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Portrait Dated 1512, at the State Hermitage Museum1
542 Giovanna Perini Folesani УДК: 75.041.5 ББК: 85.103(4)5 А43 DOI: 10.18688/aa177-5-55 Giovanna Perini Folesani Dominicus Who? Solving the Riddle Posed by a Splendid “Venetian” Portrait Dated 1512, at the State Hermitage Museum1 It takes some real quality for a Renaissance portrait to be able to hang close to Giorgione’s Judith in the same museum room without fading or being overshadowed2 (Ill. 124). The high quality of this problematic picture is further proven by its seventeenth-century attribution to Giorgione (who died two years before it was painted) [70, I, p. 105; 15, p. 190]. It is no coinci- dence that this very portrait was chosen for the dust-jacket of the official catalogue in English of the Venetian paintings in the State Hermitage Museum published in the 1990s [31] and has recently travelled to Australia along with other masterpieces from St. Petersburg3. Still, its attri- bution and iconography have proven elusive so far. Its current, yet not undisputed attribution to Domenico Capriolo, a minor Giorgionesque painter, is untenable on both stylistic and historical grounds4. A comparison with his one undis- puted portrait of Lelio Torelli, signed and dated 1528 [23, XIX, pp. 210–211; 87, V, pp. 557–558; 77, XVI, pp. 281–282; 89, IX/3, p. 548, fig. 374], shows that sixteen years later, far from im- proving as an artist, Domenico Capriolo (if he were the author of the State Hermitage picture) would paint in a stiffer, more elementary, much less imaginative and elegant way, having but a clumsy grasp on perspective. -
Genealogical History of the Noble Families Fr Om Tuscany and Umbria Recounted by D
A few days ago, our common friend and Guadagni historian Henri Guignard, from Boutheon, Lyon, France, has sent me by email an old book written in 1668, 202 years before Passerini’s book, on the history and genealogy of the noble families of Tuscany in 17th century Italian, with many pages on the history of the Guadagni. It is a fascinating document, starting to relate the family history before the year 1000, so more than a century before Passerini, and I will start translating it hereafter. GENEALOGICAL HISTORY OF THE NOBLE FAMILIES FR OM TUSCANY AND UMBRIA RECOUNTED BY D. Father EUGENIO GAMURRINI Monk from Cassino, Noble from Arezzo, Academic full of passion, Abbot, Counselor and Ordinary Alms Giver OF HIS VERY CHRISTIAN MAJESTY LOUIS XIV, KING OF FRANCE AND OF NAVARRE, Theologian and Friend of HIS VERY SEREINE HIGHNESS COSIMO III Prince of Tuscany dedicated to the SAME HIGHNESS, FIRST VOLUME IN FLORENCE, In Francesco Onofri’s Printing House. 1668. With license of the Superiors. Louis XIV, King of France, known as the Sun King, 1638-1715 Cosimo III, Granduke of Tuscany, 1642-1723 Cosimo III as a child (left) and as a young man (right) THE GUADAGNI FAMILY FROM FLORENCE The Guadagni Family is so ancient and has always been so powerful in wealth and men that some people believe that they could originate from the glorious family of the Counts Guidi, as the latter owned many properties in proximity of the large fiefs of the former; however, after having made all the possible researches, we were unable to prove this hypothesis; on the other hand, we can confortably prove that they originate from families now extinct; to illustrate this opinion we will now tell everything we found. -
The Petite Commande of 1664: Burlesque in the Gardens of Versailles Thomasf
The Petite Commande of 1664: Burlesque in the Gardens of Versailles ThomasF. Hedin It was Pierre Francastel who christened the most famous the west (Figs. 1, 2, both showing the expanded zone four program of sculpture in the history of Versailles: the Grande years later). We know the northern end of the axis as the Commande of 1674.1 The program consisted of twenty-four Allee d'Eau. The upper half of the zone, which is divided into statues and was planned for the Parterre d'Eau, a square two identical halves, is known to us today as the Parterre du puzzle of basins that lay on the terrace in front of the main Nord (Fig. 2). The axis terminates in a round pool, known in western facade for about ten years. The puzzle itself was the sources as "le rondeau" and sometimes "le grand ron- designed by Andre Le N6tre or Charles Le Brun, or by the deau."2 The wall in back of it takes a series of ninety-degree two artists working together, but the two dozen statues were turns as it travels along, leaving two niches in the middle and designed by Le Brun alone. They break down into six quar- another to either side (Fig. 1). The woods on the pool's tets: the Elements, the Seasons, the Parts of the Day, the Parts of southern side have four right-angled niches of their own, the World, the Temperamentsof Man, and the Poems. The balancing those in the wall. On July 17, 1664, during the Grande Commande of 1674 was not the first program of construction of the wall, Le Notre informed the king by statues in the gardens of Versailles, although it certainly was memo that he was erecting an iron gate, some seventy feet the largest and most elaborate from an iconographic point of long, in the middle of it.3 Along with his text he sent a view. -
