16th century Venice

The ruling elite of the Venetian Republic constituted a gerontocracy, a system  that gave the highest offices to patricians of very advanced age. It compelled individuals of mature years and substantial experience to restrain their passions and check their ambitions. A structure of institutionalized discipline molded personalities that exemplified deference, conciliation, and conformity. The most successful gerontocracy in history--and the most long-lived of republics---thus fashioned the restrained, sagacious patrician mentality celebrated in the well-known "myth of Venice."

La Collana «MiriADI», promossa e coordinata dall'ADI (Associazione degli Italianisti), ospita ricerche sull'intera tradizione della civiltà letteraria italiana, dalle Origini ai giorni attuali, condotte in campo nazionale e internazionale. Accoglie i risultati dell'attività dei gruppi tematici e delle iniziative promosse dall'Associazione, insieme con gli studi dei ricercatori e delle ricercatrici di ambito italianistico. La qualità scientifica dei volumi della Collana, selezionati dal Consiglio Direttivo dell'ADI, è garantita da un processo di revisione tra pari (peer review) e dal Comitato Scientifico Internazionale. La ricerca dei giovani studiosi a cura di

Secondo Gasparov (1993), i piedi ternari rappresenterebbero forme metriche marginali nel canone poetico italiano. L’ipotetica marginalità sembrerebbe derivare dal mancato adattamento dell’esametro classico nel passaggio al sillabotonismo romanzo. Dattili, anapesti e anfibrachi risulterebbero maggiormente connotati rispetto alle strutture binarie (il giambo e il trocheo) che definiscono i metri italiani, suggerendo un effetto lento e malinconico, o allegro e da danza – influenzando cioè la percezione estetica del verso. Ma il piede ternario è davvero marginale nella letteratura italiana? Questo panel intende accogliere contributi che affrontino, amplino o smentiscano il giudizio di Gasparov, sulla base di dati o analisi che dimostrino la presenza e il valore potenzialmente strutturale dei piedi ternari. Saranno benvenuti approcci di ogni natura, qualitativi come quantitativi, purché contribuiscano a chiarire se, e in caso perché, i metri ternari abbiano un ruolo marginale nel canone italiano.

Led by an interdisciplinary consortium, the Garzoni project undertakes the study of apprenticeship, work and society in early modern Venice by focusing on a specific archival source, namely the Accordi dei Garzoni from the Venetian State Archives. The project revolves around two main phases with, in the first instance, the design and the development of tools to extract and render information contained in the documents (according to Semantic Web standards) and, as a second step, the examination of such information. This paper outlines the main progress and achievements during the first year of the project.

A Sambrusun di Dolo, sulla Riviera del Brenta, i Mocenigo possedevano molti campi e case. Tra questi, una di loro è stata dimenticata, ma gli affreschi che ancora si conservano al suo interno sono un inequivocabile documento della proprietà dei Mocenigo dalle Zoie.
Si getta così nuova luce sul dipinto murale che raffigura un imperiale: si tratta della famosa ambasciata mandata a Bologna dal governo veneto in occasione dell'incoronazione di Carlo V nel 1530, alla quale partecipò Alvise Mocenigo Cavaliere.

In the 16th century, after the voyage of Giovanni da Verrazzano and his discovery of the lands that go from present-day Canada to Florida, France also equipped itself with a navigation school called the Dieppe school. One of its characteristics was that of having adopted, in the construction of its maps, the design of a second latitude scale, to better calculate the route at high latitudes.

Una microstoria letteraria, quella di Capizzi, analizzata da una prospettiva trasversale che unisce contestualizzazione politico-culturale e riflessione filologico-interpretativa. Un’indagine che focalizza un piccolo borgo dell’entroterra siciliano, geograficamente ed economicamente isolato, vocato all’attività agricola tipica dei Nebrodi, controllato dalle ricche e nobili famiglie dei possidenti, in un secolo di divisioni sociali, scontri di classe e lotte intestine. Da tale contesto si sviluppano i motivi artistici alla base dell’esperienza letteraria dei baroni capitini vissuti nel corso del XIX secolo: i poeti del Verna così, con la loro scrittura, restituiscono attimi di vita vissuta, stralci di eredità municipale, appartenenza elitaria, attivismo politico, prestigio sociale, forme e stilemi letterari originali. Attraverso lo studio di testi tratti dalle raccolte edite e dai manoscritti inediti di Palazzo Russo-Larcan (questi ultimi filologicamente trascritti per la prima volta) si origina un racconto ricostruttivo che riporta alla luce i nomi di Nicolò Russo, Filadelfo Russo, Natale Gullo, Erasmo Ferrauto, Ruggiero Larcan, Girolamo Larcan e altri. Le opere e le testimonianze di questi intellettuali, scrittori, lettori e studiosi, tutti incamerati in una realtà culturale unica nel suo genere ma pienamente inserita in uno spazio regionale e neonazionale, divengono quindi prova dell’esistenza di un rilevante quanto inedito sviluppo letterario in un’area troppo spesso trascurata dagli studiosi.

