Relevant bibliographies by topics / Venice (Italy) – Guilds – History

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

Academic literature on the topic 'Venice (Italy) – Guilds – History'

Author: Grafiati
Published: 10 March 2023

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Journal articles on the topic "Venice (Italy) – Guilds – History"

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Romano, Dennis. "Aspects of Patronage in Fifteenth- and Sixteenth-Century Venice*." Renaissance Quarterly 46, no. 4 (1993): 712–33. http://dx.doi.org/10.2307/3039020.

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Michael Baxandall's Study Painting and Experience in Fifteenth-Century Italy opens with the useful reminder that a “painting is the deposit of a social relationship,” that is, a relationship between patron and client. When Baxandall and other historians of Renaissance art use the term patronage, they generally do so in a restricted sense to indicate the relationship that existed when an individual or an institution such as a guild, confraternity, or monastic establishment commissioned a specific work of art from an artist or artisan. Often formalized through a contract, the relationship between patron and client was essentially a legal one in which the artist agreed to render a specific service in return for a preestablished or a negotiable sum of money. With the completion of the commission, the relationship essentially ended, unless succeeded by another commission.
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Grossutti, Javier P. "From Guild Artisans to Entrepreneurs: The Long Path of Italian Marble Mosaic and Terrazzo Craftsmen (16th c. Venice – 20th c. New York City)." International Labor and Working-Class History 100 (2021): 60–86. http://dx.doi.org/10.1017/s0147547920000253.

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AbstractMarble mosaic and terrazzo were a very common type of stone paving in Venice, Italy, especially between the sixteenth and eighteenth centuries. Throughout the period, migrant craftsmen from the nearby Alpine foothills area of Friuli (in northeastern Italy) virtually monopolized the Venetian marble mosaic and terrazzo trade. Thus, on February 9, 1583, the Venetian Council of Ten granted maestro (master) Sgualdo Sabadin from Friuli and his fellow Friulian workers of the arte dei terazzeri (art of terrazzo) the capacity to establish a school guild dedicated to St. Florian. The first chapters of the Mariegola de’ Terazzeri (Statutes of the Terrazzo Workers Guild), which set the rules for the guild of terrazzo workers, was completed three years later, in September 1586.From the 1830s onward, Friulian craftsmen began to export their skills and trade from Venice across Europe and later, at the turn of the twentieth century, overseas to several American cities. Prior to reaching America, mosaic and terrazzo workers left from their work places outside Italy, initially from Paris. Friulian mosaic and terrazzo workers were regarded as the “aristocracy” of the Italian American building workforce due to their highly specialized jobs: This contrasted with the bulk of Italians in the United States who were largely employed as unskilled. The New York marble mosaic- and terrazzo-paving trade was completely in the hands of the Italian craftsmen, who demonstrated a strong tendency to become entrepreneurs. They made use of their craftsmanship comparative advantages to build a successful network of firms that dominated the domestic market, in a similar fashion to what had already been occurring in France, Germany, the United Kingdom, and other European countries.This paper argues that immigrants can be powerful conduits for the transfer of skills and knowledge, and emphasizes the importance of studying skilled migrant artisan experiences. A closer look at ethnic migration flows reveals a variety of entrepreneurial experiences, even in groups largely considered unskilled. The Italian marble mosaic and terrazzo workers’ experience sheds new light on ethnic entrepreneurship catering for the community as a whole, it reveals a remarkable long-lasting craftsmanship experience, thus demonstrating the successful continuity in business ownership and the passing down of craftsmanship knowledge across family generations. Creativity skills and innovative productive methods adopted by firms appear as a key factor that allowed these artisans to control the trade for such a long time.
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Shaw, James E. "Retail, Monopoly, and Privilege: the Dissolution of the Fishmongers' Guild of Venice, 1599." Journal of Early Modern History 6, no. 4 (2002): 396–427. http://dx.doi.org/10.1163/157006502x00202.

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AbstractIn 1599, centuries of tradition came to an end when the Venetian fishmongers' guild was dissolved. In the late sixteenth century, the government had increasingly adopted a position that linked retailers to the crime of "monopoly," abusing their position at the expense of consumers. However, this simplistic conception of economic behavior proved disastrously misguided, and only a few years later the guild had to be restored. This humiliating reversal of government policy led to an important reappraisal of the role of retail guilds, and nothing similar would be attempted until the eighteenth century.
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Mocarelli, Luca. "Guilds Reappraised: Italy in the Early Modern Period." International Review of Social History 53, S16 (December 2008): 159–78. http://dx.doi.org/10.1017/s0020859008003659.

