Origin and Development of Florence
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Touring a Unified Italy, Part 2 by John F
Browsing the Web: Touring A Unified Italy, Part 2 by John F. Dunn We left off last month on our tour of Italy—commemo- rating the 150th Anniversary of the Unification of the na- tion—with a relaxing stop on the island of Sardinia. This “Browsing the Web” was in- spired by the re- lease by Italy of two souvenir sheets to celebrate the Unifi- cation. Since then, on June 2, Italy released eight more souvenir sheets de- picting patriots of the Unification as well as a joint issue with San Marino (pictured here, the Italian issue) honoring Giuseppe and Anita Garibaldi, Anita being the Brazilian wife and comrade in arms of the Italian lead- er. The sheet also commemorates the 150th Anniversary of the granting of San Marino citizen- ship to Giuseppe Garibaldi. As we continue heading south, I reproduce again the map from Part 1 of this article. (Should you want Issue 7 - July 1, 2011 - StampNewsOnline.net 10 to refresh your memory, you can go to the Stamp News Online home page and select the Index by Subject in the upper right to access all previous Stamp News Online ar- ticles, including Unified Italy Part 1. So…moving right along (and still in the north), we next come to Parma, which also is one of the Italian States that issued its own pre-Unification era stamps. Modena Modena was founded in the 3rd century B.C. by the Celts and later, as part of the Roman Empire and became an important agricultural center. After the barbarian inva- sions, the town resumed its commercial activities and, in the 9th century, built its first circle of walls, which continued throughout the Middle Ages, until they were demolished in the 19th century. -
Una Congiuntura Romana Nella Marca Di Fine Duecento? Il Vescovo Francescano Rambotto Vicomanni E La Cattedrale Di Santa Maria Maggiore a Camerino
PORTICVM. REVISTA D’ESTUDIS MEDIEVALS NÚMERO III. ANY 2012 ISSN: 2014-0932 Una congiuntura romana nella Marca di fine Duecento? Il vescovo francescano Rambotto Vicomanni e la cattedrale di Santa Maria Maggiore a Camerino LUCA PALOZZI Istituto Nazionale di Studi sul Rinascimento, Firenze Abstract: Sullo scorcio del Settecento l’antica cattedrale di Camerino, nelle Marche, era danneggiata in maniera irrimediabile da un terremoto. Le disiecta membra dell’edificio di origine medievale confluivano nella cripta del duomo nuovo (1800-1833), dove si conservano ancora oggi. Tra queste, di grande interesse sono i resti della fabbrica duecentesca, oggetto di questo contributo. Epigrafi, sculture e frammenti architettonici permettono di ripercorrere un tratto decisivo nella vita della cattedrale medievale, e gettano nuova luce sulla committenza artistica del francescano Rambotto Vicomanni, vescovo della diocesi camerte dal 1285 alla morte, poco dopo il 1305. Già cappellano del cardinale romano Giacomo Savelli, poi papa Onorio IV (1285-1287), Rambotto auspicava il rinnovamento dell’ecclesia maior affidandosi a maestranze aggiornate sulle novità gotiche dell’Urbe. Tra gli artefici di cui si avvalse spicca il nome dello scultore marchigiano Armanno da Pioraco, influenzato in maniera decisiva dalle novità sperimentate a Roma da Arnolfo di Cambio. Parole chiave: Scultura; Gotico; Marca d’Ancona; Armanno da Pioraco; Jacopo da Camerino Abstract: Towards the end of the 18th century the ancient cathedral of Camerino, in the Marche, had been irreparably damaged by an earthquake. The medieval building’s disiecta membra merged into the crypt of the new cathedral (1800-1833), where they are still kept today. Among these, the ruins of the 13th century church, focus of this contribution, are of great interest. -
F. Pomarici, La Prima Facciata Di Santa Maria Del Fiore
Francesca Pomarici La prima facciata di Santa Maria del Fiore Storia e interpretazione viella Indice Introduzione 7 I. La cattedrale di Arnolfo di Cambio dal XV al XVIII secolo 13 II. La critica ottocentesca e la vera e propria “questione” della facciata di Santa Maria del Fiore 21 III. Il Novecento e oggi 33 IV. Cronache, documenti, riproduzioni figurate e scavi 55 V. Le sculture della fase arnolfiana e una proposta iconografica 67 VI. Il progetto originario 81 Appendice I Descrizione della demolizione della facciata di Santa Maria del Fiore 103 Appendice II Rapporto fatto dal Professore Emilio de Fabris alla Deputazione promotrice per la edificazione della facciata del Duomo 107 Opere citate 115 Indice dei luoghi 127 I. La cattedrale di Arnolfo di Cambio dal XV al XVIII secolo Il giorno 22 gennaio 1586 (stile fiorentino) «si cominciò a disfare, e mandare in