DOCSLIB.ORG

Network and Migration in Early Renaissance Florence, 1378-1433

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Network and Migration in Early Renaissance Florence, 1378-1433 2 RENAISSANCE HISTORY, ART AND CULTURE Prajda Early Renaissance 1378-1433 Florence, Network and Migration in Katalin Prajda Network and Migration in Early Renaissance Florence, 1378-1433 Friends of Friends in the Kingdom of Hungary Network and Migration in Early Renaissance Florence, 1378-1433 Renaissance History, Art and Culture This series investigates the Renaissance as a complex intersection of political and cultural processes that radiated across Italian territories into wider worlds of influence, not only through Western Europe, but into the Middle East, parts of Asia and the Indian subcontinent. It will be alive to the best writing of a transnational and comparative nature and will cross canonical chronological divides of the Central Middle Ages, the Late Middle Ages and the Early Modern Period. Renaissance History, Art and Culture intends to spark new ideas and encourage debate on the meanings, extent and influence of the Renaissance within the broader European world. It encourages engagement by scholars across disciplines – history, literature, art history, musicology, and possibly the social sciences – and focuses on ideas and collective mentalities as social, political, and cultural movements that shaped a changing world from ca 1250 to 1650. Series Editors Christopher Celenza, John Hopkins Umiversity, USA Samuel Cohn, Jr. , University of Glasgow, UK Andrea Gamberini, University of Milan, Italy Geraldine Johnson, Christ Church, Oxford, UK Isabella Lazzarini, University of Molise, Italy Network and Migration in Early Renaissance Florence, 1378-1433 Friends of Friends in the Kingdom of Hungary Katalin Prajda Amsterdam University Press The publication of this book is made possible by the Research Centre for the Humanities, Hungarian Academy of Sciences. Cover illustration: Masolino, Healing of the Cripple, Brancacci Chapel, Santa Maria del Carmine Church, Florence The publication of the image was authorized by the Fondo edifici di Culto, administered by the Ministry of the Interior. Cover design: Coördesign, Leiden Typesetting: Crius Group, Hulshout Amsterdam University Press English-language titles are distributed in the US and Canada by the University of Chicago Press. isbn 978 94 6298 868 2 e-isbn 978 90 4854 099 0 (pdf) doi 10.5117/9789462988682 nur 684 Creative Commons License CC BY NC ND (http://creativecommons.org/licenses/by-nc-nd/3.0) © KatalinPrajda / Amsterdam University Press B.V., Amsterdam 2018 Some rights reserved. Without limiting the rights under copyright reserved above, any part of this book may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means (electronic, mechanical, photocopying, recording or otherwise). Table of Contents Acknowledgments 9 Introduction 11 Historical Networks 12 Sources and Structure 16 Centres and Peripheries 21 Names of Individuals and Places 22 I Florentine Networks in Europe 25 Florence During the Albizzi Regime 25 Florentines in Europe 34 Florentines in the Kingdom of Hungary 38 II The Centre of the Network: The Scolari Family 67 The Lineage 69 Pippo di Stefano Scolari, called Lo Spano 71 Matteo di Stefano Scolari 76 Andrea di Filippo Scolari 81 Filippo, Giambonino, and Lorenzo di Rinieri Scolari 85 III The Core of the Network: Friends of Blood and Marriage 93 1 The Buondelmonti/Da Montebuoni Family 95 Giovanni di messer Andrea da Montebuoni: The Archbishop 97 2 The Del Bene Family 100 Filippo di Giovanni del Bene: The Collector of Papal Revenues 101 3 The Cavalcanti Family 104 Gianozzo di Giovanni Cavalcanti: The Courtier 104 4 The Borghini Family 109 Tommaso di Domenico Borghini: The Pioneer Silk Enterpreneur 110 5 The Guicciardini Family 114 Piero di messer Luigi Guicciardini: The Ambassador 115 6 The Albizzi Family 121 Rinaldo di messer Maso degli Albizzi: The Political Ally 122 7 The Guadagni Family 126 Vieri di Vieri Guadagni: The Banker 127 8 The Altoviti Family 131 Leonardo and Martino di Caccia Altoviti: The Heirs 132 9 The Infangati Family 135 Antonio and Baldinaccio di Catellino Infangati: The In-Laws 136 10 The Della Rena Family 138 Piero di Bernardo della Rena: The In-Laws’ In-Law 139 IV The Outer Circle of the Network: Friends of Business 143 1 The Bardi Family 146 Nofri di Bardo de’Bardi: The Royal Administrator 147 2 The Melanesi (Milanesi) Family 