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BERTOLASI, Eliseo. "Italy - Crimea: history and modernity." Perspectives and prospects. E-journal, no. 3 (2019): 25–33. http://dx.doi.org/10.32726/2411-3417-2019-3-25-33.

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On 18 May 2016, in Venice, the Council of the Veneto Region was the first institution in the European Union that recognized the reunification of Crimea with Russia. This resolution paved the way for the same action by other Italian regional institutions: on 29 June 2016 in Genoa, the Council of the Liguria Region approved the recognition of thenew Crimean status; on 5 July, was the turn of the Lombardia Region. It is no coincidence that Veneto and Liguria have taken this step, but there are very specific historical reasons. Crimea in the Middle Ages hosted Venetian and Genoese colonies.
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Franchetti, Cécile, and Jon Hunner. "Review: Venice, the Jews and Europe, 1516–2016. The Doge’s Palace, Venice, Italy." Public Historian 39, no. 2 (May 1, 2017): 86–90. http://dx.doi.org/10.1525/tph.2017.39.2.86.

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Appuhn, Karl, Alberto Guenzi, Paola Massa, and Fausto Piola Caselli. "Guilds, Markets and Work Regulations in Italy, Sixteenth-Nineteenth Centuries." Sixteenth Century Journal 30, no. 4 (1999): 1044. http://dx.doi.org/10.2307/2544615.

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Roner, Marcella, Massimiliano Ghinassi, Mariaelena Fedi, Lucia Liccioli, Luca Giorgio Bellucci, Lara Brivio, and Andrea D’Alpaos. "Latest Holocene depositional history of the southern Venice Lagoon, Italy." Holocene 27, no. 11 (May 25, 2017): 1731–44. http://dx.doi.org/10.1177/0959683617708450.

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Robbert, Louise Buenger, and Richard Mackenney. "Tradesmen and Traders: The World of the Guilds in Venice and Europe, c. 1250-c. 1650." American Historical Review 94, no. 2 (April 1989): 477. http://dx.doi.org/10.2307/1866924.

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Sperling, Jutta. "Dowry or Inheritance? Kinship, Property, And Women's Agency in Lisbon, Venice, and Florence (1572)." Journal of Early Modern History 11, no. 3 (2007): 197–238. http://dx.doi.org/10.1163/157006507781147470.

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AbstractThe marital property regimes, inheritance practices, and kinship structures of Renaissance Italy and early modern Portugal were at opposite ends of a spectrum. In Italy, the legitimacy of marriage was defined as the outcome of dowry exchange governed by exclusio propter dotem, thus conceptually linked to the disinheritance of daughters and wives. In Portugal, where the Roman principle of equal inheritance was never abolished, domestic unions qualified as marriages insofar as joint ownership was established. Kinship structures were rigidly agnatic in Italy, but cognatic, even residually matrilineal, in Portugal. An investigation of notarial records from Lisbon, Venice, and Florence shows how women's capacity for full legal agency as property owners in both societies differed. Female legal agency, however, whether measured by women's capacity to engage in property transactions independently of their marital status (Portugal), or as the manipulation of limited legal resources, even resistance against a system of dispossession (Italy), always unfolded within the context of larger agendas that were beyond women's control, such as the processes of state formation in medieval Italy and empire-building in Portugal.
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Dissertations / Theses on the topic "Venice (Italy) – Guilds – History"

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Maglaque, Erin. "Venetian humanism in the Mediterranean world : writing empire from the margins." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:4d671b0d-6917-4a1f-bcfb-2045128a11e0.

