“Authentica Habita” (1154-1155) [Repetita Commentatio Super
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
Tommaso Duranti Tra Mulini E Canali
Tommaso Duranti Tra mulini e canali. L’azienda agricola di Ponte Poledrano da Giovanni II Bentivoglio a Carlo Alberto Pizzardi [A stampa in Il Castello di Bentivoglio. Storie di terre, di svaghi, di pane tra Medioevo e Novecento, a cura di A. L. Trombetti Budriesi, Firenze 2006, pp. 143-163 © dell’autore – Distribuito in formato digitale da “Reti Medievali”] Il castello o meglio la domus detta el Bentivoglio, costruita per essere luogo di svaghi e di delizie e segno della posizione e del prestigio raggiunti dal suo proprietario, ha avuto, sin dall’edificazione, anche un altro ruolo, che l’ha caratterizzata nel lungo periodo, diventando, in seguito alla cacciata dei Bentivoglio da Bologna, funzione pressoché unica, che ne ha permesso, tra vicende alterne, la sopravvivenza nel corso di quasi cinque secoli: è stata, ed è rimasta, il centro di una importante e redditizia possessione agricola, dotata di macchine mosse dalla forza dell’acqua. Il percorso che, dalla seconda metà del Quattrocento, ha portato la tenuta di Bentivoglio, tra XIX e XX secolo, con l’ultimo proprietario, il marchese Carlo Alberto Pizzardi, a essere una delle più avanzate aziende agricole italiane, segue, tra gli alti e bassi della produzione agricola della zona e squarci di informazione alternati a silenzi della documentazione, un filo che si dipana attraverso un territorio che, nei secoli, ha mantenuto analoghe caratteristiche, pure attraverso successivi interventi. La famiglia Bentivoglio era entrata in possesso di terre situate a S. Maria in Duno e a Ponte Poledrano, con gli immobili connessi, tra cui i mulini sul canale Navile, nel 1441, quando Niccolò Piccinino, luogotenente generale dei Visconti, donò ad Annibale Bentivoglio, padre di Giovanni II, i beni confiscati alla famiglia Canetoli, come risarcimento per i danni subiti dalla famiglia, in particolare da Antongaleazzo, nella lotta contro la fazione dei Canetoli, che aveva provocato gravi tensioni e scontri a Bologna tra il 1428 e il 14411. -
Marescotti Cristina, * 03
Nikolai Wandruszka: Un viaggio nel passato europeo – gli antenati del Marchese Antonio Amorini Bolognini (1767-1845) e sua moglie, la Contessa Marianna Ranuzzi (1771-1848) 9.8.2012 (22.4.2013, 9.2.2014, 2016, 16.3.2018, 31.3.2018, 4.5.2018), 26.4.2020 MARESCOTTI alias CALVI (I) incl. FORMALIARI detto ANZI aus Bergamo, und da LETTI XIII.487 Marescotti Cristina, * 3.4.1614 Bologna, ~ 5.4.1614 B., S. Martino delle Croce, oo Andrea Ghislieri IX.974 Marescotti Agesilao, * 1577, + incidente, Montefiascone 1.8.1618, # nel duomo di Viterbo; oo Taddea, figlia di Egidio Foscarari Patrizio e Senatore di Bologna e di Elisabetta Albergati. 1593 capitano di cavalli nella guerra di Ferrara1, Capitano di cavalleria pontificio nel 1598, del Magistrato degli Anziani nel 1603 e 1606, alla morte della moglie prese i voti divenendo Cameriere d’Onore del Papa. Morì per una caduta di ritorno („alla calata di Montefiascone“) dal viaggio in Francia, dove aveva portato la berretta cardinalizia al futuro cardinale Gondi. Agesilao Marescotti trattò delle maschere in una opera edita a Roma nel 1607. Lo fece, sempre secondo l'articolista, con tale erudizione che ne seguirono diverse ristampe2; 1607 publiziert er bei eredi Giov. Rossi „Aviso sicuro contro il mal fondato aviso del Sig. Antonio Quirino Senator Veneto“. 1617 nach dem Tod seiner Frau als Dr. phil. und med. „si messe in Sacris“3 X.1948 Marescotti Tideo / Taddeo, * ca. 1520, + 19.6.1587, oo Lucrezia Marescotti, figlia di Ercole (ved. Marescotti III) Patrizio di Bologna, Cavaliere dell’Ordine di Santo Stefano dal 18..2.1562 4, del Magistrato degli Anziani nel 1552, 1560, 1574, 1577 e 1580; genannt 18.2.1562 als Taddeo di Ciro Marescotti5. -
Borso D'este, Venice, and Pope Paul II
