DOCSLIB.ORG

Text Spaziergang-Route

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Tour through Innsbruck Triumphal Arch Our tour through Innsbruck starts at the southern end of Maria-Theresien-Street at the Triumphal Arch. The Triumphal Arch was built on orders of Maria Theresa to celebrate her son's, Leopold's, wedding to the Spanish princess Maria Ludovica. The marble relief on the southern side depicting this happy event was designed by Balthasar Moll in 1774, the northern side depicts the death of Leopold's father, Francis I, who died during the wedding ceremony. From the arch we will walk further north to the impressive Former Federal State Parliament on the right. Former Federal State Parliament The great Baroque building of the Former Federal State Parliament was built between 1725 and 1728 by the Imperial builder Georg Anton Gumpp. The staircase leading to the first and second floor is worth a visit; statues and busts of antique deities are placed in the niches built into the wall of the staircase. Also worth seeing is the Baroque St. George's Chapel in the parliament's courtyard which was dedicated in 1730 to honor one of Tyrol's two patron saints. Just a few steps further north is St. Anna's Column. Tour through Innsbruck St. Anna's Column St. Anna's Column in the middle of Maria-Theresien-Street was donated by the Tyrolean Estates on 26 July 1703 - St. Anna's day - as a sign of gratitude for saving Tyrol from the Bavarian invasion. The Corinthian red marble column is surmounted by a statue of Maria Immaculata standing on a crescent. The base is surrounded by saints designed by the sculptor Christoforo Benedetti from Trentino. Further north, at the end of Maria-Theresien-Street, we will get to the Hospital Church. Hospital Church in Maria-Theresien-Street The church is named after the town's former hospital and blends in naturally with the houses of Maria-Theresien-Street. The church in its present form was designed by Johann Martin Gumpp. It was opened in 1701 and boasts Baroque stucco decorations. We will now cross the former moat and walk into Innsbruck's well-preserved medieval Old Town. A street named after Duke Frederick IV - Herzog-Friedrich- Straße - will take us to the City Tower. City Tower The City Tower was built between 1442 and 1450 as an extension to the town hall to make it visible from far away. The tower is surmounted by a cupola which was added one hundred years later. A tower guard lived in the flat just below until the 1960s. Exactly 148 steps lead to a stunning view of Innsbruck and the surrounding mountains. When leaving the City Tower, we will see Innsbruck's trademark, the Golden Roof, to our right. Golden Roof The Golden Roof, Innsbruck's most characteristic landmark, is situated in the middle of the medieval Old Town. On the orders of Emperor Maximilian I, the splendid balcony with 2,657 fire-gilded copper tiles was added to Archduke Friedrich IV's residence. The stone relief on the balcony shows Maximilian's wives, Mary of Burgundy and Bianca Maria Sforza, amid wild, acrobatic dancers. The Golden Roof also houses the namesake museum (enjoy the fine view from the balcony) portraying Maximilian's time, for example, with a fifteen-minute movie and it is home to the headquarters of the 'Permanent Secretariat of the Alpine Convention'. Right next to the Golden Roof is the lavishly decorated Helbling House. Helbling House The late medieval house, where Sebastian Helbling ran a coffee house in the 19th century, was embellished with delicate stucco work by Anton Gigl in 1730. Enchanting acanthaceae leaves, fruits, shells, putti, masks and more ornaments decorate the walls up to the fourth floor and the large Baroque gable. After visiting the Golden Roof, we will enter Hofgasse in the east to get to the Imperial Castle and its large, splendid courtyard after just a few steps. Imperial Palace The Imperial Palace was built at the end of the 15th century and reconstructed under Maria Theresa to become a monumental late Baroque residence. The numerous exhibition halls are equipped with antique furniture and paintings and with the giant hall include the Alps' most splendid banqueting hall. The recently refurbished rooms can now again be seen in all its splendour and allow us to have a close look at imperial life in the past. The Alpine Club Museum with is exhibition 'Mountains - an incomprehensible passion' has also found its preliminary home at the Imperial Palace. If we continue further east along Hofgasse, walk through the former City Gate and leave the Old Town, we will reach the Court Church Tour through Innsbruck Court Church The Court Church holds the unique (empty) tomb of Emperor Maximilian I who had a great influence on Innsbruck and is actually buried in Wiener Neustadt. The 28 life-sized bronze statues were completed only 30 years after Maximilian's