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My dissertation examines the cultural history of the Renaissance Venetian maritime empire. In this project I bring into conversation two historiographical subfields, the intellectual history of Venetian Renaissance humanism and the colonial history of the early modern Mediterranean, which have previously developed separately. In doing so, I examine the relationship between power and knowledge as it unfolded in the early modern Mediterranean. The ways in which Venetian Renaissance intellectual culture was shaped by its imperial engagements - and, conversely, how Venetian approaches to governance were inflected by humanist practices - are the central axes of my dissertation. In the first part of the dissertation, I examine the ways in which writing and textual collecting were used by elite Venetian readers to represent the geopolitical dimensions of their empire. I consider a group of manuscripts and printed books which contain technical, navigational, and cartographic writing and images about Venetian mercantile and imperial activity in the Mediterranean. In the second part, I undertake two case-studies of Venetian patrician governors who were trained in the humanist schools of Venice, before being posted to colonial offices in Dalmatia and the Aegean, respectively. I examine how their education in Venice as humanists influenced their experience and practice of governance in the stato da mar. Their personal texts offer an alternative intellectual history of empire, one which demonstrates the formation of political thought amongst the men actually practicing and experiencing imperial governance. Overall, I aim to build a picture of the ways in which literary culture, the physical world of the stato da mar, and political thought came to be entwined in the Venetian Renaissance; and then to describe how these dense relationships worked for the Venetian administrators who experienced them in the Mediterranean.
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Sherman, Allison M. "The lost Venetian church of Santa Maria Assunta dei Crociferi : form, decoration, and patronage." Thesis, University of St Andrews, 2010. http://hdl.handle.net/10023/1021.

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This dissertation reconstructs the original form and sixteenth-century decoration of the lost Venetian church of Santa Maria Assunta dei Crociferi, destroyed after the suppression of the Crociferi in 1656 to make way for the present church of the Gesuiti. The destruction of the church, the scattering of its contents, and the almost total lack of documentation of the religious order for which the space was built, has obscured our understanding of the many works of art it once contained, produced by some of the most important Venetian artists of the sixteenth century. This project seeks to correct scholarly neglect of this important church, and to restore context and meaning to these objects by reconstructing their original placement in the interest of a collective interpretation. Various types, patterns and phases of patronage at the church—monastic, private and corporate—are discussed to reveal interconnections between these groups, and to highlight to role of the Crociferi as architects of a sophisticated decorative programme that was designed to respond to the latest artistic trends, and to visually demonstrate their adherence to orthodoxy at a moment of religious upheaval and reform.
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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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Brummer, Esther Elliott. "The development of the Nuptial Allegory in early modern Venice." Thesis, University of Cambridge, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.609942.

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Jones, Scott Lee. "Servants of the Republic : patrician lawyers in Quattrocento Venice." Thesis, Swansea University, 2010. https://cronfa.swan.ac.uk/Record/cronfa42517.

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Lawyers have widely been recognized as playing a role in the transition from the medieval to the modem state. Their presence in Renaissance Venetian politics, however, remains largely unexplored. Relying primarily on a prosopographical analysis, the thesis explores the various roles played by lawyers, dividing those roles into three main categories: diplomats, territorial governors, and domestic legislators. What emerges is a clear pattern of significant involvement by legally trained patricians in the Venetian political system. Noble lawyers were most often ambassadors, serving in many of the principal courts inside and outside of Italy as Venice was extending her influence on the Italian peninsula. They also served as administrators of Venetian rule throughout the Venetian terraferma (mainland) state. Lastly, their domestic political officeholding further confirms their continuing participation, as they held many of the most important domestic offices throughout the Quattrocento. The thesis ends with short biographies of each of the nearly three-dozen lawyers who make up this study, as well as chronologies of the offices they held. These chronologies include archival references for each office.
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Pesuit, Margaret. "Representations of the courtesan in sixteenth-century Venice : sex, class, and power." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ37227.pdf.

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Tamboer, Kimberly Jean. "Artistic Achievements of Convent Women in Renaissance Italy: with case studies in Venice and Prato." Master's thesis, Temple University Libraries, 2015. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/327335.

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Art History
M.A.
This thesis evaluates the artistic contributions of convent women in Renaissance Italy during the period c. 1450-1550 with individual case studies in Venice and Prato. As the cost of the traditional marriage dowry inflated markedly over the course of the fifteenth century, an increasing number of girls from affluent family backgrounds were sent to the convent in an effort to spare their families the financial burden of marrying them off. Convent vocations were not only financially convenient for families with daughters but offered a socially respectable alternative to marriage that many came to rely upon over the course of the latter fifteenth and sixteenth centuries. The heightened presence of highborn girls in Italian convents seems to correspond with a concurrent development in female monastic artistic production. This point will be demonstrated in my study through analysis of two objects: the illustrated convent chronicle of Santa Maria delle Vergini (c. 1523), now in the Museo Correr in Venice and the illustrated frontispiece of Beatrice del Sera's convent play Amor di virtù (1555), preserved in the Biblioteca Riccardiana in Florence. Both of the considered works complement a text also written by convent women during the same period that demonstrate their knowledge of historic and current events, in addition to contemporaneous developments in the visual arts. The corresponding texts will be examined in a supporting manner to aid in interpreting the subject matter of the illustrations. Subsequent to identifying the pictorial content of these illustrations, I will elucidate how the convent artists successfully assert a female identity through their respective visual representations, and determine what specific type of identity they were motivated to promote.
Temple University--Theses
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Neveu, Marc J. "Architectural lessons of Carlo Lodoli (1690-1761) : indole of material and of self." Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=100663.