I quaderni del m.æ.s. – XVIII / 2020 «Bon fiol di questo stado» Borso d’Este, Venice, and pope Paul II: explaining success in Renaissance Italian politics Richard M. Tristano Abstract: Despite Giuseppe Pardi’s judgment that Borso d’Este lacked the ability to connect single parts of statecraft into a stable foundation, this study suggests that Borso conducted a coherent and successful foreign policy of peace, heightened prestige, and greater freedom to dispose. As a result, he was an active participant in the Quattrocento state system (Grande Politico Quadro) solidified by the Peace of Lodi (1454), and one of the most successful rulers of a smaller principality among stronger competitive states. He conducted his foreign policy based on four foundational principles. The first was stability. Borso anchored his statecraft by aligning Ferrara with Venice and the papacy. The second was display or the politics of splendor. The third was development of stored knowledge, based on the reputation and antiquity of Estense rule, both worldly and religious. The fourth was the politics of personality, based on Borso’s affability, popularity, and other virtues. The culmination of Borso’s successful statecraft was his investiture as Duke of Ferrara by Pope Paul II. His success contrasted with the disaster of the War of Ferrara, when Ercole I abandoned Borso’s formula for rule. Ultimately, the memory of Borso’s successful reputation was preserved for more than a century. Borso d’Este; Ferrara; Foreign policy; Venice; Pope Paul II ISSN 2533-2325 doi: 10.6092/issn.2533-2325/11827 I quaderni del m.æ.s. -
11 the Ciompi Revolt of 1378
The Ciompi Revolt of 1378: Socio-Political Constraints and Economic Demands of Workers in Renaissance Florence Alex Kitchel I. Introduction In June of 1378, political tensions between the Parte Guelpha (supporters of the Papacy) and the Ghibellines (supporters of the Holy Roman Emperor) were on the rise in Italy. These tensions stemmed from the Parte Guelpha’s use of proscriptions (either a death sentence or banishment/exile) and admonitions (denying one’s eligibility for magisterial office) to rid Ghibellines (and whomever else they wanted for whatever reasons) from participation in the government. However, the Guelphs had been unable to prevent their Ghibelline adversary, Salvestro de’ Medici, from obtaining the position of Gonfaloniere (“Standard-Bearer of Justice”), the most powerful position in the commune. By proposing an ultimately unsuccessful renewal of the anti-magnate Law of Ordinances, he was able to win the support of the popolo minuto (“little people”), who, at his bidding, ran around the city, burning and looting the houses of the Guelphs. By targeting specific families and also by allying themselves with the minor guilds, these “working poor” hoped to force negotiations for socio-economic and political reform upon the major-guildsmen. Instead, however, this forced the creation of a balìa (an oligarchic ruling committee of patricians), charged with suppressing the rioting throughout the city. With the city still high-strung, yet more rioting broke out in the following month. The few days before July 21, 1378 were shrouded in conspiracy and plotting. Fearing that the popolo minuto were holding secret meetings all throughout the city, the government arrested some of their leaders, and, under torture, these “little people” confessed to plans of creating three new guilds and eliminating forced loan policies. -
Cna85b2317313.Pdf
THE PAINTERS OF THE SCHOOL OF FERRARA BY EDMUND G. .GARDNER, M.A. AUTHOR OF "DUKES AND POETS IN FERRARA" "SAINT CATHERINE OF SIENA" ETC LONDON : DUCKWORTH AND CO. NEW YORK : CHARLES SCRIBNER'S SONS I DEDICATE THIS BOOK TO FRANK ROOKE LEY PREFACE Itf the following pages I have attempted to give a brief account of the famous school of painting that originated in Ferrara about the middle of the fifteenth century, and thence not only extended its influence to the other cities that owned the sway of the House of Este, but spread over all Emilia and Romagna, produced Correggio in Parma, and even shared in the making of Raphael at Urbino. Correggio himself is not included : he is too great a figure in Italian art to be treated as merely the member of a local school ; and he has already been the subject of a separate monograph in this series. The classical volumes of Girolamo Baruffaldi are still indispensable to the student of the artistic history of Ferrara. It was, however, Morelli who first revealed the importance and significance of the Perrarese school in the evolution of Italian art ; and, although a few of his conclusions and conjectures have to be abandoned or modified in the light of later researches and dis- coveries, his work must ever remain our starting-point. vii viii PREFACE The indefatigable researches of Signor Adolfo Venturi have covered almost every phase of the subject, and it would be impossible for any writer now treating of Perrarese painting to overstate the debt that he must inevitably owe to him. -
