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Biological Warfare Plan in the 17Th Century—The Siege of Candia, 1648–1669 Eleni Thalassinou, Costas Tsiamis, Effie Poulakou-Rebelakou, Angelos Hatzakis
HISTORICAL REVIEW Biological Warfare Plan in the 17th Century—the Siege of Candia, 1648–1669 Eleni Thalassinou, Costas Tsiamis, Effie Poulakou-Rebelakou, Angelos Hatzakis A little-known effort to conduct biological warfare oc- to have hurled corpses of plague victims into the besieged curred during the 17th century. The incident transpired city (9). During World War II, Japan conducted biological during the Venetian–Ottoman War, when the city of Can- weapons research at facilities in China. Prisoners of war dia (now Heraklion, Greece) was under siege by the Otto- were infected with several pathogens, including Y. pestis; mans (1648–1669). The data we describe, obtained from >10,000 died as a result of experimental infection or execu- the Archives of the Venetian State, are related to an op- tion after experimentation. At least 11 Chinese cities were eration organized by the Venetian Intelligence Services, which aimed at lifting the siege by infecting the Ottoman attacked with biological agents sprayed from aircraft or in- soldiers with plague by attacking them with a liquid made troduced into water supplies or food products. Y. pestis–in- from the spleens and buboes of plague victims. Although fected fleas were released from aircraft over Chinese cities the plan was perfectly organized, and the deadly mixture to initiate plague epidemics (10). We describe a plan—ul- was ready to use, the attack was ultimately never carried timately abandoned—to use plague as a biological weapon out. The conception and the detailed cynical planning of during the Venetian–Ottoman War in the 17th century. the attack on Candia illustrate a dangerous way of think- ing about the use of biological weapons and the absence Archival Sources of reservations when potential users, within their religious Our research has been based on material from the Ar- framework, cast their enemies as undeserving of humani- chives of the Venetian State (11). -
Early Fifteenth Century
CONTENTS CHAPTER I ORIENTAL AND GREEK MUSIC Section Item Number Page Number ORIENTAL MUSIC Ι-6 ... 3 Chinese; Japanese; Siamese; Hindu; Arabian; Jewish GREEK MUSIC 7-8 .... 9 Greek; Byzantine CHAPTER II EARLY MEDIEVAL MUSIC (400-1300) LITURGICAL MONOPHONY 9-16 .... 10 Ambrosian Hymns; Ambrosian Chant; Gregorian Chant; Sequences RELIGIOUS AND SECULAR MONOPHONY 17-24 .... 14 Latin Lyrics; Troubadours; Trouvères; Minnesingers; Laude; Can- tigas; English Songs; Mastersingers EARLY POLYPHONY 25-29 .... 21 Parallel Organum; Free Organum; Melismatic Organum; Benedica- mus Domino: Plainsong, Organa, Clausulae, Motets; Organum THIRTEENTH-CENTURY POLYPHONY . 30-39 .... 30 Clausulae; Organum; Motets; Petrus de Cruce; Adam de la Halle; Trope; Conductus THIRTEENTH-CENTURY DANCES 40-41 .... 42 CHAPTER III LATE MEDIEVAL MUSIC (1300-1400) ENGLISH 42 .... 44 Sumer Is Icumen In FRENCH 43-48,56 . 45,60 Roman de Fauvel; Guillaume de Machaut; Jacopin Selesses; Baude Cordier; Guillaume Legrant ITALIAN 49-55,59 · • · 52.63 Jacopo da Bologna; Giovanni da Florentia; Ghirardello da Firenze; Francesco Landini; Johannes Ciconia; Dances χ Section Item Number Page Number ENGLISH 57-58 .... 61 School o£ Worcester; Organ Estampie GERMAN 60 .... 64 Oswald von Wolkenstein CHAPTER IV EARLY FIFTEENTH CENTURY ENGLISH 61-64 .... 65 John Dunstable; Lionel Power; Damett FRENCH 65-72 .... 70 Guillaume Dufay; Gilles Binchois; Arnold de Lantins; Hugo de Lantins CHAPTER V LATE FIFTEENTH CENTURY FLEMISH 73-78 .... 76 Johannes Ockeghem; Jacob Obrecht FRENCH 79 .... 83 Loyset Compère GERMAN 80-84 . ... 84 Heinrich Finck; Conrad Paumann; Glogauer Liederbuch; Adam Ile- borgh; Buxheim Organ Book; Leonhard Kleber; Hans Kotter ENGLISH 85-86 .... 89 Song; Robert Cornysh; Cooper CHAPTER VI EARLY SIXTEENTH CENTURY VOCAL COMPOSITIONS 87,89-98 ... -
Caterina Corner in Venetian History and Iconography Holly Hurlburt