150 Giovanni, Simone, and Tommaso di Piero Melanesi: The Double Citizens of Florence and Buda 151 3 The Falcucci Family 155 Giovanni del maestro Niccolò Falcucci: The Agent of Precious Metals 156 4 The Corsi Family 159 Simone and Tommaso di Lapo Corsi: The Third Generation of Silk Manufacturers 160 5 The Lamberteschi Family 162 Giovanni, Piero, Niccolò, and Vieri d’Andrea Lamberteschi: The Anti-Ottoman Military Captains 163 6 The Cardini Family 167 Currado di Piero Cardini: The Trading Churchman 168 7 The Capponi Family 170 Filippo di Simone Capponi: The Junior Partner of the Earliest Florentine Firm in Buda 172 8 The Fronte Family 175 Antonio and Fronte di Piero di Fronte: The Business Brothers 175 9 The Strozzi Family 179 Antonio di Bonaccorso Strozzi: The Commercial Agent 180 10 The Peruzzi Family 181 Ridolfo di Bonifazio Peruzzi: The Entrepreneur 182 V The Periphery of the Network: Friends of Commission 185 1 Goldsmiths 187 Dino di Monte and Marco di Bartolomeo Rustici 190 2 Architects 193 Filippo di ser Brunellesco Lippi, Brunelleschi 194 Manetto di Jacopo Amannatini, The Fat Woodcarver 197 3 Painters 204 Tommaso di Cristofano di Fino, Masolino 207 Conclusions: Network and Migration 211 Appendix 215 Bibliography 227 Index 247 List of figures and tables Figure 1 Pippo Scolari by Andrea del Castagno, Uffizi Gallery, Florence 66 Figure 2 The coat of arms of the Scolari family, Scolari palace, Florence 78 Figure 3 The tomb of Andrea Scolari, Roman Catholic Cathe- dral, Oradea 82 Figure 4 The Monastery of Santa Maria degli Angeli; on the right, the Scolari Oratory, by Marco Rustici, Rustici Codex, fol. 17v. 192 Figure 5 The castle, Ozora 199 Figure 6 The head of Saint Ladislaus, frescoes at the castle chapel, Ozora 205 Figure 7 The Scolari Family 215 Figure 8 The Da Montebuoni Family 216 Figure 9 The Del Bene Family 216 Figure 10 The Cavalcanti Family 217 Figure 11 The Borghini Family 217 Figure 12 The Guadagni Family 217 Figure 13 The Altoviti Family 218 Figure 14 The Infangati Family 219 Figure 15 The Della Rena Family 219 Table 1 Lineages in the 1433 Catasto 220 Table 2 Households in the 1433 Catasto 222 Table 3 Speakers at the Secret Councils 224 Acknowledgments My interest in expatriate Florentines in Hungary goes far back in time as I lived in the small settlement of Ozora, Pippo Scolari’s former residence. The study of his network has been inspired by different sources, including numerous remarkable contributions to the scholarship of early Renais- sance Florence, most of which will appear within the text. I would like to acknowledge here those scholars and organizations that supported the writing of this book in various ways. During my undergraduate studies, Attila Bárány and István Feld, then professors at the University of Miskolc, gave essential support at the very beginnings of my research on Pippo and his castle in Ozora. Professors of the Art History Department at the Eötvös Loránd University also contributed to my knowledge about the artistic connections between Hungary and Florence. Thanks to the generosity of the Department of History and Civilization at the European University Institute, which offered me a doctoral scholarship, I had the privilege to study under the tutorage of Anthony Molho, who, during my graduate studies, corrected my writings with inexhaustible energy and shaped my analytical thinking. I am deeply grateful to John F. Padgett at the University of Chicago with whom I have had the pleasure of working for more than a decade. I also thank them for helping me grow into the scholar I have become. I am indebted as well to my former head of the department, Géza Pálffy, at the Department of Early Modern History, Hungarian Academy of Sciences, for his support in pursuing further research in Italy. In addition to the aforementioned professors, the manuscript benefited from the insightful comments of a number of other scholars at various stages of its writing. Among them are, in the capacity of jury members of my thesis defense: Giulia Calvi and Gábor Klaniczay. I also wish to express my gratitude to members of the scientific committee of the Sahin-Tóth Péter Foundation for conferring this prestigious prize on my doctoral thesis, written in Italian, which provided the basis for the present book. My warmest thanks also go to those scholars who offered their valuable observations on the first draft of the manuscript or with whom I had the opportunity to discuss parts of my research over the years, especially while exchanging ideas and manuscript references in the Florentine National Archives. I would like to mention here Richard A. Goldthwaite, John F. Padgett, Giuliano Pinto, Brenda Preyer, Sergio Tognetti, Francesco Bettarini, Lorenz Böninger, and Cédric Quertier. 