death. They were designed and cast in bronze by time’s foremost artists, for example Albrecht Dürer. As the statues were not transferred to Wiener Neustadt, they were instead erected in Innsbruck's Court Church which was built between 1553 and 1563. Archduke Ferdinand II and his bourgeois wife Philippine Welser are buried in the Silver Chapel inside the Court Church. Andreas Hofer's remains were brought here from Mantua in 1823 and entombed in the Court Church. Right next to the Court Church is the Tyrolean Folk Art Museum. Court Church and museum can be visited separately or they can be visited together with a combined ticket. Museum of Tyrolean Folk Art The museum's building was built between 1553 and 1563 by Franciscan monks as 'New Monastery' and since 1929 has exhibited one of the Alps most important folk art collections. In 2008/2009, the museum got a complete makeover and a new look. The diverse exhibitions now comprise 'Gospel Miniatures' (cribs), 'Year Full to Bursting', 'Perilous Life', 'Illusion and Reality' (traditional costumes), the collection of studies and the parlours (Stuben). And there is an impressive preview to prepare the visitors for their visit of the Court Church. Also on Universitätsstraße, just a few minutes east of the museum and the church, is the Jesuit Church. Jesuit Church The early Baroque church was built in the 17th century for the Jesuit monks who had served in Innsbruck since 1561. The grave of Archduke Leopold II and his family is also in the church. Famous Jesuit monks, like Professor Karl Rahner, are also buried in the crypt. From the Jesuit Church we will walk back west along Universitätsstraße and turn right in front of the Imperial Palace to visit Leopold's fountain. Leopold's Fountain Leopold's Fountain is situated on Rennweg opposite of the Imperial Palace. The equestrian statue on top is the oldest surviving depiction of a rearing horse north of the Alps. Its rider, Archduke Leopold V (1619 - 1632), is surrounded by some goddesses of hunting and sea deities which were cast in bronze according to the drafts of Caspar Gras. Further north, past Leopold's fountain and the Tyrolean State Theater we will reach the Imperial Gardens which once belonged to the Imperial Palace. Imperial Gardens The fine Imperial Gardens were designed in the early 15th century and haven been open to the public since the 19th century. In the middle of the park is a pavilion where concerts take place in summer. With two outdoor chess boards which can be used throughout the whole year, many benches, a playground and a cafe there is something for everyone in the park. In 1957, a monument in honor of Archduke Eugen was erected according to the plans of Clemens Holzmeister. After the Imperial Gardens we will walk back to the Imperial Palace and walk through the right gate of the Imperial Palace towards Innsbruck's cathedral. Tour through Innsbruck St. James Cathedral The lavishly decorated Baroque cathedral was built between 1717 and 1724 on the site of earlier churches. On the high altar, you can admire the miraculous image 'Mariahilf' painted by Lukas Cranach the Elder; the ceiling frescos and the stucco work were done by the Asam brothers. Every day at 12.12 pm, the bells of the northern tower chime Innsbruck's peace tune. The tomb of Archduke Maximilian III, the Grandmaster of the Teutonic Order, had already been erected in the previous church in 1629. Please avoid sightseeing tours or taking pictures during church services. From the cathedral, we will continue along Pfarrgasse to the left and then turn right into Badgasse to visit Innsbruck's City Museum. Innsbruck City Museum - City Archives The City Museum's permanent exhibition shows samples from the City Archives and tells you more about Innsbruck's history. Topics and themes which are unique to and typical for Innsbruck are covered in detail: topography, foundation, princely residence, city development, traffic, health, culture, sports, tourism, commerce, trade, drinking water supply and contemporary history are just some of them. Many paintings of famous Tyrolean artists, city views, panorama paintings, historic photographs, rare exhibits, medieval documents, posters and postcards give an interesting and informative insight into the town's and its inhabitants' life. We will leave the City Museum through the main entrance or walk past the City Museum to reach Herzog-Otto-Straße at the river banks. If we walk further west, we will get to the entrance of the Old Town and see the Ottoburg with its red- white-red window shutters opposite of the bridge. Ottoburg The ancient building which is overgrown by wild wine was built next to the city wall in the 15th century as ordered by Maximilian I replacing Andechs castle.
Recommended publications
  • The Emergence of the Duchy of Milan: Language and the Territorial State