This paper builds on the author’s recent identification of an early sixteenth-centurypainting in the National Gallery of Ireland as containing rare portraits of GiorgioCornaro (brother of Caterina, Queen of Cyprus) and his son Cardinal Francesco. Itresolves similar long-standing confusion regarding the identities of sitters in a relatedwork by Titian and his workshop, the Cornaro triple portrait in Washington D.C. In sodoing, it will cast new light on Titian’s development as a portraitist and the extent towhich important paintings commissioned by the Cornaro survived fires at two familypalaces in Venice in the 1530s. The current title of the Cornaro triple portrait is‘Girolamo and Cardinal Marco Cornaro, investing Marco, abbot of Carrara, with hisbenefice’ based on unpublished notes by Douglas Lewis in 1972. This paper presentsevidence to suggest that the painting should be retitled to ‘Giacomo and CardinalMarco Cornaro, investing Andrea, abbot of San Zeno, with his benefice’.

74. SPARTENZE, RESTANZE, RITORNANZE: PERIFERIE GEOGRAFICHE E UMANE NELLA LETTERATURA MERIDIONALE CONTEMPORANEA
Proponenti:
Fara Autiero (f.autiero@ssmeridionale.it)
Concetta Maria Pagliuca (concettamaria.pagliuca@unina.it)
Discussant:
Bernardo De Luca
A partire da ricerche svolte nell’ambito del progetto PRIN PNRR 2022 "MeMo – Memoria e Mezzogiorno. Una mappa letteraria dal 1945 a oggi", il panel accoglierà interventi sull’immaginario letterario cristallizzato intorno a luoghi marginali del Sud Italia interessati dal fenomeno della migrazione. Si potrà riflettere sul tema da una prospettiva teorica, nel quadro del più ampio dibattito sulla questione meridionale, con incursioni negli studi postcoloniali e sulla diaspora, con un particolare focus sul rapporto contrastivo tra centri e periferie. Oppure si potranno proporre close reading di opere edite e inedite – romanzi, racconti, diari, biografie, poesie – di persone che hanno vissuto direttamente o indirettamente l’esperienza della migrazione (verso la città, il Nord, l’estero), che hanno sperimentato il distacco dagli affetti, che hanno visto i paesaggi mutare e le comunità d’origine disgregarsi. Mappando le storie di chi è partito, di chi è rimasto e di chi è tornato sarà possibile indagare le modalità di costruzione della memoria individuale, familiare e collettiva legata allo spazio meridiano.

In tutte le arti e le scenze lo studio e le scoperte non finiscono mai, e non fa eccezione in questo senso la Numismatica con tutte le sue varie discipline. Pertanto in questo breve scritto vorrei integrare con nuove immagini e informazioni l'articolo "La Medaglia per il primo Centenario della Banca Popolare di Sassari " pubblicato nel Gazzettino di Quelli del Cordusio n° 10 del Luglio 2023 (fig. 1).