Gender Dynamics in Renaissance Florence Mary D
Early Modern Women: An Interdisciplinary Journal Vol. 11, No. 1 • Fall 2016 The Cloister and the Square: Gender Dynamics in Renaissance Florence Mary D. Garrard eminist scholars have effectively unmasked the misogynist messages of the Fstatues that occupy and patrol the main public square of Florence — most conspicuously, Benvenuto Cellini’s Perseus Slaying Medusa and Giovanni da Bologna’s Rape of a Sabine Woman (Figs. 1, 20). In groundbreaking essays on those statues, Yael Even and Margaret Carroll brought to light the absolutist patriarchal control that was expressed through images of sexual violence.1 The purpose of art, in this way of thinking, was to bolster power by demonstrating its effect. Discussing Cellini’s brutal representation of the decapitated Medusa, Even connected the artist’s gratuitous inclusion of the dismembered body with his psychosexual concerns, and the display of Medusa’s gory head with a terrifying female archetype that is now seen to be under masculine control. Indeed, Cellini’s need to restage the patriarchal execution might be said to express a subconscious response to threat from the female, which he met through psychological reversal, by converting the dangerous female chimera into a feminine victim.2 1 Yael Even, “The Loggia dei Lanzi: A Showcase of Female Subjugation,” and Margaret D. Carroll, “The Erotics of Absolutism: Rubens and the Mystification of Sexual Violence,” The Expanding Discourse: Feminism and Art History, ed. Norma Broude and Mary D. Garrard (New York: HarperCollins, 1992), 127–37, 139–59; and Geraldine A. Johnson, “Idol or Ideal? The Power and Potency of Female Public Sculpture,” Picturing Women in Renaissance and Baroque Italy, ed. -
Decline of the Florentine Republic from the Invasion of Henry VII to the Dictatorship of Walter of Brienne Marvin B
Journal of the Arkansas Academy of Science Volume 6 Article 21 1953 Decline of the Florentine Republic from the Invasion of Henry VII to the Dictatorship of Walter of Brienne Marvin B. Becker University of Arkansas, Fayetteville Follow this and additional works at: http://scholarworks.uark.edu/jaas Part of the European History Commons Recommended Citation Becker, Marvin B. (1953) "Decline of the Florentine Republic from the Invasion of Henry VII to the Dictatorship of Walter of Brienne," Journal of the Arkansas Academy of Science: Vol. 6 , Article 21. Available at: http://scholarworks.uark.edu/jaas/vol6/iss1/21 This article is available for use under the Creative Commons license: Attribution-NoDerivatives 4.0 International (CC BY-ND 4.0). Users are able to read, download, copy, print, distribute, search, link to the full texts of these articles, or use them for any other lawful purpose, without asking prior permission from the publisher or the author. This Article is brought to you for free and open access by ScholarWorks@UARK. It has been accepted for inclusion in Journal of the Arkansas Academy of Science by an authorized editor of ScholarWorks@UARK. For more information, please contact [email protected], [email protected]. Journal of the Arkansas Academy of Science, Vol. 6 [1953], Art. 21 THE DECLINE OF THE FLORENTINE REPUBLIC FROM THE INVASION OF HENRY VII TO THE DICTATORSHIP OF WALTER OF BRIENNE MARVIN BECKER University of Arkansas From the time of the invasion of Henry VII to the establishment of the dictatorship of Walter of Brienne (1311 to 1342), there was a significant change in the Florentine pattern of political organization. -
Medieval Mediterranean Influence in the Treasury of San Marco Claire
