730 reinaron 71 papas, de ellos cuatro -Alejandro VI, Julio Il, Pablo III y Gregario XIII- y el antipapa Félix V, fueron antepasados direc­ tos de don Camilla; el cual descendía además de un hermano o hermana de veintisiete de ellos: Celestino III, Inocencia III, Honorio III, Gregario IX, Inocencia IV, Alejandro IV, Adriano V, Nicolás III, Honorio IV, Bonifacio VIII, Juan XXII, Clemente VI, Gregario XI, Inocencia VII, Martín V, Calixto III, Pío II, Sixto IV, Pío III, León X, Sixto V, Inocencia IX, Clemente VIII, Pablo V, 242 CARLOS ROBLES DO CAMPO Gregario XV, Inocencia X y Alejandro VII, además de los más antiguos Pascual II y Calixto II. También de un tío de Clemente VII, hijo único, de una tía de León XI y de un tío de Clemente X. El príncipe Borghese tenía además parentesco de sangre con Bonifacio IX y Benedicto XIII y algún tipo de paren­ tesco político con otros trece papas: Clemente III, Clemente V, Inocencia VIII, Julio III, Pío IV, Urbano VII, Urbano VIII, Clemente IX, Inocencia XI, Pío V, Alejandro VIII, Clemente XI e Inocencia XIII. Esto hace un total de 51 papas y un antipapa. Algunos de los papas de este periodo pertenecían a familias de la nobleza feudal italiana, Colonna, Orsini, Conti, Fieschi, Savelli, Castiglione, Tomacelli, Famese, etc. o francesa, de Goth, o española, Borja; sin embargo la mayor parte de ellos surgieron de la nobleza ciudadana, los Medici de Florencia, los Barbo y Corrier de Venecia, los Boncompagni y Ludovisi de Bolonia, los Cybo de Génova, los Piccolomini y los Borghese de Siena, los Pamphili de Roma, los Odescalchi de Como, etc. o incluso de la burguesía, los Facchinetti, Condulmer (luego patricios vénetos), los Aldobrandini (luego patricios florentinos), los della Rovere, los Peretti, los Ciocchi, etc. en Italia o los Fournier y Rogier (luego condes de Beaufort) en Francia. Dado que generalmente los papas eran elegidos a una edad más que madura, eran normalmente sus sobrinos los que resultaban beneficiados por el encumbramiento social. Se institucionalizó el título de Cardinal Nipote, es decir, Cardenal Sobrino, con atribuciones de Secretario de Estado Vaticano, y dejando aparte algunos casos descarados de nepotismo en los que ciertos papas consiguieron situar a sus parientes cercanos entre las familias sobera­ nas (Famese, Borja, Medici, della Rovere ... ), es innecesario demostrar las . razones que impedían que la familia cercana del papa se mantuviera en el sta­ tus social al que pertenecían antes de la elevación de su pariente al Trono Pontificio. Las familias nobles italianas, o francesas, buscaban entroncar con los papas a través de sus parientes cercanos que acababan, mediante estratégicos DON CAMILLO BORGHESE. LA SANGRE DE LOS PAPAS. 243 matrimonios, heredando feudos y títulos en unas cuantas generaciones. Los della Rovere heredaron de esta forma el Ducado de Urbino de los Montefeltro; los Ludovisi heredaron Piombino de los Appiano y los Boncompagni de los Ludovisi; y los Cybo, Massa y Carrara de los Malaspina; por mencionar sola­ mente feudos de primera importancia. Los Borghese pertenecían al patriciado de Siena. En 1432 Agostino Borghese es creado Conde del Sacro Imperio. Su biznieto Marcantonio, Gobernador pontificio de Orvieto y Ravenna y Primer Conservador Romano de 1554 a 1569 (*Siena 1504 t Roma VI-1574), contrae dos matrimonios: el pri­ mero en Siena en 1531 con Aurelia Bargagli, Patricia de Siena, que fallece sin sucesión en Roma en 154 7, y el segundo en Roma en 1548, con Flaminia, (* Roma 1530 t Roma 14-XII-1575), hija