Early Modern Women: An Interdisciplinary Journal 2009, vol. 4 Body of Empire: Caterina Corner in Venetian History and Iconography Holly Hurlburt n 1578, a committee of government officials and monk and historian IGirolamo Bardi planned a program of redecoration for the Sala del Maggior Consiglio (Great Council Hall) and the adjoining Scrutinio, among the largest and most important rooms in the Venetian Doge’s Palace. Completed, the schema would recount Venetian history in terms of its international stature, its victories, and particularly its conquests; by the sixteenth century Venice had created a sizable maritime empire that stretched across the eastern Mediterranean, to which it added considerable holdings on the Italian mainland.1 Yet what many Venetians regarded as the jewel of its empire, the island of Cyprus, was calamitously lost to the Ottoman Turks in 1571, three years before the first of two fires that would necessitate the redecoration of these civic spaces.2 Anxiety about such a loss, fear of future threats, concern for Venice’s place in evolving geopolitics, and nostalgia for the past prompted the creation of this triumphant pro- gram, which featured thirty-five historical scenes on the walls surmounted by a chronological series of ducal portraits. Complementing these were twenty-one large narratives on the ceiling, flanked by smaller depictions of the city’s feats spanning the previous seven hundred years. The program culminated in the Maggior Consiglio, with Tintoretto’s massive Paradise on one wall and, on the ceiling, three depictions of allegorical Venice in triumph by Tintoretto, Veronese, and Palma il Giovane. These rooms, a center of republican authority, became a showcase for the skills of these and other artists, whose history paintings in particular underscore the deeds of men: clothed, in armor, partially nude, frontal and foreshortened, 61 62 EMWJ 2009, vol. -
I T a L Y!!! for Centuries All the Greatest Musicians Throughout Europe (From Josquin Des Prez, Adrian Willaert, Orlando Di Lasso to Wolfgang A
Richie and Elaine Henzler of COURTLY MUSIC UNLIMITED Lead you on a musical journey through I T A L Y!!! For centuries all the greatest musicians throughout Europe (from Josquin des Prez, Adrian Willaert, Orlando di Lasso to Wolfgang A. Mozart and so many others) would make a pilgrimage to Italy to hear and learn its beautiful music. The focus of the day will be music of the Italian Renaissance and its glorious repertoire of Instrumental and Vocal Music. Adrian Willaert, although from the Netherlands, was the founder of the Venetian School and teacher of Lasso, and both Gabrielis. The great Orlando di Lasso (from Flanders) spent 10 years in Italy working in Ferrara, Mantua, Milan, Naples and Rome where he worked for Cosimo I di Medici, Grand Duke of Tuscany. We’ll also play works by Andrea Gabrieli (uncle of Giovanni). In 1562 Andrea went to Munich to study with Orlando di Lasso who had moved there earlier. Andrea became head of music at St Marks Cathedral in Venice. Giovanni Gabrieli studied at St. Marks with his uncle and in 1562 also went to Munich to study under Lasso. Giovanni’s music became the culmination of the Venetian musical style. Lasso returned to Italy in 1580 to visit Italy and encounter the most modern styles and trends in music. Also featured will be Lodovico Viadana who composed a series of Sinfonias with titles of various Italian cities such as Bologna, Ferrara, Florence, Rome, Padua, Parma, Mantua, Venice and more. These city states are also associated with the delicious food of Italy, some of which we’ll incorporate into the lunch offering. -
Investigations Into the Zarlino-Galilei Dispute
