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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. -
The Abandonment of Butrint: from Venetian Enclave to Ottoman
dining in the sanctuary of demeter and kore 1 Hesperia The Journal of the American School of Classical Studies at Athens Volume 88 2019 Copyright © American School of Classical Studies at Athens, originally pub- lished in Hesperia 88 (2019), pp. 365–419. This offprint is supplied for per- sonal, non-commercial use only, and reflects the definitive electronic version of the article, found at <https://www.jstor.org/stable/10.2972/hesperia.88.2.0365>. hesperia Jennifer Sacher, Editor Editorial Advisory Board Carla M. Antonaccio, Duke University Effie F. Athanassopoulos, University of Nebraska-Lincoln Angelos Chaniotis, Institute for Advanced Study Jack L. Davis, University of Cincinnati A. A. Donohue, Bryn Mawr College Jan Driessen, Université Catholique de Louvain Marian H. Feldman, University of California, Berkeley Gloria Ferrari Pinney, Harvard University Thomas W. Gallant, University of California, San Diego Sharon E. J. Gerstel, University of California, Los Angeles Guy M. Hedreen, Williams College Carol C. Mattusch, George Mason University Alexander Mazarakis Ainian, University of Thessaly at Volos Lisa C. Nevett, University of Michigan John H. Oakley, The College of William and Mary Josiah Ober, Stanford University John K. Papadopoulos, University of California, Los Angeles Jeremy B. Rutter, Dartmouth College Monika Trümper, Freie Universität Berlin Hesperia is published quarterly by the American School of Classical Studies at Athens. Founded in 1932 to publish the work of the American School, the jour- nal now welcomes submissions -
“Safe from Destruction by Fire” Isabella Stewart Gardner’S Venetian Manuscripts
“Safe from Destruction by Fire” Isabella Stewart Gardner’s Venetian Manuscripts Anne- Marie Eze Houghton Library, Harvard University ver a decade ago the exhibition Gondola Days: Isabella Stewart Gardner and the Palazzo Barbaro Circle explored the rich Pan- OEuropean and American expatriate culture that fl ourished in Venice at the end of the nineteenth century and inspired Isabella Stewart Gardner (1840–1924) to create a museum in Boston as a temple to Venetian art and architecture (fi g. 1). On this occasion, attention was drawn for the fi rst time to the museum’s holdings of Venetian manuscripts, and it was observed that in her day Gardner had been the only prominent American collector of manuscripts to focus on Venice.1 The Isabella Stewart Gardner Museum’s collection of Venetian manuscripts comprises more than thirty items, spanning the fi eenth to eighteenth centuries. The collections can be divided into four broad categories: offi cial documents issued by the Doges; histories of the Most Serene Republic of Venice—called the “Sereni- ssima”—its government, and its patriciate; diplomas; and a statute book of 1 Helena Szépe, “Isabella Stewart Gardner’s Venetian Manuscripts,” in Gondola Days: Isa- bella Stewart Gardner and the Palazzo Barbaro Circle, ed. Elizabeth Anne McCauley, Alan Chong, Rosella Mamoli Zorzi, and Richard Lingner (Boston: Isabella Stewart Gardner Museum, 2004), 233–3⒌ 190 | Journal for Manuscript Studies Figure 1. Veronese Room, Isabella Stewart Gardner Museum, Boston. a lay con aternity.2 Most of the manuscripts contain complete and dated texts, are illuminated, and survive in their original bindings. The Gardner’s collection not only charts the evolution over three centuries of Venetian book production, but also provides a wealth of sources for the study of the history, portraiture, iconography, genealogy, and heraldry of the Republic of Venice. -
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. -
Summary for Gambello, Vittore, 1455/1460-1537 (NAM0437)