del Noble Romano Orazio degliAstalli, que fue madre de sus hijos. Uno de ellos, Camillo, es elevado al Trono Pontificio el 16 de mayo de 1605, con el nombre de Pablo V. Su hermano Giovanni Battista es creado Príncipe de Vivaro en 1609. Uno de sus sobrinos, Marcantonio Borghese, es creado Príncipe de Sulmona (27-X-1610); otro, Scipione Caffarelli, que es Cardenal desde el 18-VII -1604, adopta el apellido Borghese y es nombrado Cardinal Nipote. La familia irá acumulando títulos y feudos por herencia o compra situándose entre las más ricas e ilustres de Roma. Los Sumos Pontífices entre 1187 y 1730 La lista de los papas reinantes entre 1187 y 1730, está integrada por los siguien­ tes: 175°- Clemente III, Paolo Scolari, papa el19-XII-1187, t 27-III-1191. Ver No 20.975.648 del árbol de costados siguiynte. 176° -Celestino III, Giacinto Bobone, papa el30-III-1191, t Roma 8-I-1198. Hijo de Pietro Bobone (antepasado de los Orsini), Noble Romano, y de una noble romana de la familia Scorgi. Ver N° 8.519.680. Armas de los Borghese: De azur, un dragón de oro armado y lampasado de gules. Jefe de oro cargado de un águila de sable. DON CAMILLO BORGHESE. LA SANGRE DE LOS PAPAS. 245 177°- Inocencia III, Lotario Conti, papa el 8-I-1198, t Perugia 16-VI-1216. Hijo de Trasimundo Conti, Conde de Segni, y de una hermana de Clemente III. Ver N° 20.975.648. 178°- Honorio III, Cencio Savelli, papa el 18-VII-1216, t Roma 18-III-1227. Hijo de Aimerico Savelli, Señor de Palombara. Ver N° 655.368. 179° - Gregario IX, Conde Ugolino (Conti) de Segni, papa el 19-III-1227, t Roma 22-VIII-1241. Hijo de Tristano Conti, Conde de Agnani. Ver No 5.243.912. 180° - Celestino IV, Godofredo da Castiglione, papa el 25-X -1241, t Roma 1O­ XI -1241. Hijo de Giovanni, Castellano de Castiglione, y de Cassandra Crivelli, hermana de Urbano III. 181°- Inocencia IV, Sinibaldo Fieschi, papa el25-VI-1243, t Nápoles 7-XII- 1254. Hijo de U go Fliscus (Fieschi), Conde de Lavagna, y una dama de la familia Grillo. Ver N° 3.739.138. 182° -Alejandro IV, Reinaldo Conti, papa en 1254 (después del 7-XII), t Viterbo 25-V-1261. Hijo de Matteo Conti, Conde de Segni. Ver N° 1.31 0.978. 18 3 o - Urbano IV, J acques Pataléon, papa el 2 9-VIII -1261, t Perugia 2-X -1264. Natural de Troyes. 184° - Clemente IV, Guy Le Gros, papa el 22-II-1265, t Viterbo 29-XI-1268. Nacido en Saint Gilles un 23-XI. Hijo de Foulques Le Gros, caballero. 185°- Beato Gregario X, Teobaldo Visconti, papa el1-XII-1271, t Arezzo 10- I-1276. Nacido en Plasencia en 1210, no pertenecía a la familia de los Visconti de Milán. 246 CARLOS ROBLES DO CAMPO 186°- Beato Inocencia V, Pierre de Tarentaise, papa el21-I-1276, t Roma 22- VI-1276. Nacido en Tarentaise, c. 1225. 187°- Adriano V, Ottobono Fieschi, papa el 12-VII-1276, t Viterbo 18-VIII- 1276. Hijo de Tedisio Fieschi, Conde de Lavagna, y de Simona della Volta. Ver N° 1.869.569. 188°- Juan XXI, Petrus Julianis o Petrus Hispanus, papa en 1276, t Viterbo 20- V-1277. Nacido en Lisboa hacia 1215. Hijo de un tal Juliano. 189°- Nicolás III, Giovanni Gaetano Orsini, papa el 25-XII-1277, t Soriano 23-VIII-1280. Hijo de Matteo Rosso Orsini, Señor de Vicovaro, Licenza, etc. y de su primera esposa Pema Caetani. Ver N° 532.480. 190° - Martín IV, Simon de Brie, papa el 22-II-1281, t Perugia 28-III-1285. Nacido en Montpensier hacia 1220. 191°- Honorio IV, Giacomo Savelli, papa el 2-IV-1285, t Roma 3-IV-1287. Hijo de Luca Savelli, Señor de Palombara, y de Vanna Aldobrandeschi dei Conti di Santa Fiara. Ver N° 163.842. 