terra la ricca, e bella facciata della Chiesa di S. Maria del Fiore per opera, e consiglio di Benedetto di Buonaccorso Uguccioni Quarantotto, e Provveditore dell’Opera di detta Chiesa, il quale avendo fatto finire d’incrostare di marmo le due facciate del fianco destro, e del sinistro di detta chiesa, le quali non erano tirate sino al tetto, e massimamente quel fianco, che riguardava verso tramontana, dove la facciata era fatta poco più che mezza, rivolse l’animo a fare il medesimo ancora della facciata dinanzi. Era la detta facciata con architettura tedesca tirata su, e condotta quasi al mezzo tutta piena di bellissime statue (…). Si diede principio a rovinare spezzando quei marmi tanto bene lavorati, senza alcun riguardo, di modo che non vi fu marmo alcuno, che fosse cavato intero, insino alle colonne istesse furono spezzate in molti pezzi, che fu nel vero un’impietà grandis- sima, primieramente nel rovinare la detta facciata, e secondariamente nello spezzare quei bei marmi, e porfidi con artifizio lavorati, che se pure almeno fossero stati levati interi, sarebbono potuti servire ad ornamento di molti altri luoghi con utilità dell’Opera, che gli avrebbe potuti vendere qualche centinaio di scudi (…). -
Unification of Italy 1792 to 1925 French Revolutionary Wars to Mussolini
UNIFICATION OF ITALY 1792 TO 1925 FRENCH REVOLUTIONARY WARS TO MUSSOLINI ERA SUMMARY – UNIFICATION OF ITALY Divided Italy—From the Age of Charlemagne to the 19th century, Italy was divided into northern, central and, southern kingdoms. Northern Italy was composed of independent duchies and city-states that were part of the Holy Roman Empire; the Papal States of central Italy were ruled by the Pope; and southern Italy had been ruled as an independent Kingdom since the Norman conquest of 1059. The language, culture, and government of each region developed independently so the idea of a united Italy did not gain popularity until the 19th century, after the Napoleonic Wars wreaked havoc on the traditional order. Italian Unification, also known as "Risorgimento", refers to the period between 1848 and 1870 during which all the kingdoms on the Italian Peninsula were united under a single ruler. The most well-known character associated with the unification of Italy is Garibaldi, an Italian hero who fought dozens of battles for Italy and overthrew the kingdom of Sicily with a small band of patriots, but this romantic story obscures a much more complicated history. The real masterminds of Italian unity were not revolutionaries, but a group of ministers from the kingdom of Sardinia who managed to bring about an Italian political union governed by ITALY BEFORE UNIFICATION, 1792 B.C. themselves. Military expeditions played an important role in the creation of a United Italy, but so did secret societies, bribery, back-room agreements, foreign alliances, and financial opportunism. Italy and the French Revolution—The real story of the Unification of Italy began with the French conquest of Italy during the French Revolutionary Wars. -
A Virtual Train Journey Along the Mare Ligure from Ventimiglia to Rome
Italian Culture Newsletter Number 22 A Virtual Train Journey along the Mare Ligure from Ventimiglia to Rome. Marie and I have made this journey on a number of occasions. In doing so we have either made the journey in a single day albeit with a change of train, usually at Genova. On other occasions, we have spent an evening or even a few days at Genova and/or at Livorno or Pisa. The journey described will involve more stops on the way but could be more interesting on that account. The trip begins in Ventimiglia where we stayed overnight on our last day of our last holiday in Italy. This had been occasioned by the French railway strike which prevented any trains from running from Ventimiglia to Nice on the day of our arrival from Rome into the city at the Italian- French border in Liguria. Our first visit to Ventimiglia was in 2006 when some Italian friends from Cuneo, due north of Ventimiglia, in Piemonte, met us at the rail station in Ventimiglia to take us for a short stay at their apartment in Nice. On that occasion we didn’t see much of the city except for part of the old medieval town, which now mostly is the home of many of the southerners from Naples, Calabria and Sicily who moved north seeking employment after WWII. The old town is perched high above the new city with its long sea-front promenade and railway station. Ventimiglia is the ancient Albium Intemelium, the capital of the Intemelii, a Ligurian tribe which long resisted the Romans, until in 115 BC it was forced to submit to Marcus Aemilius Scaurus. -
Enjoy Your Visit!!!
