DOCSLIB.ORG

Women and Friendship in Early Modern Italy A

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Women and Friendship in Early Modern Italy A UNIVERSITY OF CALIFORNIA Los Angeles Ties that Bind: Women and Friendship in Early Modern Italy A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Italian by Adriana Laura Guarro 2020 Ó Copyright by Adriana Laura Guarro 2020 ABSTRACT OF THE DISSERTATION Ties that Bind: Women and Friendship in Early Modern Italy by Adriana Laura Guarro Doctor of Philosophy in Italian University of California, Los Angeles, 2020 Professor Andrea Moudarres, Co-Chair Professor Deanna Shemek, Co-Chair This dissertation is a comparative study of literary texts authored by sixteenth-century Italian women that treat female friendship across the genres of epistolary writing, lyric poetry, and heroic poetry. The primary works under consideration include the correspondence between Elisabetta Gonzaga (1471–1526) and Isabella d’Este (1474–1539), the lyric poems authored by women in Lodovico Domenichi’s anthology Rime diverse d’alcune nobilissime et virtuosissime donne (1559), and Margherita Sarrocchi’s heroic poem the Scanderbeide (1623). In addition to the long-standing classical and Christian notions of friendship that held strong in Renaissance Italy, the genres of epistolary writing, lyric poetry, and heroic poetry each had a distinct and mostly male literary tradition of friendship. The literary works in this study reveal the various ways early modern Italian women contributed to their respective genres, and moreover, to larger cultural discourses on friendship by inserting the female perspective and experience. Their writings not only illuminate their ii understandings and interpretations of female bonds but also demonstrate their use of writing to initiate and maintain friendships with other women. Chapter 1 looks at women’s epistolary prose through the correspondence between two princesses who were sisters-in-law, Elisabetta Gonzaga, the duchess of Urbino, and Isabella d’Este, marchesa of Mantua. Focusing primarily on letters exchanged during the beginning years of their friendship, I show how the two noblewomen relied on letter writing to express and reciprocate sentiments of intimacy. Chapter 2 on the Rime diverse d’alcune nobilissime et virtuosissime donne, the first all-female lyric anthology edited by Lodovico Domenichi, analyzes the friendship poems—sonnet exchanges between women to celebrate and form literary friendships and single-authored lyric that depict women’s bonds—present in the collection. Looking at these two types of lyric in tandem, I argue that Petrarchism authorized women’s expressions and representations of female friendship. Chapter 3 focuses on the heroic poem of Margherita Sarrocchi (1560–1617). Drawing from her classical and Renaissance predecessors who in their heroic poems depict and highlight friendships between male warriors, Sarrocchi revises the tradition by portraying and celebrating the bond that develops between two of the poem’s female protagonists, Rosmonda and Silveria. While much has been explored with respect to male friendship in Italian Renaissance literature, the topic of female friendship has remained mostly untouched. With this study, I therefore address this need to uncover women’s discourses on friendship by providing alternative perspectives and new insights on a subject that was traditionally understood in male terms. iii The dissertation of Adriana Laura Guarro is approved. Massimo Ciavolella Lucia Re Andrea Moudarres, Committee Co-Chair Deanna Shemek, Committee Co-Chair University of California, Los Angeles 2020 iv TABLE OF CONTENTS ACKNOWLEDGEMENTS ......................................................................................................................... vi CURRICULUM VITA .................................................................................................................................... ix INTRODUCTION .................................................................................................................................. 1 CHAPTER 1. THE FRIENDSHIP LETTERS OF ISABELLA D’ESTE AND ELISABETTA GONZAGA .............................................................................................................................................. 24 CHAPTER 2. WOMEN’S FRIENDSHIP IN THE RIME DIVERSE D’ALCUNE NOBILISSIME ET VIRTUOSISSIME DONNE .............................................................................. 