The copyright law of the United States (Title 17, United States Code) governs the making of photocopies or other reproductions of copyrighted material. Under certain conditions specified in the law, libraries and archives are authorized to furnish a photocopy or other reproduction. One of these specified conditions is that the photocopy or reproduction is not to be 'used for any purpose other than private study, scholarship or research.' If a user makes a request for, or later uses, a photocopy or reproduction for purposes in excess of 'fair use,' that user may be liable for copyright infringement. This institution reserves the right to refuse to accept a copying order if, in its judgement, fulfillment of the order would involve violation of copyright law. Pietro Aretino, one of the greatest literary figures of the sixteenth century, has frequently been discussed in relation to efforts to abet Titian in acquiring commissions and in advancing his career.1 Titian became the "Apelles" to the Emperor Charles V and worked for the most important families in Italy. Aretino concurrently helped Leone Leoni (c. 1509-90) to become Charles V's "Lysippus".2 The Emperor knighted Leone and, in an extraordi nary gesture, deeded him a spaciouspalazzo in the center of Milan.3 Not only did Aretino help Leone attain early commissions that led him into the court of Charles V, but also intervened when, as happened rather often, the sculptor found himself in a quandary for diverse criminal acts. Why would such an important writer have sup ported this young and troubleprone sculptor? I contend that the answer lies in the enduring Italian secular trinity of "parenti, amici, e vicini" and publish in this essay a number of new documents that prove Leone Leoni was, like Pietro, Aretine.4 Documents recently discovered in the Archivio di Stato, Arezzo, and in the Archivio della Fraternita dei Laici, Arezzo, combined with previously known information, make certain that Leone's birthplace was Arezzo. They also strongly sug gest the outlines of his early training which had previously puzzled scholars, and clarify the reasons behind Aretino's consistent support of this artist. Contemporary writers, who knew Leone personally, including Giorgio Vasari, Gian Paolo Lomazzo, and Pietro Aretino, all refer to Leone as being Aretine. As Vasari and Aretino were born in Arezzo, and Lomazzo knew Leone well in Milan, there is no reason to doubt their reliability on this score. Moreover, Leone not only called himself "Aretino" but in a letter to Antoine Perrenot de Granvelle, the Bishop of Arras, he explained that the cause of his erratic behavior was that he was "nato Aretino, che hanno nome di bizzarri (...) si che se io non battezzassi [la] mia infingardaggine proceder da b[izzarria] d'animo (...)"-5 Additionally, in a letter to Francesco de' Medici, Leone stated that he was "sempre industriato di far onor alia patria mia di Arezzo".6 In his "Vite", Vasari called Leone an Aretine sculptor.7 As Vasari was born in Arezzo, and as we shall see below, may have lived in the neighborhood of Leone when a youth, he surely knew where Leone was born.8 Gian Paolo Lomazzo, Leone's friend who lived in Milan at the same time as he, described Leone as Aretine in his "Libro dei sogni" (1564), in his "Trattato della pittura, scoltura, e architettura" (1584), and in his "Idea del tempio della pittura" (1590).9 Moreover, in 1587, in the second book of his "Grotteschi", Lomazzo honored Leone with two sonnets which in part read: Chi la scoltura pi? da i Galli ? i Persi Orno giamai, che '1 saggio e bel lavoro Ch'in ritratti, in medaglie, et in roversi Han mostrato in argento in bronzo et oro. Il divin spirto di Giacom da Trezzo, Et di Leon, ch'? tutto il mondo noto Non solo h? fatto se, ma ancora Arezzo. O fama eterna, pi? del Ostro et Noto Veloce, h?r quanto sei tenuta in prezzo Da ogni alto spirto d'ignoranza vuoto.10 E insieme ancora quanti huomini furo Ornati di virt?; si come i rari Pietro e Leon statuaro ambi d'Arezzo.11 Furthermore, Pietro Aretino's letters repeatedly buttress their assertions that Leone Leoni was from Arezzo. Aretino was born in Arezzo in April 1492.12 Though he attempted to hide his humble birth, it was uncovered that he was born to a courtesan named Tita and her husband, Luca Del Tura, a shoemaker.13 His father abandoned the family to join the militia, returned eventually to Arezzo, and subsequently died in poverty in 1551. Tita was known for her beauty and employed as a model for the Madonna in an altarpiece of the Annunciation in the parish church, San Pier Piccolo.14 Aretino left Arezzo for Perugia in 1510 or 1511. After a few years there, he went to Rome where he met Jacopo Sansovino and, possibly, Titian. Shortly before the Sack of Rome, like many artists and writers there, he fled to Venice. Aretino remained in Venice, working for various patrons, publishing his letters, and helping Titian and Leone. In his correspondence, Aretino continually defended Leone and advanced his status as an artist. In a letter dated 5 February 1537, Aretino wrote to Ercole II d'Est?, Duke of Ferrara, asking him to pardon Leone for having fled Ferrara. Aretino explained to the Duke that he must help Leone "perch? egli ? de la patria mia".15 Though this is the first known letter in which Aretino mentions Leone, it is evident that their relationship was

The payments are recorded throughout the San Miniato entrate-see Loughman, "Spinello Aretino:' , 35. For example, the tomb created by Lorenzo di• ~enedetto (son of Benedetto and father of Leon Battista) in Padua mentioned above (note 24). Benedetto's son Gerardo subvented the construction of a new sacristy at the ancient church of San Michele in Bosco in Bologna in the first decade of the 1400s.

Nella letteratura scientifica relativa alla maiolica veneziana della seconda metà del XVI secolo, maestro Domenego è soprattutto considerato in relazione alla produzione istoriata. Per quanto riguarda, invece, i pezzi presi in esame in questo studio, cioè quei vasi da farmacia caratterizzati dalla presenza di medaglioni a "ritratto", le notizie risultano vaghe e si limitano spesso alla mera descrizione sommaria delle opere, inserite in un contesto di indagine più ampio 1 . Considerata la scarna presenza, nella letteratura di settore, di approfondimenti circa la ritrattistica su ceramica, il presente studio costituisce una novità, essendo orientato alla conoscenza della matrice iconografica, capace di unire questo particolare segmento della produzione di maestro Domenego da Venezia alla cultura figurativa a lui contemporanea espressa mediante altre forme artistiche, come la pittura, il disegno e l'incisione. Di certo questo studio non ha la pretesa di essere un punto d'arrivo nella ricerca, quanto più intende aprire a nuove vie che possano essere perseguite dagli studi futuri. Il periodo di attività di maestro Domenego 2 è sicuramente tra i più proficui per la storia dell'arte veneziana, soprattutto considerando la compresenza in laguna di tre grandi artefici della pittura veneta: tiziano Vecellio (1490-1576), Jacopo Robusti detto il tintoretto (1518-1594), e Paolo Caliari, comunemente noto come il Veronese (1528-1588). oltre ai nomi dei tre maestri, vanno poi considerati tutti quegli artisti che costituiscono la bottega, i collaboratori, o semplicemente gli estimatori dei tre grandi. Maestro Domenego, quindi, prima da pittore e poi da ceramista, si trova immerso in un contesto brulicante di idee e modelli compositivi e pittorici tra i più variegati dell'europa del tempo. Se il Veronese 3 , e soprattutto tintoretto, si possono richiamare in riferimento a una comune temperie 4 , esercitando un peso rilevante nell'attività più matura di maestro Domenego, i modelli compositivi delle figure che compaiono sui suoi vasi sono da ricercarsi nella bottega di tiziano, dove si muovono artisti minori che hanno avuto la loro fortuna nella riproduzione grafica, più che pittorica, dei modelli figurativi del Cadorino. Questi sono: Nicolò Boldrini (1500capost 1566), Battista del Moro (1514-1574) e Jacopo Ca-