KRESS COLLECTION DIGITAL ARCHIVE Gambello, Vittore, 1455/1460-1537 IDENTIFIER NAM0437 NATIONALITY Venetian BIRTH DATE 1455 DEATH DATE 1537 EXTERNAL LINKS UNION LIST OF ARTIST NAMES RECORD http://vocab.getty.edu/page/ulan/500023226 VIRTUAL INTERNATIONAL AUTHORITY FILE RECORD http://viaf.org/viaf/65180005 12 RELATED ART OBJECTS Vittore Gambello "Augustus" (Self-Portrait) [obverse]; Male Figure and Winged Caduceus [reverse] Vittore Gambello A Lion Style of Vittore Gambello Agostino Barbarigo, 1420-1501, Doge of Venice 1486 [obverse]; Venetia on Throne [reverse] NATIONAL GALLERY OF ART, WASHINGTON, DC, GALLERY ARCHIVES Page 1 KRESS COLLECTION DIGITAL ARCHIVE Circle of Vittore Gambello Andrea Gritti, 1455-1538, Doge of Venice 1523 [obverse]; Venetia Holding Scales and Cornucopiae [reverse] Vittore Gambello Classical Subject: Male Figure Carrying a Stag [obverse]; Classical Subject: Flaming Tripod on Altar [reverse] Vittore Gambello Gentile Bellini, 1429-1507, Venetian Painter [obverse]; Incised Inscription [reverse] Vittore Gambello Giovanni Bellini, c. 1430-1516, Venetian Painter [obverse]; An Owl [reverse] Style of Vittore Gambello Giuliano II de' Medici, 1479-1516, Duc de Nemours 1515 [obverse]; Virtue and Fortune [reverse] NATIONAL GALLERY OF ART, WASHINGTON, DC, GALLERY ARCHIVES Page 2 KRESS COLLECTION DIGITAL ARCHIVE Style of Vittore Gambello Leonardo Loredano, 1436-1521, Doge of Venice 1501 [obverse]; Equity Holding Scales and Septre [reverse] Circle of Vittore Gambello Marco Barbarigo, c. 1413-1486, Doge of Venice 1485 [obverse]; Inscription in Wreath of Ivy [reverse] Vittore Gambello Self-Portrait [obverse]; Sacrificial Scene [reverse] Vittore Gambello Sixtus IV (Francesco della Rovere, 1414-1481), Pope 1471 [obverse]; The Pope in Audience [reverse] RECORD LINK https://kress.nga.gov/Detail/entities/NAM0437 NATIONAL GALLERY OF ART, WASHINGTON, DC, GALLERY ARCHIVES Page 3. -
“Talk” on Albanian Territories (1392–1402)
Doctoral Dissertation A Model to Decode Venetian Senate Deliberations: Pregadi “Talk” on Albanian Territories (1392–1402) By: Grabiela Rojas Molina Supervisors: Gerhard Jaritz and Katalin Szende Submitted to the Medieval Studies Department Central European University, Budapest In partial fulfillment of the requirements for the degree of Doctor of Philosophy in Medieval Studies, Budapest, Hungary 2020 CEU eTD Collection To my parents CEU eTD Collection Table of Contents Acknowledgments .................................................................................................................................. 1 List of Maps, Charts and Tables .......................................................................................................... 2 Introduction ............................................................................................................................................ 3 A Survey of the Scholarship ........................................................................................................................... 8 a) The Myth of Venice ........................................................................................................................... 8 b) The Humanistic Outlook .................................................................................................................. 11 c) Chronicles, Histories and Diaries ..................................................................................................... 14 d) Albania as a Field of Study ............................................................................................................. -
{DOWNLOAD} Venice, a Maritime Republic Pdf Free Download