86 CHAPTER 3. REVISING THE HEROIC FRIENDSHIP TRADITION: MARGHERTIA SARROCCHI AND LA SCANDERBEIDE ................................................................................... 153 CONCLUSION ...................................................................................................................................... 246 BIBLIOGRAPHY ......................................................................................................................................... 253 v ACKNOWLEDGEMENTS First, I would like to give special thanks to my two co-chairs. Since I began at UCLA, Andrea Moudarres has always been receptive of my ideas, encouraging me to steer my research towards my own interests. I have enjoyed his classes, especially the one on Renaissance epic, which first exposed me to the wonderful worlds encapsulated in these narrative poems. He also has provided me with constant support during this long six-year process, with consistent check-ins to ensure my professional growth and mental sanity. Deanna Shemek, with the many hats she wears, has provided me with invaluable help. While her editorial eye has caught various typos in my writing drafts and has helped me decode the handwriting found in various fifteenth- and sixteenth-century letters, she has also pushed me to think more critically about the texts I analyze and consider the larger cultural and historical questions at play. I have additionally enjoyed our many conversations over the years, whether they be about Isabella d’Este or the best place to grab a sandwich in Mantova. I would also like to thank my other two committee members. Massimo Ciavolella whose passion for Renaissance studies has always been inspiring; he has full faith in his students, helping us find the right resources to carry out our research or connect us with others to exchange intellectual interests. Lastly, but certainly not least, Lucia Re has been instrumental in my intellectual formation as a gender studies scholar. If it were not for her useful suggestions on seminar papers and encouragement to take the topic of female friendship further, I may have not come across my research project. This dissertation would not have been possible without the financial support given to me by the Department of Italian and Graduate Division at UCLA as well as many other centers on campus including the Study for the Center of Women, the Center for Medieval and Renaissance Studies, and the Center for European and Russian Studies. I also wish to express gratitude to Clara Stella who vi generously shared her research with me on Ludovico Domenichi, the administrative staff of Royce Hall (especially Kerry Allen), and to the librarians and archivists at the Archivio di Stato di Mantova who greeted me with joy every day I stepped foot into their wonderful facility. I have been fortunate to have a family who has unconditionally supported me. They have been especially present and understanding during these last six years. My parents-in-law (Manuel and Teresa), sisters-in-law (Amanda, Pam, and Paola), and brothers-in-law (Josh and Peter) have all brought me joy even when writing got tough; thanks for the love and support you have each given me. To my brothers Luca and Marcello, who both understand the highs and lows of graduate school, you remind me to stay grounded. I am thankful for our strong bond and the fact that no matter how many miles separate us, we always find a way to communicate with each other. Ever since I was little, my parents have instilled in me a love for books and an everlasting curiosity for different literatures, cultures, and languages that has ceased to desist. Papa’, thank you for rarely asking the question, “how is your dissertation going?” but for also helping me when asked. As a nuclear engineer with the ability to decipher difficult Petrarchan poems, you truly are one of those rare people who can cross the boundary between the sciences and humanities. Mom, it goes without saying that you have been my guiding light. Though you let me naturally find my own path, I do think that something must have clicked when I was a young girl traveling with you to academic conferences all over Europe. You’re the first person I go to for any kind of advice, professional or nonprofessional, and I certainly could not have finished this PhD without you. To my husband Manny, you