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Original contribution. A discussion of Carlo Lodoli's bi-fold understanding of indole (inherent nature); with respect to both meaning in architecture and the education of architects.
Carlo Lodoli (1690--1761) exists as a footnote in most major history books of modern architecture. He is typically noted for either his influence on the Venetian Neoclassical tradition or as an early prophet to some sort of functionalism. Though I would not argue his influence, I doubt his role in the development of a structurally determined functionalism. The issue of influence is always present as very little of his writings have survived and his built work amounts to a few windowsills. He did, however, teach architecture. I propose to explore the pedagogic potential of Lodoli's lessons of architecture.
Lodoli's teaching approach was not necessarily professional in that he did not instruct his students in the methods of drawing or construction techniques. Rather, his approach was dialogical. The topics were sweeping, often ethical, and ranged from the nature of truth to the nature of materials. Existing scholarship pertaining to Lodoli most often focuses upon his students' production of texts, projects, and projections. Andrea Memmo's Elementi dell'Architettura Lodoliana (1786, 1833) and Francesco Algarotti's Saggio sopra l'architettura (1756) are both specifically named by the respective authors as advancing Lodoli's architectural theories. Often overlooked are the apologues, or fables, used by Lodoli in lessons to his students. The main source for these fables is the Apologhi Immaginati (1787). Others were included in Memmo's Elementi. Apologues from both sources have been translated for the first time into English and can be found in Appendix I of the dissertation.
I look specifically to these stories to understand and illustrate Lodoli's approach to making, teaching and thinking. This is understood through Lodoli's characterisation of the identity of materials and of the self. Within this dissertation I intend to flesh out the textual and architectural fabric surrounding the pedagogic activities of the Venetian Friar known as the Socrates of Architecture, Carlo Lodoli.
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Fonsato, Vanna Marisa. "Giudizi letterari di Isabella Teotochi Albrizzi nel carteggio inedito della Raccolta Piancastelli." Thesis, McGill University, 1992. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=61287.

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The present work examines the literary criticism expressed by Isabella Teotochi Albrizzi in several of her unpublished letters.
The first part outlines the cultural and historical tradition of Venice during the Eighteenth Century. Particular attention is subsequently given to the intellectual role of women, their contribution to the literary salons of the time, and the neoclassical tradition. This first part is essential in that it supplies a valuable context to Isabella Teotochi Albrizzi's writings.
In the second part, I examine Isabella Teotochi Albrizzi's literary criticism of major European authors and works. Through these criticisms she exposes her misvision of the literary world to which she aspired, and reveals that although she was influenced by the subtle preromantic tendencies, she remained faithful to the neoclassical school.
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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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Books on the topic "Venice (Italy) – Guilds – History"

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Tradesmen and traders: The world of the guilds in Venice and Europe, c. 1250-c. 1650. London: Routledge, 1990.

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Tradesmen and traders: The world of the guilds in Venice and Europe, c. 1250-c. 1650. London: Croom Helm, 1987.

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Tradesmen and traders: The world of the guilds in Venice and Europe, c. 1250-c. 1650. Totowa, N.J: Barnes and Noble Books, 1987.

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Hibbert, Christopher. Venice: The biography of a city. London: Grafton, 1990.

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A, Mozzato, and Comitato per la pubblicazione delle fonti relative alla storia di Venezia., eds. La Mariegola dell'arte della lana di Venezia: 1244-1595. Venezia: Il comitato, 2002.

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Shakespeare, William. Merchant of Venice. New York, NY: Barnes & Noble Books, 2008.

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Shakespeare, William. The Merchant of Venice. New York: Gramercy Books, 1994.

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Shakespeare, William. The merchant of Venice. San Diego, CA: ICON Classics, 2005.