declared war on Austria, in alliance with the Papal States and the Kingdom of the Two Sicilies, and attacked the weakened Austria in her Italian possessions. embarked to Sicily to conquer the Kingdom of the Two Sicilies, ruled by the But Piedmontese Army was defeated by Radetzky; Charles Albert abdicated Bourbons. Garibaldi gathered 1.089 volunteers: they were poorly armed in favor of his son Victor Emmanuel, who signed the peace treaty on 6th with dated muskets and were dressed in a minimalist uniform consisting of August 1849. Austria reoccupied Northern Italy. Sardinia wasn’t able to beat red shirts and grey trousers. On 5th May they seized two steamships, which Austria alone, so it had to look for an alliance with European powers. they renamed Il Piemonte and Il Lombardo, at Quarto, near Genoa. On 11th May they landed at Marsala, on the westernmost point of Sicily; on 15th they Room 8 defeated Neapolitan troops at Calatafimi, than they conquered Palermo on PALAZZO MORIGGIA the 29th , after three days of violent clashes. Following the victory at Milazzo (29th May) they were able to control all the island. The last battle took MUSEO DEL RISORGIMENTO THE DECADE OF PREPARATION 1849-1859 place on 1st October at Volturno, where twenty-one thousand Garibaldini The Decade of Preparation 1849-1859 (Decennio defeated thirty thousand Bourbons soldiers. The feat was a success: Naples di Preparazione) took place during the last years of and Sicily were annexed to the Kingdom of Sardinia by a plebiscite. MODERN AND CONTEMPORARY HISTORY LABORATORY Risorgimento, ended in 1861 with the proclamation CIVIC HISTORICAL COLLECTION of the Kingdom of Italy, guided by Vittorio Emanuele Room 13-14 II. -
MAJOR THEMES the City As Culture (Prof
MAJOR THEMES The City as Culture (Prof. Marjatta Hietala) Innovation and Improvement in Infrastructures and Services as a Cultural Product of Italian Medieval Cities by Francesca Bocchi In our contemporary world to modernize, that is, “innovation” and “improvement,” is an action that concerns all that which is at the vanguard and is projected towards the future. A project prone to give innovation and improvement indicates that the society which proposes it expresses the wish to overcome what it thinks is old and no longer in step with the times. Also in the past there were moments in which the innovative thrust became particularly strong, which manifested itself in a project of improvement which then found significant achievements. For that which concerns the city, the capacity to innovate was strongly conditioned by the cultural capacity to devise projects capable of conferring on the cities the grandeur of public and ecclesiastical buildings, but also of determining the surmounting of that which for them was already the “historical city.” A «Terra Nuova fiorentina»: S. Giovanni Val d’Arno (Arezzo). Architect: Arnolfo di Cambio, 1296, In the Duecento and in the Trecento, in the great urban building sites, the cultural formation of the artists had deep roots in the knowledge of the works of Antiquity, but also an awareness of the innovative demands of architecture and urban planning. In the middle of the Duecento Nicola and Giovanni Pisano worked on the sculptural decoration of the Duomo of Siena and the Fontana Maggiore of Perugia. At Florence the celebrated sculptor, architect and urban planner Arnolfo di Cambio (circa 1240- 1 1302), planned the Terre Nuove (centers of new foundation for defense of the territory) on the orthogonal pattern of classicism, and in the final years of the Duecento opened, on behalf of the commune, the works for the church of the Franciscans (S. -
Giovanni Battista Braccelli's Etched Devotions Before the Vatican