have been my anchor. Whenever I struggled through a piece of writing, you were always there, patiently listening and offering feedback. Whenever I had a looming deadline, you fed me and made sure our freezer was stocked with ice cream. And finally, whenever I needed to hear it—which was often—you reminded me that I was going to finish. Your support and vii encouragement have carried me through these last years and this project is as much yours as it is mine. Finally, I would like to thank my friends who together make up my own community of women. From when we were young—Christine and Milena—to high school—Alex, Frankie, Justine, Keaton, and Victoria—to college—Danielle, Grace, Julie, Katie, and Nina—and to graduate school—Adele, Federica, Sarah, and Viola—you all have uplifted me in
Load more

Recommended publications
  • Hebraic Aspects of the Renaissance Brill’S Series in Jewish Studies
    Hebraic Aspects of the Renaissance Brill’s Series in Jewish Studies Series Editor David S. Katz VOLUME 45 Hebraic Aspects of the Renaissance Sources and Encounters Edited by Ilana Zinguer, Abraham Melamed, and Zur Shalev LEIDEN • BOSTON 2011 This book is printed on acid-free paper. Library of Congress Cataloging-in-Publication Data Hebraic aspects of the Renaissance : sources and encounters / edited by Ilana Zinguer, Abraham Melamed, and Zur Shalev. p. cm. — (Brill’s series in Jewish studies) This volume presents a selection of papers from the international conference Hebraic Aspects of the Renaissance (University of Haifa, May, 2009). Includes bibliographical references and index. ISBN 978-90-04-21255-8 (hardback : alk. paper) 1. Renaissance—Congresses. 2. Civilization, Modern—Jewish inÁuences—Congresses. 3. Cabala and Christianity—Italy—Congresses. 4. Christian Hebraists—Europe—History—Congresses. 5. Jewish philosophy—History—Congresses. 6. Christianity and other religions—Judaism—Congresses. 7. Judaism—Relations—Christianity—Congresses. I. Zinguer, Ilana. II. Melamed, Avraham. III. Shalev, Zur, 1967– CB367.H43 2011 940.2’1—dc23 2011023046 ISSN 0926-2261 ISBN 978 90 04 21255 8 Copyright 2011 by Koninklijke Brill NV, Leiden, The Netherlands. Koninklijke Brill NV incorporates the imprints Brill, Global Oriental, Hotei Publishing, IDC Publishers, Martinus Nijhoff Publishers and VSP. All rights reserved. No part of this publication may be reproduced, translated, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior written permission from the publisher. Authorization to photocopy items for internal or personal use is granted by Koninklijke Brill NV provided that the appropriate fees are paid directly to The Copyright Clearance Center, 222 Rosewood Drive, Suite 910, Danvers, MA 01923, USA.
    [Show full text]
  • Raphael's Portrait of Baldassare Castiglione (1514-16) in the Context of Il Cortegiano
    Virginia Commonwealth University VCU Scholars Compass Theses and Dissertations Graduate School 2005 Paragon/Paragone: Raphael's Portrait of Baldassare Castiglione (1514-16) in the Context of Il Cortegiano Margaret Ann Southwick Virginia Commonwealth University Follow this and additional works at: https://scholarscompass.vcu.edu/etd Part of the Arts and Humanities Commons © The Author Downloaded from https://scholarscompass.vcu.edu/etd/1547 This Thesis is brought to you for free and open access by the Graduate School at VCU Scholars Compass. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of VCU Scholars Compass. For more information, please contact [email protected]. O Margaret Ann Southwick 2005 All Rights Reserved PARAGONIPARAGONE: RAPHAEL'S PORTRAIT OF BALDASSARE CASTIGLIONE (1 5 14-16) IN THE CONTEXT OF IL CORTEGIANO A Thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts at Virginia Cornmonwealtli University. MARGARET ANN SOUTHWICK M.S.L.S., The Catholic University of America, 1974 B.A., Caldwell College, 1968 Director: Dr. Fredrika Jacobs Professor, Department of Art History Virginia Commonwealth University Richmond, Virginia December 2005 Acknowledgenients I would like to thank the faculty of the Department of Art History for their encouragement in pursuit of my dream, especially: Dr. Fredrika Jacobs, Director of my thesis, who helped to clarify both my thoughts and my writing; Dr. Michael Schreffler, my reader, in whose classroom I first learned to "do" art history; and, Dr. Eric Garberson, Director of Graduate Studies, who talked me out of writer's block and into action.
