Catalogue 73 2018 Final Complete.Compressed

Total Page:16

File Type:pdf, Size:1020Kb

Catalogue 73 2018 Final Complete.Compressed Sokol Books Ltd Catalogue 73 SOKOL BOOKS LTD Specialists in rare and early books & manuscripts CATALOGUE LXXIII Correspondence address: POB 2409 London W1A 2SH Visit our shop at: 239a Fulham Road London SW3 6HY Tuesday to Saturday, 11am to 7pm [email protected] Tel: 0207 499 5571 or 0207 351 5119 WWW.sokol.co.uk Item 32 - GUAZZO @SokolBooks @SokolBooks @SokolBooks company/Sokol-books-ltd Sokol Books Ltd Catalogue 73 SPLENDID BINDING, SILK BROCADE PASTEDOWNS 1. ARIOSTO, Lodovico. Orlando furioso di Messer Lodovico Ariosto. (with) Cinque canti di un nuovo libro di M. Ludovico Ariosto. Venice, Aldo I Manuzio, 1545. £35,000 FIRST EDITION of second part, and first Aldine edition of first. 4to. 2 works in one, ff. 247 (i) 28, separate t-ps. Italic letter, occasional Roman. Printer’s device to t-p and last of each. Light browning and marginal spotting to first t-p, small clean loss to blank lower outer corner, upper margins slightly short. An excellent, clean copy in splendid C19 green crushed morocco by Roger Storr, stunning floral silk brocade eps, loose silk bookmark. Gilt to a triple- ruled panel design, outer border with gilt dentelles, roll of lilies, and suns to corners, centre panel bordered with blind-tooled tendril and attractive gilt Aldine device, gilt floral roll to outer and gilt palmettes to inner edges, a.e.g. Spine triple gilt ruled in four compartments, roll of palmettes at head and foot, design with single rule squares to first and last, gilt lettering, Ariosto’s poem, Orlando’s love for Angelica, as narrated by raised bands gilt. Bookplate of Syston Park with arms Boiardo, turns into ‘fury’; at her rejection, the paladin loses and monogram of Sir John Hayford Thorold to front his mind and abandons the battlefield. The very complex plot pastedown, bookplate of William Henry Smith to interweaves narratives of the paladins’ war against the Turks, recto and ex-libris of Pierre Berge ́ to fly, label ‘Bound Angelica’s flight from the furious Orlando and their by R[oger] Storr Grantham’ to rear pastedown. The adventures, and the love story between the Christian odd annotation in red crayon or black-brown ink. Bradamante and the Saracen Ruggiero. ‘Orlando furioso’ became an instant classic and was extensively reprinted in The splendid binding was made by Roger Storr of Grantham Italy and France in the C16. The first 40 cantos were for Sir John Hayford Thorold of Syston Park, Lincolnshire. published in 1516; the final version in 46 followed in 1532, Four similar bindings by Storr, dated post-1825, are recorded joined here by five further cantos. Animated by darker on Aldines bound for Sir John as nos. 50, 391 and 680 overtones, they narrate the destruction of Charlemagne’s (352, 404, 420 and 941 unsigned) in the Ahmanson- army by the sorceress Alcina. Allegedly given to Aldus’s press Murphy collection. Excellent copy of these scarce Aldine by his son, Virginio, the ‘Cinque Canti’ appeared for the editions together comprising for the first time Ludovico first time in this edition. Ariosto’s complete ‘Orlando furioso’. One of the greatest authors of the Italian Renaissance, Ariosto (1474-1533) Only Pierpont Morgan, Colorado and UCLA copies studied law and classics at Ferrara before entering the service recorded in the US. Renouard́ 133:13: ‘tres̀ bonne et of Cardinal Ippolito d’Este and later of Alfonso, Duke of l’une des plus rares parmi les editionś Aldines’; Brunet Ferrara. For his patrons, he fulfilled diplomatic and political I, 433: ‘bonne et fort rare’; Gamba 54. Not in BM functions, including emissary to Pope Julius II, whilst STC It. composing poems, comedies and satires mostly in the Italian vernacular. His masterpiece —‘Orlando furioso’—is a K116 chivalric poem in ottava rima intended as a continuation of Matteo