10 NETWORK AND MIGRATION IN EARLY RENAISSANCE FLORENCE, 1378-1433 Finally, I would like to thank four institutes whose generous support gave me the opportunity to carry out further archival research and turn my dissertation into the current publication: the Institute of History, Research Centre for the Humanities, Hungarian Academy of Sciences; the Institute for Advanced Study, Central European University, Budapest; the New Europe College, Institute for Advanced Study, Bucharest; and the Fondazione Giorgio Cini, Venice, and their staff members and fellows between 2011 and 2016. The research for the present volume has benefited also from the support of the National Research, Development and Innovation Office in Hungary – NKFIH no. PD. 117033 (titled: ‘Italy and Hungary in the Renaissance’, PI: Katalin Prajda). Most of the writing of this book took place during this funded period, between May and December 2016, when I enjoyed the hospitality of the Hungarian Academy in Rome.
Load more

Recommended publications
  • The Flower of English Chivalry
    David Green. Edward the Black Prince: Power in Medieval Europe. Harlow: Pearson Longman, 2007. 312 pp. $28.00, paper, ISBN 978-0-582-78481-9. Reviewed by Stephen M. Cooper Published on H-War (January, 2008) In the city square of Leeds in West Yorkshire, the 1360s. He never became king of England, but there is a magnificent statue of the Black Prince, he was the sovereign ruler of a large part of erected in 1903 when the British Empire was at its France. The prince was a brilliant soldier and height and patriotism was uncomplicated. Dis‐ commander, but he was "not a political animal," playing an intense pride in his life and achieve‐ and there is a strong argument for saying that he ments, the inscription proclaims that the prince won the war but lost the peace because of his mis‐ was "the victor of Crécy and Poitiers, the Flower government of Aquitaine (p. 153). In pursuing his of English Chivalry and the Upholder of the Rights chosen themes, Green deliberately plays down the of the People in the Good Parliament." One would fighting, at which the prince was very good, and not expect a book published in 2007 to make the concentrates on the politics, where the prince was same grandiose claims, and David Green does not either rather hopeless or simply uninterested. In even intend his newest book Edward the Black terms of religion and estate management, there is Prince to be a conventional biography--he has no real evidence that "the Flower of English written one of those already (The Black Prince Chivalry" was even personally involved.
    [Show full text]
  • The Last Supper Seen Six Ways by Louis Inturrisi the New York Times, March 23, 1997
    1 Andrea del Castagno’s Last Supper, in a former convent refectory that is now a museum. The Last Supper Seen Six Ways By Louis Inturrisi The New York Times, March 23, 1997 When I was 9 years old, I painted the Last Supper. I did it on the dining room table at our home in Connecticut on Saturday afternoon while my mother ironed clothes and hummed along with the Texaco. Metropolitan Operative radio broadcast. It took me three months to paint the Last Supper, but when I finished and hung it on my mother's bedroom wall, she assured me .it looked just like Leonardo da Vinci's painting. It was supposed to. You can't go very wrong with a paint-by-numbers picture, and even though I didn't always stay within the lines and sometimes got the colors wrong, the experience left me with a profound respect for Leonardo's achievement and a lingering attachment to the genre. So last year, when the Florence Tourist Bureau published a list of frescoes of the Last Supper that are open to the public, I was immediately on their track. I had seen several of them, but never in sequence. During the Middle Ages the ultima cena—the final supper Christ shared with His disciples before His arrest and crucifixion—was part of any fresco cycle that told His life story. But in the 15th century the Last Supper began to appear independently, especially in the refectories, or dining halls, of the convents and monasteries of the religious orders founded during the Middle Ages.