    [Show full text]
  • Archivio Gonzaga
    Archivio Gonzaga buste A-Z e 1-3720 (762, in copia del sec. XI-1866) cfr.: Pietro Torelli, L’Archivio Gonzaga di Mantova, Arnaldo Forni Editore, Ostiglia (MN) 1920, ristampa anastatica Mantova 1988, vol. I; Alessandro Luzio, La corrispondenza familiare, amministrativa e diplomatica dei Gonzaga, Verona 1922, ristampa anastatica Mantova 1993, vol. II. Archivio Gonzaga Nota introduttiva L’Archivio Gonzaga si può definire in sostanza come l’antico archivio «segreto» marchionale poi ducale, abbondantemente integrato con altra documentazione di data molto posteriore alla caduta della dinastia; esso è stato inserito, durante i lavori di ordinamento iniziati nel 1760, entro le ventidue classi A-Z fissate col piano di sistemazione variato il 13 agosto 1775. Come tale è poi rimasto, intatto nella sua struttura, a costituire il nucleo più prestigioso e il centro d’attrazione di sempre nuove carte di particolare importanza, sia dell’archivio governativo istituito nel 1786, sia soprattutto dell’archivio storico patrio pervenuto, come si è detto, all’Archivio di Stato di Mantova nel 1899. Un tipico archivio di corte e di cancelleria, insomma, con richiami di atti dalle più svariate magistrature sia comunali che principesche, ma ordinato per materia a posteriori, e quindi in modo tale da non rispecchiare né l’organizzazione della cancelleria, né tanto meno quella degli organi di governo nel loro complesso. Naturalmente esso comprende anche carte di data anteriore all’avvento dei Gonzaga al potere: in particolare quelle che i Gonzaga stessi avevano concentrato nella magna domus dopo la battaglia di piazza San Pietro del 16 agosto 1328, data comunemente accolta come termine della signoria bonacolsiana, e che l’incendio dell’archivio del comune nel 1413 ha reso poi particolarmente preziose.
    [Show full text]
  • BALDASSARRE CASTIGLIONE E RAFFAELLO VOLTI E MOMENTI DELLA VITA DI CORTE a Cura Di Vittorio Sgarbi E Elisabetta Soletti
    PROGETTO MOSTRA BALDASSARRE CASTIGLIONE E RAFFAELLO VOLTI E MOMENTI DELLA VITA DI CORTE a cura di Vittorio Sgarbi e Elisabetta Soletti Urbino, Palazzo Ducale, Sale del Castellare 18 luglio - 1 novembre 2020 Nell’anno raffaellesco, la città di Urbino intende celebrare con una importante mostra Bal- dassarre Castiglione, figura di primo piano nel clima culturale e nel quadro politico dei primi decenni del Cinquecento. Figlio di Cristoforo Castiglione e di Aloisia Gonzaga, egli nasce a Casatico (Mantova) nel 1478. Nel 1490 viene mandato dal padre a Milano dove si forma la sua ampia cultura classica e umanistica alla scuola di Giorgio Merula e di Demetrio Calcondila, e le lingue e le lettera- ture classiche, in particolare il greco, rimangono le predilette dallo scrittore come testimo- niano le lettere e l’inventario della sua ricca biblioteca. Dopo la morte del padre, 1499, rientra a Mantova dove inizia la sua carriera diplomatica al servizio di Francesco Gonzaga. Nel 1504 si trasferisce a Urbino presso la corte di Guidobaldo di Montefeltro. Durante gli anni urbinati compie numerose missioni, tra cui quella del 1506 in cui si reca in Inghilterra presso Enrico VII. Dal 1513 al 1516 in qualità di ambasciatore del duca di Urbino si stabilisce a Roma du- rante il papato di Leone X, e in quel periodo si rinsaldarono i legami di amicizia e di affinità intellettuale che lo univano ai protagonisti, artisti e letterati, della vita culturale di quegli anni fin dalla stagione urbinate, tra cui P. Bembo, L. di Canossa, A. Beazzano, Raffaello, B. Dovizi da Bibbiena, G. G.