192° - Nicolás IV, Girolamo Masci, papa el 22-II-1288, t Roma 4-IV-1292. Nacido en Ascoli hacia 1220. 193° - San Celestino V, Pietro de Murrone, papa el 5-VII-1294, abdicó en Nápoles el 13-XII-1294. * Nápoles 1215 de familia humilde, t Castillo de Fumone 19-V-1296. 194°- Bonifacio VIII, Benedetto Gaetani, papa el21-XII-1294, t Roma 11-X- 1303. Hijo de Goffredo I Gaetani, Podestá de Todi y de Emilia Conti. Ver N° 327.744. DON CAMILLO BORGHESE. LA SANGRE DE LOS PAPAS. 247 195° - Beato Benedicto XI, Niccolo Boccasini, papa el 22-X-1303, t Perugia 7-VII-1304. * Treviso 1240. 196°- Clemente V, Bertrand de Goth, papa el5-VI-1305, t Roquemaure 20-IV- 1314. Hijo de Béraud de Goth, Señor de Livran, y de Ide/Brayde de Blanquefort, Señora de Veyrines. Ver N° 467.398. 197°- Juan XXII, Jacques Dueze, papa el 7-VIII-1316, t Avignon 4-XII-1334 .. Hijo de Arnaud Dueze y de una dama de la familia de Laberaudie. Ver N° 934.057 198°- Benedicto XII, Jacques Fournier, papa el 20-XII-1334, t Avignon 4-IV- 1342. * Saverdun (Toulouse) c. 1255. 199°- Clemente VI, Pierre Rogier, papa el 7-V-1342, t Avignon 6-XII-1352. Hijo de Guillaume Rogier y de Guillemette de La Mestre. Ver N° 233.522. 200°- Inocencio VI, Etienne Aubert, papa el 18-XII-1352, t Avignon 12-IX- 1362. Nacido en Mont (Limoges) hacia 1300. 201 o - Beato Urbano V, Guillaume de Grimoard, consagrado papa el 16-XI- 1362, t Avignon 19-XII-1370.
Load more

Recommended publications
  • L'arte Del Dono. Scambi Artistici E Diplomazia Tra Italia E Spagna
    L’ arte del dono. Scambi artistici e diplomazia tra Italia e Spagna, 1550-1650 Contributi in occasione della giornata internazionale di studi , 14-15 gennaio 2008, Roma, Bibliotheca Hertziana, Istituto Max Planck per la Storia dell’Arte a cura di Marieke von Bernstorff Susanne Kubersky -Piredda redazione Marieke von Bernstorff assistenza redazionale Tobias Daniels Anka Ziefer SilvanaEditoriale Sommario 7 Marieke von Bernstorff e Susanne Kubersky-Piredda 129 Lisa Goldenberg Stoppato Introduzione “Et qui si stimano i regali quanto a Costantinopoli”: doni per il monastero dell’Encarnación 13 Miguel Falomir e la diplomazia medicea a Madrid Dono italiano e “gusto spagnolo” (1530-1610) 151 Salvador Salort Pons 27 Hillard von Thiessen Titian’s The Tribute Money Exchange of Gifts and Ethos of Patronage and Las Descalzas Reales in the Relations between Spain and the Papal States in the Early Seventeenth Century 161 Marieke von Bernstorff Doni eloquenti di un nobile romano. Le nature 33 Walter Cupperi morte presentate da Giovan Battista Crescenzi Sculture per siti reali: la fortuna di Bambaia a Filippo III e Cassiano dal Pozzo in Spagna, da Filippo II a Filippo IV d’Asburgo (1579-1666) 183 Jorge Fernández-Santos Ortiz-Iribas “Ianua Palladis, Templum Virtutis Honorisque”: 51 Kelley Helmstutler Di Dio An Instructional Garden of Automata Devised Sculpted Diplomacy: State Gifts of Sculpture by Cosimo Lotti for the Count-Duke of Olivares from Italy to Spain in the Sixteenth and Seventeenth Centuries 201 David García Cueto I doni di monsignor Innocenzo Massimo alla corte di Spagna e la crisi di uno stile 67 Tavole diplomatico 223 David García López 89 Almudena Pérez de Tudela A Royal Gift which “ha fatto gran rumore I doni dei Della Rovere per Filippo II per la corte”: The Apotheosis of Claudius as Philip IV of Spain’s Glory 103 Susanne Kubersky-Piredda “Costola o altro osso notabile”: reliquie e reliquiari 239 Katrin Zimmermann in dono a Filippo II d’Asburgo “Al fin resolve e trata de i Bacanali far quel Ré contento...”.