Online Library of Liberty: the Historical, Political, and Diplomatic Writings, Vol
The Online Library of Liberty A Project Of Liberty Fund, Inc. Niccolo Machiavelli, The Historical, Political, and Diplomatic Writings, vol. 1 (Life of Machiavelli, History of Florence) [1532] The Online Library Of Liberty This E-Book (PDF format) is published by Liberty Fund, Inc., a private, non-profit, educational foundation established in 1960 to encourage study of the ideal of a society of free and responsible individuals. 2010 was the 50th anniversary year of the founding of Liberty Fund. It is part of the Online Library of Liberty web site http://oll.libertyfund.org, which was established in 2004 in order to further the educational goals of Liberty Fund, Inc. To find out more about the author or title, to use the site's powerful search engine, to see other titles in other formats (HTML, facsimile PDF), or to make use of the hundreds of essays, educational aids, and study guides, please visit the OLL web site. This title is also part of the Portable Library of Liberty DVD which contains over 1,000 books and quotes about liberty and power, and is available free of charge upon request. The cuneiform inscription that appears in the logo and serves as a design element in all Liberty Fund books and web sites is the earliest-known written appearance of the word “freedom” (amagi), or “liberty.” It is taken from a clay document written about 2300 B.C. in the Sumerian city-state of Lagash, in present day Iraq. To find out more about Liberty Fund, Inc., or the Online Library of Liberty Project, please contact the Director at [email protected]. -
Volterra Volterra, Known to the Ancient Etruscans As Velathri Or Vlathri and to the Romans As Volaterrae, Is a Town and a Comune in Tuscany
Volterra Volterra, known to the ancient Etruscans as Velathri or Vlathri and to the Romans as Volaterrae, is a town and a comune in Tuscany. The town was a Bronze Age settlement of the Proto-Villanovan culture, and an important Etruscan centre, one of the "twelve cities" of the Etruscan League. The site is believed to have been continuously inhabited as a city since at least the end of the 8th century BC. It became a municipium allied to Rome at the end of the 3rd century BC. The city was a bishop's residence in the 5th century, and its episcopal power was affirmed during the 12th century. With the decline of the episcopate and the discovery of local alum deposits, Volterra became a place of interest for the Republic of Florence, whose forces conquered it. Florentine rule was not always popular, and opposition occasionally broke into rebellions which were quelled by Florence. When the Republic of Florence fell in 1530, Volterra came under the control of the Medici family and subsequently its history followed that of the Grand Duchy of Tuscany.4 The Roman Theatre The Main Sights 1. Roman Theatre of Volterra, 1st century BC, excavated in the 1950s; 2. Piazza dei Priori, the main square, a fine example of medieval Tuscan town squares; 3. Palazzo dei Priori, the town hall located on Piazza dei Priori, construction begun in 1208 and finished in 1257; 4. Pinacoteca e museo civico di Volterra (Art Gallery) in Palazzo Minucci-Solaini. Founded in 1905, the gallery consists mostly of works by Tuscan artists from the 14th to the 17th centuries. -
Inventario (1
INVENTARIO (1 - 200) 1 Scatola contenente tre fascicoli. V. segn. 1 ELETTRICE PALATINA ANNA MARIA LUISA DE’ MEDICI 1 Lettere di auguri natalizi all’elettrice palatina Anna Maria Luisa de’ Medici di: Filippo Acciaiuoli, cc.2-4; Faustina Acciaiuoli Bolognetti, cc.5-7; Isabella Acquaviva Strozzi, cc.8-10; cardinale Alessandro Albani, cc.11-13; Fi- lippo Aldrovandi Marescotti, cc.14-16; Maria Vittoria Altoviti Cor- sini, cc.17-19; Achille Angelelli, cc.20-23; Roberto Angelelli, cc.24- 26; Dorothea Angelelli Metternich, cc.27-29; Lucrezia Ansaldi Le- gnani, cc.30-32; Giovanni dell’Aquila, cc.33-35; duchessa Douariere d’Arenberg, con responsiva, cc.36-40; governatore di Grosseto Cosimo Bagnesi, cc.41-43; Andrea Barbazzi, cc.44-46; segretario della Sacra Consulta Girolamo de’ Bardi, cc.47-49; cardinale [Lodovico] Belluga, cc.50-52; Lucrezia Bentivoglio Dardinelli, cc.53-55; Maria Bergonzi Ra- nuzzi, cc.56-58; cardinale Vincenzo Bichi, cc.59-61; «re