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

Author: Grafiati

Published: 10 March 2023

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Calcagno, Mauro. "Censoring Eliogabalo in Seventeenth-Century Venice." Journal of Interdisciplinary History 36, no. 3 (January 2006): 355–77. http://dx.doi.org/10.1162/002219506774929818.

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Analysis of the opera Eliogabalo in its various incarnations, from the perspective of Venetian society and politics at the time, reveals a veiled story of censorship and dissimulation. The first version of the opera, set by Francesco Cavalli in 1667, was hastily abandoned in favor of a new treatment by Giovanni A. Boretti on a libretto by Aurelio Aureli, which managed to retain telling traces of its predecessor. The subsequent fate of this second version, variously rewritten and performed around Italy until 1687, confirms the ideological controversy that always seemed to surround this opera and the influence of theater owners and others over its content, providing an insight into the nature of Venetian operatic patronage.

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12

Najemy, John M. "Tradesmen and Traders: The World of the Guilds in Venice and Europe, c. 1250-c. 1650. Richard Mackenney." Journal of Modern History 61, no. 3 (September 1989): 623–26. http://dx.doi.org/10.1086/468329.

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13

Cowan, Alexander, and Richard Mackenney. "Tradesmen and Traders: The World of the Guilds in Venice and Europe, c. 1250- c. 1650." Economic History Review 41, no. 2 (May 1988): 329. http://dx.doi.org/10.2307/2596084.

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14

Muir, Edward. "Why Venice? Venetian Society and the Success of Early Opera." Journal of Interdisciplinary History 36, no. 3 (January 2006): 331–53. http://dx.doi.org/10.1162/002219506774929854.

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Why did opera first succeed as a public art form in Venice between 1637 and 1650 when all the elements of the new form were fully evident? The answer is to be found in the conjunction between Venetian carnival festivity and the intellectual politics of Venetian republicanism during the two generations after the lifting of the papal interdict against Venice in 1607. During this extraordinary period of relatively free speech, which was unmatched elsewhere at the time, Venice was the one place in Italy open to criticisms of Counter Reformation papal politics. Libertine and skeptical thought flourished in the Venetian academies, the members of which wrote the librettos and financed the theaters for many of the early Venetian operas.

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15

Beltrame, Carlo, and Lorenzo Lazzarini. "A Presumed Greek Stone Anchor Stock Recovered off Venice, Italy." International Journal of Nautical Archaeology 35, no. 1 (April 2006): 137–40. http://dx.doi.org/10.1111/j.1095-9270.2005.00087.x.

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16

Pigatto, Luisa, Nha Il-Seong, Jürgen Hamel, Kevin Johnson, Rajesh K. Kochhar, Tsuko Nakamura, Wayne Orchiston, Bjørn R. Pettersen, Sara J. Schechner, and Shi Yunli. "DIVISION XII / COMMISSION 41 / WORKING GROUP HISTORICAL INSTRUMENTS." Proceedings of the International Astronomical Union 4, T27A (December 2008): 423. http://dx.doi.org/10.1017/s1743921308025994.

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The Historical Instruments Working Group (WG-HI) and Commission 41 started planning an interdisciplinary conference titled Astronomy and its instruments before and after Galileo since January 2007. This conference, as an IYA2009 initiative, aims “to highlight mankind's path toward an improved knowledge of the sky using mathematical and mechanical tools as well as monuments and buildings, giving rise, in doing so, to scientific astronomy”. Commission 46 and Commission 55 also support this conference, to be held on the Isle of San Servolo, Venice (Italy), 27 September – 3 October 2009. As a fact of history, it was in Venice that Galileo was advised and got material (glass) to make his telescope, and in Venice he presented an working instrument to Venetian Doge in August 1609. The conference is co-sponsored by IAU as a Joint Symposium with the INAF – Astronomical Observatory of Padova, Italy.

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17

van Gelder, Maartje. "Richard Mackenney. Venice as the Polity of Mercy: Guilds, Confraternities and the Social Order, c. 1250–c.1650." American Historical Review 125, no. 5 (December 2020): 1987–89. http://dx.doi.org/10.1093/ahr/rhz944.

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18

Rabb, Theodore K. "Opera, Musicology, and History." Journal of Interdisciplinary History 36, no. 3 (January 2006): 321–30. http://dx.doi.org/10.1162/002219506774929782.

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The interactions between operas and the societies in which they were composed and first heard are of interest to both historians and musicologists, especially because operas since the seventeenth century have had significant connections with political and social change. The essays in this special double issue of the journal, entitled “Opera and History”, pursue the connection in six settings: seventeenth-century Venice; Handel's London; Revolutionary Europe from 1790 to 1830; Restoration and Risorgimento Italy; Europe during the birth of Modernism from 1890 to 1930; and twentieth-century America.