Maria Boiardo’s ‘Orlando innamorato’ (1483). In 1 Sokol Books Ltd Catalogue 73 covers double blind and single gilt ruled to a panel FINE ETON BINDING design, stopped at the corners by a gilt floral tools, large block-stamped gilt corner-pieces to corners of 2. ARISTOTLE. Organum, hoc est, libri omnes ad inner panel, tree device, with ‘noli altum sapere’ logicam pertinentes. Frankfurt, apud heredes panel, gilt stamped to centres, “Charls: Somersett” Andreae VVecheli, Claudium Marnium, & gilt stamped within double gilt ruled box frame in Iohan. Aubrium, 1597. upper compartment, his motto “Mutare: Vel: Timere. Sperno”, within similar box frame, on lower £4,950 cover, edges blind ruled, spine double gilt ruled in compartments, with star fleuron gilt at centres, title Large 8vo. pp. 209-895, (i) only. O-KKk8. Greek gilt lettered direct above, remains of blue silk ties, and Roman letter in double column, side notes and head and tail of spine very expertly restored, joints a glosses in tiny Roman. Very numerous woodcut little rubbed. diagrams in text, small floriated woodcut initials, bookplate of Robert S Pirie on pastedown. Light age A fine and exceptionally rare example of a beautiful English yellowing. A fine copy, with good margins, (many binding by Vincent Williamson, binder of Eton College, deckle edges to lower margin), in contemporary thick bound for Charles Somerset. Williamson sometimes, as here, dark calf by Williamson, binder of Eton College, used a distinctive gilt tooled ‘Noli altum sapere’ based on the Estienne device, but adopted by the booksellers Bonham and John Norton and in some cases used by the binder of their books. According to Nixon, Williamson appears to be the first English binder to tool the title of a book on the spine (as here). He is probably the Vincent Williamson apprenticed to George Singleton, stationer, on March 7, 1603. Parish records of St. Giles Cripplegate show that he married Elizabeth Dawson in December 1584. He is referred to in the records of Eton College until 1621. “London was not the only town where gold- tooled bookbindings were made in the first half of the seventeenth century. Thanks to Sir Robert Birley’s researches, we know of bookbindings being produced at Eton, and we know the name of the binder, one Williamson. We even know that he was the first – but by no means the last – recorded English bookbinder who found at one stage of his career that alcohol improved his finishing, only to find that the improvement lasted but a short time... Nevertheless he continued to work until c, 1621, although already in 1608 Sir Dudley Carleton wrote from Eton to a friend in London: ..”We have here a goode workman, but he hath commonly his hands full of worke, and his head full of drinck, yet I had as leve venture my worke with this good fellow that is sometime sober, as with them that are always mad” He also bound several books for Sir Charles Somerset, when the later le Eton in 1604, which are very nearly the first English bindings to be lettered on the spine”. Nixon and Foot The History of Decorated Bookbinding in England, p. 52. See plate 42 for an example of a Williamson binding made for Charles Somerset and BL Shelfmark c128k3 for another, without the Noli Altum Sapere device. BM STC Ger. C17th p. 41. L2251 2 Sokol Books Ltd Catalogue 73 half and gilt hand-tooled keys surmounted by a pavilion, a heraldic symbol of the temporal power of the Church used by 3. BACCI, Andrea. De Thermis Andreae Baccii...libri papal families (Galbreath, ‘Papal Heraldry’, 31). In 1576, septem. Venice, apud Vincentium Valgrisium, Boncompagni was appointed to the patriciate of Venice, hence 1571. the coronet. This is the only extant instance with a centrepiece in which the coronet is outside the cartouche—probably an £6,500 early experiment leading to the more famous design. FIRST EDITION. Folio. pp. (lxxii) 509 (i). Roman Very good, clean copy of