Relevant bibliographies by topics / Valtellina (Italy) – History – 17th Century

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Valtellina (Italy) – History – 17th Century'

Author: Grafiati
Published: 10 March 2023
Last updated: 11 March 2023

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Journal articles on the topic "Valtellina (Italy) – History – 17th Century"

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Forclaz, Bertrand. "A Careful Management: The Borghese Family and their Fiefs in Early Modern Lazio." Journal of Early Modern History 12, no. 2 (2008): 169–93. http://dx.doi.org/10.1163/138537808x334331.

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AbstractThis article investigates economic management of fiefs as well as social relationships between lords and vassals in 17th- and 18th-century central Italy. Up to recent years, historians of early modern Italy as well as other European countries have stressed the “archaic” features of noble management, which would have prevented the emergence of a “modern” market-oriented agrarian economy, or have portrayed noblemen as market-oriented landowners neglecting their seigneurial rights. I argue here that both dimensions were present in noble management, as lords did not choose between them, but rather leaned upon one or the other according to circumstances. I base my argument on the case of the Borghese, one of the wealthiest papal families of the 17th century. Finally, this study shows that modern elements could be brought into a model characterized by strong seigneurial rights.
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Camuffo, Dario, Claudia Daffara, and Mirca Sghedoni. "Archaeometry of Air Pollution: Urban Emission in Italy during the 17th Century." Journal of Archaeological Science 27, no. 8 (August 2000): 685–90. http://dx.doi.org/10.1006/jasc.1999.0483.

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Mann, Vivian, and Daniel Chazin. "Printing, Patronage and Prayer: Art Historical Issues in Three Responsa." IMAGES 1, no. 1 (2007): 91–97. http://dx.doi.org/10.1163/187180007782347557.

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Abstract"Printing, Patronage and Prayer: Art Historical Issues in Three Responsa" presents texts from 16th-century Italy, 17th-century Bohemia, and 20th-century Russia that explore the following issues: the impact of the new technology of printing on Jewish ceremonial art and limits to the dedication and use of art in the synagogue.
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Rivero Rodríguez, Manuel. "Italian Madrid: Ambassadors, Regents, and Courtiers in the Hospital de San Pedro y San Pablo." Culture & History Digital Journal 11, no. 1 (June 21, 2022): e003. http://dx.doi.org/10.3989/chdj.2022.003.

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The Court…, more accurately, the city where the Court resided, was a microcosm of the Monarchy that was governed from it. That was the case in Madrid. This paper deals with a little-known institution, the Hospital and the Church of the Italians, analysing above all its transformation in the 17th century through two important documents, the personal diary of a Neapolitan regent and a record of a conflict of powers between the Council of Italy and the nunciature in Madrid containing the hospital’s founding documents.
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Pace, Claire. "»Free from business and debate«: city and country in responses to landscape in 17th–century Italy and France." Konsthistorisk Tidskrift/Journal of Art History 73, no. 3 (August 2004): 158–78. http://dx.doi.org/10.1080/00233600410018101.

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Piramidowicz, Dorota. "17th-century views of polish towns in the swedish royal collections at drottningholm palace." Acta Historiae Artium 48, no. 1 (October 1, 2007): 287–91. http://dx.doi.org/10.1556/ahista.48.2007.1.10.

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The Royal Swedish Collection at Drottningholm palace includes, among various other such scenes, a series of battle paintings by Johan Philip Lemke (1631–1711). This painter, educated in the Netherlands and Italy, carried out two series of paintings to commemorate the wars of the two Swedish monarchs, Carl X Gustav and Carl XI. These enormous compositions painted on canvas were mounted into the walls of two rooms in the palace. One of these views, the series devoted to the victories of Carl X Gustav, comprises twelve pieces, eight of which depict panoramas of towns in the Polish–Lithuanian Commonwealth. Carried out in 1690–1705, these views were copied from the engravings of Eric Johnson Dahlbergh (1625–1703), as is explained in the inscriptions. Unfortunately, the poor condition of these pictures (the effect of 18th-century ‘conservation’ using sand...) rules out comprehensive analysis of what is depicted in them. It can be no more than suspected that Lemke’s Drottningholm paintings were of a high artistic quality. As is proven by his drawings currently housed in the National Museum in Stockholm, this artist was undoubtedly a magnificent painter. These days, more than anything else the paintings under examination represent an interesting attitude of the painter towards history and glorifying the ruler in question.
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Tirelli, G., S. Lugli, A. Galli, I. Hajdas, A. Lindroos, M. Martini, F. Maspero, et al. "Integrated Dating of the Construction and Restoration of the Modena Cathedral Vaults (Northern Italy): Preliminary Results." Radiocarbon 62, no. 3 (March 16, 2020): 667–77. http://dx.doi.org/10.1017/rdc.2020.10.