Some children, before they reach the age at which it is time for them to express themselves clearly, find voice and say something distinctly, and then go on as before until the usual age for speaking arrives. Some regard such incidents as portents. (PSEUDO-ARISTOTLE, Problems) 1 A voice appearing from out of the blue can seem nothing short of a revelation. The ordinary substrate of workaday language, a voice, once unconcealed, assumes extraordinary significance. Poetry and song work this way; it is the social contract established by these verbal forms to offer the voice up as a site of pleasure, a field of sonic play that suspends discursive norms. But revelation is not always pleasurable, or even desirable. When it appears outside any sanctioned form of catharsis or enjoyment, a bare voice can engender wonder, amazement, or terror. And when the specter of a voice that escapes or exceeds the social is raised, it can be a good indication that the sites and formations of the social themselves have shifted. At least this has been a tenet of scholarship on the voice. 2 Mladen Dolar warns of the voice's historically "dangerous, threatening, and possibly ruinous"

Π έ μ π τ η , 1 0 Α π ρ ι λ ί ο υ 2 0 2 5 9:30 Υποδοχή των Συνέδρων Π έ μ π τ η , 1 0 Α π ρ ι λ ί ο υ 2 0 2 5 Α ΄ Π ρ ω ι ν ή Σ υ ν ε δ ρ ί α (9:50-12:30) ΒΥΖΑΝΤΙΝΟΙ ΧΡΟΝΟΙ ΑΡΧΙΤΕΚΤΟΝΙΚΗ / ΓΛΥΠΤΙΚΗ / ΑΝΑΣΚΑΦΙΚΑ ΕΥΡΗΜΑΤΑ / ΥΑΛΟΥΡΓΙΑ ΠΡΟΕΔΡΕΥΟΥΝ: Νικόλαος Γκιολές, Γιώργος Πάλλης 9:50 Έναρξη του Συμποσίου 10:00 Σταύρος Μαμαλούκος, Η ναοδομία στην Ήπειρο από τον 7ο ως τον 10ο αιώνα. Συμπληρωματικά στοιχεία. 10:20 Σωτήρης Βογιατζής, Spolia-συλήματα στην βυζαντινή αρχιτεκτονική. 10:40 Κωνσταντίνος Θ. Ράπτης, Αρχιτεκτονικά γλυπτά της ύστερης αρχαιότητας σε βυζαντινά και οθωμανικά μνημεία της Θεσσαλονίκης.

This report concerns an underwater excavation and assesment that the Cultural Heritage Agency (RCE) conducted in 2018 on two shipwrecks in the Markermeer near Warder. The results of this archaeological research show that the excavated shipwreck was a small trading vessel from the first half of the sixteenth century. At the other site, the remains of a clinker-built ship were found that also dates from the mid-sixteenth century.

This article considers two capitals with lapidary inscriptions and images located in the cloister of Saint-Pierre de Moissac: a capital representing the Beatitudes, in the western gallery, and a capital representing Christ washing the feet of the apostles, in the eastern gallery. These capitals highlight the important liturgical rite of foot washing and the transmission of monastic identity. We will thus demonstrate how the inscribed capitals highlighted the liturgical function of the western and eastern galleries of the cloister. To deepen this interpretation, we can consider these stone capitals as perpetual participants in the liturgy and monastic life.

Cinque ritratti della Famiglia Graziani e dei Fratelli Bandiera: un'attribuzione a Raffaele Mainella da rivedere Luisa De Perini Conversazioni d'Arte in museo: un progetto rivolto a persone con demenza. L'esperienza della mostra "Kandinsky e le avanguardie"

Manfredo Tafuri once said of Venice that this singular maritime city can be seen as the place where antitheses have been removed, where dialectics has no function, in which there is no contradiction between tradition and innovation, development and memory, continuity and renewal, sacred and profane. This insight can help us to enter into the project on the Serenissima jointly drawn and authored by Mosetti and Rakowitz.