this ground-breaking study of letter with Italic, occasional Greek. Printer’s device to thermal waters and their medical uses. A proteǵ e ́ of Cardinal t-p, double-page woodcut plan of the Baths of Ascanio Colonna in Rome, Andrea Bacci (1524-1600) was Diocletian. T-p very slightly thumbed, two tiny an Italian doctor, philosopher and polyhedral author of works worm trails at foot of first and last couple of ll., light on natural science (studies of wines and elks) and medicine water stain to some upper outer corners, including (on medicaments, poisons and antidotes). A blend of these woodcut, very largely marginal. A very good, clean, interests, ‘De thermis’ was intended as a reference manual for large-margined copy in most handsome C16 Roman physicians and contributed to contemporary European debates crimson goatskin, covers expertly on thermal medicine, which elicited great interest among the laid onto modern morocco, French and Italian elites, including authors like blind-tooled to a triple-ruled Montaigne. Assisted by the work of panel design, second border ancient, medieval and with gilt double fillet, contemporary authorities including interlinked circles, and demi- Galen, Bartolomeo Montagnana dragons to outer corners, and Gabriele Falloppio, Bacci central panel with arabesque discussed the nature of mineral cornerpieces and gilt waters (from salts or metals), their cartouche with arms of therapeutic forms (cold, warm, Giacomo Boncompagni scalding, filtered, distilled, etc.) surmounted by coronet, edges and modes of administration. He with diagonal dashes in blind, explained why, how, when, a.e.g. Spine in four where and which spas should be compartments, blind- tooled chosen, according to the bather’s double-ruled border and condition (from stomach ache to stamped demi-dragon to each, tumours and syphilis), the physical double raised bands, modern component and therapeutic power eps, green cloth ties. Armorial of waters.
Recommended publications
  • Lucrezia Vizzana's Componimenti
    “READING BETWEEN THE BRIDES”: LUCREZIA VIZZANA’S COMPONIMENTI MUSICALI IN TEXTUAL AND MUSICAL CONTEXT BY Copyright 2011 KATRINA MITCHELL Submitted to the graduate degree program in the School of Music and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy. _________________________________ Chairperson, Dr. Paul Laird _________________________________ Dr. Charles Freeman _________________________________ Dr. Thomas Heilke _________________________________ Dr. Deron McGee _________________________________ Dr. Roberta Freund Schwartz Date Defended: 9 June 2011 The Dissertation Committee for Katrina Mitchell certifies that this is the approved version of the following dissertation: “READING BETWEEN THE BRIDES”: LUCREZIA VIZZANA’S COMPONIMENTI MUSICALI IN TEXTUAL AND MUSICAL CONTEXT _________________________________ Chairperson, Dr. Paul Laird Date approved: 9 June 2011 ii ABSTRACT “Reading Between the Brides”: Lucrezia Vizzana’s Componimenti musicali in Textual and Musical Context There had never been a Bolognese nun known to have published her music when Lucrezia Vizzana’s Componimenti musicali was printed in 1623, nor has there been any since then. This set of twenty motets became a window into the musical world of cloistered nuns in the seventeenth century. Following the research of Craig Monson in Disembodied Voices: Music and Culture in an Early Modern Italian Convent (Berkeley: University of California Press, 1995), this project identifies similarities and differences present in Vizzana’s motets using a number of clarifying means not yet explored. Looking at each work in detail, we are able to surmise some favorite musical devices of Vizzana and how they fit in with other monodists of the day. This project fills a specific lacuna in that ten of the twenty motets are not known to be published in modern notation and are available here for the first time in that form.
