Campanella in Neapolitan and Roman Castles
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(2013) 7A R107 2Vol. Film-Def.Indd
RCatT 38/2 (2013) 1009-1032 © Facultat de Teologia de Catalunya ISSN: 0210-5551 LA «LLOABLE OBSESSIÓ». STUDIOSI CATALANI E SPAGNOLI PER IL NOVANTESIMO COMPLEANNO DEL CARD. GIOVANNI MERCATI (17 dicembre 1956) Paolo VIAN Original rebut: 23/05/2013 Adreça: Dipartimento Manoscritti – Data d’acceptació: 15/06/2013 Biblioteca Vaticana 00120 CITTÀ DEL VATICANO E-mail: [email protected] Resum: Per tal de celebrar el norantè aniversari del cardenal Giovanni Mercati (17 de desembre de 1956), l’Arxiu Secret Vaticà i la Biblioteca Apostòlica Vaticana van organitzar un concurs de felicitacions autògrafes per al cardenal, convidant a col·laborar-hi erudits i estudiosos de tot el món. En l’article publiquem i comentem una selecció d’aquestes felicitacions autògrafes d’alguns estudiosos espa- nyols i catalans, i d’aquí s’intenta deduir algunes característiques personals del singular homenatjat. Paraules clau: Arxiu Secret del Vaticà, Biblioteca Apostòlica Vaticana, Card. Giovanni Mercati, histò- ria de l’erudició. Abstract To celebrate the ninetieth birthday of Cardinal Giovanni Mercati (17 December 1956), the Secret Vatican Archives and the Apostolic Vatican Library organized a competition of handwritten greetings for the Cardi- nal, inviting scholars and learned people from all around the world to take part. In this article, a selection of these handwritten greetings from some Spanish and Catalan scholars are published and discussed, and are used to seek to identify some of the qualities of this unique person to whom homage was paid. Keywords: Secret Vatican Archives, Apostolic Vatican Library, Cardinal Giovanni Mercati, history of learning. RCatT 38/2 (2013) 1009-1032 (651) 1009 PAOLO VIAN 1. -
Galileo in Rome Galileo in Rome
Galileo in Rome Galileo in Rome The Rise and Fall of a Troublesome Genius William R. Shea and Mariano Artigas Oxford New York Auckland Bangkok Buenos Aires Cape Town Chennai Dar es Salaam Delhi Hong Kong Istanbul Karachi Kolkata Kuala Lumpur Madrid Melbourne Mexico City Mumbai Nairobi São Paulo Shanghai Taipei Tokyo Toronto Copyright © 2003 by Oxford University Press, Inc. First published by Oxford University Press, Inc., 2003 198 Madison Avenue, New York, New York 10016 www.oup.com Issued as an Oxford University Press paperback, 2004 ISBN 0-19-517758-4 (pbk) Oxford is a registered trademark of Oxford University Press All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of Oxford University Press. The Library of Congress has catalogued the cloth edition as follows: Artigas, Mariano. Galileo in Rome : the rise and fall of a troublesome genius / Mariano Artigas and William R. Shea. p. cm. Includes bibliographical references and index. ISBN 0-19-516598-5 1. Galilei, Galileo, 1564-1642—Journeys—Italy—Rome. 2. Religion and science—History—16th century. 3. Astronomers—Italy—Biography. I. Shea, William R. II. Title. QB36.G2 A69 2003 520'.92—dc21 2003004247 Book design by planettheo.com 9 8 7 6 5 4 3 2 1 Printed in the United States of America on acid-free paper CONTENTS ACKNO W L E D G E M E N T S vii I N TRO D U C TIO N ix CHA P TER O N E Job Hunting and the Path -
The Bible, Images and Writing in the Vatican Apostolic Library”
Nr. 4, November-December 2017 he true joy which is experienced in the family is not something random and fortuitous. It is a joy produced by deep harmony among people, which allows them to savour the beauty of being together, of supporting each other on life’s journey. Pope Francis Happy Holidays Architectural “Masks” in the Library The Architect Marco Petreschi has established a friendly relationship with the Vatican Apostolic Li- brary, to which he has recently donated a collection of his own drawings, destined for the General Drawings Collection. Within the group of drawings, we can find designs for an underground library that drew its inspi- ration from the Piranesi style, as well as different archi- tectural projects that