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Journal articles on the topic 'Sacro monte di pietà'

Author: Grafiati

Published: 11 March 2023

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1

Muzzarelli, Maria Giuseppina. "Una seconda chance per le persone e per le cose. I pegni consegnati ai Monti di Pietà alla fine del Medioevo: casi." Anuario de Estudios Medievales 52, no. 1 (July 29, 2022): 235–51. http://dx.doi.org/10.3989/aem.2022.52.1.09.

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Il Monte di Pietà, banca pubblica cittadina in funzione in Italia a partire dal 1462, realizzava i principi cardine dell’economia circolare: rendere i prodotti quanto più possibile duraturi ed efficienti e conseguentemente ridurre i rifiuti valorizzando anche beni apparentemente non più fruibili che possono invece essere considerati ancora impiegabili. Il Monte accoglieva pegni (frequentemente capi di abbigliamento) dai “poveri meno poveri” e in cambio accordava un piccolo credito. Ciò dava ai clienti dei Monti e agli oggetti consegnati in pegno una seconda chance ed evitava che chi si trovava in difficoltà precipitasse in un irrimediabile stato di povertà.

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2

Lignola, Gian Piero, and Gaetano Manfredi. "Damage Assessment and Design of Structural Interventions for Monte di Pietà in Naples, Italy." International Journal of Architectural Heritage 5, no. 6 (November 2011): 647–76. http://dx.doi.org/10.1080/15583058.2010.483565.

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3

Acuto, Greta. "Communicating a conservation-restoration project: The case of Chapel of ‘the original sin’ at the Sacro Monte di Varallo." Protection of Cultural Heritage, no. 13 (January 7, 2023): 37–50. http://dx.doi.org/10.35784/odk.2943.

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The Sacro Monte di Varallo (Sacro Monte of Varallo) is a natural reserve and religious place near Monte Rosa, Piedmont (Italy). Some of the greatest artists of the time worked there to create a representation of the places and events of Christ life with life-size statues and mural paintings, starting from the 15th century. The Conservation and Restoration Center 'La Venaria Reale' carried out a model conservation-restoration project focusing on the conservation of Chapel 1 (which represents the Original Sin). This project was developed as a case study efforts to properly communicate the conservation-restoration issued and the work carried out to different audiences. This initiative is part of a broader project, the Interreg Italy-Switzerland 'Main10ance', which aims to develop a sustainable conservation program for the UNESCO Sacro Montes. Communication was carried out on several levels, based on the interest of visitors, through the following avenues:1 - explanatory panels near Chapel 1;2 – explanatory tours with conservators and other professionals;3 – creation of website with information, insights and news dedicated to the work in progress.To create a more effective and engaging communication, information relating to visitors was collected. The public was grouped according to different characteristics in three public targets: Children; Adult; and Blind people. For each, a reference guidelines and a specific narrative was developed:• to involve children it was decided to use games;• to address adults, it was decided to focus the discussion on the frequently asked questions posed by visitors;• to bring the blind public closer, an evocative visit was proposed. Mock-ups were prepared to give the possibility to touch them, in order to make people understand the difference between surface in good condition and in degraded state.

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4

Sordo, Carlotta del, Massimo Fornasari, and Rebecca L. Orelli. "Power and Discipline: The Role of Accounting in the Monte di Pietà of Ravenna between 18th and 19th Centuries." International Journal of Business and Management 14, no. 7 (June 8, 2019): 93. http://dx.doi.org/10.5539/ijbm.v14n7p93.

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This paper aims to fill a gap in the scant literature on accounting practices in non-Anglo-Saxon countries in under- researched periods by exploring the Monte di Pietà of Ravenna, an Italian non-profit institution. The research draws upon original 18th and 19th century documents found in the Monte di Pietà of Ravenna and offers an internal perspective of the development of accounting technology before and after an ‘intacco’ episode, thus attempting to shed light on the significance of accounting in that context. The originality of the Ravenna episode, compared to other similar ones experienced by Monti, consists in its extension over time and in its recurrence by three generations of administrators linked by kinship bonds, who systematically damaged the Monte between 1797 and 1837. The new form of control of the Monte’s activities after the “intacco” based on accounting technologies, and realised a new relation between power and knowledge in which accounting was the tool to exercise disciplinary power, thus making people more governable. Accounting technologies relied upon a more articulated financial statement that included the institute’s transactions and events.

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5

Orelli, Rebecca L., Carlotta del Sordo, and Massimo Fornasari. "Credit and accounting in early modern Italy: the case of the Monte di Pietà in Bologna." Accounting History Review 23, no. 3 (November 2013): 273–93. http://dx.doi.org/10.1080/21552851.2013.850925.