    [Show full text]
  • The Chronicle of Dino Compagni / Translated by Else C. M. Benecke
    #m hbl.stx DG 737.2.C613 le i?mnP/!f? of Dino Compagni / 3 1153 0DSMS117 t, % n WRITTEN •T$' FIRST PRINTED • IN • 1726- PLEASE NOTE It has been necessary to replace some of the original pages in this book with photocopy reproductions because of damage or mistreatment by a previous user. Replacement of damaged materials is both expensive and time-consuming. Please handle this volume with care so that information will not be lost to future readers. Thank you for helping to preserve the University's research collections. THE TEMPLE CLASSICS THE CHRONICLE OF DINO COMPAGNI Digitized'by the Internet Archive in 2010 with funding from Boston Library Consortium Member Libraries http://www.archive.org/details/chronicleofdinocOOcomp mmyi CHRPNICE 92DINO COMPAGNI TRANSITED ^ELSE CM. BENECKE S§ FERRERS HOWELL MDCCCCVI PUBL15H6D- BY-^M D6NT- •AMP-CO : ALDlNe-HOUSe-LOMDON-W-O PRELIMINARY NOTE vii PRELIMINARY NOTE Though Dino Compagni calls his work a Chronicle, it is not (like Giovanni Villani's, for example) a Chronicle in the sense in which the term is now used to express a particular kind of narration dis- " tinguished from a history ; the terms " chronicle and "history" being in Dino's time interchange- able. Dino's book is in form the history of a particular fact, namely, the division of the Guelf party in Florence into the White and the Black Guelfs, with its attendant circumstances, its causes, and its results : but under this form is unfolded at the same time the history of the steps by which the wealthy traders of Florence (jfropolani, popolani grassi, and collectively popolo grasso) organised in the greater guilds (see Appendix II.) acquired and retained the control of the machinery of govern- ment in the city and its outlying territory (contado), excluding (practically) from all participation therein on the one hand the Magnates (i.e.
    [Show full text]
  • 1 the Political Philosophy of Niccolò Machiavelli Filippo Del Lucchese Table of Contents Preface Part I
    The Political Philosophy of Niccolò Machiavelli Filippo Del Lucchese Table of Contents Preface Part I: The Red Dawn of Modernity 1: The Storm Part II: A Political Philosophy 2: The philosopher 3: The Discourses on Livy 4: The Prince 5: History as Politics 6: War as an art Part III: Legacy, Reception, and Influence 7: Authority, conflict, and the origin of the State (sixteenth-eighteenth centuries) 1 8: Nationalism and class conflict (nineteenth-twentieth centuries) Chronology Notes References Index 2 Preface Novel 84 of the Novellino, the most important collection of short stories before Boccaccio’s Decameron, narrates the encounter between the condottiere Ezzelino III da Romano and the Holy Roman Emperor Frederick II: It is recorded how one day being with the Emperor on horseback with all their followers, the two of them made a challenge which had the finer sword. The Emperor drew his sword from its sheath, and it was magnificently ornamented with gold and precious stones. Then said Messer Azzolino: it is very fine, but mine is finer by far. And he drew it forth. Then six hundred knights who were with him all drew forth theirs. When the Emperor saw the swords, he said that Azzolino’s was the finer.1 In the harsh conflict opposing the Guelphs and Ghibellines – a conflict of utter importance for the late medieval and early modern history of Italy and Europe – the feudal lord Ezzelino sends the Emperor a clear message: honours, reputation, nobility, beauty, ultimately rest on force. Gold is not important, good soldiers are, because good soldiers will find gold, not the contrary.