    [Show full text]
  • Five Fair Sisters; an Italian Episode at the Court of Louis
    CORNELL UNIVERSITY LIBRARY Cornell University Library DC 130.M3W72 1906a Five fair sisters; 3 1924 028 182 495 The original of tiiis book is in tine Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924028182495 KS. ^ FIVE FAIR SISTERS AN ITALIAN EPISODE AT THE COURT OF LOUIS XIV BY H. NOEL WILLIAMSy AUTHOR OF ' MADAME r£CAM1ER AND HER FRIENDS," " MADAME DE POMPADOUR)' "MADAME DE MONTESPAN," "MADAME DU BAREV," "queens OP THE FRENCH STAGE," "LATER QUEENS OF THE FRENCH STAGE," ETC. WITH PHOTOGRAVURE PLATE AND SIXTEEN OTHER ILLUSTRATIONS NEW YORK G. P. PUTNAM'S SONS 27 & 29 WEST 23RD STREET igo6 Printed in Great Britain TO MY WIFE LIST OF ILLUSTRATIONS HORTENSE MANCINI, DUCHESSE DE MAZARIN Frontispiece (Photogravure) From an engraving after the painting by Sir Peter Lely. TO FACE PAGE CARDINAL MAZARIN lO From an engraving after the painting by Mignard. ARMAND DE BOURBON, PRINCE DE CONTJ 38 From an engraving by Frosne. ANNE MARIE MARTINOZZI, PRINCESS DE CONTI . 40 From an engraving after the painting by Beaubrun. LAURE MANCINI, DUCHESSE DE MERCCEUR 58 From a contemporary print. LOUIS XIV 72 From an engraving after the drawing by Wallerant Vaillant. MARIE MANCINI IIO From an engraving after the painting by Sir Peter Leiy. ANNE OF AUSTRIA, QUEEN OF FRANCE 1 58 From an engraving af^er the painting by Mignard. PRINCE CHARLES (AFTER CHARLES v) OF LORRAINE . 200 From an engraving by Nanteuil. MARIA THERESA, QUEEN OF FRANCE 220 From an engraving after the painting by Beaubrun.
    [Show full text]
  • JAMS7302 01 Brosius 207..266
    University of Birmingham Courtesan singers as courtiers Brosius, Amy DOI: 10.1525/jams.2020.73.2.207 License: None: All rights reserved Document Version Publisher's PDF, also known as Version of record Citation for published version (Harvard): Brosius, A 2020, 'Courtesan singers as courtiers: power, political pawns, and the arrest of virtuosa Nina Barcarola', Journal of the American Musicological Society, vol. 73, no. 2, pp. 207-267. https://doi.org/10.1525/jams.2020.73.2.207 Link to publication on Research at Birmingham portal Publisher Rights Statement: Amy Brosius; Courtesan Singers as Courtiers: Power, Political Pawns, and the Arrest of virtuosa Nina Barcarola. Journal of the American Musicological Society 1 June 2020; 73 (2): 207–267. doi: https://doi.org/10.1525/jams.2020.73.2.207 © 2020 by the American Musicological Society. All rights reserved. Please direct all requests for permission to photocopy or reproduce article content through the University of California Press's Reprints and Permissions web page, http://www.ucpress.edu/journals.php?p=reprints. General rights Unless a licence is specified above, all rights (including copyright and moral rights) in this document are retained by the authors and/or the copyright holders. The express permission of the copyright holder must be obtained for any use of this material other than for purposes permitted by law. •Users may freely distribute the URL that is used to identify this publication. •Users may download and/or print one copy of the publication from the University of Birmingham research portal for the purpose of private study or non-commercial research.