WHERE NATURE AND ART ADJOIN: INVESTIGATIONS INTO THE ZARLINO- GALILEI DISPUTE, INCLUDING AN ANNOTATED TRANSLATION OF VINCENZO GALILEI’S DISCORSO INTORNO ALL’OPERE DI MESSER GIOSEFFO ZARLINO Randall E. Goldberg Submitted to the faculty of the University Graduate School in partial fulfillment of the requirements for the degree Doctor of Philosophy in the Jacobs School of Music Indiana University February 2011 UMI Number: 3449553 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. UMI 3449553 Copyright 2011 by ProQuest LLC. All rights reserved. This edition of the work is protected against unauthorized copying under Title 17, United States Code. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, MI 48106-1346 Accepted by the Graduate Faculty, Indiana University, in partial fulfillment of the requirements for the degree of Doctor of Philosophy. Doctoral Committee ____________________________ Thomas J. Mathiesen ____________________________ Massimo Ossi ____________________________ Ayana Smith ____________________________ Domenico Bertoloni Meli February 8, 2011 ii Copyright © 2011 Randall E. Goldberg iii Dedication For encouraging me to follow my dreams and helping me “be the ball,” this dissertation is dedicated with love to my parents Barry and Sherry Goldberg iv Acknowledgments There are many people and institutions that aided me in the completion of this project. First of all, I would like thank the Jacobs School of Music at Indiana University. -
Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600
Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600 By Leon Chisholm A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Music in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Kate van Orden, Co-Chair Professor James Q. Davies, Co-Chair Professor Mary Ann Smart Professor Massimo Mazzotti Summer 2015 Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600 Copyright 2015 by Leon Chisholm Abstract Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600 by Leon Chisholm Doctor of Philosophy in Music University of California, Berkeley Professor Kate van Orden, Co-Chair Professor James Q. Davies, Co-Chair Keyboard instruments are ubiquitous in the history of European music. Despite the centrality of keyboards to everyday music making, their influence over the ways in which musicians have conceptualized music and, consequently, the music that they have created has received little attention. This dissertation explores how keyboard playing fits into revolutionary developments in music around 1600 – a period which roughly coincided with the emergence of the keyboard as the multipurpose instrument that has served musicians ever since. During the sixteenth century, keyboard playing became an increasingly common mode of experiencing polyphonic music, challenging the longstanding status of ensemble singing as the paradigmatic vehicle for the art of counterpoint – and ultimately replacing it in the eighteenth century. The competing paradigms differed radically: whereas ensemble singing comprised a group of musicians using their bodies as instruments, keyboard playing involved a lone musician operating a machine with her hands. -
825646166411.Pdf
FRANCESCO CAVALLI L’AMORE INNAMORATO Nuria Rial soprano Hana Blažíková soprano L’ARPEGGIATA Christina Pluhar theorbo, baroque harp Doron David Sherwin cornetto Veronika Skuplik baroque violin Judith Steenbrink baroque violin Eero Palviainen archlute, baroque guitar Marcello Vitale baroque guitar Sarah Ridy baroque harp Margit Übellacker psaltery Elisabeth Seitz psaltery Lixsania Fernandes viola da gamba Rodney Prada viola da gamba Paulina van Laarhoven lirone Josetxu Obregon baroque cello Rüdiger Kurz violone Boris Schmidt double bass Haru Kitamika harpsichord, organ Francesco Turrisi harpsichord, organ David Mayoral percussion Christina Pluhar direction 1 L’Armonia (Prologo) 7:47 11 Affliggetemi, guai dolenti 2:23 L’Ormindo L’Artemisia 3 2 Sinfonia 2:31 12 Che città 3:34 Il Giasone L’Ormindo 3 Piante ombrose 3:07 Giovanni Girolamo Kapsperger La Calisto 13 Toccata prima 5:30 4 Restino imbalsamate 4:20 14 Alle ruine del mio regno 7:07 La Calisto La Didone 5 Vieni, vieni in questo seno 3:39 15 L’alma fiacca svanì 4:23 La Rosinda La Didone 6 Verginella io morir vo’ 3:54 Andrea Falconieri La Calisto 16 La suave melodia 3:30 7 Ninfa bella 3:37 66:52 La Calisto 8 Non è maggior piacere 4:38 La Calisto 9 Dammi morte 4:33 L’Artemisia 10 Sinfonia 2:18 Nuria Rial 3, 4, 6, 8, 12, 14, 15 L’Eliogabalo Hana Blažíková 1, 5, 7, 9, 11 4 Christina Pluhar L’Armonia (Prologo) Restino imbalsamate from L’Ormindo, 1644 from La Calisto, 1651 Libretto by Giovanni Faustini Libretto by Giovanni Faustini 5 Arr. Christina Pluhar Arr. -
University Micrdfilms International 300 N