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ABSTRACTAfter the last damaging earthquake in 2012, an anti-seismic reinforcement project of the cathedral of Modena was designed giving us the opportunity to investigate and date the building materials. Radiocarbon (14C), optically stimulated luminescence (OSL), and thermoluminescence (TL) dating techniques were performed on the vaults with the aim to (1) clarify the construction timing, (2) define the history of the restorations, and (3) explore the possible correlation of the main restoration works to the earthquake chronology deduced from the historic catalog. Preliminary results show that medieval older bricks were reused for most of the original construction. Only lime and non-gypsum mortar was used for the original construction in the 15th century and for later repair of damage caused by earthquakes in the 16th and 17th centuries. Gypsum mortar was used for later repair in the 18th century. The results show much stronger damage due to earthquakes than previously thought.
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Thomas, Riley, Jocelyn Alcantára-García, and Jan Wouters. "A Snapshot of Viennese Textile History using Multi-Instrumental analysis: Benedict codecasa’s swatchbook." MRS Advances 2, no. 63 (2017): 3959–71. http://dx.doi.org/10.1557/adv.2017.604.

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AbstractThe Habsburg Empire was a sovereign dynasty ruled by the Habsburgs between the 15th and 20th centuries. Although its borders were not defined before the 19th century, what is now Austria, Hungary, some areas of the Czech Republic, the Netherlands and Italy were at some point part of the Empire. Starting in the 17th century, the Empire had Vienna as the capital, which was a hub for culture and craft where silk was a valued commodity. Despite the political and cultural importance of the Empire, little is known of its trade practices and sources of raw material. Using a combination of X-Ray Fluorescence (XRF) and High Performance Liquid Chromatography-Photodiode Array Detector (HPLC-PDA) for the study of a Viennese swatch book, we conducted the first systematic approach to understanding the industry. Benedict Codecasa, a prominent merchant active in Vienna between the late 18th and early 19th century sold silk and other textile goods. Authorized by the Royal Court, Codecasa was assumed to sell luxurious and high-quality textiles. However, our results suggested colored goods were dyed with more focus on aesthetics (finding a similar color) rather than quality through unique recipes. This greatly contrasts with other contemporary textile industries praised for their quality and which, in turn, might be related to comparatively lesser quality textiles sold in Vienna.
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Kleitman, Alexander. "“Troubled Times in Russia in the Early 17th and Early 20th Centuries: Nature and Lessons” International Scientific Conference (October 12–13, 2018, Volgograd)." Vestnik Volgogradskogo gosudarstvennogo universiteta. Serija 4. Istorija. Regionovedenie. Mezhdunarodnye otnoshenija, no. 2 (April 2019): 215–21. http://dx.doi.org/10.15688/jvolsu4.2019.2.18.