    [Show full text]
  • Tesi GALVANI
    Università degli Studi di Ferrara DOTTORATO DI RICERCA IN Scienze e Tecnologie per l’Archeologia e i Beni Culturali CICLO XXII COORDINATORE Prof. Carlo Peretto La rappresentazione del potere nell’età di Borso d’Este: ”imprese” e simboli alla Corte di Ferrara Settore Scientifico Disciplinare L-ART/02 Dottorando Tutore Dott. Irene Galvani Prof. Ranieri Varese Anni 2007/2009 Corso di Dottorato in convenzione con 0 Indice Indice: p. 1 Introduzione: Arte e potere nel panorama ferrarese: la corte si rappresenta attraverso le “imprese” p. 5 Capitolo 1: Le “imprese” al servizio del potere: esempi dalla tradizione estense p. 8 1.1: Le divise araldiche dall’antichità al ‘500: espressioni di un potere individuale p. 8 1.2: “Imprese” e divise alla corte di Ferrara: una breve introduzione p. 11 1.2.1: Leonello, il Marchese umanista: insegne d’amore e di cultura all’ombra della letteratura francese p. 12 1.2.2: Borso, il primo Duca e le sue insegne p. 18 1.2.3: Ercole I, un diamante e un codice scomparso p. 24 1.2.4: La granata del primo Alfonso p. 26 1.2.5: Ercole II ed Alfonso II: l’importanza del motto p. 27 Capitolo 2: La trattatistica sulle “imprese” in Italia dal XVI al XX secolo p. 29 2.1: I primordi. Da Bartolo da Sassoferrato a Paolo Giovio p. 29 2.2: Riflessioni post-gioviane: Girolamo Ruscelli, Bartolomeo Taegio, Luca Contile ed altri autori p. 35 2.3: Verso il ‘600. Torquato Tasso, Tommaso Garzoni e Andrea Chiocco p. 44 2.4: Ritrovata fortuna degli studi araldici nella prima metà del XX secolo p.
    [Show full text]
  • Observing Protest from a Place
    Artisans, Objects, and Everyday Life in Renaissance Italy Visual and Material Culture, 1300–1700 A forum for innovative research on the role of images and objects in the late me- dieval and early modern periods, Visual and Material Culture, 1300–1700 publishes monographs and essay collections that combine rigorous investigation with critical inquiry to present new narratives on a wide range of topics, from traditional arts to seemingly ordinary things. Recognizing the fluidity of images, objects, and ideas, this series fosters cross-cultural as well as multi-disciplinary exploration. We consider proposals from across the spectrum of analytic approaches and methodologies. Series Editor Dr. Allison Levy, an art historian, has written and/or edited three scholarly books, and she has been the recipient of numerous grants and awards, from the National Endowment for the Humanities, the American Association of University Women, the Getty Research Institute, the Dumbarton Oaks Research Library of Harvard Uni- versity, the Whiting Foundation and the Bogliasco Foundation, among others. www. allisonlevy.com. Artisans, Objects, and Everyday Life in Renaissance Italy The Material Culture of the Middling Class Paula Hohti Erichsen Amsterdam University Press The research leading to the completion of this book has received funding from the European Research Council (ERC) under the European Union’s Horizon 2020 research and innovation program (grant agreement No. 726195) Cover illustration: Il Sodoma, Scenes from the Life of Saint Benedict (detail), sixteenth century. Fresco, Abbey of Monte Oliveto Maggiore, south of Siena. Cover design: Coördesign, Leiden Lay-out: Newgen/Konvertus isbn 978 94 6372 262 9 e-isbn 978 90 4855 026 5 doi 10.5117/9789463722629 nur 654 © P.
    [Show full text]
  • Arte Actress Revolutionized the Early Modern Italian Stage
    How the COMMEDIA DELL’ARTE Actress Revolutionized the Early Modern Italian Stage Rosalind Kerr Summary: The first actresses who joined the previously all-male the commedia dell’Arte in the 1560s are credited with making it a commercial and artistic success. This article explores the evidence to document their multi-faceted contribution and influence on the birth of early modern European theatre. My article will use Tommaso Garzoni’s prophetic observations about certain early actresses to frame an inquiry into how their novel female presence changed the nature of theatrical representation to create a new more “realistic” medium. It will interpret the documents to reveal how they achieved celebrity status through the great personal appeal and technical mastery they exhibited. It was through this winning combination that they were empowered to create unforgettable female characters who became part of the western dramatic canon. In addition to showing how successfully the Italian actresses challenged masculine privilege in their famous transvestite performances, I will show how their iconic influence travelled not only across the continent but also to England, even though actresses remained excluded from the professional stage there. Inevitably their presence on the western stage provided examples of female characters negotiating their sex/gender identities and thus modeled such behaviours for women in the larger society. Tommaso Garzoni in his giant compendium, La piazza universale di tutte le professioni del mondo (1585), noted that a few outstanding actresses were the saving grace in lifting this dubious profession from its buffoonish roots to a respectable art form.1 The praise he lavished on four female performers: Isabella Andreini, Vincenza Armani, Lidia da Bagnacavallo, and Vittoria Piissimi singles out their great beauty and eloquence to explain how they captivated their audiences.