    [Show full text]
  • Las Memorias De María Mancini: Estrategias Y Alianzas De Una Mujer En La Corte De Carlos II*
    TIEMPOS MODERNOS 33 (2016/2) ISSN: 1699-7778 Las memorias de María Mancini Mª Ángeles Sobaler Seco Las Memorias de María Mancini: estrategias y alianzas de una mujer en la corte de Carlos II* M.ª Ángeles SOBALER SECO Universidad de Valladolid1 Resumen: Analizamos en este trabajo las Memorias de María Mancini como un ejercicio de madurez individual, reflejo de la responsabilidad y la habilidad personal propia, como dama de la corte madrileña. Al relato de los acontecimientos y decisiones que pautaron su vida, y la búsqueda de la justificación personal, se suma en el discurso otro objetivo trascendental e inmediato: conmover y atraerse el apoyo de los nobles e influyentes personajes que se impusieron en la inestable corte de Carlos II, coincidiendo con el advenimiento de Juan José de Austria. Inundadas de personajes y situaciones, estas memorias construyen un retrato personal paralelo al de la propia corte madrileña, y los personajes y situaciones aludidos ocupan su espacio para definirse en relación con la autora y con las pulsiones políticas. Con ello, María define su propia posición, y la de su entorno de amistades y aliados; trata de preservar las garantías oportunas para sus intereses particulares, y los del linaje al que pertenecía. Palabras clave: Maria Mancini, Memorias, corte, Madrid, XVII. Abstract: The analysis of Marie Manicini’s Memories shows a text loaded with intentionality; an exercise of responsability and personal strategy made by a lady of the court. It is not just account of her life or about the justification of her decisions. Throughout the text a more transcendental and immediate objective is revealed: to gain the support of the influential personages of the court of Madrid.
    [Show full text]
  • The Landscapes of Gaspard Dughet: Artistic Identity and Intellectual Formation in Seventeenth-Century Rome
    ABSTRACT Title of Document: THE LANDSCAPES OF GASPARD DUGHET: ARTISTIC IDENTITY AND INTELLECTUAL FORMATION IN SEVENTEENTH-CENTURY ROME Sarah Beth Cantor, Doctor of Philosophy, 2013 Directed By: Professor Anthony Colantuono, Department of Art History and Archaeology The paintings of Gaspard Dughet (1615-1675), an artist whose work evokes the countryside around Rome, profoundly affected the representation of landscape until the early twentieth century. Despite his impact on the development of landscape painting, Dughet is recognized today as the brother-in-law of Nicolas Poussin rather than for his own contribution to the history of art. His paintings are generally classified as decorative works without subjects that embody no higher intellectual pursuits. This dissertation proposes that Dughet did, in fact, represent complex ideals and literary concepts within his paintings, engaging with the pastoral genre, ideas on spirituality expressed through landscape, and the examination of ancient Roman art. My study considers Dughet’s work in the context of seventeenth-century literature and antiquarian culture through a new reading of his paintings. I locate his work within the expanding discourse on the rhetorical nature of seventeenth-century art, exploring questions on the meaning and interpretation of landscape imagery in Rome. For artists and patrons in Italy, landscape painting was tied to notions of cultural identity and history, particularly for elite Roman families. Through a comprehensive examination of Dughet’s paintings and frescoes commissioned by noble families, this dissertation reveals the motivations and intentions of both the artist and his patrons. The dissertation addresses the correlation between Dughet’s paintings and the concept of the pastoral, the literary genre that began in ancient Greece and Rome and which became widely popular in the early seventeenth century.