VENICE, A MARITIME REPUBLIC PDF, EPUB, EBOOK Frederic Chapin Lane | 528 pages | 01 Dec 1973 | JOHNS HOPKINS UNIVERSITY PRESS | 9780801814600 | English | Baltimore, MD, United States Republic of Venice | Account Options Sign in. Try the new Google Books. Check out the new look and enjoy easier access to your favorite features. Try it now. No thanks. Get print book. JHU Press Amazon. Shop for Books on Google Play Browse the world's largest eBookstore and start reading today on the web, tablet, phone, or ereader. Venice, A Maritime Republic. Frederic Chapin Lane. JHU Press , - History - pages. The children's version of the 1 New York Times bestselling classic Seriously, Just Go to Sleep is the G-rated, child-friendly version of the book every parent has been talking about. Of course, kids are well aware of how difficult they can be at bedtime. With Mansbach's new child-appropriate narrative, kids will recognize their tactics, giggle at their own mischievousness, and empathize with their parents' struggles--a perspective most children's books don't capture. Most importantly, it provides a common ground for children and their parents to talk about one of their most stressful daily rituals. This is a fixed-format ebook, which preserves the design and layout of the original print book. User Review - Flag as inappropriate Seamen. Selected pages Title Page. Table of Contents. Contents The Beginnings. A Community Center by Canaletto. Venice about woodcut by Vavassore. Victories BeyondtheSea and in Romania. Illuminated Initial from the Maritime Code of Doge Leonardo Loredan by Giovanni Bellini. The Condottiere in front of San Marco. -
Gli Orizzonti Mediterranei Della Famiglia Veneziana Loredan, Atti, Vol
S. BERTO[A, Gli orizzonti mediterranei della famiglia veneziana Loredan, Atti, vol. XLII, 2012, p. 537-569 537 GLI ORIZZONTI MEDITERRANEI DELLA FAMIGLIA VENEZIANA LOREDAN1 SLAVEN BERTO[A CDU: 929.52(450.341+497.5-3Istria)”11/19” Sveu~ili{te Jurja Dobrile u Puli, Sintesi Odjel za humanisti~ke znanosti Settembre 2012 Università Juraj Dobrila di Pola, Dipartimento di Scienze umanistiche Riassunto: Questa antica famiglia nobile veneziana, che ha le proprie origini nell’XI secolo, ha dato nel passato tutta una serie di personaggi celebri. Anche l’Accademia degli Incogniti, istituita nel Seicento, era detta Loredana, dal nome del suo fondatore. In numerose fonti e atti storici si possono trovare svariati dati su questa celebre famiglia, che ha svolto nel passato un ruolo estremamente importante in tutta l’area mediterranea. Abstract: In the past, this ancient noble Venetian family descending from the eleventh century had a series of famous personalities. Even the Accademia degli Incogniti established in the seventeenth century was called Loredana after the name of its founder. Numerous sources and historic acts reveal a plethora of information about this famous family which played an extremely important role in the entire Mediterranean. Parole chiave: Repubblica di Venezia, famiglia Loredan, Mediterraneo, Istria Key words: Republic of Venice, the Loredan family, Mediterranean, Istria 1.1. La famiglia Loredan – origini antiche La famiglia Loredan è di origini molto antiche e prestigiose. Oltre al ramo nobile veneziano (Loredan di Venezia), registrato per la prima volta nel XIII secolo, esisteva pure quello siciliano (Loredano di Sicilia)2.I Loredan veneziani erano originari della località di Bertinoro presso Cese- 1 Questo lavoro è stato realizzato come parte dei progetti scientifici e di ricerca “Istarsko dru{tvo XVI.-XIX. -
The Relations of the Republic Of
Aleksandra V. Chirkova, Daria A. Ageeva , Evgeny A. Khvalkov THE RELATIONS OF THE REPUBLIC OF VENICE AND THE MARQUISES D’ESTE IN THE MID-FOURTEENTH TO MID-FIFTEENTH CENTURY BASED ON THE LETTERE DUCALI FROM THE WESTERN EUROPEAN SECTION OF THE HISTORICAL ARCHIVE OF THE SAINT PETERSBURG INSTITUTE OF HISTORY OF THE RUSSIAN ACADEMY OF SCIENCES BASIC RESEARCH PROGRAM WORKING PAPERS SERIES: HUMANITIES WP BRP 174/HUM/2018 This Working Paper is an output of a research project implemented at the National Research University Higher School of Economics (HSE). Any opinions or claims contained in this Working Paper do not necessarily reflect the views of HSE Aleksandra V. Chirkova1,2 Daria A. Ageeva3, Evgeny A. Khvalkov45 THE RELATIONS OF THE REPUBLIC OF VENICE AND THE MARQUISES D’ESTE IN THE MID-FOURTEENTH TO MID- FIFTEENTH CENTURY BASED ON THE LETTERE DUCALI FROM THE WESTERN EUROPEAN SECTION OF THE HISTORICAL ARCHIVE OF THE SAINT PETERSBURG INSTITUTE OF HISTORY OF THE RUSSIAN ACADEMY OF SCIENCES6 