stimulate the imagination of even an untrained observer. Professor Petreschi, an academic in Composition- al Architecture in Rome as well as abroad, is a visiting professor and guest lecturer at several universities in America and Europe. It has been said that he is “an author, who, heedless of the trends in style that have traversed Italy in recent decades, has unflinchingly fol- lowed his own path, a path that may be characterized as ironical in its attitude towards current affairs and their claims to power, physical in his affectionate rela- tionship with materials and techniques to master them, subject to design as a complete and aesthetic control of space, never indifferent to history but careful to create a proper distance from it” (L. Molinari, 2007). The architectural proposals of Marco Petreschi are the fruit of a journey undertaken along the roads which span across history; the artisan identifies himself with the eras that he visits, and continues to put on the “dress” of each. -
Refugee Policies from 1933 Until Today: Challenges and Responsibilities
Refugee Policies from 1933 until Today: Challenges and Responsibilities ihra_4_fahnen.indd 1 12.02.2018 15:59:41 IHRA series, vol. 4 ihra_4_fahnen.indd 2 12.02.2018 15:59:41 International Holocaust Remembrance Alliance (Ed.) Refugee Policies from 1933 until Today: Challenges and Responsibilities Edited by Steven T. Katz and Juliane Wetzel ihra_4_fahnen.indd 3 12.02.2018 15:59:42 With warm thanks to Toby Axelrod for her thorough and thoughtful proofreading of this publication, to the Ambassador Liviu-Petru Zăpirțan and sta of the Romanian Embassy to the Holy See—particularly Adina Lowin—without whom the conference would not have been possible, and to Katya Andrusz, Communications Coordinator at the Director’s Oce of the European Union Agency for Fundamental Rights. ISBN: 978-3-86331-392-0 © 2018 Metropol Verlag + IHRA Ansbacher Straße 70 10777 Berlin www.metropol-verlag.de Alle Rechte vorbehalten Druck: buchdruckerei.de, Berlin ihra_4_fahnen.indd 4 12.02.2018 15:59:42 Content Declaration of the Stockholm International Forum on the Holocaust ........................................... 9 About the International Holocaust Remembrance Alliance (IHRA) .................................................... 11 Preface .................................................... 13 Steven T. Katz, Advisor to the IHRA (2010–2017) Foreword The International Holocaust Remembrance Alliance, the Holy See and the International Conference on Refugee Policies ... 23 omas Michael Baier/Veerle Vanden Daelen Opening Remarks ......................................... 31 Mihnea Constantinescu, IHRA Chair 2016 Opening Remarks ......................................... 35 Paul R. Gallagher Keynote Refugee Policies: Challenges and Responsibilities ........... 41 Silvano M. Tomasi FROM THE 1930s TO 1945 Wolf Kaiser Introduction ............................................... 49 Susanne Heim The Attitude of the US and Europe to the Jewish Refugees from Nazi Germany ....................................... -
Van Dyck: the Anatomy of Portraiture,” on View at the Frick Collection Until June 5, Opportunities to Consider These Questions Abound
TheVan Anatomy Dyck Of Portraiture By James D. Balestrieri NEW YORK CITY — A great portrait is a balancing act between capturing likeness and revealing inner character, between fidelity to appearance — verisimilitude — and exposing the sitter’s inner light to the light of day: the eyes of beholders, viewers, us. But in great portraiture there is another requisite element: mystery. The portraitist must hint at something else, something other, something that shimmers at the surface — often in the eyes, mouth or hands of the sitter — a moment that passed, perhaps, between the artist and the sitter, a secret we suspect but can never fully be in on. “Cardinal Guido Bentivoglio,” 1623, oil on canvas. Galleria Palatina, Palazzo Pitti, Florence, Italy. How can we know when a portrait has this quality? The simplest answer is that when a portrait