    [Show full text]
  • The Reigning Woman As a Heroic Monarch? Maria Theresa Traced As Sovereign, Wife, and Mother
    The Reigning Woman as a Heroic Monarch? Maria Theresa Traced as Sovereign, Wife, and Mother Anne-Marie Metzger The Empress is one of the most beautiful princesses in Europe: despite all her vigils and puerperia, she has held up very well. When she was younger, she loved hunting, games, and theatre. Today, her only pleasures are governing her empire and the education of her children.1 This quotation from Carl Joseph, Baron of Fürst and Kupferberg, contains essen- tial aspects that can be found very often in representations of Maria Theresa: the dual nature of her representation, namely on one hand the monarch and on the other the mother. Maria Theresa consciously used – among others – these two elements to create her identity. It is interesting to see how contemporaries per- ceived these two contrary public personas and how these personas promoted the adoration of Maria Theresa as an “Austrian heroine”,2 as she was called in a eulo- gy for her husband, Francis Stephen.3 The impact was at any rate so strong that 1 All English translations, unless otherwise indicated, are my own. “Die Kaiserin ist eine der schönsten Prinzessinnen Europas: all ihren Nachtwachen und Wochenbetten zum Trotz hat sie sich sehr gut erhalten. Früher liebte sie Jagd, Spiel und Theater. Das einzige, woran sie jetzt Geschmack findet, ist die Regierung ihres Staates und die Erziehung ihrer Kinder.” Carl Joseph Maximilian Freiherr von Fürst und Kupferberg. Severin Perrig (Ed.), “Aus müt- terlicher Wohlmeinung”. Kaiserin Maria Theresia und ihre Kinder. Eine Korrespondenz, Weimar 1999, p. 17. 2 “Österreichische Heldinn”, Ignaz Mayrhoffer, Trauerrede auf Franzen den Ersten römi- schen Kaiser, Grätz 1765, p.
    [Show full text]
  • Leonardo Bruni, the Medici, and the Florentine Histories1
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by University of Queensland eSpace /HRQDUGR%UXQLWKH0HGLFLDQGWKH)ORUHQWLQH+LVWRULHV *DU\,DQ]LWL Journal of the History of Ideas, Volume 69, Number 1, January 2008, pp. 1-22 (Article) 3XEOLVKHGE\8QLYHUVLW\RI3HQQV\OYDQLD3UHVV DOI: 10.1353/jhi.2008.0009 For additional information about this article http://muse.jhu.edu/journals/jhi/summary/v069/69.1ianziti.html Access provided by University of Queensland (30 Oct 2015 04:56 GMT) Leonardo Bruni, the Medici, and the Florentine Histories1 Gary Ianziti Leonardo Bruni’s relationship to the Medici regime raises some intriguing questions. Born in 1370, Bruni was Chancellor of Florence in 1434, when Cosimo de’ Medici and his adherents returned from exile, banished their opponents, and seized control of government.2 Bruni never made known his personal feelings about this sudden regime change. His memoirs and private correspondence are curiously silent on the issue.3 Yet it must have been a painful time for him. Among those banished by the Medici were many of his long-time friends and supporters: men like Palla di Nofri Strozzi, or Rinaldo degli Albizzi. Others, like the prominent humanist and anti-Medicean agita- tor Francesco Filelfo, would soon join the first wave of exiles.4 1 This study was completed in late 2006/early 2007, prior to the appearance of volume three of the Hankins edition and translation of Bruni’s History of the Florentine People (see footnote 19). References to books nine to twelve of the History are consequently based on the Santini edition, cited in footnote 52.
    [Show full text]
  • Presentazione Standard Di Powerpoint
    Portrait of Elisabetta Gonzaga oil on wood, 52.50 x 37.30 cm Florence, Galleria degli Uffizi, 1503 – 1504 ca. Like the painting depicting the Young Man with an Apple, this painting dates from Raffaello’s younger years, when he attended and served the court of Urbino. Raffaello was still just a child when his father Giovanni Santi, who under Duke Federico was the intellectual of the court and trusted on all matters artistic, held a theatrical play to celebrate the wedding of Guidobaldo, the Duke of Urbino’s heir, to Elisabetta Gonzaga. The painting arrived in the Medici collections, and thence to the Uffizi, as part of the dowry for Vittoria della Rovere’s wedding in 1631. It depicts the young woman dressed richly in clothes woven with gold, characterised by a refined, aristocratic elegance. A headdress in the portentous form of a scorpion rests on the lady’s forehead. The depiction of the landscape in the background is particularly poetic, with the light of the rising sun touching the strips of cloud in the sky and the rocky path over to the right. Young Man with an Apple painting on wood, 47.40 x 35.30 cm Florence, Galleria degli Uffizi, 1503 – 1504 ca. Arriving in Florence from Urbino as part of Vittoria della Rovere’s dowry upon her marriage to the Grand Duke of Tuscany, this painting probably depicts a member of the Urbino court, perhaps the teenaged figure of Francesco Maria della Rovere himself. The boy is presented to us in the role of Paris. Like the hero in the myth, he holds the symbolic fruit in his right hand, destined for the most beautiful of the ladies who we must imagine competing before him.