    [Show full text]
  • Amalia Mezzetti, Contributi a Carlo Maratti
    CONTRIBUTI A CARLO MARATTI EGLETTO dalla storiografia artistica il Maratti non è stato mai; in bene o in male, N in un senso o nell'altro, si è sempre parlato di lui. Senza tuttavia che per questo gli studi sulla sua pittura facessero - almeno fino ai primi decenni di questo secolo - degli effettivi progressi i>. Alle oscillazioni del giudizio qualitativo dei posteri - spesso in singolare contrasto sia con l'indirizzo del pensiero estetico, sia con le correnti artistiche del tempo - si ag­ giunge, nella vicenda critica del Maratti, anche un singolarissimo spostamento di valuta­ zione storica: cosa che non credo si sia verificata per alcun altro artista; per cui gli accadde di essere considerato esponente, ad un tempo, di tendenze opposte, barocco per gli uni, classicheggiante e accademico per gli altri, e come tale ora biasimato ora lo­ dato: situazione questa che riflette l'incertezza di giudizio inevitabile di fronte ad una personalità così complessa, contraddittoria e sfuggente, che, con l'intellettualismo cri­ tico tipico del tempo, aveva cercato di accogliere e di conciliare in sé il passato e il presente, Raffaello e i Carracci, con il Lanfranco e Pietro da Cortona. Dopo il coro delle voci incondizionatamente esaltatrici dei contemporanei e dei posteri immediati, che dal Sacchi suo maestro 2> attraverso al Bellori 3>, al Titi, al Pa­ scoli, al Passeri 4>, giunge fino al Bottari e all'Algarotti 5>, basta che il gusto dominante si sia orientato verso i valori di quella restaurazione classica che si svolgeva dalle pre­ messe dell'idealismo belloriano, perché il Maratti, che a quell'idealismo si era diretta­ mente abbeverato e dal Bellori era stato salutato come salvatore della pittura, cominci a ricevere i primi appunti.
    [Show full text]
  • Using Art in the Pursuit of Social and Political Ends University of Oslo
    Using Art in the Pursuit of Social and Political Ends An Interpretation of the Aesthetic Programme in Giuseppe Chiari’s fresco “The Apotheosis of Marc Antonio II Colonna”, in Palazzo Colonna, Rome Arne Holm Supervised by Professor Einar Petterson History of Art. Department of Philosophy, Classics, History of Art and Ideas. University of Oslo May 2011 i Preface Visiting the great palaces of Rome really invites reflections about the relationship between art and the social and political goals of the art patrons. The profusion of symbols, signs and scenes that embellish the 16th and 17th century palaces of le grande famiglie Romane, communicates complex messages to the readers and leaves us highly valuable testimonies about a time filled with remarkable wealth, ambitions and status. All expressed in magnificent fresco programmes, which makes these families and their art of continued interest and relevance. I would like to thank my supervisor, Professor Einar Petterson, who has critically commented my text as well as encouraged me throughout the working process. His efforts have been to great inspiration. I am also grateful to Professor Einar Petterson for twice inviting me to present my thesis at his symposiums at The Norwegian Institute in Rome. This has been a unique possibility for me to air central questions in my thesis for a broader audience. Further I would like to thank The Norwegian Institute in Rome for their hospitality and for finding a place for me every time I needed to stay in Rome when searching for different sorts of material. Especially I am grateful to Germana Graziosi, for being most helpful all through the process.