    [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]
  • KIMTECH PURE* G3 Sterile Latex Gloves Data Pack
    KIMTECH PURE* G3 Sterile Latex Gloves Data Pack Data ®/* Trademarks of Kimberly-Clark Worldwide, Inc. or its affiliates. Marques déposées de Kimberly-Clark Worldwide, Inc. ou de ses filiales. © KCWW 2011. K02306 K6078-11-01 4/11 Scientific Products Catalog Table Of COnTenTS Technical Data Sheet Certificate of Analysis (COA) Certificate of Irradiation (COI) Package Label Case Label Sterilization Label Pouch Label Sterilization Validation Study Test Method for Analyzing Liquid Particle Counts Test Method for Analyzing Extractables Test Method for Analyzing Bacterial Endotoxins Glossary of Terms 1 T e c h N I c A L d ata s h e e T www.kimtech.com 800-255-6401 Kimtech Pure* G3 sterile Natural rubber Latex† Gloves Formerly SaFeSkin* Sterile Critical natural Rubber Latex Gloves Product Information code Formerly Coded Description size 56843 HC1360S KIMTech Pure* G3 sterile Latex† Gloves 6 56844 HC1365S KIMTech Pure* G3 sterile Latex† Gloves 6.5 56845 HC1370S KIMTech Pure* G3 sterile Latex† Gloves 7 56846 HC1375S KIMTech Pure* G3 sterile Latex† Gloves 7.5 56847 HC1380S KIMTech Pure* G3 sterile Latex† Gloves 8 56848 HC1385S KIMTech Pure* G3 sterile Latex† Gloves 8.5 56849 HC1390S KIMTech Pure* G3 sterile Latex† Gloves 9.0 56842 HC1310S KIMTech Pure* G3 sterile Latex† Gloves 10.0 Material: Natural Rubber Latex. Silicone-free. Protein: Fifty (50) micrograms or less of total water extractable protein per gram, as measured by ASTM D 5712, “Standard Test Method for the Analysis of Aqueous Extractable Protein in Natural Rubber and Its Products Using the Modified Lowry Method.” design: 12” in length, Hand Specific, beaded cuff, with textured palm and palm side on fingertips.
    [Show full text]
  • 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.
    [Show full text]
  • Notes on a Florence Visit
    Notes on A Florence Visit For Great Views of Florence without the Steps Frescoes of the Last Supper in Florence Roof of the Rinascente Department store Roof of the Ospedele degli Innocenti Upper floor of the Orsanmichele Church Recectory at San Marco Piazzale Michelangelo – take the #12 or #13 bus Refectory at St. Maria del Carmine Roof of the Oblate Library – 2 blocks from Duomo Refectory of Ognissante Church Take the bus from San Marco up to Fisole Refectory at Santa Maria Novella -painted by a nun- Sister Trattoria Le Mossacce Nelli Refectory at Santa Croce Videos to View Refectory of San Salvi Refectory at Sant’Apollonia Cenacolo of Fuligno The Medicis – on Netflick Rick Ruggiero on Road Scholar’s Virtual Lecture Medici: Godfathers of the Renaissance -PBS YouTube – 3 hour walking tour of Florence Room With a View Secrets of Florence (on Hoopla) Books To Read Brunelleschi’s Dome – Ross King The Lives of the Artists – Vasari The Stones of Florence – McCarthy Birth of Venus – Dunant Looking at Painting in Florence – Paterson The Light in the Piazza - Spencer Places Not to Miss Mercato Centrale –Market, Food Court, Cooking School Grom Gelato Badia Fiorentina - for Night Vespers Duomo – inside without line – side entrance for English Mass on Sat. PM or Sun. Amici Card at the Uffizi for immediate entry Officina Profumo-Farmaceutica di Santa Maria Novella Ognissante Church – tomb of Botticello Giotto Crucifix Pazzi Chapel next to Santa Croce Leather School and Factory behind Santa Croce Vasari Corridor – expected to be opened this year Galileo Museum San Miniato Church Santissima Annunziata Church – painting of Mary completed by an angel Museum of Precious Stones Riccardo- Medici Palace – Chapel of the Magi San Maria dell Carmine Church -Brabcacci Chapel Santo Spirito Church – Michelangelo’s Crucifix .
    [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]
  • Servite Order 1 Servite Order
    Servite Order 1 Servite Order Order of the Servants of Mary Abbreviation OSM Formation 1233 Type Mendicant order Marian devotional society Headquarters Santissima Annunziata Basilica, Florence, Italy Website [1] The Servite Order is one of the five original Catholic mendicant orders. Its objects are the sanctification of its members, preaching the Gospel, and the propagation of devotion to the Mother of God, with special reference to her sorrows. The members of the Order use O.S.M. (for Ordo Servorum Beatae Mariae Virginis) as their post-nominal letters. The male members are known as Servite Friars or Servants of Mary. The Order of Servants of Mary (The Servites) is a religious family that embraces a membership of friars (priests and brothers), contemplative nuns, a congregation of active sisters and lay groups. History Foundation The Servites lead a community life in the tradition of the mendicant orders (such as the Dominicans and Franciscans). The Servite Order was founded in 1233 AD, when a group of cloth merchants of Florence, Italy, left their city, families and professions to retire outside the city on a mountain known as Monte Senario for a life of poverty and penance. These men are known as the Seven Holy Founders; they were canonized by Pope Leo XIII in 1888.[2] These seven were: Buonfiglio dei Monaldi (Bonfilius), Giovanni di Buonagiunta (Bonajuncta), Amadeus of the Amidei (Bartolomeus), Ricovero dei Lippi-Ugguccioni (Hugh), Benedetto dell' Antella (Manettus), Gherardino di Sostegno (Sostene), and Alessio de' Falconieri (Alexius). They belonged to seven patrician families of that city. As a reflection of the penitential spirit of the times, it had been the custom of these men to meet regularly as members of a religious society established in honor of Mary, the Amadeus of the Amidei (d.