    [Show full text]
  • Introduction: Love, the Book Market, and the Popularization of Romance
    Notes Introduction: Love, the Book Market, and the Popularization of Romance 1. “Maxume autem admonendus est, quantus sit furor amoris. omni- bus enim ex animi perturbationibus est profecto nulla vehemen- tior, . perturbatio ipsa mentis in amore foeda per se est.” Cicero, Tusculan Dispuations. Book 4.35. My translation. 2. Jacques Ferrand, A Treatise on Lovesickness, ed. and trans. Donald A. Beecher and Massimo Ciavolella (Syracuse, NY: Syracuse University Press, 1990), 217. 3. “Non si trovara in Venere, & Cupido che ordinatamente senza confusione parlasse.” Mario Equicola, De Natura d’amore (Venice, 1536), sig. I6v. My translation. 4. A song with this title was written by Boudleaux Bryant in 1960 and was recorded by the Everly Brothers, Roy Orbison, Gram Parsons, Nazareth, and others, with great commercial success. 5. Thomas M. D. Lewis, Fari Amini, and Richard Lannon, A General Theory of Love (New York: Random House, 2000), viii. This book, coauthored by three psychiatrists, argues that “new research in brain function has proven that love is a human necessity” (Publishers Weekly review). 6. Jacques Ferrand, Erotomania, or a treatise discoursing of the essence, causes, symptomes, prognosticks, and the cure of love, or erotique mel- ancholy, trans. Edmund Chilmead (Oxford, 1640), sig. B6r–B7r. 7. David Cressy, Birth, Marriage and Death: Ritual, Religion and the Life-Cycle in Tudor and Stuart England (New York: Oxford University Press, 1997). Guido Ruggiero, Binding Passions: Tales of Magic, Marriage, and Power at the End of the Renaissance (New York: Oxford University Press, 1993). 8. Alan Bray, The Friend (Chicago: Chicago University Press, 2003). Gail Paster, Katherine Rowe, and Mary Floyd-Wilson, eds., Reading the Early Modern Passions: Essays in the Cultural History of Emotion (Philadelphia, PA: University of Pennsylvania Press, 2004).