moves us to try to bore into it, to decode its subject, the sitter, time and again, that mystery is present. But there is a more scientific method. If collectors and cultural institutions, over a lengthy period, single out, vie for and prize portraits of people they could never have known, people they have no relation to, people whose names may well be lost or mean little to history, then we may be sure that the artist has captured lightning in a bottle. When this is evident, as in the case of Flemish painter Anthony van Dyck (1599–1641), new questions emerge about the production and consumption of portraits, and about their place and meaning in disparate cultures over time. With more than 100 of the artist’s works in the exhibition “Van Dyck: The Anatomy of Portraiture,” on view at the Frick Collection until June 5, opportunities to consider these questions abound. -
The Jesuits and the Thirty Years War
P1: FPX CY154/Bireley-FM 0521820170 January 9, 2003 19:20 Char Count= 0 THE JESUITS AND THE THIRTY YEARS WAR KINGS, COURTS, AND CONFESSORS ROBERT BIRELEY Loyola University Chicago iii P1: FPX CY154/Bireley-FM 0521820170 January 9, 2003 19:20 Char Count= 0 published by the press syndicate of the university of cambridge The Pitt Building, Trumpington Street, Cambridge, United Kingdom cambridge university press The Edinburgh Building, Cambridge CB2 2RU, UK 40 West 20th Street, New York, NY 10011-4211, USA 477 Williamstown Road, Port Melbourne, VIC 3207, Australia Ruiz de Alarcon´ 13, 28014 Madrid, Spain Dock House, The Waterfront, Cape Town 8001, South Africa http://www.cambridge.org C Robert Bireley 2003 This book is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. First published 2003 Printed in the United Kingdom at the University Press, Cambridge Typeface Palatino 10/12 pt. System LATEX2ε [TB] A catalog record for this book is available from the British Library. Library of Congress Cataloging in Publication Data Bireley, Robert. The Jesuits and the Thirty Years War : kings, courts, and confessors / Robert Bireley. p. cm. Includes bibliographical references and index. ISBN 0-521-82017-0 1. Jesuits – Europe – History – 17th century. 2. Thirty Years’ War, 1618–1648. 3. Europe – History – 17th century. 4. Europe – Church history – 17th century. I. Title. BX3715 .B57 2003 -
Paolo Vian Biblioteca Apostolica Vaticana
Carth 31 (2015) 445-497FRANZ EHRLE A TORINO (FEBBRAIO 1904). UN CASO “POLITICO” 445 Recibido el 30 de marzo de 2015 // Aceptado el 7 de junio de 2015 FRANZ EHRLE A TORINO (FEBBRAIO 1904). UN CASO “POLITICO” Paolo Vian Biblioteca Apostolica Vaticana Resumen/Summary En la noche del 25 al 26 de enero de 1904 un incendio devastó la Biblioteca Nacional de Turín, destruyendo cerca de 30. 000 impresos y un tercio de los ma- nuscritos (1. 500) y dañando otros muchos. Franz Ehrle (1845-1934), desde hacía menos de diez años Prefecto de la Biblioteca Vaticana, se trasladó a Turin del 11 al 14 de febrero a fin de prestar toda la ayuda posible de su competencia y de sus experiencias. El viaje del jesuita provocó encendidas polémicas entre la prensa laica y la católica que llegaron hasta una interrogación parlamentaria. El artículo recorre las diversas intervenciones reveladoras del clima existente en las relaciones entre laicos y católicos, entre el Estado y la Iglesia a comienzos de un nuevo siglo, que señala la superación de las viejas contraposiciones anteriores. Palabras clave: Biblioteca Nacional de Turín. Franz Ehrle. Incendios en las bibliotecas. Relaciones Estado e Iglesia en Italia. Franz Ehrle to Turin (February 1904): A “Political” Aase In the evening of the 25th to the 26th of January 1904, a fire devastated the National Library of Turin, destroying almost 30,000 printed materials and a third of the manuscripts (1,500) and damaging many others. The assistance of Ehrle Franz (1845-1934), who was then the Prefect of the Vatican Library, for less than 10 years was enlisted. -
Sir Anthony Van Dyck