    [Show full text]
  • ROMA Y ESPAÑA Un Crisol De La Cultura Europea En La Edad Moderna
    ROMA Y ESPAÑA un crisol de la cultura europea en la edad moderna (Actas del Congreso Internacional celebrado en la Real Academia de España en Roma del 8 al 12 de mayo de 2007) VOLUMEN II Coordinador: Carlos José Hernando Sánchez SOCIEDAD ESTATAL PARA LA ACCIÓN CULTURAL EXTERIOR Madrid, 2007 ÍNDICE VOLUMEN I Presentaciones ........................................................................................................................................................................................... 15 Introducción ............................................................................................................................................................................................... 19 Carlos José Hernando Sánchez PERSPECTIVAS GENERALES ................................................................................................................................................... 43 Roma papale e Monarchia Cattolica nei secoli XVI-XVII ............................................................................... 45 Giuseppe Galasso Roma e la Monarchia Cattolica nell’età dell’egemonia spagnola in Italia: un bilancio storiografico .................................................................................................................................................................. 49 Mª Antonietta Visceglia Italianismo español e Hispanismo italiano ..................................................................................................................... 79 Luis Ribot L’asse Roma-Napoli
    [Show full text]
  • Versus New: Colonna Art Patronage During the Barberini and Pamphilj Pontificates (1623-1655)
    Originalveröffentlichung in: Burke, Jill ; Bury, Michael (Hrsgg.): Art and identity in early 7 modern Rome, Aldershot 2008, S. 135-154 Old Nobility versus New: Colonna Art Patronage during the Barberini and Pamphilj Pontificates (1623-1655) Christina Strunck One of the characteristics of Roman 'court culture' was the powerful social dynamic created by its celibate oligarchy: again and again, men from relatively obscure families were appointed cardinals and rose to a rank almost equal to that of kings;1 again and again, popes helped the secular members of their family attain high positions in society. The Congregatio super executione mandatorum contra Barones Status Ecclesiastici (founded in 1596) enabled the papal families to purchase the often heavily indebted feudal states of the ancient nobility, thereby also acquiring the noble titles that went with them.2 Since social status had to be maintained by conspicuous consumption, the old Roman nobility found it increasingly difficult to keep pace with the papal families, who could rely on the near-endless resources of the papal treasury. The present study seeks to show how this situation was dealt with by the Colonna, who considered themselves to be Rome's 'First Family'. In the introduction 1 will discuss the basis for this claim and the factors that defined the Colonna's relationship to the papacy. I will then proceed to analyse the self-representation of the Colonna di Paliano, the main branch of the family in the seventeenth century, focusing on works of art and literature which defined Colonna identity by emphasizing the family's collaboration or conflict with the pope.3 The chosen time-frame is particularly interesting because the Colonna's relationship to the pope changed drastically after the conclave of 1644 While they had maintained close contacts with Urban VIII Barberini (1623-44), they found themselves in icy isolation under his successor Innocent X Pamphilj (1644-55).
    [Show full text]
  • Inszenierter Skandal Als Apologie?
    Inszenierter Skandal als Apologie? Die Memoiren der Hortense und Marie Mancini Dissertation im Fachbereich II – Romanistik Universität Trier vorgelegt von: Kirsten Beckmann Widmung Meinem geliebten Vater, Heiko Beckmann, der mich immer durch viele Anregungen, Gedanken und seinen Beistand in schwierigen Momenten unterstützt hat Geleitwort Die Beschäftigung mit den Memoiren der Hortense und Marie Mancini hat das Leben der Verfasserin eine Reihe von Jahren hindurch begleitet, in denen die anfängliche Skepsis einem „genus humile“ oder einem nicht präzis der Historiographie oder der schöngeistigen Literatur zuzuordnenden Zwitterwesen einer schließlichen Begeisterung für das Schicksal der beiden Protagonistinnen und ihrer Werke gewichen ist, die abgesehen von den Erinnerungen der Marguerite de Valois als erste Memoiren von Frauen in Anstoß und Aufsehen erregender Weise zu Lebzeiten der Autorinnen erschienen sind. Die Werke der Mademoiselle de Montpensier, der Madame de Motteville u.a. wurden bekanntlich posthum publiziert. Die Memorialistinnen gehörten einer berühmten Familie an und standen durch ihre Verwandtschaft mit dem Kardinal Mazarin eine Zeitlang im Zentrum des zeitgenössischen Interesses. So ist es nicht verwunderlich, daß es komplementär zu ihren Schriften einen reichhaltigen Briefwechsel gibt, der neben wichtigen anderen Personen der Epoche, sei es als Adressaten, sei es als Emittenten, vor allem den Kardinal, weitere Familienmitglieder, den Fürsten Colonna und sogar den Sonnenkönig selbst betrifft und der für die Veri- oder Falsifikation herangezogen werden kann. Auch in den Erinnerungen berühmter schriftstellerisch tätiger Frauen und Männer ihrer Zeit wurden die Schwestern Mancini nicht übergangen und häufig mit Tadel oder Spott versehen, dann aber auch mit Bewunderung, ja geradezu Enthusiasmus gefeiert, denkt man an die Lobeshymnen und Vergötterungen des St.