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Shakespeare, William. The Merchant of Venice. Mineola, NY: Dover Publications, 2010.

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Shakespeare, William. The Merchant of Venice. Cambridge: Cambridge University Press, 1992.

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Book chapters on the topic "Venice (Italy) – Guilds – History"

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Perosa, Sergio. "Views of Venice before Hemingway." In Hemingway and Italy. University Press of Florida, 2017. http://dx.doi.org/10.5744/florida/9780813054414.003.0005.

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Perosa offers a history of artistic representations of Venice by poets and novelists around the world, including Lord Byron, Thomas Mann, and Henry James. In order to engage with Hemingway’s depiction of Italy, Perosa determines that it is necessary to understand how Venice has previously been captured by the greatest writers of the past. Through these writers, Perosa identifies a Venice that is synonymous with love, death, creativity, and mystery, all qualities that Hemingway himself sought to capture in his Italian works.
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Caumo, Ruggero. "Remembering Ernest Hemingway." In Hemingway and Italy, translated by Mark Cirino. University Press of Florida, 2017. http://dx.doi.org/10.5744/florida/9780813054414.003.0003.

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Caumo, the former barman at Hemingway’s favourite watering hole, Harry’s Bar, in Venice, remembers what it was like to serve Hemingway. He reveals aspects of Hemingway’s behavior, attitude, and stature that only an intimate associate could share. Caumo also talks about Cipriani, his boss, and his history and relationship to Hemingway.
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Rawes, Alan, and Diego Saglia. "Introduction: ‘Un paese tutto poetico’ – Byron in Italy, Italy in Byron." In Byron and Italy. Manchester University Press, 2018. http://dx.doi.org/10.7228/manchester/9781526100559.003.0001.

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The connection between Byron and Italy is one of the most familiar facts about British Romanticism.1 The poet’s many pronouncements about the country (where he lived between 1816 and 1823), its history, culture and people, as well as about his own experiences in Italy and among Italians, are well known and part of his legend. More particularly, Byron’s debauchery in Venice and would-be heroics in Ravenna are often known even to those acquainted with the poet’s biography only in its most simplified versions. In contrast, though the critical panorama has been changing in recent years, serious attention to Byron’s literary engagement with Italy has tended to be discontinuous. Yet he wrote much of his greatest poetry in Italy, and under its influence, poetry that would have a profound bearing not only on the literature but also the wider culture, history and politics of the whole of Europe, and not least Italy itself....
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West-Harling, Veronica. "A Tale of Three Cities." In Rome, Ravenna, and Venice, 750-1000, 39–107. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198754206.003.0002.

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After a brief recall of Italian history from late antiquity to 750, this chapter provides a city-by-city history from the end of the Exarchate to 1000. The history of Rome follows the Lombard crises and the end of Byzantine rule, Frankish/Carolingian domination, the events of the Kingdom of Italy, aristocratic rule, and the attempted Ottonian control over the city. Ravenna’s three narrative strands are the aftermath of the autocephaly conflict, the anti-papal policies of most archbishops throughout the Byzantine then Carolingian period, and lastly the renewed prestige of the city under the Ottonian emperors. For Venice, the narrative follows the origins (imagined and probable) of the city, its succession of ducal families, and its attempt always to create a balance between its official Byzantine dependence and its grounding in the north Adriatic space
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Marchesin, Giorgia. "Dell'Archivio Storico delle Arti Contemporanee «la Biblioteca n’era il principio»." In Storie della Biennale di Venezia. Venice: Edizioni Ca' Foscari, 2019. http://dx.doi.org/10.30687/978-88-6969-366-3/010.

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The essay aims to reconstruct the history and to provide a library analysis about one of the most important libraries of contemporary art in Italy: the Library of the Venice Biennale. The library has been the founding fulcrum of what today is ASAC: Historical Archive of Contemporary Arts of the Venice Biennale. Its long history can be reconstructed by retracing the move of which it has been the protagonist, from the beginning in a small room on the ground floor of the Palazzo Ducale, to the current location inside the Central Pavilion of the Biennale Gardens. The heritage of books is in continuous development thanks to the Book Pavilion project and a network of exchanges between the most important artistic and cultural institutions. Today the Library heritage includes over 153,000 publications and over 3,000 periodicals. This invaluable collection, for the world of contemporary art, offers almost 23,000 volumes owned, in Italy, exclusively from the Library of the Venice Biennale.
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Botticini, Maristella, and Zvi Eckstein. "Segregation or Choice?" In The Chosen Few. Princeton University Press, 2012. http://dx.doi.org/10.23943/princeton/9780691144870.003.0009.