Giovanni Battista Braccelli’s Etched Devotions before the Vatican Bronze Saint Peter Erin Giffin, Ludwig-Maximilians-Universität München, Germany IN THE MID-SEVENTEENTH CENTURY, the artist Giovanni Battista Braccelli (ca. 1584–1650) created an etching of the bronze Saint Peter cult statue at the Vat- ican surrounded by devotees and votives (fig. 1).1 This previously unpublished print, titled The Bronze Saint Peter with Votives, offers a detailed representation of the devotional object in its early modern location (figs. 2–3): against the northeast pier of the crossing of Saint Peter’s Basilica, where Pope Paul V Borghese (r. 1605– 21) had installed it on May 29, 1620 (still in situ today). The print details a group of early modern visitors gathered around the sculpture—well-dressed men, women, and children to the left of the composition, and an assortment of humbler lay and religious personages to the right. At the center, two pilgrims with walking sticks in hand and broad-brimmed hats slung over their shoulders approach the foot of the sculpted Saint Peter with great reverence. The first of the two bows down to touch the top of his head to the underside of the sculpted foot in an act of extreme humility, bracing himself against the sculpture’s base as the crowd looks on with approval. Emanating up from the devotees, a series of ex-voto offerings blanket the flanking pilasters of Saint Peter’s. One can make out the barest references of standard votive imagery and objects on the sketchily rendered plaques—kneel- ing figures and canopied beds before floating apparitions—accompanied by Contact Erin Giffin at Ludwig-Maximilians-Universität München (erin.giffin@kunstgeschichte .uni-muenchen.de). -
In the Grand Duchy of Tuscany and British Sympathy for Italian Nationalism, 1851–1853
Citation: Wright, OJ (2017) The Religious ‘Persecutions’ in the Grand Duchy of Tuscany and British Sympathy for Italian Nationalism, 1851–1853. History, 102 (351). pp. 414-431. ISSN 0018-2648 DOI: https://doi.org/10.1111/1468-229X.12420 Link to Leeds Beckett Repository record: https://eprints.leedsbeckett.ac.uk/id/eprint/4456/ Document Version: Article (Accepted Version) Creative Commons: Attribution-Noncommercial 4.0 The aim of the Leeds Beckett Repository is to provide open access to our research, as required by funder policies and permitted by publishers and copyright law. The Leeds Beckett repository holds a wide range of publications, each of which has been checked for copyright and the relevant embargo period has been applied by the Research Services team. We operate on a standard take-down policy. If you are the author or publisher of an output and you would like it removed from the repository, please contact us and we will investigate on a case-by-case basis. Each thesis in the repository has been cleared where necessary by the author for third party copyright. If you would like a thesis to be removed from the repository or believe there is an issue with copyright, please contact us on [email protected] and we will investigate on a case-by-case basis. History The Religious ‘Persecutions’ in the Grand Duchy of Tuscany and British Sympathy for Italian Nationalism, 1851-31 1 History In 1849 a Protestant Irish officer of the Royal Navy was expelled from the Grand Duchy of Tuscany for printing copies of the Bible in Italian. -
THE FLORENTINE HOUSE of MEDICI (1389-1743): POLITICS, PATRONAGE, and the USE of CULTURAL HERITAGE in SHAPING the RENAISSANCE by NICHOLAS J
THE FLORENTINE HOUSE OF MEDICI (1389-1743): POLITICS, PATRONAGE, AND THE USE OF CULTURAL HERITAGE IN SHAPING THE RENAISSANCE By NICHOLAS J. CUOZZO, MPP A thesis submitted to the Graduate School—New Brunswick Rutgers, The State University of New Jersey in partial fulfillment of the requirements for the degree of Master of Arts Graduate Program in Art History written under the direction of Archer St. Clair Harvey, Ph.D. and approved by _________________________ _________________________ _________________________ New Brunswick, New Jersey May, 2015 ABSTRACT OF THE THESIS The Florentine House of Medici (1389-1743): Politics, Patronage, and the Use of Cultural Heritage in Shaping the Renaissance By NICHOLAS J. CUOZZO, MPP Thesis Director: Archer St. Clair Harvey, Ph.D. A great many individuals and families of historical prominence contributed to the development of the Italian and larger European Renaissance through acts of patronage. Among them was the Florentine House of Medici. The Medici were an Italian noble house that served first as the de facto rulers of Florence, and then as Grand Dukes of Tuscany, from the