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6

Connell, William J. "Charity and State in Late Renaissance Italy: The Monte di Pietà of Florence. Carol Bresnahan Menning." Journal of Modern History 68, no. 3 (September 1996): 709–10. http://dx.doi.org/10.1086/245372.

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7

Carboni, Mauro. "Converting Goods into Cash: An Ethical Approach to Pawnbroking in Early Modern Bologna." Renaissance and Reformation 35, no. 3 (March 11, 2013): 63–83. http://dx.doi.org/10.33137/rr.v35i3.19523.

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L’émergence des Monti di Pietà dans les villes italiennes des débuts de la modernité a joué un rôle important en permettant une grande circulation des liquidités dans les portions moins nanties du marché. À travers le prêt sur gage, le Monte offrait la possibilité de transformer temporairement en argent liquide les petites richesses non-monétaires, à divers degrés de l’échelle sociale. Le Monte a ainsi contribué à l’expansion du crédit, et exercé une importante fonction anticyclique dans les économies locales. En puisant dans les archives d’une de ces institutions les plus prospères — le Monte de Bologne —, cet article explore l’étendue de ce phénomène, l’importance des montants en jeu, la variété des biens mis en gage, ainsi que l’impressionnante variété des clients. Au sommet des activités du Monte, ses clients n’appartenaient plus seulement à la classe des travailleurs pauvres. Toutefois, ce changement n’a pas nuit à l’accessibilité du crédit aux classes pauvres, mais a plutôt contribué à ce que ces services soit offerts pour moins cher à ceux véritablement dans le besoin.

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8

Pinelli, Paola. "“Illegal” Pawns for “Immoral” Loans: Testing the Limits of the Monti di Pietà in Late Fifteenth-Century Tuscany." Renaissance and Reformation 35, no. 3 (March 11, 2013): 11–22. http://dx.doi.org/10.33137/rr.v35i3.19520.

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Les archives toscanes contiennent une importante documentation illustrant divers aspects des premières années des prêteurs sur gages des Monti di Pietà. On y trouve de riches informations sur le sexe et le statut des emprunteurs, sur les montants empruntés, sur les intérêts, ainsi que sur les conditions de rachat des effets mis en gage. Certaines archives — celles du monte de Prato par exemple — contiennent des registres dans lesquels les comptables du monte inscrivaient les opérations « interdites », dont l’existence ne devait pas apparaître dans les registres officiels. Ces registres privés contiennent des entrées qui font état de mises en gage de biens atypiques, telles que des biens précieux, qui, selon les lois, ne pouvaient être reçus en gage en retour de prêts, étant donné que ces emprunteurs n’appartenaient pas au groupe social désigné comme « nécessiteux et pauvre ». Par ailleurs, des gages étaient également donnés en échange d’argent, qui n’était pas utilisé pour les premières nécessitées, mais bien plutôt dépensé pour des activités « immorales » telles que les jeux de hasard et les aventures galantes.

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9

De Rosa, Luigi. "L'Archivio del Banco di Napoli e l'Attività dei Banchi pubblici Napoletani." De Computis - Revista Española de Historia de la Contabilidad 1, no. 1 (December 31, 2006): 54. http://dx.doi.org/10.26784/issn.1886-1881.v1i1.240.

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Este trabajo versa sobre los bancos públicos napolitanos. Estas instituciones son particularmente interesantes en la historia de la banca y de la contabilidad bancaria porque fueron las primeras en emitir papel moneda en forma de unos certificados de depósito o fedi di credito en la segunda mitad del siglo XVI. Estos certificados eran transmisibles por endoso y su emisión vino impuesta de alguna manera por la necesidad práctica de remediar la escasez crónica de numerario metálico que padecia el Reino de Nápoles, incorporado enaquella época a la Corona española. El primer banco público, llamado asi, no porque fuera de capital público, sino porque gozaba del apoyo y del reconocimiento de las autoridades gubernamentales, al tiempo que estaba sometido a su control, fue el Monte di Pietà. En el curso del trabajo se explican con detenimiento las circunstancias y dificultades económicas del Virreinato, con las frecuentes quiebras de banqueros privados, la creciente escasez de moneda metálica, la falsificación de la moneda, el recorte y cercenamiento de la buena, lafuga de la misma al exterior, el ambiente enrarecido de la nobleza y sus intentos de rebelión, el fracasado intento de Felipe II, en 1574, de auspiciar la creación en el reino de Nápoles de un banco único, con funciones de banco de Estado, con el fin de desarrollar el servicio de Tesoreria y, sobre todo, de conceder a la Corte préstamos en condiciones ventajosas -curioso paralelismo con los debates en España sobre este mismo tema en esos mismos años-, etc., motivos todos ellos que impulsaron al Virrey, entre finales de los años sesenta e inicios de los setenta, a reconocer valor oficial de moneda a los certificados de depósito emitidos por el Monte, en el sentido de concederles el privilegio de poder ser usados en los pagos a hacer al Estado por cualquier concepto. Ante el éxito obtenido por el Monte di Pietà, este mismo privilegio fue concedido a otros seis bancos más a finales del siglo y comienzos del siglo XVII. Los siete bancos públicos napolitanos cumplieron satisfactoriamente la misión para la que habian surgido y sus certificados de depósito fueron un dinero que gozó de general aceptación, alcanzando un elevado volumen de circulación y una rápida tasa de rotación. A finales del siglo XIX se fusionaron los sietebancos para dar lugar al actual Banco di Napoli. Su impresionante documentación contable se conserva en el Archivo histórico de esta entidad. Especialmente interesante es el sofisticado sistema contable instrumentado para contabilizar la emisión, seguimiento, control y cancelación de los certificados de depósito, como puede apreciarse por las explicaciones ofrecidas en la última parte del trabajo.