    [Show full text]
  • The Divine Comedy Inferno • Purgatory • Paradise • a Life of Dante POETRY Read by Heathcote Williams with John Shrapnel Inferno
    Dante The Divine Comedy Inferno • Purgatory • Paradise • A Life of Dante POETRY Read by Heathcote Williams with John Shrapnel Inferno 1 Canto I 7:43 2 Canto II 7:27 3 Canto III 7:45 4 Canto IV 8:02 5 Canto V 8:16 6 Canto VI 6:55 7 Canto VII 7:44 8 Canto VIII 7:28 9 Canto IX 7:34 10 Canto X 7:29 11 Canto XI 5:51 12 Canto XII 7:03 13 Canto XIII 7:21 14 Canto XIV 7:50 15 Canto XV 5:58 16 Canto XVI 7:39 2 17 Canto XVII 6:30 18 Canto XVIII 7:36 19 Canto XIX 6:35 20 Canto XX 6:29 21 Canto XXI 6:18 22 Canto XXII 7:11 23 Canto XXIII 8:00 24 Canto XXIV 7:45 25 Canto XXV 7:17 26 Canto XXVI 7:36 27 Canto XXVII 6:21 28 Canto XXVIII 7:43 29 Canto XXIX 7:10 30 Canto XXX 7:57 31 Canto XXXI 7:55 32 Canto XXXII 6:35 33 Canto XXXIII 8:34 34 Canto XXXIV 8:30 Time: 4:10:30 3 Purgatory 35 Canto I 8:16 36 Canto II 8:01 37 Canto III 8:24 38 Canto IV 8:45 39 Canto V 8:23 40 Canto VI 9:01 41 Canto VII 7:35 42 Canto VIII 8:11 43 Canto IX 9:00 44 Canto X 8:20 45 Canto XI 8:14 46 Canto XII 7:54 47 Canto XIII 9:07 48 Canto XIV 8:05 49 Canto XV 8:31 50 Canto XVI 8:11 4 51 Canto XVII 8:13 52 Canto XVIII 7:53 53 Canto XIX 8:17 54 Canto XX 8:28 55 Canto XXI 8:11 56 Canto XXII 8:12 57 Canto XXIII 7:44 58 Canto XXIV 8:55 59 Canto XXV 8:06 60 Canto XXVI 8:28 61 Canto XXVII 8:09 62 Canto XXVIII 7:47 63 Canto XXIX 7:20 64 Canto XXX 7:55 65 Canto XXXI 7:58 66 Canto XXXII 8:32 67 Canto XXXIII 8:59 Time: 4:33:28 5 Paradise 68 Canto I 8:42 69 Canto II 8:36 70 Canto III 6:38 71 Canto IV 7:48 72 Canto V 7:47 73 Canto VI 7:44 74 Canto VII 8:12 75 Canto VIII 7:41 76 Canto IX 7:48
    [Show full text]
  • Library Books
    CCIH LIBRARY BOOKS The Holy Bible The Modern Catholic Encyclopedia (gift from the Loyola University Jesuit Community at Loyola University Chicago) The New Testament of the New American Bible (St. Joseph edition) The Saint John’s Bible – 1 – Pentateuch (gift from Keith J. Esenther, S.J.) The Saint John’s Bible – 2 – Historical Books (gift from Keith Esenther, S.J.) The Saint John’s Bible – 3 – Wisdom Books (gift from Keith J. Esenther, S.J.) The Saint John’s Bible – 4 – Psalms (gift from Keith J. Esenther, S.J.) The Saint John’s Bible – 5 – Prophets (gift from Keith J. Esenther, S.J.) The Saint John’s Bible – 6 – Gospels and Acts (gift from Keith J. Esenther, S.J.) Catechism of the Catholic Church Catholic Prayers Code of Canon Law – Latin-English Edition (Canon Law Society of America) Compendium of the Social Doctrine of the Church – Pontifical Council for Justice & Peace The Prayers and Meditations of Saint Anselm The Writings of Saint Francis of Assisi – translated by Ignatius Brady, O.F.M. *********************************************************************** Abelard, Peter – The Letters of Abelard and Heloise Abelard, Peter – Historia Calamitatum (The Story of My Misfortunes) Aczel, Amir D. – The Jesuit & The Skull Aelred of Rievaulx – Spiritual Friendship Akpan, Uwem – Say You’re One Of Them Alberigo, Giuseppe & Komonchak, Joseph A. – History of Vatican II, Volume I (Announcing and Preparing Vatican Council II Toward a New Era in Catholicism) Albom, Mitch – Have a Little Faith Alburquerque, Antonio, S.J. – Diego Lainez, SJ (First Biographer of Saint Ignatius of Loyola) Alessio, Carolyn – The Voices of Hope (Las Voces de la Esperanza) Almirzanah, Syafa’atun – Paths to Dialogue, Learning from Great Masters (gift from author) Alvarez, David – The Pope’s Soldiers (A Military History of the Modern Vatican) Ande, Jan Lee - Reliquary Aquilina, Mike & Flaherty, Regis J.