    [Show full text]
  • In Praise of the Politically Incorrect: the Bergamasca
    Min-Ad: Israel Studies in Musicology Online, Vol. 13, 2015-16 Esti Sheinberg- In Praise of the Politically Incorrect: the Bergamasca In Praise of the Politically Incorrect: the Bergamasca ESTI SHEINBERG The Seventeenth Century: Subtle Irony What is a Bergamasca?1 The Grove article defines it, first and foremost, as “a tune widely used for instrumental variations and contrapuntal fantasias in the late sixteenth century and the seventeenth.”2 In the Harvard Dictionary of Music, on the other hand, it is initially described as “a dance, dance song, or popular poem from the district of Bergamo in Northern Italy,”3 referring only later to late sixteenth-century compositions over a bass formula. In two papers concerning the cultural links and development of the Bergamasca, Judith Cohen discussed specific manifestations of the topic in art music, focusing mainly on works composed in the seventeenth century, where she convincingly detected subtle instances of musical irony. Looking at it as rooted in folk dance of the Bergamo area, Cohen describes its basic musical traits as follows: “Simplified, the melody consists of the following notes: dd-ee-dd-b/dd-cb-aa-g, while the bass corresponds to the most basic harmonic progression, I-IV-V-I, once repeated. Melody and bass, both in the major mode, are stated in 4/4 time, starting on the beat.”4 Indeed, most of the Bergamasca examples given in both dictionaries, and those presented by Cohen in her two papers, were composed in the seventeenth century, and almost all of them were based on the said tune.
    [Show full text]
  • Dirty Laundry: Caring for Clothing in Early Modern Italy
    Dirty Laundry: Caring for Clothing in Early Modern Italy By M ICHELE N ICOLE R OBINSON Personal linens were key components of early modern health regimens. When they were visibly clean and bright white, linen shirtsleeves, collars and cuffs communicated the cleanliness of the wearer’s body, as well as the state of their mind, morals and spirit. These functional garments and accessories could also be fashionable, especially when decorated with ruffles, lace and embroidery. Linens thus communicated hygienic, social, moral and financial information, which was generated by and reliant upon processes of laundry. This article explores some of these processes, especially as they pertain to linen shirts, cuffs and ruffs owned by non-elite people living in northern Italian cities. It brings archival, visual and material sources together with evidence generated through the re-creation of early modern processes of caring for clothing to show how ‘doing the laundry’ imparted linens with social and financial meanings and values. Keywords: early modern Italy, linen, laundry, shirts, collars, fashion, reconstruction INTRODUCTION When Oratio Franceschini, a Florentine innkeeper, died in 1617 he left behind his wife, children and a considerable amount of dirty laundry. The inventory drawn up after his death details the contents of the inn where he lived and Costume 55.1 (2021): 3–23 Edinburgh University Press DOI: 10.3366/cost.2021.0180 © Michele Nicole Robinson. The online version of this article is published as Open Access under the terms of the Creative Commons Attribution-NonCommercial Licence (http://www.creativecommons.org/licenses/by-nc/4.0/) which permits non- commercial use, distribution and reproduction provided the original work is cited.