INFORMATION TO USERS This reproduction was made from a copy of a document sent to us for microfilming. While the most advanced technology has been used to photograph and reproduce this document, the quality of the reproduction is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help clarify markings or notations which may appear on this reproduction. 1 . The sign or “target” for pages apparently lacking from the document photographed is “Missing Page(s)”. If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure complete continuity. 2 . When an image on the film is obliterated with a round black mark, it is an indication of either blurred copy because of movement during exposure, duplicate copy, or copyrighted materials that should not have been filmed. For blurred pages, a good image of the page can be found in the adjacent frame. If copyrighted materials were deleted, a target note will appear listing the pages in the adjacent frame. 3. When a map, drawing or chart, etc., is part of the material being photographed, a definite method of “sectioning” the material has been followed. It is customary to begin filming at the upper left hand comer of a large sheet and to continue from left to right in equal sections with small overlaps. If necessary, sectioning is continued again—beginning below the first row and continuing on until complete. -
Sacred Scripture / Sacred Space
Sacred Scripture / Sacred Space Unauthenticated Download Date | 2/4/19 9:22 AM Materiale Textkulturen Schriftenreihe des Sonderforschungsbereichs 933 Herausgegeben von Ludger Lieb Wissenschaftlicher Beirat: Jan Christian Gertz, Markus Hilgert, Hanna Liss, Bernd Schneidmüller, Melanie Trede und Christian Witschel Band 23 Unauthenticated Download Date | 2/4/19 9:22 AM Sacred Scripture / Sacred Space The Interlacing of Real Places and Conceptual Spaces in Medieval Art and Architecture Edited by Tobias Frese, Wilfried E. Keil and Kristina Krüger Unauthenticated Download Date | 2/4/19 9:22 AM ISBN 978-3-11-062913-2 e-ISBN (PDF) 978-3-11-062915-6 e-ISBN (EPUB) 978-3-11-063347-4 ISSN 2198-6932 This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 License. For details go to http://creativecommons.org/licenses/by-nc-nd/4.0/. Library of Congress Control Number: 2018964345 Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available on the Internet at http://dnb.dnb.de. © 2019 Frese et al., published by Walter de Gruyter GmbH, Berlin/Boston This book is published in open access at www.degruyter.com. Cover Images: Florenz, San Pancrazio, Capella Rucellai, facade. Photo: Miguel Hermoso Cuesta, Wikimedia Commons (CC BY-SA 4.0). Typesetting: Sonderforschungsbereich 933 (Nicolai Schmitt), Heidelberg Printing and binding: Hubert & Co. GmbH & Co. KG, Göttingen www.degruyter.com Unauthenticated Download Date | 2/4/19 9:22 AM Contents Acknowledgements V Tobias Frese, Kristina Krüger Sacred Scripture / Sacred Space The Interlacing of Real Places and Conceptual Spaces in Medieval Art and Architecture. -
Paul F. Grendler, 1969 Sansovino and Italian Popular History
www.anacyclosis.org THE INSTITUTE FOR ANACYCLOSIS EXCERPT FROM FRANCESCO SANSOVINO AND ITALIAN POPULAR HISTORY BY PAUL F. GRENDLER 1969 A.D. Note: This text, containing a brief sketch of Polybius’ Anacyclosis, describes Francesco Sansovino’s efforts to popularize Anacyclosis during the Italian Renaissance. Footnotes have been omitted. II. The popularizers occasionally pondered man and history. They wrote no formal treatises but they wrote many prefaces and dedicatory letters in which it was standard procedure to discuss briefly the purpose of a work and to reflect on man and history. … Influenced by the events of his century and the current discussions of man and history, Sansovino assigned limits to man’s participation in shaping his world. He believed that man could shape his political destiny in day-to-day affairs but that politics was in the long run subject to an inevitable cycle. Sansovino viewed the growth and decline of states in terms of Polybius’ anacyclosis. The initially good government of one man, monarchy, became a tyranny. Then the state was renewed by the efforts of a few good men who made it an aristocracy. This in turn decayed into oligarchy and was replaced by democracy which became mob rule which, in turn was supplanted by one-man rule as the cycle continued. Sansovino noted that worthy men attempted unsuccessfully to establish principates or republics to endure a thousand years. The reasons for failure were twofold. By their nature all human institutions carried within themselves the seeds of corruption which were human excesses and disorders. Second, one could not provide for everything. -