The present study is devoted to the research into a set of the Venetian lettere ducali to the Marquises d’Este of the fourteenth and fifteenth centuries collected by N.P. Likhachev (1862- 1936), Member of the Academy of Sciences of the USSR, stored in the Western European section of the Saint Petersburg Institute of History of the Russian Academy of Sciences and the preparation of their full-text critical publication. The lettere ducali are an excellent source to study the Serenissima and its continental and overseas domains. The source material of the Venetian lettere ducali have long and not without reason been considered and actively investigated by researchers as one of the most important sources on the economic, social, political, legal, environmental, cultural, and ethnic history of Venice. -
Le Vite Dei Dogi, 1423-1474 II
MARIN SANUDO IL GIOVANE LE VITE DEI DOGI 1423-1474 II TOMO 1457-1474 Introduzione, edizione e note a cura di ANGELA CARACCIOLO ARICÒ Trascrizione a cura di CHIARA FRISON Venezia 2004 Direttore della collana FERIGO FOSCARI Venezia La Malcontenta 2004 Tutti i diritti riservati INDICE DEL II TOMO Doge Pasquale Malipiero 3 Doge Cristoforo Moro 32 Doge Nicolò Tron 154 Doge Nicolò Marcello 191 Bibliografia del I e del II tomo – Principali studi e strumenti utilizzati 283 – Fonti edite 288 – Fonti manoscritte 290 Indice dei nomi del I tomo (Serena de Pont) 291 Indice dei nomi del II tomo (Elena Bocchia) 345 “VENETIAE GENIO URBIS” perché non tutto vada perduto A Chiara e ai miei studenti MARIN SANUDO IL GIOVANE LE VITE DEI DOGI 1423-1474 II TOMO 1457-1474 |f. 76v|a) [1457] Pasqualb) Malipiero Doxe fo creado per l’absolucion1 fat- ta nel Conseio d’i X con la Zonta di Francesco Foscari Doxe, non potendo più il Duca exercitar per la vechieza.2 A dì 23 ottubrio et a dì 24 fo chiamado Gran Conseio per dar principio alla elecione, et forno a Conseio zentilomeni circha nu- mero 800; et prima fo fatti li cinque Coretori qualli fo: sier Pollo Tron Procurator sier Christoffollo Moro Procurator questi veneno dopij et non sier Orsato Zustignian Procurator funo balotadi sier Michel Venier Procurator sier Nicolò Bernardo Questi Coretori il zorno drio – a dì 25 – meseno le sue parti,c) qual fo prese, zoè: sopra il terzo capittollo, che il Doxe sia obligatto far justicia, sia azonto: etiam alli nostri suditi; sopra il 333 che il Doxe non apri letere dil Papa, -
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. -
Italiano, Sec
Portego ITA Museo di Palazzo Mocenigo Questo grande salone centrale, da cui si dipartono le altre stanze, è tipico della struttura dei palazzi veneziani ed era destinato alle feste e alla vita di rappresentanza. I dipinti qui esposti sono perlopiù ritratti dei Mocenigo o raccontano vicende che li riguardano. Quattro dei grandi ritratti alle pareti (1,2,4,5) sono di sovrani presso i quali i Mocenigo erano ambasciatori, mentre i sette dogi appartenenti alla famiglia sono in parte ritratti sulle sovrapporte (6,8), e in parte nel lungo fregio sotto il soffitto (18,28.38,40,41) - realizzato su modello di quello della sala del Maggior Consiglio in Palazzo Ducale - assieme ad altri numerosi membri illustri del casato. Le pareti sono decorate con motivi architettonici realizzati nel 1787 da Agostino Mengozzi Colonna. Il percorso di visita al museo inizia dalla sala che si apre alla nostra destra, guardando il monumentale marmoreo portale d’ingresso. Didascalie sul retro In nero se di opere appartenenti al palazzo In grigio se di opere provenienti da altre collezioni >>> Si prega di restituire questa scheda Portego ITA Pareti 1. Ambito francese ? , sec. XVII Ritratto del re Luigi XIV (?) olio su tela, 1670c. 29 30 9 Sala 7 2. Maniera di Peter Lely, sec. XVII 10 Sala 5 Ritratto del re Carlo II Stuart 28 olio su tela, 1651c. 31 3. Ambito veneto, sec. XVII 27 2 Ritratto del procuratore Alvise Mocenigo 32 olio su tela, 1621c. 26 3 4. Ambito fiammingo ? , sec. XVII 33 Ritratto dell’imperatore Leopoldo I d’Asburgo 11 Sala 6 olio su tela, 1658c.