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19

Lowe, Kate. "Elections of Abbesses and Notions of Identity in Fifteenth- and Sixteenth-Century Italy, with Special Reference to Venice*." Renaissance Quarterly 54, no. 2 (2001): 389–429. http://dx.doi.org/10.2307/3176782.

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Ceremonies of election to abbess were occasions of great display. Election to this highest of offices was the defining moment of a successful nun's life, and thereafter self-identity became crucial. This article examines an anatomy of an election of 1509 by a nun from San Zaccaria in Venice; the illustrated chronicle of Santa Maria delle Vergini in Venice dated 1523, written by an anonymous nun; and the visual representation (in a range of media) of various abbesses from Florence, Pavia, and Venice. Success in election conferred the possibility of personality and consequently legitimated personalized representation.

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20

Gentilcore, David. "The cistern-system of early modern Venice: technology, politics and culture in a hydraulic society." Water History 13, no. 3 (October 2021): 375–406. http://dx.doi.org/10.1007/s12685-021-00288-2.

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AbstractAt a time when European cities depended on three sources of fresh water for their domestic and industrial needs—rivers, spring-fed aqueducts and groundwater wells—early modern Venice added a fourth possibility: a dense network of cisterns for capturing, filtering and storing rainwater. Venice was not unique in relying on rainwater cisterns; but nowhere in Italy (indeed in Europe) was the approach so systematic and widespread, the city concerned so populous, the technology so sophisticated and the management so carefully regulated as in the lagoon city. To explore Venice’s cistern-system, a range of primary sources (medical treatises, travellers’ accounts, archival records) and the contributions of architectural, medical and social historians, and archaeologists are analysed. The article examines the system’s functioning and management, including the role of the city’s acquaroli or watermen; the maintenance of freshwater quality throughout the city, in the context of broader sanitation measures; and the place of the “wells” and fresh water in daily life in Venice. As a means of teasing out the myriad links between nature, technology and society in early modern Italy, the article concludes with a brief comparison of the politics of water supply management in the very different urban realities of (republican) Venice, (viceregal) Naples and (papal) Rome.

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21

Belfanti, Carlo. "Guilds, Patents, and the Circulation of Technical Knowledge: Northern Italy during the Early Modern Age." Technology and Culture 45, no. 3 (2004): 569–89. http://dx.doi.org/10.1353/tech.2004.0111.

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22

Cox, Virginia. "Rhetoric and Humanism in Quattrocento Venice." Renaissance Quarterly 56, no. 3 (2003): 652–94. http://dx.doi.org/10.2307/1261610.

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AbstractThis essay examines the development of humanistic rhetoric in fifteenth-century Venice, taking as its starting point a remark of Ermolao Barbaro's on the inadequacy of academic rhetorical instruction as a preparation for the practical oratorical skills necessary to Venetian civic life. It is argued that the context of Barbaro's remark is a series of humanistic polemics on rhetoric that took place in Venice and Padua in the latter decades of the Quattrocento, culminating in the famous debate of the 1490s on the authenticity of theRhetorica ad Herennium. As the essay shows, a consideration of these debates reveals the way in which local, contextual factors inflected the development of humanistic rhetorical culture in Italy, the key factor here being the continuing importance in republican Venice of a live tradition of deliberative debate.

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23

Harris, Leigh Coral. "FROM MYTHOS TO LOGOS: POLITICAL AESTHETICS AND LIMINAL POETICS IN ELIZABETH BARRETT BROWNING’S CASA GUIDI WINDOWS." Victorian Literature and Culture 28, no. 1 (March 2000): 109–31. http://dx.doi.org/10.1017/s1060150300281072.

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@FP = CHARLES DICKENS ADAMANTLY DECLARES he will not indulge in “any grave examination into the government or misgovernment of any portion” of Italy, because “that beautiful land” requires only aesthetic reflections that “have ever a fanciful and idle air” (1); and John Ruskin relentlessly insists on turning attention away from the action in the Italian streets and inward toward the motionless stones of buildings, because Venice, “Queen of Marble and of Mud,” has no political dimension (“Stones of Venice” 9: xxix). Elizabeth Barrett Browning, by contrast, masterfully tackles the problem of the emerging nation’s political image in Victorian England. These comments by prominent Victorian men of letters reflect the conventional British formulation of Italy through the nineteenth century “as the locus of the feminine and silent properties of space, painting, nature, and the body — a place outside of history where temporal motion had ceased” (Bailey 94).1 Indeed, a commonplace implicit in the British definition of pre-national Italy is the idea of la bella Italia as apolitical and even ahistorical. But from 1815 onwards, as Italians became increasingly dissatisfied under their new Austrian rulers, the British equation between Italy and art, Italy and beauty, became increasingly out of touch with the Italian republican movement.2

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24

Maria, Manola, and Angelopoulos Marios. "CULTURE AND HISTORY THROUGH WINE IN ITALY AND GREECE." E-Journal of Cultural Studies 14, no. 3 (August 31, 2021): 14. http://dx.doi.org/10.24843/cs.2021.v14.i03.p03.