    [Show full text]
  • Les Campagnes Pamphlétaires De Don Juan José De Austria
    i i “HCL-12” — 2016/11/2 — 14:38 — page 377 — #377 i i ∗ Héloïse HERMANT Les campagnes pamphlétaires de don Juan José de Austria : des mazarinades espagnoles ? Politisation de l’écrit et système de communication dans l’Europe du XVIIe siècle Les guerresdeplumes orchestréespar le bâtardroyal don JuanJosé deAustria contre les validos de la régente Mariana de Austria et qui aboutissent, dans un climat de guerre civile, au renvoi forcé des favoris, à l’exil de la régente et à la mise en place d’un système monarchico-nobiliaire, présentent bien des similitudes avec le déchaînement pamphlétaire de la Fronde1. Ces convulsions politiques, qui voient l’éviction du Père Nithard en 1669 et celle de Fernando de Valenzuela en 1677, se distinguent par une littérature de combat massive et protéiforme sans précédent en Espagne, par des chaînes textuelles entretenant un jeu subtil avec la violence et les événements, et par des dispositifs de communication mêlant les genres, les modalités de diffusion et les publics2. Les acteurs de la crise ne s’y sont pas trompés. Une lettre fictive de décembre 1668, fleuron de la production pamphlétaire du moment, met en scène Mazarin s’adressant depuis l’au-delà à Nithard pour lui reprocher son angélisme et l’enjoindre à profiter de la situation afin de s’enrichir et d’acheter des alliés, à son exemple3. Des libelles reprennent le topos de la reine étrangère et comparent les supposées amours incestueuses de Nithard et de Mariana à celles de Mazarin ∗ Maître de conférences en histoire moderne, Université Côte d’Azur, CMM, France.
    [Show full text]
  • Conference Abstracts
    SSCM Toro nto 2006 Abstracts of Papers Thursday April 20 Charpentier “Charpentier’s Motets melêz de symphonie: A Nephew’s Offering” Shirley Thompson, Birmingham Conservatoire, UK With the exception of Médée and a few miscellaneous pieces, little of Marc-Antoine Charpentier's music was published either during his lifetime or in the subsequent generation. One publishing venture that might have enhanced the composer's posthumous reputation was an engraved volume of twelve petits motets which appeared in 1709 under the title Motets melêz de symphonie, composez par Monsieur Charpentier. This was published by the composer's nephew and beneficiary Jacques Édouard, a Parisian bookseller and printer. It appears, however, that the motet collection was not a great success. Although Édouard clearly intended to publish further volumes, these never followed and he subsequently sold his uncle's manuscripts to the Royal Library in 1727. This paper will examine tantalizing clues which shed light on how Motets melêz de symphonie was prepared from the composer's originals. It will demonstrate how red crayon markings in the autographs relate more directly to the engraving process than has previously been realized. It will reveal that in the course of preparation for publication, pages must have been removed from the composer's autograph manuscripts and only restored to their original position some time later. The paper will conclude with a discussion of internal clues in Motets melêz de symphonie which help explain the volume's apparent limited success. “‘Even Good Homer Nods’: Charpentier’s Copy of Beretta’s 16-Part Missa Mirabiles elationes maris” Graham Sadler, University of Hull, UK Marc-Antoine Charpentier's voluminous legacy of autograph manuscripts includes an annotated full score of the Missa Mirabiles elationes maris by Francesco Beretta, followed by a three-page critique: "Remarques sur les Messes à 16 parties d'Italie" (Bibliothèque nationale de France, Rés.
    [Show full text]