mid-15th century to the mid-18th century. This thesis evaluates the contributions of eight consequential members of the Florentine Medici family, Cosimo di Giovanni, Lorenzo di Giovanni, Giovanni di Lorenzo, Cosimo I, Cosimo II, Cosimo III, Gian Gastone, and Anna Maria Luisa, and their acts of artistic, literary, scientific, and architectural patronage that contributed to the cultural heritage of Florence, Italy. This thesis also explores relevant social, political, economic, and geopolitical conditions over the course of the Medici dynasty, and incorporates primary research derived from a conversation and an interview with specialists in Florence in order to present a more contextual analysis. -
Postal Communications from the United Kingdom to Italy 1840 -1874
Postal Communications from the United Kingdom to Italy 1840 -1874 This exhibit addresses the postal communications between the United Kingdom and Italy, focusing on the complex historical period from 1840 to 1874. These dates saw the introduction Section 1 - Old States Frame of the first postage stamp (1840), the explosion of the industrial revolution in Britain, and the struggle of the Italian states to gain national unity after the Congress of Vienna. During this Chapter 1 - Kingdom of the Two Sicilies 1 time, new and much faster ways of communication (mostly the train and the steamship) co- Chapter 2 - Grand Duchy of Tuscany 1 existed with the remnants of old agreements, or in some cases the lack thereof, which allowed for the mail to be carried at different rates and through different routes and different countries. Chapter 3 - States of the Church & Rome 1 The result is a complex, fascinating array of rates and routes that this exhibit aims to describe. Chapter 4 - Duchies of Parma, Modena and Lucca 2 Chapter 5 - Kingdom of Lombardy-Venetia 2 Chapter 6 - Kingdom of Sardinia 2 Section 2 – Kingdom of Italy Chapter 7 - New Nation: Countrywide Rates 3 Chapter 8 - New Challenges: Cholera 3 Chapter 9 - New Challenges: The Impact of War 3 The Congress of Vienna (1814-1815) reshaped Europe Essential Bibliography 1. Jane and Michael Moubray: British Letter Mail to Overseas Destination 1840-1875. RPSL, London 2018 2. Lewis Geoffrey: The 1836 Anglo-French Postal Convention, The Royal Philatelic Society London, 2015. The first section covers rates and routes separately for each of the following major Old 3. -
Santa Maria in Trastevere
A Building’s Images: Santa Maria in Trastevere Dale Kinney Images If only because it has an inside and an outside, a building cannot be grasped in a single view. To see it as a whole one must assemble images: the sensory impressions of a beholder moving through or around it (perceptual images), the objectified views of painters and photographers (pictorial images), the analytical graphics of architects (analytical images), and now, virtual simulacra derived from laser scans, photogrammetry, and other means of digital measurement and representation. These empirical images can be overlaid by abstract or symbolic ones: themes or metaphors imagined by the architect or patron (intended images); the image projected by contingent factors such as age, condition, and location (projected images); the collective image generated by the interaction of the building’s appearance with the norms and expectations of its users and beholders; the individual (but also collectively conditioned) “phenomenological” images posited by Gaston Bachelard (psychological images), and many more.1 In short, the topic of a building’s images is one of almost unlimited complexity, not to be encompassed in a brief essay. By way of confining it I will restrict my treatment to a single example: Santa Maria in Trastevere, a twelfth-century church basilica on the right bank of the Tiber River in Rome. I will focus on its intended, projected, and collective images in two key eras of its existence. Pictorial images, including those surviving inside the basilica and the representations of it by artist- architects in the 19th century, are considered in relation to the ephemeral images that are my principal subject and their role in constituting communal identities.