    The Emergence of the Duchy of Milan: Language and the Territorial State

    Jane Black The emergence of the duchy of Milan: language and the territorial state Reti Medievali Rivista, 14, 1 (2013) <http://rivista.retimedievali.it> ??????????????????????????????????????????????. ?????????????????????????? a cura di ??????????????????????????????? Firenze University Press 1 Reti Medievali Rivista, 14, 1 (2013) <http://rivista.retimedievali.it> ISSN 1593-2214 © 2012 Firenze University Press DOI 10.6092/1593-2214/388 The emergence of the duchy of Milan: language and the territorial state di Jane Black The map that appears opposite page one of Bueno de Mesquita’s biography of Giangaleazzo Visconti is labelled Northern and Central Italy, showing the ter- ritories of Giangaleazzo Visconti in 1402; no area on the map is identified as 1 the Duchy of Milan . The titles bestowed on Giangaleazzo by Wenceslas, king of the Romans, in 1395 and 1396 had raised Milan initially, and then the other Vis- 2 conti territories in Lombardy, to the status of duchy . Giangaleazzo himself al- luded to his cities collectively as such: in the testament of 1397, produced in the first flush of his acquisition of the second diploma, he appointed his son Giovanni Maria heir to two areas – «the duchy, or rather the city and diocese of Milan», and «the duchy of the cities of Brescia, Cremona, Bergamo, Como, Lodi, Piacenza, 3 Parma, Reggio and Bobbio» . The duke would surely have been disappointed that his greatest achievement was not recognized on Bueno de Mesquita’s map. And yet the author’s terminology was more realistic than Giangaleazzo’s: it would take more than a dazzling diploma to create a new territory with a name and a rec- ognized identity.
  • University of Southampton Research Repository

    University of Southampton Research Repository

    University of Southampton Research Repository Copyright © and Moral Rights for this thesis and, where applicable, any accompanying data are retained by the author and/or other copyright owners. A copy can be downloaded for personal non- commercial research or study, without prior permission or charge. This thesis and the accompanying data cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. The content of the thesis and accompanying research data (where applicable) must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holder/s. When referring to this thesis and any accompanying data, full bibliographic details must be given, e.g. Thesis: Katarzyna Kosior (2017) "Becoming and Queen in Early Modern Europe: East and West", University of Southampton, Faculty of the Humanities, History Department, PhD Thesis, 257 pages. University of Southampton FACULTY OF HUMANITIES Becoming a Queen in Early Modern Europe East and West KATARZYNA KOSIOR Doctor of Philosophy in History 2017 ~ 2 ~ UNIVERSITY OF SOUTHAMPTON ABSTRACT FACULTY OF HUMANITIES History Doctor of Philosophy BECOMING A QUEEN IN EARLY MODERN EUROPE: EAST AND WEST Katarzyna Kosior My thesis approaches sixteenth-century European queenship through an analysis of the ceremonies and rituals accompanying the marriages of Polish and French queens consort: betrothal, wedding, coronation and childbirth. The thesis explores the importance of these events for queens as both a personal and public experience, and questions the existence of distinctly Western and Eastern styles of queenship. A comparative study of ‘Eastern’ and ‘Western’ ceremony in the sixteenth century has never been attempted before and sixteenth- century Polish queens usually do not appear in any collective works about queenship, even those which claim to have a pan-European focus.
  • Duchess and Hostage in Renaissance Naples: Letters and Orations