The chronology of the paleotypes from the first publishing cycle of Božidar Vuković (Dionisio della Vecchia) – a prominent merchant, one of the leaders of the Greek confraternity in Venice (Scuola dei Greci), an intelligence operative, and a would-be Serbian despot – is a complex matter due to inconsistencies in the chronological elements in the colophons of his books. A particularly baffling matter is the differences in calculating years by the Era of the World calendar or the Christian calendar, starting from Christ’s birth. 
The paper looks into the use of various styles for marking years of the Era of the World, primarily the Creation Era of Constantinople and the Ides of March era, as well as the variants of reckoning time starting from Christ’s birth. It examines the consular (where a new year begins on 1st January), more veneto (1st March), and the Annunciation (25th March) styles, which were used in various parts of the Christian world. In addition to basic chronological markings, the paper explores secondary chronological elements – epacts, golden numbers, solar cycles, lunar cycles, and indictions, as well as their relationships, which played a prominent role in dating these books.
Besides exploring various chronological systems, the paper analyses the typographic and graphic distinctive characteristics of Vuković’s paleotypes, including the chosen script, ornamentation, and printing technique, all of which provide additional indications on the time and context of the creation of his publications.
Following a comprehensive analysis, the paper argues that Vuković’s first editions were likely published in 1520–1521. The preparation and production of the letters (type set) and other typographic elements seem to have begun in the autumn of 1519, with the printing of the first part of the Psalter completed on 7th April 1520. Three months later, he published the Hieratikon (7th July 1520) before moving on to the second part of the Psalter (Posledovanje/Appendices), which was completed on 12th October 1520. By 6th March 1521, Vuković published the Prayer Book, completing his first publishing cycle.

The paper considers the manner in which the Venetian historiography represented one of the episodes related to the origins of the Venetian community – along with the Trojan foundations and the mission of St Mark in the lagoon. It is about the representation of Attila the Hun. The presence of Attila is so extended in the Venetian chronicles for the simple reason that it indirectly determined the foundation of the city in the lagoons, traditionally dated in 421.
The devastating expedition of Attila in Italy offered the opportunity to the many Venetian chronicles to present in apocalyptical view and to imply a vision of clash of civilizations between the Christians and the Pagans.
It is somehow undeniable that the part taken by Attila in the history of Venice be connected to a propagandistic feature. It is not by chance that the troops of this terrible enemy and Attila himself are many times regarded as Hungarians, since the context when a great part of the Venetian chronicles was written the relationship between the Venetian state and the Hungarian Kingdom were constantly tensed due to their claims over the Dalmatian coast.
The paper emphasizes the representation of Attila in accordance with 273 Venetian chronicles that cover the period of Attila’s invasion in Gaul and Italy. These texts deliver a variety of representation for this particular event, the character being present in two different major circumstances: either when narrating his confrontations in Gaul against Aetius (451), or when inserting the legend that develops on a larger scale his action in Italy (452) against the Christian forces led by King Janus of Padua, where the Eastern Christians from Constantinople would also be involved towards the end of the story. However, the Venetian chronicles are common in underlining the fierceful image of the Pagan king and emphasizing the clash between the two ‘worlds’.

Sulla base di documenti di archivio, finalmente disponibili, vengono qui ricostruite le vicende biografiche e professionali degli incisori della zecca di Venezia dalla meta`del Settecento fino alla sua chiusura (1870). Si tratta dell’epoca degli ‘‘incisori al torchio’’ che sostituirono la tradizionale tecnica di coniazione a mano con quella meccanica, dando vita a un’autentica rivoluzione per la zecca veneziana, fino ad allora estremamente conservatrice. Quattro gli incisori di maggior spicco che si susseguirono nell’arco di 115 anni: Anton Schabel, Luigi Ferrari, Antonio Fabris e Francesco Stiore; costoro dimostrarono la loro eccezionale abilita`soprat
tutto nella realizzazione di medaglie. Ma accanto a loro vi furono numerosi collaboratori (secondi incisori, allievi e operai) di cui sono state ugualmente ripercorse le vicende. Infine, in Appendice sono stati proposti vari elenchi relativi all’intero personale della zecca veneziana in quest’ultimo periodo della sua storia.

In the 15th century the growing interest in cartography and in cultural roots – together with the new political dynamics – led Europe to try to define itself with respect to neighboring regions. The debate on where to locate its philosophical center becomes crucial. The rediscovery of Tacitus’ Germania ignited a discourse that opened the way to the idea of a translatio artium et sapientiae towards the north, from the centers of Italian Renaissance to the imperial ci- ties. This culminated in the program signed by Maximilian I and by scholars operating under the leadership of the arch-humanist Conrad Celtes, a key figure in the imperial propaganda. In the plan to change the facies urbana of Nuremberg – nominated as the “new Athens” – Celtes involves Albrecht Dürer, investing him with the role of “Apelles germanicus”. In the quest to emulate the Italians, Dürer’s art shows a qualitative difference precisely in conjunction with the propulsive pha- se of the translatio project between 1500 and 1508, when the themes of boundaries, landscapes, and traditional heritage acquire special significance. Dürer’s artistic developemnt between his first and second trip to Italy is eloquent in this sense.