CO N T E N T S k B H u h k e s Sir Anthony Van Dyc . y g St o ‘ List of su c h of the principal w ork s of Van Dyck as are in public Galleries L I ST O F I L L U ST R A T I O N S Portrait of T homas of Savoy Fron t zspzece T he R Coronation of St . osalie by the Child Jesus Minerva at the Forge of Vulcan T h e Virgin and Child with St . Joseph Saint Francis listening to Celestial M usi c Portrait of Prince Rupert of the Palatinate Portrait of Maria Louisa De T a s sis Christ on the Cross T h e Lamentation over Christ J esus bearing the Cross S h his n aint Sebastian , wit angels removing the arrows from wou ds T he Virgin and Child with two Donors Rinaldo and Armida P I ortrait of Charles . Portraits of Prince Charles Louis and Prince Rupert of B avaria Portrait of T h e Duk e of Richmond T h e Virgin and Child with the M agdalen Christ crowned with T horns P S his W Son ortraits of ebastian Leerse , ife and Saint Jerome T h e Drunk en Silenus H M l I enrietta aria , Queen to Char es . Portrait of the Painter P M R t W the ortrait of ary u hven , ife of Artist Portrait of an Artist T h e E mperor T heodosius refused admission 1rto the Church a n Portrait of Cornelius . -
Van Dyck in More Than Twenty Years Takes a Comprehensive Look at the Artist’S Activity and Process As a Portraitist
FIRST MAJOR U.S. EXHIBITION ON ANTHONY VAN DYCK IN MORE THAN TWENTY YEARS TAKES A COMPREHENSIVE LOOK AT THE ARTIST’S ACTIVITY AND PROCESS AS A PORTRAITIST Van Dyck: The Anatomy of Portraiture March 2 through June 5, 2016 Anthony van Dyck (1599–1641), one of the most celebrated and influential portraitists of all time, enjoyed an international career that took him from his native Flanders to Italy, France, and, ultimately, the court of Charles I in England. Van Dyck’s elegant manner and convincing evocation of a sitter’s inner life—whether real or imagined—made him the favorite portraitist of many of the most powerful and interesting figures of the seventeenth century. His sitters—poets, duchesses, painters, and generals—represent the social and artistic elite of his age, and his achievement in portraiture marked a turning point in the history of European painting. Van Dyck: The Anatomy of Portraiture, on view only at New York’s Frick Collection, looks comprehensively at the artist’s activity and process as a Anthony van Dyck (1599–1641), Mary, Lady van Dyck, née Ruthven, ca. 1640, oil on canvas, Museo Nacional del portraitist. It is also the first major exhibition devoted to his work to be held in the Prado United States in more than twenty years. Through approximately one hundred works, the show explores the versatility and inventiveness of a portrait specialist, the stylistic development of a draftsman and painter, and the efficiency and genius of an artist in action. Organized chronologically around the different geographic chapters of Van Dyck’s career, the exhibition documents the artist’s development from an 1 Van Dyck, The Princesses Elizabeth and Anne, Daughters of Charles I, 1637, oil on canvas, Scottish National Portrait Gallery, Edinburgh; purchased with the aid of the Heritage Lottery Fund, the Scottish Office, and the Art Fund 1996 ambitious young apprentice into the most sought-after portrait painter in Europe. -
The Theater of Piety: Sacred Operas for the Barberini Family In
The Theater of Piety: Sacred Operas for the Barberini Family (Rome, 1632-1643) Virginia Christy Lamothe A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music. Chapel Hill 2009 Approved by: Tim Carter, chair Annegret Fauser Anne MacNeil John Nádas Jocelyn Neal © 2009 Virginia Christy Lamothe ALL RIGHTS RESERVED ii Abstract Virginia Christy Lamothe: “The Theater of Piety: Sacred Operas for the Barberini Family (Rome, 1632-1643)” (Under the direction of Tim Carter) In a time of religious war, plague, and reformation, Pope Urban VIII and his cardinal- nephews Antonio and Francesco Barberini sought to establish the authority of the Catholic Church by inspiring audiences of Rome with visions of the heroic deeds of saints. One way in which they did this was by commissioning operas based on the lives of