    Duchess and Hostage in Renaissance Naples: Letters and Orations

    IPPOLITA MARIA SFORZA Duchess and Hostage in Renaissance Naples: Letters and Orations • Edited and translated by DIANA ROBIN and LYNN LARA WESTWATER Iter Press Toronto, Ontario Arizona Center for Medieval and Renaissance Studies Tempe, Arizona 2017 Sforza_book.indb 9 5/25/2017 10:47:22 AM Iter Press Tel: 416/978–7074 Email: [email protected] Fax: 416/978–1668 Web: www.itergateway.org Arizona Center for Medieval and Renaissance Studies Tel: 480/965–5900 Email: [email protected] Fax: 480/965–1681 Web: acmrs.org © 2017 Iter, Inc. and the Arizona Board of Regents for Arizona State University. All rights reserved. Printed in Canada. Library of Congress Cataloging-in-Publication Data Names: Sforza, Ippolita, 1445-1488, author. | Robin, Diana Maury, editor, translator. | Westwater, Lynn Lara, editor, translator. Title: Duchess and hostage in Renaissance Naples : letters and orations / Ippolita Maria Sforza ; edited and translated by Diana Robin, Lynn Lara Westwater. Description: Tempe, Arizona : Arizona Center for Medieval and Renaissance Studies ; Toronto, Ontario : Iter Press : Arizona Center for Medieval and Renaissance Studies, 2017. | Series: Medieval and Renaissance Texts and Studies ; 518 | Series: The Other Voice in Early Modern Europe. The Toronto Series, 55 | Includes bibliographical references and index. Identifiers: LCCN 2016059386 | ISBN 9780866985741 (pbk. : alk. paper) Subjects: LCSH: Sforza, Ippolita, 1445-1488—Correspondence. | Naples (Kingdom)—Court and courtiers—Correspondence. | Naples (Kingdom)—History—Spanish rule, 1442-1707--Sources. Classification: LCC DG848.112.S48 A4 2017 | DDC 945/.706092 [B]—dc23 LC record available at https://lccn.loc.gov/2016059386 Cover illustration: Pollaiuolo, Antonio del (1433-1498), Portrait of a Young Woman, ca.
  • EUI Working Papers

    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.
  • Value and Symbolic Practices: Exch

    Value and Symbolic Practices: Exch

    NOTE TO USERS Page(s) not included in the original manuscript are unavailable from the author or university. The manuscript was microfilmed as received 371-433 This reproduction is the best copy available. Value and Symbolic Practices: Objects, Exchanges, and Associations in the Italian Courts (1450-1500) Leah Ruth Clark Department of Art History and Communication Studies McGill University, Montreal February 2009 A thesis submitted to McGill University in partial fulfilment of the requirements of the degree of Doctor of Philosophy Copyright 2009 by Clark, Leah Ruth All rights reserved. Library and Archives Bibliothèque et Canada Archives Canada Published Heritage Direction du Branch Patrimoine de l’édition 395 Wellington Street 395, rue Wellington Ottawa ON K1A 0N4 Ottawa ON K1A 0N4 Canada Canada Your file Votre référence ISBN:978-0-494-61903-2 Our file Notre référence ISBN: 978-0-494-61903-2 NOTICE: AVIS: The author has granted a non- L’auteur a accordé une licence non exclusive exclusive license allowing Library and permettant à la Bibliothèque et Archives Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par télécommunication ou par l’Internet, prêter, telecommunication or on the Internet, distribuer et vendre des thèses partout dans le loan, distribute and sell theses monde, à des fins commerciales ou autres, sur worldwide, for commercial or non- support microforme, papier, électronique et/ou commercial purposes, in microform, autres formats. paper, electronic and/or any other formats. The author retains copyright L’auteur conserve la propriété du droit d’auteur ownership and moral rights in this et des droits moraux qui protège cette thèse.
  • Download Press Release