Rivista scientifica riconosciuta dall'ANVUR (Agenzia Nazionale di Valutazione del sistema Universitario e della Ricerca) per l'area 10 (Scienze dell'antichità filologico-letterarie e storico-artistiche) e l'area 11 (Scienze storiche, filosofiche e pedagogiche) 280 281

Рефлексията за жената в творчеството на две писателки от ранно-модерна Венеция-Модерата Фонте и Лукреция Маринели" АВТОРЕФЕРАТ на дисертационен труд за присъждане на образователна и научна степен "доктор" по научна специалност "Теория и история на културата" НАУЧЕН РЪКОВОДИТЕЛ проф. д.н. Ангел Ангелов Благоевград, 2019г.

This article aims to present a Venetian writer Moderata Fonte, pseudonym of Modesta da Pozzo di Forzi. The author is unknown to the Bulgarian audience and is presented with her most famous work Il merito delle donne (The Worth of Women), a posthumously-published dialogue in 1600. In this dialogue she criticizes the treatment of women by men while celebrating women`s virtues and intelligence and arguing that women are superior to men. This work is seen as part of Querelle des Femmes. The article is included in a collection of papers from a round table (проект „Женски гласове в преводната художествена литература до Втората световна война. Жената като автор, преводач, критик, персонаж“)- Would Have Kept Her Locked Untill She Stopped Writing, 2015.

Le monete come fonti per la storia. Note a margine del progetto Guides to the Coinage of the Ancient World : i due volumi ''romani'' [C. Rowan, From Caesar to Augustus (c. 49 BC-AD 14): Using Coins as Sources / L. Yarrow, The Roman Republic to 49 BCE: Using Coins as Sources] . . . . . . . . . . » L. PASSERA, Recensione a M. Asolati, D.L. Moretti (a cura di), Coelitum Sanctorum Imagines Nummi Referabant. Effigi di santi e immagini sacre sulla moneta tra Medioevo ed eta `moderna . .

is brush was, so to speak, a thunderbolt that terrified everyone with its lighting» 1. Thus, Carlo Ridolfi not only likened the painter's explosive brushwork-and the wonder of beholding it-to the power of a violent storm, but also pronounced Tintoretto the flame-thrower of his generation 2. For Ridolfi, Tintoretto's lightning assault had stopped his rivals in their tracks, silencing them with its deafening thunder. In a poetic nod to Pliny's story of Apelles' Alexander the Great wielding thunderbolts, «where the lightning seems to be darting from the picture», Ridolfi alluded to Tintoretto as a modern-day Apelles, a virtuoso who had eclipsed Titian-a modernday Protogenes-through his economic use of color and his dazzling illusionism 3. Just as Pliny's Apelles had employed only four colors to effect the appearance of lightning, which seemed to «project from the surface and stand out from the picture», so Ridolfi's Tintoretto had captured and harnessed the fleeting and wonderous effects of stormy weather with lighting speed and astonishing efficiency. Invested with the power to animate Nature, Tintoretto conjured what could not be fully grasped by eye or ear: flashing mortars, streaks of lighting, deafening claps of thunder; or, as Pliny famously put it, «things which in reality do not admit of being portrayed: thunder, lighting, and thunderbolts». Some readers might have detected in Ridolfi's account a modern-day Demosthenes, the 4 th-century Athenian orator described in de Sublimitate (also known as the Peri Hupsous) attributed to the 1 stcentury writer Longinus, a work whose printed editions circulated widely in Italy in the 15 th and 16 th centuries, thanks, in large part, to early editions first issued from Venetian presses 4. Demosthenes was also a flame thrower who «output all his rivals» with «the intensity of lofty speech, living emotions, abundance, acuteness, speed where speed is vital, […] vehemence, and power. The crash of his thunder, the brilliance of his lighting make all other orators, of all ages, insignificant. It would be easier to open your eyes to an approaching thunderbolt than to face up to his unremitting emotional blows» 5. Just as the power of Demosthenes' words left audiences speechless, so the divine touch of Tintoretto's fulminating brush-like a «lightning

Marietta Tintoretto (c. 1552-1590), daughter of the great Venetian painter Jacopo Tintoretto, was herself a renowned artist, admired by her contemporaries, especially for her portraits, and sought after as court painter by rulers including King Philip II of Spain and the Holy Roman Emperor Maximilian II. Despite early acclaim and a biography by Carlo Ridolfi (1648), today not a single painting can be securely identified as executed by her hand. The essay addresses this conundrum, reviewing the documentary evidence of Marietta's life, revisiting the scholarly literature, and evaluating works that could potentially be attributed to her, based on the authors' reconsideration of the oeuvre of Jacopo Tintoretto and his circle. The essay includes transcriptions of all documents referring to Marietta that have been identified to date, as well as the essential references to her by contemporaries and early biographers. It concludes by suggesting a new, potentially promising approach to identifying an oeuvre for Marietta.