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This chapter assesses the argument that both their exclusion from craft and merchant guilds and usury bans on Christians segregated European Jews into moneylending during the Middle Ages. Already during the twelfth and thirteenth centuries, moneylending was the occupation par excellence of the Jews in England, France, and Germany and one of the main professions of the Jews in the Iberian Peninsula, Italy, and other locations in western Europe. Based on the historical information and the economic theory presented in earlier chapters, the chapter advances an alternative explanation that is consistent with the salient features that mark the history of the Jews: the Jews in medieval Europe voluntarily entered and later specialized in moneylending because they had the key assets for being successful players in credit markets—capital, networking, literacy and numeracy, and contract-enforcement institutions.
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Fazzi, Fabiana. "Museum Learning Through a Foreign Language." In Studi e ricerche. Venice: Edizioni Ca' Foscari, 2018. http://dx.doi.org/10.30687/978-88-6969-227-7/031.

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One of the most interesting effects of internationalisation is certainly the increase, in Italy, of museum educational programmes delivered through the means of a foreign language and based on the CLIL methodology. The aim of these programmes is for visitors to practise their foreign language skills in an authentic and stimulating context, while at same time developing their knowledge of science, art or other discipline related contents. Their target is mainly school-students, which is in line with current European policies that encourage member states to bridge the gap between in- and out-of-school language learning. This article will first offer a broad overview of how internationalisation has affected museum educational programmes in Italy. Thus, it will give an overview of museum and CLIL-based pedagogies, discussing the challenges encountered to integrate them through summarising Fazzi’s evaluation of a CLIL museum programme. It will then outline a research project carried out in collaboration with the Civic Museum of Venice, through discussing (i) the steps taken in developing a CLIL museum programme at the Natural History Museum of Venice, (ii) the programme structure and (iii) the challenges encountered. The project, which is currently in its second year, adopts a participatory approach and involves the museum educational staff, the museum educator/researcher, and secondary school teachers and students.
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8

Zanou, Konstantina. "Andrea Papadopoulo Vretto between East and West." In Transnational Patriotism in the Mediterranean, 1800-1850, 144–60. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198788706.003.0012.

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Chapter 9 narrates the life of Andrea Papadopoulo Vretto (1800–76), through his autobiographical manuscript. By illuminating the activities of this itinerant and adventurous man—in Naples, the Ionian Islands, Nafplio, St Petersburg, Venice, and Varna—the chapter offers a contribution to a number of issues in intellectual history, such as the creation of Albanian nationalism in the diasporic centres of southern Italy, the rise of interest in archaeology in the British Mediterranean, as well as the emergence of the modern Greek bibliographic tradition. It also provides insight into the consolidated links between Greece and Russia throughout the 1830s and illustrates the way Orthodox ecumenism was reshaped within the Greek kingdom.
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Wight, Martin. "Dynastic Legitimacy." In International Relations and Political Philosophy, 219–44. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198848219.003.0018.

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In this essay Wight clarified the importance of dynastic legitimacy—that is, hereditary monarchy—in European history. In the Middle Ages and subsequent centuries, rulers were mainly princes who inherited their crowns. The principal exceptions were the leaders of republics, including Venice, Ragusa, Genoa, and Lucca in Italy; the Swiss confederation; and the United Provinces of the Low Countries. Dynastic principles included the theory that the ruler was chosen by God through hereditary succession, and that the monarch represented his or her subjects, notably with regard to the official religious denomination of the country. Such principles made dynastic marriages valuable means to provide heirs to the crown, to clarify succession to the throne, to consolidate alliances, to gain influence and wealth, and to legitimize territorial gains. Despite imprudent and egocentric behaviour by some royal leaders, monarchs were increasingly expected to pursue national rather than personal dynastic interests. After the Napoleonic Wars, the Congress of Vienna reaffirmed dynastic principles of legitimacy, including in Venice and the Netherlands; the Swiss confederation was a conspicuous exception. Dynastic rulers have, however, tended to become symbols and instruments of national unity and self-determination. Popular support for dynastic houses has in many cases led to popular legitimacy for constitutional monarchies.
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Carpinato, Caterina. "Lingua e letteratura (neo)greca a Ca’ Foscari: 1868-2018." In Le lingue occidentali nei 150 anni di storia di Ca’ Foscari. Venice: Edizioni Ca' Foscari, 2018. http://dx.doi.org/10.30687/978-88-6969-262-8/004.