    [Show full text]
  • Paroles D'exil Culture D'opposition Et Théorie Politique Au Xvi E Siècle
    LABORATOIRE ITALIEN Paroles d’exil Culture d’opposition et théorie politique e au xvi siècle 14-2014 Sommaire Paroles d’exil. Culture d’opposition et théorie politique au xvie siècle Sous la direction de Paola Cosentino, Lucie De Los Santos et Enrico Mattioda 5 Introduction Paola Cosentino, Lucie De Los Santos et Enrico Mattioda 13 The return of the Sienese exiles, 1530-1531 Christine Shaw 31 Una voce dall’esilio. Trame politiche, paure e speranze nelle nuove lettere di Lorenzino de’ Medici Stefano Dall’Aglio 53 Un républicain exilé à Venise : Donato Giannotti dans les lettres de « l’amico di Venezia » (1537-1539) Hélène Soldini 77 Transfughi e fuoriusciti nei De iure belli libri tres di Alberico Gentili (1598) Christian Zendri 93 Muratori et Castelvetro. État des études et lignes de recherche Manuela Bragagnolo 115 La figure de l’exilé et la représentation de l’humaniste : réflexions sur Hans Baron et Leonardo Bruni Laurent Baggioni Textes et documents 133 Alcune lettere inedite della legazione di Baldassarre Carducci alla corte di Francesco I (1529-1530) Alessandro Monti Lectures 155 Angela De Benedictis, Tumulti. Moltitudini ribelli in età moderna (Jean-Claude Zancarini) 158 Achille Olivieri e Massimo Galtarossa (a cura di), Retorica e tauma- turgia della mano nel lungo Rinascimento e l’influenza della “Univer- sitas patavina” (Manuela Bragagnolo) 161 Giuseppe Antonio Guazzelli, Raimondo Michetti e Francesco Scorza Barcellona (a cura di), Cesare Baronio tra santità e scrittura storica (Manuela Bragagnolo) 165 Michel Paoli (a cura di), con Élise Leclerc e Sophie Dutheillet de Lamothe, Les «Livres de la famille» d’Alberti.
    [Show full text]
  • Through the Eye of the Dragon: an Examination of the Artistic Patronage of Pope Gregory XIII (1572-1585)
    Through the eye of the Dragon: An Examination of the Artistic Patronage of Pope Gregory XIII (1572-1585). Vol.1 Title of Degree: PhD Date of Submission: August 2019 Name: Jacqueline Christine Carey I declare that this thesis has not been submitted as an exercise for a degree at this or any other University and it is entirely my own work. I agree to deposit this thesis in the University’s open access institutional repository or allow the library to do so on my behalf, subject to Irish Copyright Legislation and Trinity College Library conditions of use and acknowledgement. For Sadie and Lilly Summary This subject of this thesis is the artistic patronage of Pope Gregory XIII (1572-1585). It examines the contribution of the individual patron to his patronage with a view to providing a more intense reading of his artistic programmes. This approach is derived from the individual interests, influences, and ambitions of Gregory XIII. It contrasts with periodization approaches that employ ‘Counter Reformation’ ideas to interpret his patronage. This thesis uses archival materials, contemporaneous primary sources, modern specialist literature, and multi-disciplinary sources in combination with a visual and iconographic analysis of Gregory XIII’s artistic programmes to develop and understanding of its subject. Chapter one examines the efficacy and impact of employing a ‘Counter-Reformation’ approach to interpret Gregory XIII’s artistic patronage. It finds this approach to be too general, ill defined, and reductionist to provide an intense reading of his artistic programmes. Chapter two explores the antecedent influences that determined Gregory XIII’s approach to his papal patronage and an overview of this patronage.