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The article presents the analytical review of “Troubled Times in Russia in the Early 17th and Early 20th Centuries: Nature and Lessons” conference, dedicated to the jubilee of I.O. Tumentsev, which was held in Volgograd in October 2018. The aims of the conference were to conduct a comparative study of the two turning points in the history of the Russian state and society, to identify the patterns of systemic sociopolitical crises emergence and occurrence, to determine causes, factors, directions and boundaries of socio-cultural, economic and political changes that took place in Russia during the Time of Troubles of the early 17th century and the revolution and Civil War of 1917–1922. The conference takes an opportunity to analyze a wide circle of issues related to internal and external factors of the appearance of the Troubled Times in Russia, the specifics of social elevators functioning in the conditions of the system social crisis, the interaction between the elite and ordinary people in revolutionary times, the transformation of the state apparatus and service in the Time of Troubles, and the role of the Russian Orthodox Church at crucial moments in the Russian history. Scientists from Russia, England, Hungary, Italy, Poland, and the USA: historians, political scientists, economists, leading experts in these fields attended the conference. The article describes the content of the reports that were presented at the conference, analyzes the course of discussions, and presents the decisions that were made based on the results of its work. The scientific results obtained during the conference can be used in research on the history of Russia in the 17th and 20th centuries, the history of the national state and law, and in the analysis of contemporary social and political phenomena and processes.
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de Viana, Augusto. "Belgian Missionaries in 17th Century Marianas: The Role of Fr. Peter Coomans and Fr. Gerard Bouwens." Philippiniana Sacra 46, no. 136 (2011): 85–109. http://dx.doi.org/10.55997/ps1005xlvi136a4.

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Belgians comprised some of the European missionaries who helped administer the nascent Spanish colony in the Mariana islands. The Christian mission there was founded by Fr. Diego Luis de Sanvitores in 1668 and the task of conversion of the natives to the new faith was entrusted to the Jesuits. Missionaries from Belgium added to those from other nations such as Italy, Germany and Moravia. They were chosen because of their ability to endure harsh conditions. The first decades of the Marianas mission was fraught with extreme difficulties most especially the resistance of the natives to the changes brought by Christianity. Two missionaries, Fr. Peter Coomans and Fr. Balthazar Dubois, paid with their lives while serving as missionaries in the Marianas. Despite the difficulties, they sowed the seeds of the Christian mission in the island and ensured the continued existence of the colony. Fr. Coomans and Fr. Gerard Bouwens played an important part in the islands as superiors in the Mariana Mission. Fr. Bouwens later made recommendations for good governance in the islands. An important role played by these two missionaries was that they recorded the history of the colony and recorded some important aspects of the culture of the native Chamorro people and the challenges faced by the mission including the serious challenges such as the martyrdom of fellow missionaries and the native rebellions which lasted until 1695. For his important role in serving the mission, Fr. Bouwens was hailed as its second founder.
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Dissertations / Theses on the topic "Valtellina (Italy) – History – 17th Century"

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Rushing-Raynes, Laura. "A history of the Venetian sacred solo motet (c. 1610--1720)." Diss., The University of Arizona, 1991. http://hdl.handle.net/10150/185473.

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In 17th century Italy, the trend toward small sacred concertato forms precipitated the publication of a number of volumes devoted exclusively to sacred solo vocal music. Several of these, including the Ghirlanda sacra (Gardano, 1625) and Motetti a voce sola (Gardano, 1645) contain sacred solo motets by some of the best Italian composers of the period. Venetian composers were at the forefront of the move toward the smaller concertato forms and, to fulfill various needs of church musicians, wrote in an increasingly virtuoso style intended to highlight the solo voice. This study traces the development of the solo motet in the sacred works of Venetian composers from the time of Monteverdi to Vivaldi. It revolves around sacred solo motets composed at Saint Marks and the Venetian ospedali (orphanages). It includes works of Alessandro Grandi, Claudio Monteverdi, Francesco Cavalli, and Antonio Vivaldi. It also deals with solo motets of lesser composers whose works are available in modern critical and performing editions or in recently published facsimiles. In addition to providing a more detailed survey of the genre than has been previously available, this study provides an overview of highly performable (but largely neglected) repertoire.
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O'Neil, Maryvelma Smith. "Giovanni Baglione : seventeenth-century artist, draughtsman and biographer of artists." Thesis, University of Oxford, 1989. http://ora.ox.ac.uk/objects/uuid:b1494a9e-8c16-4d48-9553-0f63da44cb6c.