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The purpose of this paper is to present the phenomenon of wine-making in Greece and Italy. To highlight the characteristics of wine tourism in those countries either positive or negative. Also the “Road of wine” in both countries is analyzed and the way they manage this event to welcome tourists and locals who want to learn more things about local wine. The first section analyzes the definition of tourism, tourist incentive, forms of alternative tourism and the consequences arising from tourism on the economy and society. The second section analyzes the history of wine in Greece and Italy. Immediately after, the classification of the wine is developed based on the aging time but also based on the color. The concept of wine tourism and its goals are also being developed. The third section mentions the routes of the Peloponnese in general and in particular which wineries and which places / islands take part in the event. Immediately after, the routes of wineries of Achaia are analyzed in the event “Wine Road”. Then it is mentioned how the event “Wine Road” started in Italy and especially in Venice. Keywords: Cultural heritage, Wine history, Italy, Greece, Culture, Wine roads .

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25

Franceschi, Franco. "Big Business for Firms and States: Silk Manufacturing in Renaissance Italy." Business History Review 94, no. 1 (2020): 95–123. http://dx.doi.org/10.1017/s0007680520000100.

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Silk manufacturing began in Lucca in the twelfth century and by the fifteenth century Italy had become the largest producer of silk textiles in Europe, nurtured by extensive domestic and foreign demand for the luxurious fabric. This essay explores the market for silk textiles, the organization of the silk industry, and the role played in it by guilds, entrepreneurs and their capital, and highly sought after artisans. Just as silk manufacturing was an important and lucrative business for entrepreneurs, this article argues, so was it a crucial strategic activity for the governments of Italy's Renaissance states, whose incentives, protections, and investments helped to start up and grow the sector with the aim of generating wealth and strengthening their respective economies.

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Nardini, Ilaria, Elisabetta Zendri, Guido Biscontin, and Sara Riato. "Composition and technology of historical stuccoes coming from Grimani Palace in Venice (Italy)." Journal of Cultural Heritage 8, no. 1 (January 2007): 61–64. http://dx.doi.org/10.1016/j.culher.2006.11.001.

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27

Lowe, Kate. "Visible Lives: Black Gondoliers and Other Black Africans in Renaissance Venice*." Renaissance Quarterly 66, no. 2 (2013): 412–52. http://dx.doi.org/10.1086/671583.

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This article contributes to the study of the early sub-Saharan African diaspora in Europe by analyzing both visual and documentary evidence relating to black gondoliers in Renaissance Venice. Gondolas and gondoliers were iconic features in fifteenth-century Venice, yet most gondoliers were not Venetian. Although black Africans were highly visible in a predominantly white society, naming practices and linguistic usages rendered them virtually invisible in the documentary sources. It is now possible not only to investigate representations of black gondoliers in paintings, but also to identify black gondoliers in the lists of gondoliers’ associations and in criminal records. Slavery was an accepted institution in late medieval Italy, and nearly all black Africans arrived in Venice as slaves, yet usually ended their lives free. Being a gondolier gave a few black Africans a niche occupation that allowed them to manage their transition to freedom, and to integrate successfully into Venetian society.

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28

Chojnacki, Stanley. "Kinship Ties and Young Patricians in Fifteenth-Century Venice." Renaissance Quarterly 38, no. 2 (1985): 240–70. http://dx.doi.org/10.2307/2861664.

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Regimes and families: historians have recently enriched our understanding of the patrician regimes of late-medieval and Renaissance Italy by analyzing relations among their component social units. This essay will contribute to this literature by throwing some light on the social structure and practices of the ruling class of fifteenth-century Venice. For a long time, but with quickening rhythm in the last decade or so, historians of Venice have been charting various currents that ran through the Venetian patriciate. On the whole, though, they have preferred to concentrate on political and economic groupings, less on the family and kinship patterns that fascinate investigators of other cities, notably Florence.