    Download Press Release

    Exhibition facts Press conference 13 September 2012, 10:00am Opening 13 September 2012, 6:30pm Duration 14 September 2012 – 6 January 2013 Venue Bastion hall Curators Marie Luise Sternath and Eva Michel Catalogue Emperor Maximilian I and the Age of Dürer Edited by Eva Michel and Maria Luise Sternath, Prestel Publishing Autors: Manfred Hollegger, Eva Michel, Thomas Schauerte, Larry Silver, Werner Telesko, Elisabeth Thobois a.o. The catalogue is available in German and English at the Albertina Shop and at www.albertina.at for 32 € (German version) and 35 € (English version) Contact Albertinaplatz 1, A-1010 Vienna T +43 (0)1 534 83–0 [email protected] , www.albertina.at Museum hours daily 10:00am–6:00pm, Wednesdays 10:00am–9:00pm Press contact Mag. Verena Dahlitz (department head) T +43 (0)1 534 83-510, M +43 (0)699 121 78 720, [email protected] Mag. Barbara Simsa T +43 (0)1 534 83-512, M +43 (0)699 109 81 743, [email protected] Sarah Wulbrandt T +43 (0)1 534 83-511, M +43 (0)699 121 78 731, [email protected] The Albertina’s partners Exhibition sponsors Media partner Emperor Maximilian I and the Age of Dürer 14 September 2012 to 6 January 2013 Emperor Maximilian I was a "media emperor", who spared no efforts for the representation of his person and to secure his posthumous fame. He employed the best artists and made use of the most modern media of his time. Many of the most outstanding works produced for the propaganda and commemoration of Emperor Maximilian I are preserved in the Albertina.
  • J. J. González García, Charles V and the Habsburgs' Inventories, RIHA

    J. J. González García, Charles V and the Habsburgs' Inventories, RIHA

    RIHA Journal 0012 | 11 November 2010 Charles V and the Habsburgs' Inventories. Changing Patrimony as Dynastic Cult in Early Modern Europe Juan Luis González García Peer review and editing organized by: Instituto Amatller de Arte Hispánico / Amatller Institute of Hispanic Art, Barcelona Reviewers: Antoni José Pitarch, Santiago Alcolea Blanch Abstract Apart from a deep respect for the achievements of the Habsburgs, Emperor Maximilian I transmitted to his heirs a practical attitude towards their art collections. Pearls and precious stones were extracted from set pieces to produce new ones; old-fashioned jewellery or silver objects were melted down; and tapestries, paintings and sculptures were publicly sold to pay off debts. By studying how some of these goods were reused, recycled, and recirculated among the Habsburg family members, I will explain how crown patrimony changed owners and kingdoms, and how the cult of their dynasty, actively promoted by Charles V, heightened the notion of a collective consciousness which served as a topos for aristocratic collecting in the Renaissance. Contents Introduction The Organization of Early Habsburg Inventories and the Hierarchy of Media Changing Taste and the Manipulation of the Object Charles V's Inventories and the Creation of an Empire Dynastic Marriages, Dynastic Inventories Introduction [1] The royal inventories of the Habsburgs are documents of extraordinary importance for the analysis of art collecting in the Modern Age. They are often the only available tools to interpret the value, arrangement, uses and original functions of the ever-changing princely possessions – today just partially preserved –, and provide us with references about the best European painters, sculptors, goldsmiths, weavers, or armourers of the time, to name but a few.
  • The Tournament and Its Role in the Court Culture of Emperor Maximilian I

    The Tournament and Its Role in the Court Culture of Emperor Maximilian I

    i The Tournament and its Role in the Court Culture of Emperor Maximilian I (1459-1519) Natalie Margaret Anderson Submitted in accordance with the requirements for the degree of Doctor of Philosophy The University of Leeds, Institute for Medieval Studies March 2017 ii The candidate confirms that the work submitted is her own and that appropriate credit has been given where reference has been made to the work of others. This copy has been supplied on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. © 2017 The University of Leeds and Natalie Margaret Anderson The right of Natalie Margaret Anderson to be identified as Author of this work has been asserted by Natalie Margaret Anderson in accordance with the Copyright, Designs and Patents Act 1988. iii Acknowledgements I must first acknowledge the help and support of my supervisors, Dr Alan V. Murray and Dr Karen Watts. They have been there since the beginning when I took part in their ‘Tournaments’ module during my MA studies, which first introduced me to the fantastical world of Maximilian’s tournaments. They also helped me to craft the idea for this research project while I was still exploring the exciting but daunting prospect of undertaking a PhD. Their words of advice, patience, and sometimes much-needed prodding over the past four years helped to bring about this thesis. Thank you as well to my examiners, Professor Stephen Alford and Professor Maria Hayward, whose insights helped to greatly improve this thesis. Thank you to the University of Leeds, whose funding in the form of a Leeds International Research Scholarship made this research possible.
  • Heldinnengalerie – Sch¨Onheitengalerie