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This thesis explores Baglione's contributions to art and to the history of art by examining the nature of his artistic and critical originality and the significant influences thereon. In the work for which he is best known, Le Vite ... (1642), Baglione was an interesting and generous critic who was unusually receptive to pictorial effects, even when in architecture and sculpture. He assesses Caravaggio's accomplishments with well chosen observations thereby breaking his restriction to discuss only accessible works of art. A broad view of his paintings and drawings shows Baglione's complex, original and thoughtful voyage of discovery assisted by the intelligence with which he absorbed artistic influences, particularly from Raphael and the Cavalier d'Arpino. His refined style of drawing distances him from Caravaggio. In paintings from the first decade, light and shadow give form to graceful figures enveloped in voluminous garments. After 1610 the compositions become more inventive and increasingly Baroque. Baglione's attempt to make a synthesis out of ideal generalization and naturalistic description and to explore new subject matter constituted a search for a "maniera propria" that combined stylistic originality with a penchant for unusual iconography. The most important trends in Baglione's draughtsmanship are the tendency towards a broader, freer handling and the versatility with which he handles the technical means at his disposal. Though he often crosses over the line into the Baroque, the idealism of his Tusco-Roman formation and fondness for angular lines constrain him from fully yielding to a dynamic disposition. His very personal style can be seen in a number of drawings from the 1620s and 1630s that attain a remarkable pictorial aspect and a Baroque quality of sensual presence. His sophisticated use of the three chalk technique prefigures the form dissolving effects to be popularized by Watteau. At the same time, the defining contour line that emphasizes integrity is not abandoned.
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Giselbrecht, Elisabeth Anna. "Crossing boundaries : the printed dissemination of Italian sacred music in German-speaking areas (1580-1620)." Thesis, University of Cambridge, 2012. https://www.repository.cam.ac.uk/handle/1810/283907.

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Chung, Kyung-Young. "Reconsidering the Lament: Form, Content, and Genre in Italian Chamber Recitative Laments: 1600-1640." Thesis, University of North Texas, 2004. https://digital.library.unt.edu/ark:/67531/metadc4668/.

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Scholars have considered Italian chamber recitative laments only a transitional phenomenon between madrigal laments and laments organized on the descending tetrachord bass. However, the recitative lament is distinguished from them by its characteristic attitude toward the relationship between music and text. Composer of Italian chamber recitative laments attempted to express more subtle, refined and sometimes complicated emotion in their music. For that purpose, they intentionally created discrepancies between text and music. Sometimes they even destroy the original structure of text in order to clearly deliver the composer's own voice. The basic syntactic structure is deconstructed and reconstructed along with their reading and according to their intention. The discrepancy between text and music is, however, expectable and natural phenomena since text cannot be completely translated or transformed to music and vice versa. The composers of Italian chamber recitative laments utilized their innate heterogeneity between two materials (music and text) as a metaphor that represents the semantic essence of the genre, the conflict. In this context, Italian chamber recitative laments were a real embodiment of the so-called seconda prattica and through the study of them, finally, we more fully able to understand how the spirit of late Renaissance flourished in Italy in the first four decade of the seventeenth century.
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Yoshioka, Masataka. "Singing the Republic: Polychoral Culture at San Marco in Venice (1550-1615)." Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc33220/.

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During the late sixteenth and early seventeenth centuries, Venetian society and politics could be considered as a "polychoral culture." The imagination of the republic rested upon a shared set of social attitudes and beliefs. The political structure included several social groups that functioned as identifiable entities; republican ideologies construed them together as parts of a single harmonious whole. Venice furthermore employed notions of the republic to bolster political and religious independence, in particular from Rome. As is well known, music often contributes to the production and transmission of ideology, and polychoral music in Venice was no exception. Multi-choir music often accompanied religious and civic celebrations in the basilica of San Marco and elsewhere that emphasized the so-called "myth of Venice," the city's complex of religious beliefs and historical heritage. These myths were shared among Venetians and transformed through annual rituals into communal knowledge of the republic. Andrea and Giovanni Gabrieli and other Venetian composers wrote polychoral pieces that were structurally homologous with the imagination of the republic. Through its internal structures, polychoral music projected the local ideology of group harmony. Pieces used interaction among hierarchical choirs - their alternation in dialogue and repetition - as rhetorical means, first to create the impression of collaboration or competition, and then to bring them together at the end, as if resolving discord into concord. Furthermore, Giovanni Gabrieli experimented with the integration of instrumental choirs and recitative within predominantly vocal multi-choir textures, elevating music to the category of a theatrical religious spectacle. He also adopted and developed richer tonal procedures belonging to the so-called "hexachordal tonality" to underscore rhetorical text delivery. If multi-choir music remained the central religious repertory of the city, contemporary single-choir pieces favored typical polychoral procedures that involve dialogue and repetition among vocal subgroups. Both repertories adopted clear rhetorical means of emphasizing religious notions of particular political significance at the surface level. Venetian music performed in religious and civic rituals worked in conjunction with the myth of the city to project and reinforce the imagination of the republic, promoting a glorious image of greatness for La Serenissima.
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Lamal, Nina. "Le orecchie si piene di Fiandra : Italian news and histories on the Revolt in the Netherlands (1566-1648)." Thesis, University of St Andrews, 2014. http://hdl.handle.net/10023/6902.