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29

Layton, Evro. "The History of a Sixteenth-century Greek Type Revised." Historical Review/La Revue Historique 1 (January 20, 2005): 35. http://dx.doi.org/10.12681/hr.169.

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<p>This article attempts to study the history of a sixteenth-century Greek type in Italy. The type was produced under the auspices of Cardinal Marcello Cervini who wished to publish some of the manuscripts from the Vatican Collections. Cervini commissioned the Roman printer Antonio Blado to be in charge of the project. Since Blado did not own Greek type and had no experience with Greek he invited Stefano Nicolini da Sabbio, the noted printer of Greek in Venice, to come to Rome and take charge of the cardinal's project. The scholar-scribe Nikolaos Sophianos also joined the project along with Benedetto Giunta, a bookseller in Rome who represented the cardinal. The Greek font designed and cut for this project appeared in several works in Rome and was designated by scholars as Greek 1. To this day nobody has been able to match Greek 1 with the handwriting of any of the scribes working in Italy during this period. When the association of Sophianos with the cardinal's project came to an end, Greek 1 became very much in demand and was used by a number of well-known printers in Rome, Florence and Venice. It required a series of legal actions to prove that Greek 1 belonged to Sophianos who finally took possession of his type and other equipment. He used it to print a number of publications. The type later passed into the hands of Vasileios and Hippolitos Valeris and later to some other minor publishers of Greek liturgical books. It was still in use as late as the mid-1580s.</p>

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30

Morris, Jonathan. "The organization of industrial interests in Italy, 1906–1925." Modern Italy 3, no. 01 (May 1998): 101–7. http://dx.doi.org/10.1080/13532949808454794.

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Franklin Hugh Adler,Italian Industrialists from Liberalism to Fascism. The Political Development of the Industrial Bourgeoisie, Cambridge University Press, Cambridge, 1996, xv + 458 pp., ISBN 0–521–433406–8 hbk, £40.00Giuseppe Berta,Il governo degli interessi. Industriali, rappresentanza e politica nell'Italia del nord-ovest 1906–1924, Marsilio, Venice, 1996, xv + 175 pp., ISBN 88–317–6342–3 pbk, 32,000 LireGiorgio FioccaStoria della Confindustria 1900–1914, Marsilio, Venice, 1994, 266 pp., ISBN 88–317–5850–0 hbk, 70,000 LireThe three books under review trace the organization of industrial interests in Italy from the foundation of the Lega industrial di Torino (LIT) in 1906 to the insertion of Confindustria into the Fascist totalitarian state. As Franklin Hugh Adler's ambitious and detailed account relates the Lega (LIT) begat first a Federazione Industriali Piemontesi (1908) and then the Confederazione Italiana dell'Industria (CIDI) in 1910 which was relaunched as the Confederazione generale dell'industria Italiana (Confindustria) in 1919. All of these organizations came under the effective direction of Gino Olivetti, the first secretary of the Lega who emerges from Adler's analysis as the principal theorist of a liberalproductionist ideology that the author regards as the central value system of the Italian industrial bourgeoisie. The slimmer volumes (in both scope and size) of Giuseppe Berta and Giorgio Fiocca diverge from Adler's account in stressing the discontinuities in the process of association which are attributed to the triumph of one industrial faction over another, and the changes in direction consequent upon this. By presenting these organizations within the broader context of entrepreneurial and associational activity, their accounts also call into question the extent to which the positions of Confindustria can be assumed to be representative of Italian industrialists as a whole.

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31

Cusa, Giuseppe. "Richard Mackenney, Venice as the Polity of Mercy. Guilds, Confraternities, and the Social Order, c. 1250–c. 1650. Toronto, ON, University of Toronto Press 2019." Historische Zeitschrift 313, no. 2 (October 1, 2021): 495–96. http://dx.doi.org/10.1515/hzhz-2021-1329.

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32

Pierini, Francesca. "The Genetic Essence of Houses and People: History as Idealization and Appropriation of an Imagined Timelessness." Acta Universitatis Sapientiae, Philologica 8, no. 1 (December 1, 2016): 99–116. http://dx.doi.org/10.1515/ausp-2016-0007.