    [Show full text]
  • Narrative Representation and Ludic Rhetoric of Imperialism in Civilization 5
    Narrative Representation and Ludic Rhetoric of Imperialism in Civilization 5 Masterarbeit im Fach English and American Literatures, Cultures, and Media der Philosophischen Fakultät der Christian-Albrechts-Universität zu Kiel vorgelegt von Malte Wendt Erstgutachter: Prof. Dr. Christian Huck Zweitgutachter: Tristan Emmanuel Kugland Kiel im März 2018 Table of contents 1 Introduction 1 2 Hypothesis 4 3 Methodology 5 3.1 Inclusions and exclusions 5 3.2 Structure 7 4 Relevant postcolonial concepts 10 5 Overview and categorization of Civilization 5 18 5.1 Premise and paths to victory 19 5.2 Basics on rules, mechanics, and interface 20 5.3 Categorization 23 6 Narratology: surface design 24 6.1 Paratexts and priming 25 6.1.1 Announcement trailer 25 6.1.2 Developer interview 26 6.1.3 Review and marketing 29 6.2 Civilizations and leaders 30 6.3 Universal terminology and visualizations 33 6.4 Natural, National, and World Wonders 36 6.5 Universal history and progress 39 6.6 User interface 40 7 Ludology: procedural rhetoric 43 7.1 Defining ludological terminology 43 7.2 Progress and the player element: the emperor's new toys 44 7.3 Unity and territory: the worth of a nation 48 7.4 Religion, Policies, and Ideology: one nation under God 51 7.5 Exploration and barbarians: into the heart of darkness 56 7.6 Resources, expansion, and exploitation: for gold, God, and glory 58 7.7 Collective memory and culture: look on my works 62 7.8 Cultural Victory and non-violent relations: the ballot 66 7.9 Domination Victory and war: the bullet 71 7.10 The Ex Nihilo Paradox: build like an Egyptian 73 7.11 The Designed Evolution Dilemma: me, the people 77 8 Conclusion and evaluation 79 Deutsche Zusammenfassung 83 Bibliography 87 1 Introduction “[V]ideo games – an important part of popular culture – mediate ideology, whether by default or design.” (Hayse, 2016:442) This thesis aims to uncover the imperialist and colonialist ideologies relayed in the video game Sid Meier's Civilization V (2K Games, 2010) (abbrev.
    [Show full text]
  • Anno 2020', to Frescobaldi
    Award ‘Cantina dell’anno 2020’, to Frescobaldi ”for its success in combining tradition with strategic vision and innovation, for its constant striving for excellence and uncompromising attention to detail. The family’s commitment to developing the unique qualities of each terroir and the professionalism of the Frescobaldi staff represent the best of Italy and its values to the world.” Gambero Rosso More info on www.frescobaldi.com 1000 years of history, 700 years of winemaking, The Frescobaldi family has been narrating the history of Tuscany for over one thousand years. Their wines were welcomed into the prestigious Renaissance and Papal Courts and the English court of Henry VIII. The Frescobaldi estates are situated in some of the best DOC and DOCG appellations. From Castello Pomino situated North-East of Florence along the slopes of the Tuscan-Emilian Apennines, to Castello Nipozzano in the heart of Chianti Rufina and Tenuta Castiglioni in Montespertoli. From the uniqueness of Tenuta Perano in the heart of Chianti Classico, Tenuta CastelGiocondo and Tenuta Luce in Montalcino to Tenuta Ammiraglia in the Maremma region and the icons Ornellaia and Masseto in Bolgheri. In addition, Attems in the Collio region of Friuli. Passion, commitment, and perseverance are just some of the qualities treasured and handed down along the thirty generations of the Frescobaldi Family. F l ig h ts Flight A new way to taste three different wines. Flights represent a new and original way to experience the magical world of our wines. They are an easy and fun way to taste three wines, each and aged in a different way, and all from different estates or regions.
    [Show full text]