    [Show full text]
  • The Secrets of Health; Views on Healing from the Everyday Level to the Printing Presses in Early Modern Venice 1500-1650
    The Pennsylvania State University The Graduate School College of the Liberal Arts THE SECRETS OF HEALTH; VIEWS ON HEALING FROM THE EVERYDAY LEVEL TO THE PRINTING PRESSES IN EARLY MODERN VENICE 1500-1650 A Dissertation in History by John Gordon Visconti @ 2009 John Gordon Visconti Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy August 2009 ii The dissertation of John Gordon Visconti was reviewed and approved* by the following: Ronnie Hsia Edwin Earle Sparks Professor of History Dissertation Co-Advisor Chair of Committee A. Gregg Roeber Professor of Early Modern History and Religious Studies Dissertation Co-Advisor Interim Head of the Department of History Tijana Krstic Assistant Professor of Early Modern History Dissertation Co-Advisor Melissa W. Wright Associate Professor in Geography and in the Program of Women's Studies *Signatures are on file in the Graduate School iii Abstract In early modern Venice, and, to a large extent, the entire European continent, medical practitioners from a wide variety of social levels shared many similar ideas and common assumptions about the body, health, sickness and healing. Ideas regarding moderation in lifestyle, physiological balance within the body, the need to physically eliminate badness from the sick body, and the significance of temperature, moisture and dryness, can be found in healing practices across the social spectrum. The idea that the human body and the heavenly cosmos were divinely linked and that good health depended upon a harmonious relationship with nature can be found at all different social levels of early modern thought. The main reason for these similarities is that ideas about such things, even at the most scholarly levels, were intuitively derived, intellectually plausible, and commonsensical, hence, they occurred to many different people.
    [Show full text]
  • Exegesis and Dissimulation in Visual Treatises
    Political Art of the Papacy: Visual Representations of the Donation of Constantine in the Early Modern Period by Silvia Tita A dissertation submitted in partial fulfillment on the requirements for the degree of Doctor of Philosophy (History of Art) in the University of Michigan 2013 Doctoral Committee: Professor Megan L. Holmes, Co-Chair Lecturer Thomas C. Willette, Co-Chair Professor Celeste A. Brusati Professor Louise K. Stein Associate Professor Achim Timmermann © Silvia Tita 2013 Acknowledgments The research period of this project brought me great intellectual joy. This would not have happened without the assistance of many professionals to whom I am much indebted. My deep gratitude to the staffs of the Biblioteca Apostolica Vaticana (with special thanks to Dott. Paolo Vian), the Archivio Segreto Vaticano, the Archivio di Stato Roma, the Biblioteca Angelica, the Biblioteca Casanatense, the Biblioteca Centrale di Roma, the Bibliotheca Hertziana, the Biblioteca di Storia dell'Arte et Archeologia, the Istituto Nazionale per la Grafica in Rome, the Biblioteca Marucelliana in Florence, Bibliothèque Nationale de France in Paris, the Departement des Arts Graphique and the Departement des Objets d'Art of the Louvre. I would also like to thank to the curators of the Kunstkammer Department of the Kunsthistorisches Museum in Vienna, especially to Dr. Konrad Schlegel who generously informed me on the file of the Constantine Cabinet. The project was born and completed as it is in Michigan. I would like to thank all members of my committee. Tom Willette deeply believed in the project and my ideas from the very beginning and offered great advice during our long conversations.
    [Show full text]
  • 03-Villa Spada-A Historical Note-Gearoid O'broin.Pdf
    Villa Spada — A Historical Note Gearóid Ó Broin As the Mother House in the period 1888-1895 and the place where the foundress, Mother Mary Ignatius OSF, died on 6 May 1894, the Villa Spada1 has a particular interest for members of the Missionary Franciscan Sisters of the Immaculate Conception. The story of the house is largely the story of two families, the Nobilis, who owned the property for about a hundred years and built the Casino, and the Spadas, who owned it for a further 200 years of its history. Although they came from noble families, who produced some scholars (Roberto Nobili S.J. and Virgilio Spada) and four Cardinals, none of the actual owners of the property left a deep mark on their times and none of them produced more than a footnote in the history books. Though not themselves great, they and their country house were often close to great people and great events. For ten days in 1849, Garibaldi and his red-shirts placed the Villa Spada at the centre of Italian history. Today's Villa on the Janiculum hill occupies an area of 7,300 square metres, but the original area was, at 30,366 square metres, more than four times as large. It stretched as far as Porta San Pancrazio-at 82 meters above sea level, the highest point in Rome within the city walls-and included much of what is now the American Academy. The name Janiculum is presumed to derive from the cult of Janus. Numa Pompilius, the second Roman king, built a temple to Janus and was buried on the Janiculum.
    [Show full text]
  • 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.
    [Show full text]