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Abstract Marina Fiorato’s The Glassblower of Murano (2008) tells the story of Eleonora, a young woman who travels to Venice in search of her genealogical past and existential roots. Coming from London, Eleonora incarnates a “modern” outlook on what she assumes to be the timeless life and culture of Venice. At one point in the novel, admiring the old houses on the Canal Grande, Eleonora is “on fire with enthusiasm for this culture where the houses and the people kept their genetic essence so pure for millennia that they look the same now as in the Renaissance” (2008, 15). This discourse of pure origins and unbroken continuities is a fascinating fantasizing on characteristics that extend from the urban territory to the people who inhabit it. Within narratives centred on this notion, Italian culture, perceived as holding a privileged relation with history and the past, is often contrasted with the displacement and rootlessness that seem to characterize the modern places and people of England and North America. Through a discussion of two Anglo-American popular novels set in Italy, and several relocation narratives, this paper proposes an exploration of the notion according to which history is the force cementing the identities of societies perceived as less modern and frozen in a timeless dimension. From a point in time when the dialectics of history have been allegedly transcended, Anglo-American popular narratives observe Italy as a timeless, pre-modern other.

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33

Ferraro, Joanne M. "The Power to Decide: Battered Wives in Early Modern Venice*." Renaissance Quarterly 48, no. 3 (1995): 492–512. http://dx.doi.org/10.2307/2862872.

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Historians of the Family in Renaissance Europe have devoted much attention to its patriarchal orientation. For the northern Italian cities, intense monographic study of elite behavior has illuminated the guiding principles behind strategies that preserved and enhanced family status. Those principles also occupy a prominent position in the prescriptive writings of contemporary jurists, humanists, and moralists; from them historians have argued that women's powers of decision in the urban environment of Renaissance Italy were severely limited. Similar conclusions have been reached for the Reformation period.

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Tanzer, Frances. "European Fantasies: Modernism and Jewish Absence at the Venice Biennale of Art, 1948–1956." Contemporary European History 31, no. 2 (December 14, 2021): 243–58. http://dx.doi.org/10.1017/s0960777321000138.

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This article examines how states with a fascist past – Germany, Austria and Italy – used modernism in the visual arts to rebrand national and European culture at the Venice Biennale of Art after 1945. I argue that post-war exhibitions of modern art, including those at the Biennale, reveal a vast confrontation with Jewish absence after the Holocaust. Christian Democrats and proponents of European integration attempted to reimagine modernism without the Jewish minority that had shaped it in crucial ways. Meanwhile, living Jewish artists resisted their exclusion from the post-war interpretations of modernism, as well as absorbtion of modernism as part of national heritage. Their criticisms lay bare a seeming paradox at the heart of post-war Europe: a desire to claim the veneer of pre-Nazi cosmopolitanism without returning its enabling demographic and cultural diversity. This article points to the significance of philosemitism for establishing post-war national and continental identities.

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Andretta, Elisa, and José Pardo-Tomás. "Books, plants, herbaria: Diego Hurtado de Mendoza and his circle in Italy (1539–1554)." History of Science 58, no. 1 (April 10, 2019): 3–27. http://dx.doi.org/10.1177/0073275319838891.

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This article sets out to throw light on the intellectual and scientific activities of a group of Spanish humanists associated with the diplomat, aristocrat, and writer Diego Hurtado de Mendoza in the course of his fifteen years in Venice, Trent, and Rome, focusing on two aspects that have been neglected to date. These are (a) the integration of practices connected with the study of nature (herborizing expeditions and the production of herbaria) with the work of collating, translating, and commenting on classical texts dealing with natural history and materia medica; and (b) the insertion of these scientific activities in Italy by the Spanish subjects of the Emperor Charles V within the broader context of a specific cultural policy. This policy would later be fleshed out in the scientific project of the Spanish Crown under Philip II, inseparable as it was from the monarch’s political and religious policy.

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Toomaspoeg, Kristjan. "The nunneries of the Order of St. John in medieval Italy." Ordines Militares Colloquia Torunensia Historica 27 (December 30, 2022): 115–33. http://dx.doi.org/10.12775/om.2022.004.

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This paper’s focus is women as professed members of the Order of St John in Italy, as documented in cities such as Milan, Florence, Venice, Genova, Monteleone di Spoleto, Perugia, Penne and Sovereto. The adherence of women to the Order came under several institutional forms. Some women were laypeople, associated consorores who carried out the Order’s activities, sometimes working in its hospitals. Others lived in the houses of the Order of St John, where they could also take the vows, with consequent formation of “mixed” convents or monasteries. But in some cases, separate nunneries were created or assimilated from other communities. Some historians have seen a different evolution from the initial vocation of women, which consisted of field activities in support of the poor and the sick, and would later become a strictly cloistered life. This change can be observed by examining the biographies of the two Italian female Hospitaller saints, Ubaldesca and Toscana. Yet, local development varied, and the situation in an important city like Florence differed from nunneries in smaller localities like Sovereto or Penne. Finally, several interesting sources allow us a glimpse of the spirituality and norms in those women’s daily lives compared to male religiosity. The medieval Italian nunneries of St John never became an autonomous branch of the Order, but at the same time, they were not a rare or exceptional phenomenon.