    Heldinnengalerie – Sch¨Onheitengalerie

    Heldinnengalerie – Schonheitengalerie¨ Studien zu Genese und Funktion weiblicher Bildnisgalerien 1470-1715 Inaugural-Dissertation zur Erlangung der Doktorwurde¨ der Philosophisch-historischen Fakultat¨ der Ruprecht-Karls-Universitat¨ Heidelberg, Kunsthistorisches Institut vorgelegt bei Professor Dr. Michael Hesse von Michael Wenzel M.A. aus Bad Hersfeld Inhaltsverzeichnis Vorwort......................................... 9 Einleitung . ...................................... 11 1 Die Heldinnengalerie: Von Beruhmten¨ Frauen und Beruhmten¨ Mannern¨ in Bilden- der Kunst und Literatur 21 1.1 Grundlagen in der antiken Literatur ....................... 21 1.2 Mittelalterliche Tradition und fruhhumanistische¨ Vitenliteratur in Bildzyklen des Trecento und des Quattrocento: Boccaccio, Neuf Preux und Neuf Preuses, Petrarca ...................................... 23 1.2.1 Die Thematik der Beruhmten¨ Frauen zwischen Hof und fruhem¨ Burger-¨ tum.................................... 23 1.2.2 Der Fruhhumanismus¨ und sein Einfluß auf die Ikonographie der Ber uhm-¨ ten Frauen ................................. 40 1.3 Femmes fortes? – Ausstattungsprogramme der Appartements von Frauen: He- roinen und das Identifikationsportrat¨ im 16. und 17. Jahrhundert ........ 46 1.3.1 Die Grotta der Isabella d’Este, das Quartiere di Eleonora und die The- matik der Beruhmten¨ Frauen in der italienischen Literatur des 16. Jahr- hunderts . ............................... 47 1.3.2 Elisabeth I. von England und Katharina de’ Medici . ........ 55 1.3.3 Vom Palais du Luxembourg nach
  • Ducks and Deer, Profit and Pleasure: Hunters, Game and the Natural Landscapes of Medieval Italy Cristina Arrigoni Martelli A

    Ducks and Deer, Profit and Pleasure: Hunters, Game and the Natural Landscapes of Medieval Italy Cristina Arrigoni Martelli A

    DUCKS AND DEER, PROFIT AND PLEASURE: HUNTERS, GAME AND THE NATURAL LANDSCAPES OF MEDIEVAL ITALY CRISTINA ARRIGONI MARTELLI A DISSERTATION SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR IN PHILOSOPHY GRADUATE PROGRAM IN HISTORY YORK UNIVERSITY TORONTO ONTARIO May 2015 © Cristina Arrigoni Martelli, 2015 ii ABSTRACT This dissertation is an ample and thorough assessment of hunting in late medieval and Renaissance northern and central Italy. Hunting took place in a variety of landscapes and invested animal species. Both of these had been influenced by human activities for centuries. Hunting had deep cultural significance for a range of social groups, each of which had different expectations and limitations on their use of their local game animal-habitat complexes. Hunting in medieval Italy was business, as well as recreation. The motivations and hunting dynamics (techniques) of different groups of hunters were closely interconnected. This mutuality is central to understanding hunting. It also deeply affected consumption, the ultimate reason behind hunting. In all cases, although hunting was a marginal activity, it did not stand in isolation from other activities of resource extraction. Actual practice at all levels was framed by socio-economic and legal frameworks. While some hunters were bound by these frameworks, others attempted to operate as if they did not matter. This resulted in the co-existence and sometimes competition, between several different hunts and established different sets of knowledge and ways to think about game animals and the natural. The present work traces game animals from their habitats to the dinner table through the material practices and cultural interpretation of a variety of social actors to offer an original survey of the topic.
  • Biografia Lexikon Österreichischer Frauen