saints from the poet Giulio Rospigliosi (later Pope Clement IX), and papal musicians Stefano Landi and Virgilio Mazzocchi. Aside from the merit of providing an in-depth look at four of these little-known works, Sant’Alessio (1632, 1634), Santi Didimo e Teodora (1635), San Bonifatio (1638), and Sant’Eustachio (1643), this dissertation also discusses how these operas reveal changing ideas of faith, civic pride, death and salvation, education, and the role of women during the first half of the seventeenth century. The analysis of the music and the drama stems from studies of the surviving manuscript scores, libretti, payment records and letters about the first performances. -
State Barges, Embroideries and Power in Renaissance Ferrara
Splendour displayed: state barges, embroideries and power in Renaissance Ferrara A thesis submitted to The University of Manchester for the degree of Doctor of Philosophy in the Faculty of Humanities 2014 Beatrice Mezzogori School of Arts, Languages and Cultures Vol I of II Table of Contents Volume I List of Manuscript Sources (Appendix A) 4 List of Primary Printed Sources (Appendix B) 5 List of Charts and Tables 6 List of Illustrations 7 Abstract 16 Declaration 17 Copyright statement 17 Transcription, Currency and Presentation Norms 18 Acknowledgements 20 Foreword 22 1. Introduction 25 2. The cultural importance of having a bucintoro 40 Introduction 40 The Venetian Bucintoro, a model to outclass 42 Like a modern emperor: the discovery of Nemi ships 47 Courtly bucintori and Estense ambitions 53 Commissioning, maintaining and exploiting the Bucintoro 60 Dressed for the bucintori 65 3. Inside the Estense Bucintoro: the Hall of State 70 Introduction 70 The politics of bucintori 71 The coats of arms and devices of the Estense private stateroom 79 Brothers and rulers: Estense devices between Leonello, Borso and Ercole85 The embroidered stateroom of Borso: an interpretation 90 Colours for the duchy 104 4. The organizational structure for a splendid work: embroidering and painting Borso’s Bucintoro 110 Introduction 110 The painters of Borso’s Bucintoro and their activities 112 The patterns for the embroideries: pounced or etched? 118 The professional embroiderers of Borso’s Bucintoro 127 Embroiderers’ companions and workrooms 135 The circulation of embroideries in northern Italian courts 140 Talented amateurs: the embroideress 144 Female teams’ works for Borso 150 5. -
THE BAROQUE PAPACY Ary Papal Court, the Roman Curia and the Papal State Were Constructed
is work leads the reader into one of the most exciting chapters of the history of the papacy. It delineates the behaviour and dilemmas of ❧ Rome in the ghts against the Turks, in the irty Years’ War, and in ) the struggles with the Protestants and the numerous con icts with the éter usor Catholic States. In addition, the book describes in detail the rst real example of globalisation, namely the worldwide spread of missions, in addition to providing accounts of the formation of new religious move- – ments, Galileo’s trial and the ordeals of the Institute of the Blessed Virgin ( Mary. Furthermore, the chapters o er insights into the nature of papal nepotism, how the Roman inquisition worked, and how the contempor- THE BAROQUE PAPACY ary papal court, the Roman Curia and the Papal State were constructed. (–) Péter Tusor, PhD, DSc, was born in 1967. He is currently an Associate Professor at the Institute of History at the Péter Pázmány Catholic Uni- versity and a Research Group Leader at the Hungarian Academy of Sci- ences. THE BAROQUE PAPACY THE BAROQUE ISBN 978-88-7853-715-6 éter usor 9 788878 537156 , Sette Città Barokk pápaság.indb 2 2016.05.24. 9:52:59 Péter Tusor THE BAROQUE PAPACY (1600–1700) Sette Città 2016 Barokk pápaság.indb 3 2016.05.24. 9:52:59 All rights reserved. Reproduction in any form, storage or transcription by any means (electronic, mechanical, photocopying, recording or in any other ways, including movie, radio, television or internet) is prohibited without the written permission of the publisher.