This roundtable, composed of the team working on the Cultures of Philosophy project (ERC/UKRI) at the University of Exeter (UK), responds to that call by applying a case study-led perspective to women's transnational and multi-genre philosophical writing in seventeenth-century Europe, to produce a more inclusive, contextually defined approach to women's philosophical writing from the period. With five interventions, looking at France, Italy, England, and the Dutch Republic, and at the subdiscipline of natural philosophy, we will use genre as an initial way into this question. We address the need to look beyond 'legitimate' forms of philosophy, such as the treatise, dialogue and essay, or even 'legitimate' forms of literary philosophy, such as science fiction or epic-length poetry, to include marginalia, miscellany, paratext, dedications, historical fiction, hagiography, and incidental 'salon' verse. We examine texts by authors including Lucrezia Marinella, Mary Astell, Madeleine de Scudéry, Maria Margareta van Akerlaecken and Sarah Cowper to address questions of authorship, attribution, genre purity, and canonicity. Underpinning this roundtable is also a transnational and interdisciplinary focus. Not only will panelists touch on the importance of historical networks (e.g the Muiderkring; Elizabeth of Bohemia and her circle) and academies, especially the Accademia dei Ricovrati (Padua) and Accademia dell'

Otio iuventutis dicatum. Le residenze e le collezioni di Matteo di Capua come crocevia della vita culturale napoletana tra Cinque e Seicento Andrea Zezza iii. Una corte nobiliare tra pubblico e privato Giovanni Muto iv. I palazzi napoletani dei conti di Palena e dei principi di Conca Aldo Pinto v. Il «gioco del pallonetto» nella «domus magna» Leonardo Di Mauro vi. La residenza napoletana dei principi di Conca e il rapporto con i celestini di San Pietro a Majella Sabrina Iorio vii. Un luogo per l'otium. La villa urbana di Matteo di Capua a Vico Equense

On 6th May 1886, while hiking in the hills around Heidelberg, a young Swiss medical student and botanist named Hermann Obrist (1862-1927) had the first of five architectural visions that would transform the course of his life. He described them much later, in his own biography, in which he referred to himself in the third person: "He looked up and into the distance. And at that moment… a fata morgana appeared… a clear vision of a strange, unknown city with towers and temple-like buildings and buildings such as he had never before seen, and never again would see to this day, whether in real life or in pictures. The city seemed to be translucent and was perpetually in motion, disappearing and then reappearing. Houses materialised, affording him a view of a wondrous interior, which to this day he has been unable to reproduce. A large square appeared and with it a fountain with a roof resting on ruby-red columns entwined in fantastical wrought-iron work. In the highest degree romantic and utterly strange. " 1 Obrist promptly fainted. On awakening, he says, "he knew everything. Yet he returned to work and breathed not a word of it to anyone for fear of being deemed insane." Not three weeks later, during a walk in the Tauber valley, Obrist experienced a second vision, which appeared above a bridge over the river Tauber. Again, it was of a city -though different in character to the last. This time, the houses contained "exquisite woodwork interiors", as well as "magnificent gardens" and a "wooded cemetery with tombstones made for giants." Crucially, the subject of Obrist's vision appeared to him to resemble no existing architectural style. Feverish and agitated, "he hurriedly drew sketches" to record his impressions. 2 These two visions appear to have made a radical impression on the young student -to the extent that he was compelled to leave his studies and set about attempting to recreate what he had seen. 3 He began immediately, and for the first time, to sketch buildings rather than plants. He felt himself "a new and unfathomable person" who had been awakened to "the spirit of the Gothic." In this comparison, he was not referring to the architectural style, but to that particular 'will to form' that once afflicted itself upon those that had assembled the Gothic churches -seized as they were by a frenzy of visionary worship. His third vision manifested itself in Berlin, during the Winter semester of his medical studies in 1886/87.

In the 16th century, Venice became known for a particular style of gown that opened in the front and exposed the linen undergarments beneath it. The bodices of these gowns were unique from their counterparts on the mainland peninsula, because they were nearly always depicted with smooth, flat fronts, and perfectly parallel ladder lacing. Unfortunately, no extant Venetian style gown has survived to the modern day, much less one of the open-bodice style. 1 Therefore, the method by which these gowns achieved both the parallel lacing and the smooth, flat fronts is purely speculative. In this work, I explore evidence of these gowns from portraiture, historical records and extant artifacts from neighboring regions, and compare this information with over a decade of applied research in using and wearing this style bodice with different methods of constructing. With this combined body of evidence, I make an argument for its successful construction.