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Cinquini, Lino, Alessandro Marelli, and Andrea Tenucci. "AN ANALYSIS OF PUBLISHING PATTERNS IN ACCOUNTING HISTORY RESEARCH IN ITALY, 1990–2004." Accounting Historians Journal 35, no. 1 (June 1, 2008): 1–48. http://dx.doi.org/10.2308/0148-4184.35.1.1.

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In the last decade, an increasing number of analyses of accounting history literature have been undertaken to classify historical research paths and to “map” the variety of approaches and issues of the discipline in different geographical settings so as to make international comparisons. The paper develops these topics in the Italian context by studying the development of accounting history research (AHR) in the last 15 years. Contributions by Italian authors have been published in international and national specialist journals as well as in more general accounting journals. Other papers have been presented and published in the proceedings of the biannual SISR (Società Italiana di Storia della Ragioneria) Congress and in the Congress celebrating the 500th anniversary of the publication of Pacioli's Summa held in Venice in 1994. The findings chart publication trends during the period 1990–2004 from a quantitative and qualitative perspective, based on different dimensions, the dynamic of change in Italian AHR, and its possible limitations. The paper is informed by an international perspective and causal interpretations are attempted.

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Raspe, Lucia. "Zwischen Ost und West: Zur Druckgeschichte von Schimon Günzburgs jiddischer Brauchsammlung." Aschkenas 30, no. 1 (May 26, 2020): 1–19. http://dx.doi.org/10.1515/asch-2020-0001.

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AbstractShimʻon Günzburg’s Yiddish collection of customs, first brought to press in Venice in 1589 and reprinted dozens of times over the following centuries, is often considered a mere translation of the Hebrew Minhagim put together by Ayzik Tyrnau in the 1420s. Another claim often made about the book is that, although it was first printed in Venice, it was intended less for the Italian book market than for export. This article sets out to test these assumptions by examining Günzburg’s compilation from the perspective of minhag, or prayer rite. Drawing on Yiddish manuscripts preserved from sixteenth-century Italy, as well as early printed editions overlooked by scholars, it argues that Günzburg’s Minhogim are, in fact, more Italian than has been recognized. It also points up their potential for a comparative history of Ashkenazic book culture across the political and linguistic borders of Europe.

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Ledermann, François. "Flückiger und Italien: Die Italienreisen des Schweizer Apothekers und Pharmakognosten Friedrich August Flückiger'." Gesnerus 59, no. 1-2 (December 3, 2002): 38–54. http://dx.doi.org/10.1163/22977953-0590102003.

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The Swiss pharmacist and professor of pharmacy, F. A. Flückiger, made eleven trips to Italy. His first journey took him to Naples but he also visited Rome, Venice, Florence, Sicily and the coast of the Liguria several times. His diary as well as his documented voyage reports allow us to reconstruct his routes, the places visited and the means of transportation used. They show the wide range of interests of Flückiger who observed nature, history and geography of the places visited.

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BRUNETTI, RICCARDO, LUCIA MANNI, FRANCESCO MASTROTOTARO, CARMELA GISSI, and FABIO GASPARINI. "Fixation, description and DNA barcode of a neotype for Botryllus schlosseri (Pallas, 1766) (Tunicata, Ascidiacea)." Zootaxa 4353, no. 1 (November 22, 2017): 29. http://dx.doi.org/10.11646/zootaxa.4353.1.2.

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Botryllus schlosseri is a widespread colonial ascidian commonly considered cosmopolitan and amply used as model for researches ranging from developmental biology to immunobiology. Recently, molecular data lead to hypothesize that the species named B. schlosseri may consist of more than a single taxon. Indeed, five highly divergent clades, named A-E, have been genetically identified and are referred as cryptic species. In this context, and lacking both a type and a detailed morphological description, we believe that it is necessary, as a taxonomic reference point, to designate a neotype and re-describe the species. Therefore, a sample from the Lagoon of Venice (Adriatic Sea, Italy) was deposited as neotype in the Natural History Museum of Venice (Italy), preserved both in formalin and in 90% ethanol. Here we provide a morphological description of the suggested neotype of B. schlosseri that takes into account several developmental stages (oozooid, zooid of first blastogenic generations, and mature zooid) and is carefully compared with the previous descriptions of samples coming from other European and non-European localities. Finally, we associate our morphological description to a “DNA barcode”, consisting in a long fragment of the mitochondrial COI gene. Our description is associated to clade A, although at now we cannot guarantee that this association is univocal.