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10

Madonna, Salvatore, Greta Cestari, and Francesca Callegari. "Organisational and accounting responses to bankruptcy: the case of the Ferrara Monte di Pietà (1598 and 1646)." CONTABILITÀ E CULTURA AZIENDALE, no. 2 (December 2017): 71–102. http://dx.doi.org/10.3280/cca2017-002004.

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11

Babich, Babette. "Genius Loci - Lo spazio scolpito e il mistero di Nietzsche, Lou e il Sacro Monte." Rivista di estetica, no. 53 (June 1, 2013): 235–62. http://dx.doi.org/10.4000/estetica.1579.

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12

Muzzarelli, Maria Giuseppina. "From the Closet to the Wallet: Pawning Clothes in Renaissance Italy." Renaissance and Reformation 35, no. 3 (March 11, 2013): 23–38. http://dx.doi.org/10.33137/rr.v35i3.19521.

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Dans l’Italie de la Renaissance, ce sont les vêtements qui sont le plus couramment mis en gage par ceux qui cherchent à obtenir des prêts auprès des banquiers juifs et du Monte di Pietà. Des robes, des chemises et même des chaussures sont mis en gage, et les vêtements féminins le sont plus souvent que les vêtements masculins. Cet article examine les divers types de vêtements que les emprunteurs — hommes et femmes — offraient de mettre en gage, dans le but de déterminer leur qualité et leur valeur, et de cerner ainsi l’identité de ces clients. En prenant appui sur cette thématique, cet article montre comment l’analyse des changements de types de vêtements mis en gage à la fin du XVe et au XVIe siècle peut nous aider à mieux comprendre les changements de motivations et d’identités des emprunteurs de cette époque.

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13

Lignola, Gian Piero, and Gaetano Manfredi. "A combination of NDT methods for the restoration of monumental façades: The case study of Monte di Pietà (Naples, Italy)." Journal of Cultural Heritage 11, no. 3 (July 2010): 360–64. http://dx.doi.org/10.1016/j.culher.2009.11.010.

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14

Piqué, Francesca, and Giacinta Jean. "ETHICAL CHALLENGES IN THE CONSERVATION OF THE WALL PAINTINGS OF CHAPEL 11 AT THE SACRO MONTE DI VARALLO." Protection of Cultural Heritage, no. 8 (December 20, 2019): 255–68. http://dx.doi.org/10.35784/odk.1092.

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Chapel 11 is one of the 45 chapels of the Sacro Monte di Varallo. It is decorated with 16th century polychrome terracotta statues and wall paintings representing the Massacre of the Innocents. Since 2015, the University of Applied Sciences and Arts of Southern Switzerland (SUPSI) is in charge of its conservation. Up-close examination of the wall paintings allowed to observe the presence of overpainting, which were evaluated to have no aesthetical and/or technical quality. During the study phase and with preliminary tests for treatment development, it became clear that the removal of this overpaint was risky for the underlying original decoration. Moreover, it was not possible to determine if under the overpainting there was the original layer and in what condition it was. Although IR Reflectography showed the presence of underdrawings, this information did not always coincided with the presence of a paint layer. Considering that the overpainting covers about 80% of the surface, SUPSI strongly advised against embarking on its removal. This conclusion was achieved after several removal attempts and through regular communication meeting with the stakeholders aimed at illustrating the situation and the results achieved. SUPSI considered more ethical to focus on the development of a ‚reversible’ stabilization intervention considering that in the future new technologies (to assess the presence of paintings below and to remove overpainting) could make the recovery of what remains of the original decoration easier.This paper describes the project in terms of the ethical challenges faced when conflicting expectations about the project arised.

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15

Brucker, Gene A. "Carol Bresnahan Menning. Charity and State in Late Renaissance Italy: The Monte di Pietà of Florence. Ithaca and London: Cornell University Press, 1993. xiii + 333 pp. $51.95." Renaissance Quarterly 48, no. 4 (1995): 856–57. http://dx.doi.org/10.2307/2863428.