Questo volume nasce dal progetto Esperienze di reclusione, condotto nelle
Case circondariali di Viterbo e di Terni dal Centro Studi Santa Rosa
da Viterbo a partire dal 2019 in collaborazione con la University of St
Andrews in Scozia. Il progetto prevede, tra le altre cose, un avviamento
agli studi storici, e in particolare alle scienze del testo, per i detenuti
che siano interessati a un lavoro intellettuale e digitale. Tali sono Carlo
e Fabio, che hanno trascritto il testo della Storia di sancta Rosa in ottava
rima ed elaborato l’introduzione, il commento e l’indice delle parole. Li
hanno seguiti Attilio Bartoli Langeli ed Eleonora Rava. Prima, Carlo
e Fabio avevano collaborato al Quaderno di storia religiosa medievale del
2021 con l’articolo La reclusione volontaria medievale alla luce dell’esperienza
di detenzione «fine pena mai».Si pubblica una Storia di sancta Rosa in
ottava rima tràdita da un testo a stampa
conservato presso la University Library di
Newcastle: un opuscolo di dodici pagine,
per un totale di 120 ottave e 960 versi.
Manca qualsiasi riferimento “anagrafico”:
né l’autore, né lo stampatore, né l’anno.
Ma tutto induce a ritenere che questo
testo sia prossimo al processo di canonizzazione
di Rosa del 1457, conservato in
originale nell’archivio rosiano e da poco
pubblicato: stretta, infatti, è la dipendenza
dalla Vita inserta negli atti di quel
processo. Il che convince della precocità di
questo piccolo esempio di stampa “popolare”:
si tratta molto probabilmente di un
incunabolo, sfuggito a ogni repertoriazione.
Si avrebbe dunque la prova che il
culto di Rosa fu immediatamente recepito
e diffuso attraverso un componimento in
versi alla portata di tutti, poiché in volgare
e a stampa. Nel volume si pubblicano la
riproduzione, la trascrizione, il commento
e il glossario dell’opuscolo di Newcastle.

Georgio Vasari, often called the first art historian, noted that somewhere around 1500 a change happened in Venetian painting. Vasari's comment on Venetian painting has been somewhat obscured over the years as the achievements of sixteenth century artists to some extent, have overshadowed the work of earlier artists. Tom Nichols in this book, while also ranging across developments in architecture and sculpture, highlights what made earlier artists 'Venetian' and contrasts this with the approach and reach of later artists.

fu salvato da pochi nobili, che ridotti insieme e fatto corpo in vari luoghi attesero a conservare ciò che poterono. Donde riportorno tutti nome di Cavalieri. Et i prìncipi istessi pigliano in honore per loro medesimi questo titolo di cavaliero e lo danno in segno di grande honoranza ed amore ad uomini di ciò meritevoli. [Claudio Corte -Il cavallerizzo] 1 -E' destino della cavalleria trovarsi all'incrocio tra realtà ed allegoria, tra istituti dalle precise valenze storiche e costumi o valori che, trasformatisi di volta in volta, sono giunti sino al crollo dell'Ancièn regime grazie alla capacità di fornire il cemento ideologico e culturale delle classi nobiliari europee. Quella della cavalleria, infatti, è essenzialmente una storia di lunga durata la cui importanza va spiegata più con motivi sociali e di costume che con ragioni tecniche militari. Ne è testimonianza, tra l'altro, la notevole diffusione nell"Italia della prima età moderna, di quelle scuole ed Accademie di "lettere ed armi" che, riservate per statuto a cavalieri ed aristocratici, rappresentavano il luogo deputato all'esercizio delle attività proprie di un gentiluomo ed alla diffusione di quella cultura che si riconosceva nei codici di comportamento mutuati dalla cavalleria medievale. Esse si sviluppano in Italia a partire dalla seconda metà del XVI° secolo, negli anni, vale a dire, caratterizzati da una sempre più netta omogeneizzazione ideologica di segno nobiliare delle classi dominanti italiane, e si propongono di diffondere tra i propri affiliati la pratica delle armi e dell'equitazione d'alta scuola considerate elemento distintivo di una nobiltà che ribadiva, attraverso norme precise di comportamento, la propria identità di ceto. Nella riproposizione, o forse sarebbe meglio dire nella reinvenzione, degli ideali cavallereschi, che presupponevano un"implicita indissolubilità di militia e nobilitas, rango e funzione sociale, è facile leggere oltre che la progressiva uniformità culturale di antica nobiltà e nuovo patriziato cittadino, anche il tentativo, da parte di quei settori politicamente emarginati, di conservare o riconquistare un ruolo in una società in evoluzione come quella della seconda metà del XVI° secolo che era ormai caratterizzata dal consolidamento del processo di centralizzazione delle monarchie e degli stati.

This article explores the reliance of watermen (acquaroli) in early modern Venice on increasingly sophisticated waterwheels, designed, produced, and patented by competing inventors during the sixteenth and early seventeenth centuries, to load fresh water supplies that supplemented the rainwater on which the city otherwise depended for its freshwater needs. Using a range of archival and printed sources, this article examines the tools that delivered water to the watermen's barges and the state-sponsored competition this spurred among inventors. More broadly, the article investigates how Venice's patent process compared to those elsewhere in sixteenth-century Europe, with specific attention to the status of petitioners, contemporary notions of expertise, knowledge flows, and the role of the state.