Circular Inspirations: Medieval Mediterranean Influence in the Treasury of San Marco Claire Rasmussen Thesis Submitted to the Department of Art For the Degree of Bachelor of Arts 2019 2 TABLE OF CONTENTS Page CHAPTER I. Introduction………………………...………………………………………….3 II. Myths……………………………………………………………………….....9 a. Historical Myths…………………………………………………………...9 b. Treasury Myths…………………………………………………………..28 III. Mediums and Materials………………………………………………………34 IV. Mergings……………………………………………………………………..38 a. Shared Taste……………………………………………………………...40 i. Global Networks…………………………………………………40 ii. Byzantine Influence……………………………………………...55 b. Unique Taste……………………………………………………………..60 V. Conclusion…………………………………………………………………...68 VI. Appendix………………………………………………………………….….73 VII. List of Figures………………………………………………………………..93 VIII. Works Cited…………………………………………………...……………104 3 I. Introduction In the Treasury of San Marco, there is an object of three parts (Figure 1). Its largest section piece of transparent crystal, carved into the shape of a grotto. Inside this temple is a metal figurine of Mary, her hands outstretched. At the bottom, the crystal grotto is fixed to a Byzantine crown decorated with enamels. Each part originated from a dramatically different time and place. The crystal was either carved in Imperial Rome prior to the fourth century or in 9th or 10th century Cairo at the time of the Fatimid dynasty. The figure of Mary is from thirteenth century Venice, and the votive crown is Byzantine, made by craftsmen in the 8th or 9th century. The object resembles a Frankenstein’s monster of a sculpture, an amalgamation of pieces fused together that were meant to used apart. But to call it a Frankenstein would be to suggest that the object’s parts are wildly mismatched and clumsily sewn together, and is to dismiss the beauty of the crystal grotto, for each of its individual components is finely made: the crystal is intricately carved, the figure of Mary elegant, and the crown vivid and colorful. -
Bologna and Its Porticoes: a Thousand Years' Pursuit of the “Common
Quart 2020, 3 PL ISSN 1896-4133 [s. 87-104] Bologna and its porticoes: a thousand years’ pursuit of the “common good” Francesca Bocchi Università di Bologna Rosa Smurra Università di Bologna Bologna from late antiquity to the early Middle Ages It is well known that Bologna boasts a remarkable architectural feature that distinguishes it from other European cities and towns1: the long sequence of façade porticoes lining most of its streets, both in the historic city centre and in parts of the suburbs. To those born in Bologna or who have lived there for many years, this distinctive characteristic seems obvious, but it did not appear by chance nor over a short time. It was the result of a long process that has its origins almost a thousand years ago, when documentary evidence shows that certain dwellings were built with porticoes and, more interestingly, these porticoes, for both private and public use, were built not on public land but on private property. In order to understand the evolution of this complex property law system, it is necessary to outline the phases of urban development, determined by political, social and economic factors, adapting the urban fabric to various needs over a long period of time spanning from the crisis of late antiquity to the 13th and 14th centuries [Fig. 1]. The Roman city of Bononia was a well laid out settlement, extending over an area of about 40 ha [Fig. 1A]. Cardines and decumani formed an orthogonal plan where archaeological research shows that the dwellings were built without porticoes2. The political and economic crisis affecting the Roman Empire from the 3rd century onwards reached both town and country: Bononia also felt it severely. -
La Famiglia Della Torre E La Sua Repentina
Luca Demontis Tra Comune e Signoria. L’ascesa al potere della famiglia della Torre a Milano e in “Lombardia” nel XIII secolo [A stampa in «Quaderni della Geradadda», 16 (aprile 2010), pp. 71-98 © dell’autore - Distribuito in formato digitale da “Reti Medievali”, www.retimedievali.it]. Il secolo XIII vede compiersi quella vivacissima espansione demografica ed economica, cominciata in Italia attorno al Mille, a cui aveva corrisposto sul piano politico-istituzionale una forma organizzativa assai singolare del potere dello stato cittadino, senza molti paralleli in Europa. Un’organizzazione singolare perché soltanto la città italiana, diversamente dal resto dell’Europa, era riuscita, con grande vitalità e robustezza, a sbarazzarsi di qualsiasi autorità superiore, perfino di quella imperiale, gestendo autonomamente la propria vita economica, sociale e politica, dando vita ad un’intensità amministrativa senza paragone e anche ad organismi