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Morris, Colin. "San Ranieri of Pisa: The Power and Limitations of Sanctity in Twelfth-Century Italy." Journal of Ecclesiastical History 45, no. 4 (October 1994): 588–99. http://dx.doi.org/10.1017/s0022046900010770.

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Studies of medieval society in recent years have laid increasing stress on the effectiveness of the power of the saints. They enriched their churches, defended their possessions, created great centres at once of pilgrimage and commerce and provided for the healing of the sick and the care of the poor. The cults of the saints formed a model for secular government. Kings appeared before their people as walking reliccollections and exercised the power of healing, and patron saints (like St Mark at Venice and St Denis in France) helped to define the identity of the political communities over whose well-being they were thought to preside. Often such saints, even those whose cults were rapidly developing in the eleventh and twelfth centuries, were figures from the New Testament or from the ages of conversion: St James at Compostella, Mary Magdalen at Vézelay, and Benedict at Fleury. On occasions, however, a charismatic figure in contemporary society emerged as the centre of a healing cult and a focus for widespread devotion.

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Finlay, Robert. "Fabius Maximus in Venice: Doge Andrea Gritti, the War of Cambrai, and the Rise of Habsburg Hegemony, 1509-1530*." Renaissance Quarterly 53, no. 4 (2000): 988–1031. http://dx.doi.org/10.2307/2901454.

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As a consequence of its dismal experience in the War of Cambrai (1509-1517), the Venetian Republic adopted a military policy of avoiding battlefield encounters. As a commander in the war and as doge of Venice after 1523, Andrea Gritti was the foremost proponent of this strategy, earning for himself the appellation of "Fabius Maximus," the Roman general who opposed Hannibal by delay and defense in the Second Punic War. In the 1520s, the Republic aspired to play the role of a great power — or at least that of an independent, balancing force between France and the Spanish-Habsburg Empire; but its refusal to commit its troops to battle fatally weakened the political coalitions opposing Charles V and thereby significantly contributed to the rise of Habsburg hegemony in Italy. A major step toward Charles V's triumph was the infamous Sack of Rome in 1527, a calamity for which the Fabian policy of Venice bears some responsibility.

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Eres, Ana. "The Venice biennale and art in Belgrade in the 1950s. A contribution to the study of the artistic dialogue between Italy and Serbia." Balcanica, no. 53 (2022): 227–42. http://dx.doi.org/10.2298/balc2253227e.

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Throughout the twentieth century the International Art Exhibition Venice Biennale was seen as a major event by the art world of Belgrade and, more broadly, of Serbia and Yugoslavia. After the Second World War this biggest and most important international show of contemporary art provided Belgrade?s artists and art critics with an opportunity to acquaint themselves with the latest developments on the international art scene. At the same time, it was used as a platform for the leading figures of Belgrade?s artistic and cultural-policy establishment to create, through the exhibitions mounted in the national pavilion, an image of the country?s artistic contemporaneity aimed at achieving its desired standing in the West. The attitude of Belgrade?s art scene to the Venice Biennale went through a particularly interesting phase in the 1950s. Its transformations offer an opportunity to observe, analyse and expand the knowledge about the changes that marked that turbulent decade in the history of Serbian art, which went a long way from dogmatically exclusive socialist realism to the institutionalization of a high-modernist language as the dominant model. Based on the reconstruction of Yugoslavia?s sustained participation in the Venice Biennale (1950-60), this paper analyses the models of the representation of Serbian art in the international context of the Biennale within a broader context of the intensification of Serbian-Italian artistic contacts during the period under study.

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Siehr, K. "Conference report. Resolution of Disputes in International Art Trade, Third Annual Conference of the Venice Court of National and International Arbitration: Venice, Italy (September 29-30, 2000)." International Journal of Cultural Property 10, no. 1 (January 2001): 122–26. http://dx.doi.org/10.1017/s094073910177124x.

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Wurthmann, W. B. "Reviews : Richard Mackenney, Tradesmen and Traders: The World of the Guilds in Venice and Europe, c.1250-c.1650, London, Croom Helm, 1987; xv + 289 pp.; £35.00." European History Quarterly 18, no. 4 (October 1988): 481–84. http://dx.doi.org/10.1177/026569148801800408.

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Tirozzi, Pietro, Valerio Orioli, Olivia Dondina, Leila Kataoka, and Luciano Bani. "Species Traits Drive Long-Term Population Trends of Common Breeding Birds in Northern Italy." Animals 11, no. 12 (December 1, 2021): 3426. http://dx.doi.org/10.3390/ani11123426.

