Academic literature on the topic 'Hapsburg House'

The Biblioteca degli Uffizi acts as a documentary ‘black box’ for all the notable collecting that has taken place in Florence during the past 500 years. The Library’s collections stretch from the autograph 22-year diary of the 15th-century painter Neri di Bicci and the different editions of Vasari’s Lives of the painters, through the inventories and lists of objects acquired and held successively by the Medici, the House of Hapsburg-Lorraine and the new Italian united kingdom, and to all the memoirs and plans and catalogues of the directors and ‘royal antiquarians’ of the Uffizi Gallery. In addition it contains major works on art history, artists, public and private art collections, exhibitions and many related topics. The Library holds 77,000 printed books and more than 440 manuscripts; its catalogue is shared with the IRIS consortium of art history and humanities libraries and contributes to artlibraries.net through this shared bibliographic database. Several digitisation projects have already been completed or are currently in progress.

This paper offers an overview of the Hungarian translations of the Scriptures, printed in the sixteenth century. Both the translation of the Bible and print culture date from the fifteenth century in Hungary, but printing in Hungarian is a phenomenon of the sixteenth century. Before then, Scriptural chapters, translated by Hungarian Hussites and Minorite monks remained in manuscript, and the print of the Renaissance royal court served the needs of the humanist Latin literature. First, this paper will describe the development of the principles of translations from the cautious solutions of the Erasmian contributor of the first book printed in Hungarian, Paul’s Epistle to the Romans (Kraków, 1535), to the conceptions of the well-organized Calvinist group of scholars that edited the first complete Hungarian Bible (1590). In the analysis of the terminology this paper will focus on the expressions of the divine and earthly power, in the context of the history of political ideas of the same epoch. The history of the early printed Scriptures in Hungarian runs parallel to the gradual enlargement of the earthly power in early modern Hungarian political thought, under the conditions of the Turkish occupation, Hapsburg Catholicism, and the special status of Transylvania. In the history of religion, the dominant strain of the Hungarian Reformation turned from Luther to Calvin, with the most important Hungarian publishing house at the time being that of the Unitarians in Transylvania. This change greatly influenced the development of the Hungarian theoretical culture. For instance, the main destination of peregrinatio academica of Hungarians turned from Wittenberg to the universities of the Netherlands, and the Hungarian printers finally opted for the Humanist Antiqua instead of the German Frakturschrift. The second part of the paper will illustrate this process with examples of the typography of the sixteenth-century Hungarian Scriptures, and of their target audiences.

Leone Leoni's house in Milan, the Casa degli Omenoni, is one of the city's most distinctive architectural landmarks. It has long earned the attention and admiration of visitors, particularly for its unusual façade decorated with six over-life-sized barbarian prisoners and two half-length caryatids flanking the central portal. Figures of this kind had never been seen on a house or palace façade before they appeared here. This article analyzes the sculptural and architectural sources of these figures as well as the architectural sources of the façade in general. The Casa degli Omenoni is placed within the context of the three major façade types at mid-century, in order to further clarify its innovative qualities. Finally, the iconology is discussed, with Leoni's dedication of the house to Marcus Aurelius seen in relation to the popularity of two books on the ancient emperor by the court historian of Charles V, Fray Antonio de Guevara. The prisoner motif is linked to the Persian Portico, and the famous frieze relief showing lions attacking a satyr is related to a similar device in Filarete's palace for the pseudonymous architect Onitoan Noliaver. It will be seen that Leoni presented himself to the public less as an artist than as a gentleman in the social camp of the Hapsburgs.

Abstract In the last decade of the nineteenth century, the rival alliance system that defined the formal structure of European international life unceremoniously buried the remnant congress system. The collective security of the post-Napoleonic era, shaped at Vienna, was replaced by the classic balance of power following the Franco-Prussian War and the Treaty of Frankfurt. After 1892, the Dual Alliance composed of the French Republic and tsarist Russia faced the Triple Alliance of Hohenzollern Germany, the Hapsburg Austro-Hungarian Empire, and the conservative constitutional monarchy in Italy led by the House of Savoy. British participation in the first was formalized in 1904 and 1907. Political leaders from both sides along with “realist” scholars and publicists routinely stated that the purposes of the agreements were purely defensive: to preserve peace through strength, deter aggression, and insure national security.