    [Show full text]
  • Allestimenti Di Ritratti E Narrative Storico Genealogiche Nei Palazzi Fiorentini, Ca
    COLLANA ALTI STUDI SULL’ETÀ E LA CULTURA DEL BAROCCO PASQUALE FOCARILE Allestimenti di ritratti e narrative storico genealogiche nei palazzi fiorentini, ca. 1650-1750 COLLANA ALTI STUDI SULL’ETÀ E LA CULTURA DEL BAROCCO V - IL RITRATTO Fondazione 1563 per l’Arte e la Cultura della Compagnia di San Paolo Sede legale: Corso Vittorio Emanuele II, 75 – 10128 Torino Sede operativa: Piazza Bernini, 5 – 10138 Torino Tel. 011 4401401 – Fax 011 4401450 – [email protected] Codice fiscale: 97520600012 Consiglio di Amministrazione 2018-2020: Piero Gastaldo (Presidente), Walter Barberis (Vicepresidente) Consiglieri: Allegra Alacevich, Laura Barile, Blythe Alice Raviola Direttore scientifico del Programma Barocco: Michela di Macco Direttore: Anna Cantaluppi Vicedirettore: Elisabetta Ballaira Consiglio di Amministrazione 2015-2017: Rosaria Cigliano (Presidente), Michela di Macco (Vicepresidente) Consiglieri: Allegra Alacevich, Walter Barberis, Stefano Pannier Suffait Direttore: Anna Cantaluppi Responsabile culturale: Elisabetta Ballaira Programma di Studi sull’Età e la Cultura del Barocco Borse di Alti Studi 2017 Tema del Bando 2017: Il Ritratto (1680-1750) Assegnatari: Chiara Carpentieri, Pasquale Focarile, Ludovic Jouvet, Fleur Marcais, Pietro Riga, Augusto Russo Tutor dei progetti di ricerca: Cristiano Giometti, Cinzia M. Sicca, Lucia Simonato, Alain Schnapp, Beatrice Alfonzetti, Francesco Caglioti Cura editoriale: Alice Agrillo È vietata la riproduzione, anche parziale e con qualsiasi mezzo effettuata, non autorizzata. L’Editore si scusa per
    [Show full text]
  • Collecting and Representing Saxon Identity in the Dresden Kunstkammer and Princely Monuments in Freiberg Cathedral
    UNIVERSITY OF CALIFORNIA RIVERSIDE International Projects with a Local Emphasis: Collecting and Representing Saxon Identity in the Dresden Kunstkammer and Princely Monuments in Freiberg Cathedral A Thesis submitted in partial satisfaction of the requirements for the degree of Master of Arts in Art History by Daniel A. Powazek June 2020 Thesis Committee: Dr. Kristoffer Neville, Chairperson Dr. Randolph Head Dr. Jeanette Kohl Copyright by Daniel A. Powazek 2020 The Thesis of Daniel A. Powazek is approved: Committee Chairperson University of California, Riverside ABSTRACT OF THE THESIS International Projects with a Local Emphasis: The Collecting and Representation of Saxon Identity in the Dresden Kunstkammer and Princely Monuments in Freiberg Cathedral by Daniel A. Powazek Master of Arts, Graduate Program in Art History University of California, Riverside, June 2020 Dr. Kristoffer Neville, Chairperson When the Albertine Dukes of Saxony gained the Electoral privilege in the second half of the sixteenth century, they ascended to a higher echelon of European princes. Elector August (r. 1553-1586) marked this new status by commissioning a monumental tomb in Freiberg Cathedral in Saxony for his deceased brother, Moritz, who had first won the Electoral privilege for the Albertine line of rulers. The tomb’s magnificence and scale, completed in 1563, immediately set it into relation to the grandest funerary memorials of Europe, the tombs of popes and monarchs, and thus establishing the new Saxon Electors as worthy peers in rank and status to the most powerful rulers of the period. By the end of his reign, Elector August sought to enshrine the succeeding rulers of his line in an even grander project, a dynastic chapel built into Freiberg Cathedral directly in front of the tomb of Moritz.
    [Show full text]