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The essay aims to outline the history of the teaching of Modern Greek at Ca’ Foscari University of Venice: it started with its foundation in 1868, with Costantino Triantafillis, and was interrupted for more than a century from 1890. This paper also deals with the history of the discipline from 1868 until today, with an eye on the connection with the political and cultural life of the country and on the relationship with other disciplines (such as Ancient Greek language and literature and Byzantine civilization). After an interval of a century classes of Modern Greek started up again at Ca’ Foscari in 1994-95 thanks to the teaching of Lucia Marcheselli Loukas. Since 1998 the teaching has been revived with a tenured professor and, in the last twenty years, it has trained graduate students and young scholars who today play a cultural and linguistic role of mediation between Italy and Greece.
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Conference papers on the topic "Venice (Italy) – Guilds – History"

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Pellegrino, C., M. A. Zanini, F. Faleschini, F. Andreose, L. Mancassola, and M. Frizzarin. "Ambient Vibration Tests for Modal Characterization of an Existing Steel-Concrete Composite Bridge." In IABSE Symposium, Wroclaw 2020: Synergy of Culture and Civil Engineering – History and Challenges. Zurich, Switzerland: International Association for Bridge and Structural Engineering (IABSE), 2020. http://dx.doi.org/10.2749/wroclaw.2020.0812.

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<p>The use of structural health monitoring for a reliable characterization of modal properties is becoming a common solution when dealing with the safety assessment of existing bridges, in order to capture samples of the experimental response of the “real structure”. Such non-destructive test approach has also the advantage to be able to capture also potential criticalities that can change the real behavior of the structure with respect to the “as-built” configuration. The present work illustrates the results of experimental measurements carried out on the Carbonifera viaduct, a steel-concrete composite bridge located in the metropolitan area of Venice, northeastern Italy. These tests were conducted in order to determine main natural frequencies, mode shapes, modal damping ratios and to further calibrate an ad-hoc finite element model subsequently used in order to perform a structural assessment of the bridge against traffic and seismic loads.</p>
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2

Salvalaggio, Matteo, Michele Monego, and Simone Maioli. "AN INTEGRATED APPROACH AIMED AT THE PROTECTION OF CULTURAL HERITAGE: FROM THE GEOMATIC SURVEY TO HBIM AND AR REPRESENTATION OF VILLA PISANI (STRA, ITALY)." In ARQUEOLÓGICA 2.0 - 9th International Congress & 3rd GEORES - GEOmatics and pREServation. Editorial Universitat Politécnica de Valéncia: Editorial Universitat Politécnica de Valéncia, 2021. http://dx.doi.org/10.4995/arqueologica9.2021.12075.

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The topic of Cultural Heritage preservation has gained an increasing attention during last decades. The protection of such complex and delicate manufacts require the intervention of experts from different field (e.g. archaeology, restoration, survey, 3D modeler, structural engineering, architecture), addressed towards an integrated and multidisciplinary scientific approach. Recently, technology advancements have involved many scientific disciplines, affecting both the investigation tools and the data computing. In this paper, an approach aimed at assessing the health status and preserving a heritage building is presented and applied to a case study, exploiting the most effective tools nowadays available. Based on the so-called knowledge path, the study started from the analysis of historical data, through the collection of in-situ measures and towards the construction of a 3D digital model where the information is stored. In particular, a set of images taken by drone and processed by the photogrammetric technique of Structure from Motion, were used to produce detailed point clouds, mesh model, DEM and orthophotos that collect an accurate geometrical documentation, useful to analyse the conservation status and the crack pattern. Based on the detailed model from geomatic survey and drawings, a Heritage Building Information Modelling (HBIM) database was collected with the possibility of managing historical, geometric, structural and health status information. In the end, the study focused on the availability of the information collected for non-professional users or professionals from different fields, who do not have access to data kept in commercial database. Partly, this resulted in the elaboration of an augmented reality (AR) model, accessible by common mobile applications. The case study is Villa Pisani in Stra (Venice, Italy), a well-known example of venetian villa built in the XVIII century which hosted many protagonists of the European contemporary history.
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