delle Due Si- Nell’inventario, il numero del pezzo è posto al centro in neretto. Alla riga successiva, in cor- cilie» Carlo VII, con responsiva, cc.62-66; vescovo di Borgo Sansepol- sivo, sono riportate la descrizione estrinseca del volume, registro o busta con il numero com- cro [Raimondo Pecchioli], cc.67-69; Camilla Borgogelli Feretti, cc.70- plessivo dei fascicoli interni e le vecchie segnature. Quando il nesso contenutistico fra i do- 72; Cosimo Bourbon del Monte, cc.73-75; baronessa de Bourscheidt, cumenti lo rendeva possibile si è dato un titolo generale - in maiuscoletto - a tutto il pezzo, con responsiva, cc.76-79; vescovo di Cagli [Gerolamo Maria Allegri], o si è trascritto, tra virgolette in maiuscoletto, il titolo originale. -
Nini, Bloodshed, and La Marescialla D'ancre
28 Nini, bloodshed, and La marescialla d’Ancre Alexander Weatherson (This article originally appeared in Donizetti Society Newsletter 88 (February 2003)) An odd advocate of so much operatic blood and tears, the mild Alessandro Nini was born in the calm of Fano on 1 November 1805, an extraordinary centre section of his musical life was to be given to the stage, the rest of it to the church. It would not be too disrespectful to describe his life as a kind of sandwich - between two pastoral layers was a filling consisting of some of the most bloodthirsty operas ever conceived. Maybe the excesses of one encouraged the seclusion of the other? He began his strange career with diffidence - drawn to religion his first steps were tentative, devoted attendance on the local priest then, fascinated by religious music - study with a local maestro, then belated admission to the Liceo Musicale di Bologna (1827) while holding appointments as Maestro di Cappella at churches in Montenovo and Ancona; this stint capped,somewhat surprisingly - between 1830 and 1837 - by a spell in St. Petersburg teaching singing. Only on his return to Italy in his early thirties did he begin composing in earnest. Was it Russia that introduced him to violence? His first operatic project - a student affair - had been innocuous enough, Clato, written at Bologna with an milk-and-water plot based on Ossian (some fragments remain), all the rest of his operas appeared between 1837 and 1847, with one exception. The list is as follows: Ida della Torre (poem by Beltrame) Venice 1837; La marescialla d’Ancre (Prati) Padua 1839; Christina di Svezia (Cammarano/Sacchero) Genova 1840; Margarita di Yorck [sic] (Sacchero) Venice 1841; Odalisa (Sacchero) Milano 1842; Virginia (Bancalari) Genova 1843, and Il corsaro (Sacchero) Torino 1847. -
The Art of War in the Middle Ages, A.D. 378-1515
Digitized by the Internet Archive in 2007 with funding from IVIicrosoft Corporation http://www.archive.org/details/artofwarinmiddleOOomanuoft otl^xan: ^rt§e ^ssag 1884 THE ART OF WAR IN THE MIDDLE AGES PRINTED BY HORACE HART, PRINTER TO THE UNIVERSITY THE ART OF WAR [N THE MIDDLE AGES A.D. 37^—15^5 BY C. W. C. OMAN, B.A. FELLOW OF ALL SOULS COLLEGE WITH MAPS AND PLANS OXFORD B. H. BLACKWELL, 50 BROAD STREET LONDON T. FISHER UNWIN, 26 PATERNOSTER SQUARE 1885 [^// rights reserved '\ O/M The Author desires to acknowledge much kind help received in the revision and correction of this Essay from the Rev. H. B. George, of New College, and Mr. F. York Powell, of Christ Church. 6/ 37 05 , — — CONTENTS. PAGE ' Introduction . i CHAPTER 1. The Transition from Roman to Medieval forms in War (a.d. 378-582). Disappearance of the Legion.—Constantine's reorgajiization. The German tribes . — Battle of Adrianople.—Theodosius accepts its teaching.—Vegetius and the army at the end of the fourth century. —The Goths and the Huns. Army of the Eastern Empire.— Cavalry all-important . 3— 14 CHAPTER n. The Early Middle Ages (a.d. 476-1066). Paucity of Data for the period.—The Franks in the sixth cen- tury.—Battle of Tours.—^Armies of Charles the Great. The Franks become horsemen.—The Northman and the Magyar.—Rise of Feudalism.—The Anglo-Saxons and their wars.—The Danes and the Fyrd.—Military importance of the Thegnhood.—The House-Carles.—Battle of Hastings . Battle of Durazzo 15 — 27 W — VI CONTENTS. -
Cardinal Richelieu, La Rochelle and the Political Testament