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16

Amaduzzi, Andrea, Paola Orlandini, and Mariarita Pierotti. "Special Issue: Accounting in different cultures and from different perspectives. Banking function and accounting practices from 1810 to 1897: The case of the Monte di Pietà in Milan." CONTABILITÀ E CULTURA AZIENDALE, no. 2 (January 2019): 13–51. http://dx.doi.org/10.3280/cca2018-002003.

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17

PICCIAIA, FRANCESCA, Luca Bartocci, Libero Mario Mari, and Fabio Santini. "Reforming Administration and Control to Restore Legitimacy: The Case of Monte di Pietà of Perugia, Italy (1462-1468)." Accounting Historians Journal, May 19, 2021. http://dx.doi.org/10.2308/aahj-2020-006.

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This paper analyzes the legitimacy strategies of Monte di Pietà of Perugia – the first ever Italian Monte di Pietà - in its early years of activity (1462-1468). Monte di Pietà represent an innovative case of historical financial institutions, a result of the Franciscan preaching to fight against usury and to respect the Catholic ban on any kind of remuneration for loaned capital. But to ensure its survival, Monte needed to request interest, immediately introducing problems of legitimacy. So, the institution endeavored to design strategies to rebuild its legitimacy toward its immediate audience. Starting from Suchman’s (1995) approach to legitimacy restoring strategies, and through an archival and interpretive analysis, the aims of the paper are as follows: to provide a plausible interpretation of changes in the administrative system, to report how those innovations constituted actions to successfully restore legitimacy, and to illuminate interactions among pragmatic, moral, and cognitive strategies.

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18

Wolfzettel, Friedrich. "Berg(-Landschaft) bei Dante – mit einem Ausblick auf Boccaccio." Deutsches Dante-Jahrbuch 92, no. 1 (October 26, 2017). http://dx.doi.org/10.1515/dante-2017-0007.

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RiassuntoNella sua concezione del monte del Purgatorio Dante sembra voler ignorare deliberatamente la lunga tradizione di un purgatorio infernale descritta da Jacques Le Goff, per riallacciarsi invece alla tradizione del monte sacro dell’Antico e del Nuovo Testamento. Non a caso, il monte del Purgatorio è coronato dal Paradiso Terrestre. La nuova posizione del monte al confine del mondo, a differenza della tradizione medievale, sottolinea pure la novità di una concezione quasi reale della montagna sacra la cui ascensione viene descritta con un realismo dinamico inaudito fino ad allora. Ma la »montagna bruna« descritta alla fine del celebre canto XXVI dell’Inferno funge anche da simbolo della verticalità tipica della cultura medievale che il grande dantista Giovanni Boccaccio non potrà accettare. Il ripudio della montagna - a favore di un paesaggio erotico della pianura umida e soleggiata - sarà dunque una caratteristica di tutta la sua opera fino al Decameron. Però, alla fine della sua vita, l’autore riprenderà il motivo del monte sacro di Dante per farne, nella sua visione satirica intitolata Corbaccio, il simbolo di una nuova libertà intellettuale nei confronti delle tentazioni erotiche e della schiavitù della carne. Si tratta però di un tentativo di autoliberazione a spese del dinamismo e del realismo della rappresentazione dantesca: il progresso intellettuale viene contrariato dal regresso estetico.

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19

Terry-Fritsch, Allie. "Performing the renaissance body and mind: somaesthetic style and devotional practice at the Sacro Monte di Varallo." Open Arts Journal, no. 4 (February 2015). http://dx.doi.org/10.5456/issn.2050-3679/2015w07.

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20

Bell, Margaret F. "Image as Relic: Bodily Vision and the Reconstitution of Viewer/Image Relationships at the Sacro Monte di Varallo." California Italian Studies 5, no. 1 (2014). http://dx.doi.org/10.5070/c351022540.

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21

"Carol Bresnahan Menning. Charity and State in Late Renaissance Italy: The Monte di Pietà of Florence. Ithaca: Cornell University Press. 1993. Pp. xiii, 333. $51.95." American Historical Review, February 1995. http://dx.doi.org/10.1086/ahr/100.1.191.

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22

"Giancarlo Andenna, ed., Religiosità e civiltà: Le comunicazioni simboliche (secoli IX–XIII). Atti del Convegno Internazionale, Domodossola, Sacro Monte e Castello di Mattarella, 20–23 settembre 2007. Index by Elisabetta Filippini. (Storia, Ricerche.) Milan: Vita e Pensiero, 2009. Paper. Pp. xvi, 460; black-and-white figures. €35." Speculum 86, no. 1 (January 2011): 291. http://dx.doi.org/10.1017/s0038713410003520.

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