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Long-term population trends are considerable sources of information to set wildlife conservation priorities and to evaluate the performance of management actions. In addition, trends observed in functional groups (e.g., trophic guilds) can provide the foundation to test specific hypotheses about the drivers of the observed population dynamics. The aims of this study were to assess population trends of breeding birds in Lombardy (N Italy) from 1992 to 2019 and to explore the relationships between trends and species sharing similar ecological and life history traits. Trends were quantified and tested for significance by weighted linear regression models and using yearly population indices (median and 95% confidence interval) predicted through generalized additive models. Results showed that 45% of the species increased, 24% decreased, and 31% showed non-significant trends. Life history traits analyses revealed a general decrease of migrants, of species with short incubation period and of species with high annual fecundity. Ecological traits analyses showed that plant-eaters and species feeding on invertebrates, farmland birds, and ground-nesters declined, while woodland birds increased. Further studies should focus on investigation of the relationship between long-term trends and species traits at large spatial scales, and on quantifying the effects of specific drivers across multiple functional groups.

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Pashkin, Nikolai. "Mediterranean Vector of International Relations in the Mirror of Sigismund of Luxembourg’s Conflict with Venice (1411—1413)." ISTORIYA 12, no. 7 (105) (2021): 0. http://dx.doi.org/10.18254/s207987840015139-1.

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The article covers international and diplomatic aspects of the conflict of Sigismund of Luxembourg, the King of Hungary and the Romans, and the Republic of Venice in 1411—1413. Venetian claims to Dalmatia that nominally belonged to the Hungarian Crown were the formal reason of the conflict. The article notices that the main battleground was in Italia, not Dalmatia. The author thereupon concludes that the actual factor of the events was the competition between Italian states. But contrary to the traditional opinion the researcher assigns the part of the main power that competed with Venice to Florence, not Genoa. In the early fifteenth century it entered into the struggle for the outlet to the sea and sought the extension of its influence for account of new trade lines that connected the Mediterranean with Central and North Europe. Meanwhile, the head-on clash of the republics was ruled out because their relations guaranteed them both the safety of the political balance of Italy and the defence of the peninsula from external actions. But Florence could force Venice by the manipulation by the Italian policy of the King Sigismund. The instrument of the pressure was the potential union of the King and the Pope John XXIII. It was the interests of Florence that made it possible to explain the reason that kept them from direct official contacts. The investigation of the nature of the conflict reveals also its indirect connection with historical events related to West European states, Poland, the Teutonic Order, the Byzantine Empire, the Ottomans and the Golden Horde.

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Trippe, Rosemary. "The Hypnerotomachia Poliphili, Image, Text, and Vernacular Poetics." Renaissance Quarterly 55, no. 4 (2002): 1222–58. http://dx.doi.org/10.2307/1262102.

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Illustration and text in theHypnerotomachia Poliphili(Venice, 1499) have been long considered intricately related yet the book's ornate, invented language has made study of such interaction difficult. This essay reconsiders their connections through a close analysis of two woodcuts and accompanying text in light of the poetical-rhetorical conventions of contemporary Petrarchan imitation in Italy. This reveals how Francesco Colonna visually and textually adapted, in a playful way, traditional subjects of vernacular lyric poetry: the beauty of the poet's beloved, and the lover's own emotions, characterized through metaphor and other tropes.

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Buylaert, Frederik, Jelle De Rock, and Anne-Laure Van Bruaene. "City Portrait, Civic Body, and Commercial Printing in Sixteenth-Century Ghent." Renaissance Quarterly 68, no. 3 (2015): 803–39. http://dx.doi.org/10.1086/683852.

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AbstractThis article discusses a woodcut series with an elaborate iconographic representation of the Flemish city of Ghent, printed in 1524 by Pieter de Keysere. The three-sheet composition consists of a city view, an image of the allegorical Maiden of Ghent, and an extensive heraldic program with the coat of arms of prominent Ghent families and of the Ghent craft guilds. The print series’ production and consumption are unraveled and framed within the wider debate on civic religion in Renaissance Europe. The main argument is that while in this region of Northern Europe civic ideology was equally strong as in Italy, it was not the exclusive playground of the ruling elites. Pieter de Keysere’s woodcut series was aimed at a socially broad, local audience, most particularly Ghent’s corporate middle groups.

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Fischanger, Federico, Gianfranco Morelli, Gaetano Ranieri, Giovanni Santarato, and Marco Occhi. "4D cross-borehole electrical resistivity tomography to control resin injection for ground stabilization: a case history in Venice (Italy)." Near Surface Geophysics 11, no. 1 (October 1, 2012): 41–50. http://dx.doi.org/10.3997/1873-0604.2012056.

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