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This thesis examines the Italian news reports, political debates and histories of the revolt in the Netherlands between 1566 and 1648. Many Italians were directly involved in this conflict and were keen narrators of these wars. Despite this, a systematic study of the Italian interest for the conflict has not yet been undertaken. This thesis argues that the complex political constellation of the Italian peninsula, dominated by the Habsburg monarchy, shaped the Italian news, debates and interpretations of the Dutch Revolt. Chapter one examines the different ways in which news from the Low Countries reached Italian states. It demonstrates that Italian military officers, active on the battlefield in the Netherlands in the Habsburg army, played a crucial role as purveyors of news and opinion on the conflict. The two following chapters study the circulation of political treatises on the Italian peninsula. Chapter two reconstructs the debates sparked by the events in the Low Countries between 1576 and 1577. Chapter three examines the descriptions of the emergence of a new state in the Northern Netherlands and the discourses on war and peace between 1590 and 1609. Chapter four looks into the development of a market for printed news pamphlets and explores the connections between manuscript and printed news. Chapter five studies how news was used by Italian history writers in their contemporary chronicles. It also investigates how these authors celebrated Italian protagonists in the war as Italian and Catholic heroes. The conclusion examines the evolution of all these Italian discourses related to Dutch Revolt.
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Hill, Michael. "Cardinal Scipione Borghese's patronage of ecclesiastical architecture, 1605-1633." Phd thesis, Faculty of Arts, 1998. http://hdl.handle.net/2123/16344.

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Montanari, Anna Maria. "'A heart in Egypt' : Cleopatra on the Renaissance stage in Italy and England." Thesis, University of Cambridge, 2015. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.709112.

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Rocco, Patricia. "Performing female artistic identity : Lavinia Fontana, Elisabetta Sirani and the allegorical self-portrait in sixteenth and seventeenth-century Bologna." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=99389.

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Artemisia Gentileschi's self-portrait, Allegory of Painting, painted in 1630, has activated a complex discussion of female artistic identity in which performance is tied to concerns with status. This thesis addresses an earlier history of development in allegorical self-portraiture in the work of the sixteenth-century Bolognese artist, Lavinia Fontana, and her seventeenth-century successor, Elisabetta Sirani. I argue that the female artist's negotiation for status was played out in the transformation from a more official mode of self presentation, such as Fontana's Self-Portrait at the Keyboard , to a deliberate performative shift of embodied personification in her self-portrait as Judith with the head of Holofernes and her later self portraits as St. Barbara in the Apparition of the Madonna and Child to the Five Saints. This negotiation of artistic status continues with Sirani's self-portraits in Judith and the Allegory of Painting, and as what I suggest are more ambiguous and ambitious representations of anti-heroines, Cleopatra and Circe. I also discuss the important role that the emerging genre of biography plays in the female artist's struggle for status. The thesis explores the shift in visual conventions in relation to discourses of artistic identity, gender and genre---such as the donnesca mano---that circulated in Renaissance historiography in Italy, and more specifically, in the cultural milieu of Bologna.
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Gavito, Cory Michael. "Carlo Milanuzzi's Quarto scherzo and the climate of Venetian popular music in the 1620s." Thesis, view full-text document, 2001. http://www.library.unt.edu/theses/open/20012/gavito%5Fcory/index.htm.