Reinhold C. Mueller
Reinhold C. Mueller Aspects of Venetian Sovereignty in Medieval and Renaissance Dalmatia [A stampa in Quattrocento Adriatico , Fifteenth Century Art of the Adriatic Rim , Papers from a colloquium, Florence, 1994, edited by Charles Dempsey (Villa Spelman Colloquia Series, 5), Bologna, Nuova Alfa Editoriale, 1996, pp. 29-56 – Distribuito in formato digitale da “Reti Medievali”] The reader is forewarned that this paper, which maintains the character of the original oral presentation, makes no attempt at covering completely such a vast subject, on which there is an extensive bibliography - much of it in Serbo-Croatian, a language I do not know. My intent is simply to offer for discussion some little-exploited historical materials on well-known themes that exemplify contacts between the two coasts of the Adriatic Sea, especially - but not only - during the Quattrocento. Following an overview of the history of Venetian sovereignty in that part of the Stato da mar, attention will turn to aspects of politics and society, that is, to the political, financial and monetary administration of the subject territories and to the movement of people and peoples across the Adriatic. I. AN OVERVIEW OF HISTORY AND MYTH Venetian efforts at domination of the eastern Adriatic can be said to have begun in the year 1000, with the naval expedition commanded personally by doge Pietro II Orseolo, which put an end to the activity of pirates installed at the mouth of the Narenta River and first avowed control over the Adriatic as the “Gulf of Venice.” Lordship over the Adriatic was central to Venetian historiography and mythology over the centuries: from the supposed papal grant of lordship at the peace of 1177 with Barbarossa and the ceremony each Ascension day of the doge wedding the sea, to invocations of Jove and Neptune - all depicted as part of a political program in the redecoration of the Ducal Palace after the fire of 1577 As late as the eighteenth century, Tiepolo still represented Neptune and the sea as the source of Venice’s wealth, when that was already history. -
VENICE Grant Allen's Historical Guides
GR KS ^.At ENICE W VENICE Grant Allen's Historical Guides // is proposed to issue the Guides of this Series in the following order :— Paris, Florence, Cities of Belgium, Venice, Munich, Cities of North Italy (Milan, Verona, Padua, Bologna, Ravenna), Dresden (with Nuremberg, etc.), Rome (Pagan and Christian), Cities of Northern France (Rouen, Amiens, Blois, Tours, Orleans). The following arc now ready:— PARIS. FLORENCE. CITIES OF BELGIUM. VENICE. Fcap. 8vo, price 3s. 6d. each net. Bound in Green Cloth with rounded corners to slip into the pocket. THE TIMES.—" Good work in the way of showing students the right manner of approaching the history of a great city. These useful little volumes." THE SCOTSMAN "Those who travel for the sake of culture will be well catered for in Mr. Grant Allen's new series of historical guides. There are few more satisfactory books for a student who wishes to dig out the Paris of the past from the im- mense superincumbent mass of coffee-houses, kiosks, fashionable hotels, and other temples of civilisation, beneath which it is now submerged. Florence is more easily dug up, as you have only to go into the picture galleries, or into the churches or museums, whither Mr. Allen's^ guide accordingly conducts you, and tells you what to look at if you want to understand the art treasures of the city. The books, in a word, explain rather than describe. Such books are wanted nowadays. The more sober- minded among tourists will be grateful to him for the skill with which the new series promises to minister to their needs." GRANT RICHARDS 9 Henrietta St.