    Biografia Lexikon Österreichischer Frauen

    Ilse Korotin (Hg.) biografiA. Lexikon österreichischer Frauen Band 4 Register 2016 BÖHLAU VERLAG WIEN KÖLN WEIMAR Veröffentlicht mit der Unterstützung des Austrian Science Fund ( FWF ): PUB 162-V15 sowie durch das Bundesministerium für Wissenschaft, Forschung und Wirtschaft und das Bundesministerium für Bildung und Frauen Bibliografische Information der Deutschen Nationalbibliothek: Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bibliografische Daten sind im Internet über http://portal.dnb.de abrufbar. © 2016 by Böhlau Verlag Ges. m. b. H & Co. KG , Wien Köln Weimar Wiesingerstraße 1, A-1010 Wien, www.boehlau-verlag.com Alle Rechte vorbehalten. Dieses Werk ist urheberrechtlich geschützt. Jede Verwertung außerhalb der engen Grenzen des Urheberrechtsgesetzes ist unzulässig. Layout: Carolin Noack, Ulrike Dietmayer Einbandgestaltung: Michael Haderer und Anne Michalek , Wien Druck und Bindung: baltoprint, Litauen Gedruckt auf chlor- und säurefrei gebleichtem Papier Printed in the EU ISBN 978-3-205-79590 -2 Inhalt Einleitung: Frauen sichtbar machen. Das Projekt biografiA. Biografische Datenbank und Lexikon österreichischer Frauen . 7 Band 1 Biografien A – H ........................................ 19 – 1420 Band 2 Biografien I – O ......................................... 1421 – 2438 Band 3 Biografien P – Z ........................................ 2439 – 3666 Band 4 Register................................................... 3667– 4 24 8 Personen..............................................
  • Geschichte Der Italienischen Literatur in Österreich 1 Alfred Noe

    Geschichte Der Italienischen Literatur in Österreich 1 Alfred Noe

    2 Politische Eliten in Salzburg Geschichte der italienischen Literatur in Österreich 1 Alfred Noe Die italienische Literatur in Österreich Teil I Von den Anfängen bis 1797 Böhlau Verlag Wien · Köln · Weimar 4 Politische Eliten in Salzburg Gedruckt mit der Unterstützung durch : Umschlagabbildung: Zuschauerraum zur Aufführung von Il Pomo d’oro; Kupferstich von Franz Geffels, aus dem Libretto 1667. ÖNB Wien. Umschlaggestaltung : Michael Haderer Bibliografische Information der Deutschen Nationalbibliothek : Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie ; detaillierte bibliografische Daten sind im Internet über http ://dnb.d-nb.de abrufbar. ISBN 978-3-205-78730-3 Das Werk ist urheberrechtlich geschützt. Die dadurch begründeten Rechte, insbesondere die der Übersetzung, des Nachdruckes, der Entnahme von Abbildungen, der Funksendung, der Wiedergabe auf fotomechanischem oder ähnlichem Wege, der Wiedergabe im Internet und der Speicherung in Datenver arbeitungsanlagen, bleiben, auch bei nur auszugsweiser Verwertung, vorbehalten. © 2011 by Böhlau Verlag Ges.m.b.H. und Co.KG, Wien · Köln · Weimar http ://www.boehlau-verlag.com Gedruckt auf umweltfreundlichem, chlor- und säurefrei gebleichtem Papier. Gesamtproduktion: WBD Wissenschaftlicher Bücherdienst, Köln Inhaltsverzeichnis Einführung.........................................^ 9 I. Der italienische Humanismus in Österreich .............. 27 I.1 Francesco Petrarca in Prag ..........................^28 I.2 Enea Silvio Piccolomini in Wien ......................