“To Win Souls as well as Towns”?: Cardinal Richelieu, La Rochelle and the Political Testament Piper Moritz December 2008 1 Early seventeenth-century France stood at a crossroads. Several decades after the last religious war had been fought, France remained a nation divided between two religions. The years of civil wars perhaps too far behind to be remembered, fighting broke out once again between the Catholics and Huguenots in the 1620s. This last conflict reintroduced an old question for the largely Catholic nation: Could France survive with two religions? While it would be up to the royal government to decide the fate of the Huguenot community at the conclusion of this final conflict, opinions on a proper course of action varied across the nation. Cardinal Richelieu, perhaps the most powerful man in all of France, once explained that, “Since princes are expected to establish God’s true church, they should be very thorough in banishing all false imitations of it, which are so dangerous to the state that one may say with complete truth that this kind of hypocrisy has always been used to clothe the enormity of the most pernicious undertakings.” This opinion is hardly surprising given the historical treatment that Richelieu has received over time. Believed for centuries to be the epitome of a sinister and calculating ruler, it seems logical to read that he would espouse a harsh extermination of any non-Catholic church in France. But there were also other sides to the debate. An opposing point of view countered, “There is not a single sovereign in the world who is not obliged by this principle to procure the conversion of those who, living within his kingdom, have deviated from the path to salvation. -
The Historian Francesco Guicciardini Between Political Action and Historical Events*
The Historian Francesco Guicciardini * between Political Action and Historical Events IGOR MELANI The ambassadors sent abroad are the eyes and ears of republics, and it is they who should be believed, not those who have a personal stake in affairs.1 1. The Statesman Portrayed When composing his Dialogo della mutatione di Firenze (Dialogue on the Revol- ution in Florence) around the year 1520, Bartolomeo Cerretani set the scene in Modena, where Giovanni di Bernardo Rucellai, Florentine ambassador to the King of France and a »Pallesco« (partisan of the Medicean faction), encountered two Florentine gentlemen who were »Frateschi« (partisans of the Savonarolan faction). After their unexpected meeting abroad, the three fellow citizens, at the suggestion of Giovanni Rucellai, decide to spend the evening together at the house of the Governor (»a casa il Governatore«), who at that time was Francesco Guicciardini (»el quale era ms. Francesco Guicciardini«). The host had been absent from Florence (as ambassador to the King of Ara- gon) during the period of regime change in 1512, when the so-called »popular Government«, led by the Gonfaloniere-for-life Francesco Soderini, was over- turned and the Medici family restored. The dialogue is prompted by his request for news on this delicate topic, but with an eight-year delay: on recent political history, Cerretani’s Guicciardini seems far from up-to-date. In accordance with Rucellai’s wishes, the structure of the Dialogo is conceiv- ed as a sort of debate between two voices, integrating that of the Pallesco Rucellai himself on one side (giving an account of the »fall of the popular government«), _____________ * Primary sources in this expanded version of the paper presented at the conference Humanis- tische Geschichten am Hof have been translated into English by Patrick Baker except where otherwise noted. -
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. -
History of England. Chapter Xxiv
THE HISTORY OF ENGLAND Volume One of Three FROM THE INVASION OF JULIUS CÆSAR TO THE END OF THE REIGN OF JAMES THE SECOND, BY DAVID HUME, ESQ. 1688 VOLUME ONE Part C. From Henry VII. to Mary HISTORY OF ENGLAND. CHAPTER XXIV. HENRY VII. 1485. The victory which the earl of Richmond gained at Bosworth was entirely decisive; being attended, as well with the total rout and dispersion of the royal army, as with the death of the king himself. Joy for this great success suddenly prompted the soldiers, in the field of battle, to bestow on their victorious general the appellation of king, which he had not hitherto assumed; and the acclamations of "Long live Henry VII.," by a natural and unpremeditated movement, resounded from all quarters. To bestow some appearance of formality on this species of military election, Sir William Stanley brought a crown of ornament, which Richard wore in battle, and which had been found among the spoils; and he put it on the head of the victor. Henry himself remained not in suspense; but immediately, without hesitation, accepted of the magnificent present which was tendered him. He was come to the crisis of his fortune; and being obliged suddenly to determine himself, amidst great difficulties which he must have frequently revolved in his mind, he chose that part which his ambition suggested to him, and to which he seemed to be invited by his present success. There were many titles on which Henry could found his right to the crown; but no one of them free from great objections, if considered with respect either to justice or to policy.