territoriali relativamente vasti e compatti. La fase del comune popolare si sviluppa soprattutto nella seconda metà del Duecento e vede l’ascesa dei ceti popolari guidati da una famiglia aristocratica, i cui membri solitamente dispongono di una solida preparazione politica e giuridica. I componenti di queste famiglie mettono al servizio dei comuni la loro cultura politica, ricoprendo incarichi podestarili nell’Italia centro-settentrionale: l’affinamento di queste conoscenze da una parte, e una pars, quella popolare, alla ricerca di [72] nuovi diritti e di un leader capace di guidarla dall’altra, sono gli elementi che, combinati insieme, favoriscono l’ascesa al potere di una famiglia su tutte le altre1. Con l’affermazione di una singola famiglia la via verso la signoria era aperta. -
Profiling Women in Sixteenth-Century Italian
BEAUTY, POWER, PROPAGANDA, AND CELEBRATION: PROFILING WOMEN IN SIXTEENTH-CENTURY ITALIAN COMMEMORATIVE MEDALS by CHRISTINE CHIORIAN WOLKEN Submitted in partial fulfillment of the requirements For the degree of Doctor of Philosophy Dissertation Advisor: Dr. Edward Olszewski Department of Art History CASE WESTERN RESERVE UNIVERISTY August, 2012 CASE WESTERN RESERVE UNIVERSITY SCHOOL OF GRADUATE STUDIES We hereby approve the thesis/dissertation of Christine Chiorian Wolken _______________________________________________________ Doctor of Philosophy Candidate for the __________________________________________ degree*. Edward J. Olszewski (signed) _________________________________________________________ (Chair of the Committee) Catherine Scallen __________________________________________________________________ Jon Seydl __________________________________________________________________ Holly Witchey __________________________________________________________________ April 2, 2012 (date)_______________________ *We also certify that written approval has been obtained for any proprietary material contained therein. 1 To my children, Sofia, Juliet, and Edward 2 Table of Contents List of Images ……………………………………………………………………..….4 Acknowledgements……………………………………………………………...…..12 Abstract……………………………………………………………………………...15 Introduction…………………………………………………………………………16 Chapter 1: Situating Sixteenth-Century Medals of Women: the history, production techniques and stylistic developments in the medal………...44 Chapter 2: Expressing the Link between Beauty and -
Conference Abstracts
Society for SeventeenthCentury Music A SOCIETY DEDICATED TO THE STUDY AND PERFORMANCE OF 17THCENTURY MUSIC Seventh Annual Conference University of Virginia, Charlottesville April 8-11, 1999 ABSTRACTS OF PRESENTATIONS * Index of Presentations * Program and Abstracts * Program Committee Index of Presentations * Gregory Barnett: "Chronicles of Musical Success and Failure in Late-Seventeenth-Century Italy" * Mauro P. Calcagno: "Signifying Nothing: Debates on the Power of Voice in Seventeenth-Century Venice" * Georgia Cowart: "Le Bourgeois gentilhomme, the Ornaments of Fête and the Utopia of Theater" * Michael R. Dodds: "Modal Representation in Baroque Church-Tone Cycles" * Don Fader: "Sébastien de Brossard as Music Historian: a Modernist View of the Querelle des anciens et des modernes in Music" * Kimberlyn Montford: "Religious Reform, Legislation, and Nuns’ Music in Early Modern Rome" * Paologiovanni Maione: "Ò Giulia de Caro—from Whore to Impresario: On Cantarine and Theater in Naples in the Second Half of the Seventeenth Century" * Stephen R. Miller: "'Conflicting Signatures": Divergent Compositional Processes in Seventeenth-Century Imitative Textures" * Lois Rosow: "The Descending Tetrachord: An Emblem Expanded" * Sally Sanford and Paul Walker, w ith the ensemble Zephyrus: "Creating a Choral Sound for Music of the Prima and Seconda Pratica" * Catherine Gordon-Seifert: The Allemandes of Louis Couperin: Songs without Words" * Eleanor Selfridge-Field: The Rites of Autumn, Winter, and Spring: Decoding the Calendar of Venetian Opera" * Edmond Strainchamps: "The Sacred Music of Marco Da Gagliano" Conference Program, April 1999 (University of Virginia) FRIDAY MORNING NORTH ITALIAN MUSIC Margaret Murata, chair Gregory Barnett, "Chronicles of Musical Success and Failure in Late-Seventeenth-Century Italy" Apart from the music that we study, we know little of most seventeenth-century musicians.