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Books on the topic "Valtellina (Italy) – History – 17th Century"

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Listening as spiritual practice in early modern Italy. Berkeley: University of California Press, 2011.

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After Raphael: Painting in central Italy in the sixteenth century. Cambridge, UK: Cambridge University Press, 1999.

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Gallery, Dulwich Picture, and International Arts & Artists., eds. The Dutch Italianates: 17th-century masterpieces from Dulwich Picture Gallery, London. London: Dulwich Picture Gallery in association with Philip Wilson Publishers, 2008.

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Hans, Nothdurfter, and Renhart Silvia, eds. St. Prokulus in Naturns: Ergrabene Geschichte : von den Menschen des Frühmittelalters und der Pestzeit. [Tirol]: Südtiroler Landesmuseum für Archäologie--Schloss Tirol, 1991.

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Avicenna in Renaissance Italy: The Canon and medical teaching in Italian universities after 1500. Princeton, N.J: Princeton University Press, 1987.

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The clock and the mirror: Girolamo Cardano and Renaissance medicine. Princeton, NJ: Princeton University Press, 1997.

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Lyons, John D. Exemplum: The rhetoric of example in early modern France and Italy. Princeton, N.J: Princeton University Press, 1989.

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Johan, Veeckman, and Jennings Sarah, eds. Majolica and glass from Italy to Antwerp and beyond: The transfer of technology in the 16th and early 17th century. Antwerpen: Stadt Antwerpen, 2002.

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Miasmas and disease: Public health and the environment in the pre-industrial age. New Haven: Yale University Press, 1992.

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Mechanism, experiment, disease: Marcello Malpighi and seventeenth-century anatomy. Baltimore: Johns Hopkins University Press, 2011.

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Book chapters on the topic "Valtellina (Italy) – History – 17th Century"

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Campbell, Gordon. "4. Italy." In Garden History: A Very Short Introduction, 50–62. Oxford University Press, 2019. http://dx.doi.org/10.1093/actrade/9780199689873.003.0004.

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‘Italy’ discusses the essential features of the 16th-century Italian Renaissance garden—terraces, symmetry, statues, water, and a balance between constructed and natural materials—that were to influence gardens all over the world both in layout and in content. The two best-known surviving gardens of 16th-century Italy are Villa d’Este in Tivoli and the Boboli Gardens in Florence. The design of Italian gardens through the 17th and 18th centuries is also considered, when there was a greater French influence. Many gardens became derelict during the political and economic difficulties of a fragmented Italy in the late 18th and early 19th centuries, but the past forty years have witnessed the restoration of many Renaissance gardens.
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Golubkov, Andrey V. "Hesiod’s dream: the History of World Literature in the Novel of French Précieuse (“Clélie, l’histoire romaine” by Madeleine de Scudéry)." In “The History of Literature”: Non-scientific sources of a scientific genre, 705–52. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2022. http://dx.doi.org/10.22455/978-5-9208-0684-0-705-752.

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The research focuses on the annotated translation into Russian language of the Hesiod’s Dream, large fragment from the 2nd book of the 8th volume of the novel “Clélie, l’histoire romaine” of the French writer of the middle of the 17th century Madeleine de Scudéry, which is a consistent narration about the world history of the literature in Ancient Greece, Ancient Rome, Renaissance Italy, as well as in France from the late Middle Ages up to the 1650’s. The introductory article analyzes the metatextual nature of the narrative (it is presented as the reading of a manuscript by the heroes of the novel, which tells about Hesiod, to whom the muse of poetry Calliope tells the future development of literature), as well as the context of the creation of an episode that reflected the influence of ancient and renaissance poetics and rhetoric. In the course of the research, it is demonstrated that Scudéry builds the logic of the evolution of Western literature in the context of the idea of “progress”: the ancient and Renaissance Italian tradition appears as a stage that prepared the flowering of gallant poetry in France; such an understanding of the logic of the development of Western literature, leading to an emphasis on the role of women and focusing on light love poetry (Catullus, Petrarca) to the detriment of the philosophical tradition (Dante) is the result of the cultural policy of Superintendent Nicolas Fouquet, who was considered by a significant part of the French elites as a new “Patron of the Arts”.
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