Готові списки джерел за темами / Mediterranean Renaissance

Добірка наукової літератури з теми "Mediterranean Renaissance"

Автор: Grafiati
Опубліковано: 23 вересня 2022
Оновлено: 28 вересня 2022

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Статті в журналах з теми "Mediterranean Renaissance"

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McManamon, John M. "Res nauticae: Mediterranean Seafaring and Written Culture in the Renaissance." Traditio 70 (2015): 307–67. http://dx.doi.org/10.1017/s0362152900012411.

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In characteristic fashion, the Iter Italicum of Paul Oskar Kristeller reveals the richness of Renaissance thought on seafaring. The literature on seafaring conserved in manuscripts cataloged in the Iter Italicum ranges from commentary on ancient seafaring to eulogies of contemporary heroes to works on mechanics and engineering with unusual proposals for naval weaponry. Those manuscripts likewise highlight the Renaissance conceptualization of seafaring as an art and a creative tension in Renaissance scholarship between looking back to the past and looking forward to the future.
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2

Obad Šćitaroci, Mladen, and Mara Marić. "Landscape Areas within Fortified Medieval-Renaissance." Prostor 28, no. 1 (59) (June 27, 2020): 2–19. http://dx.doi.org/10.31522/p.28.1(59).1.

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The research was focused on determining the types of landscape areas within the fortifications of medieval-Renaissance towns based on the use and the criteria for their valorisation and enhancement. Twenty-six Mediterranean and west European towns were analysed. Nine types of landscape areas and seven valorisation criteria have been determined. Three current approaches to the use of landscape areas within the town walls have been recognised.
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Paci, Deborah. "The Renaissance of Imperial Geopolitics." Cadernos do Tempo Presente 12, no. 01 (May 21, 2021): 03–12. http://dx.doi.org/10.33662/ctp.v12i01.15713.

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Recebido: 12/02/2021 Aprovado: 29/04/2021 My article aims at focusing on the fascist rhetoric over two territories, Malta and Corsica, the object of the irredentist goals of the fascist government during the twenties. Firstly, I will trace a general outline of the fascist geopolitical vision for the Mediterranean with reference to the Mussolinian policies towards France and Great Britain. Following this, I will examine the imperialist rhetoric promulgated through the magazine “Geopolitica” and the touring guides of Touring Club Italiano. Keywords: Fascism, Italy, Malta, Corsica, geopolitics
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4

STANIVUKOVIC, GORAN V. "Recent Studies of English Renaissance Literature of the Mediterranean." English Literary Renaissance 32, no. 1 (January 2002): 168–86. http://dx.doi.org/10.1111/1475-6757.00007.

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5

Trivellato, Francesca. "Renaissance Italy and the Muslim Mediterranean in Recent Historical Work." Journal of Modern History 82, no. 1 (March 2010): 127–55. http://dx.doi.org/10.1086/650509.

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6

McManamon, John M. "Res nauticae: Mediterranean Seafaring and Written Culture in the Renaissance." Traditio 70, no. 1 (2015): 307–67. http://dx.doi.org/10.1353/trd.2015.0000.

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7

Casale, Giancarlo. "Mehmed the Conqueror between Sulh-i Kull and Prisca Theologia." Modern Asian Studies 56, no. 3 (April 8, 2022): 840–69. http://dx.doi.org/10.1017/s0026749x21000184.

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AbstractThis article presents a new interpretation of the reign of the Ottoman sultan Mehmed the Conqueror (r. 1444–46, 1451–81) as refracted through the twin historical lenses of Mughal South Asia and the Renaissance Mediterranean. On the one hand, it argues that Mehmed, despite his current reputation as a conquering hero of Islam, in fact aspired to a model of sovereignty analogous to Akbar's Sulh-i Kull, and with a common point of origin in the conceptual worlds of post-Mongol Iran and Timurid central Asia. On the other hand, it also draws from the historiography of the Italian Renaissance to interpret Mehmed's cultural politics as being simultaneously inspired by a particular thread of Renaissance philosophy, the Prisca Theologia, which in many ways served as the Ottoman equivalent of Akbar's Sulh-i Kull.
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Roberts (book author), Sean, and Margaret Small (review author). "Printing a Mediterranean World: Florence, Constantinople, and the Renaissance of Geography." Aestimatio: Critical Reviews in the History of Science 11 (May 31, 2016): 339–41. http://dx.doi.org/10.33137/aestimatio.v11i0.26697.

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Popper, Nicholas. "Printing A Mediterranean World: Florence, Constantinople, and the Renaissance of Geography." Geographical Review 104, no. 2 (April 1, 2014): 245–48. http://dx.doi.org/10.1111/j.1931-0846.2014.12021.x.

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Hamilton, Louis I. "The Rituals of Renaissance: Liturgy and Mythic History in The Marvels of Rome." Medieval Encounters 17, no. 4-5 (2011): 417–38. http://dx.doi.org/10.1163/157006711x598794.

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AbstractThe Mirabilia urbis romae offers us insight into the symbolic meaning of the streetscape of Rome from the perspective of a canon of St. Peter’s. It should be read alongside the contemporary Roman Ordo with which it was certainly associated in the twelfth century. When read in that context, the Mirabilia serves as a kind of direct and indirect commentary on the papal liturgy. The papal liturgies at Easter and Christmas moved through an environment that was “re-written” by the Mirabilia as a narrative of Christian Roman renewal and of triumph throughout the Mediterranean world. The Mirabilia celebrates both Roman renewal and hegemony in the eastern Mediterranean, giving heightened significance to the liturgical life of the twelfth-century papacy. The papal liturgy, at these most triumphant processional moments, celebrated that historic and, ultimately, eschatological triumph.
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Дисертації з теми "Mediterranean Renaissance"

1

Markou, Georgios E. "From Cyprus to Venice : art, exchange and exile across the Renaissance Mediterranean." Thesis, University of Cambridge, 2018. https://www.repository.cam.ac.uk/handle/1810/273777.

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This thesis reveals a culturally sophisticated Cypriot elite that moved with ease between Cyprus and Venice, between Orthodox and Latin devotions, between icon painting and up-to-date Italian artworks. Arranged in the form of microhistories, the present work discusses how the insular nobles negotiated their identity between the two centres during the early modern period. In Renaissance Venice, where they strove to be associated with the upper echelons of patrician society, the Cypriot elite followed the latest metropolitan trends, while on the island, where they were subject to a different set of social pressures, they opted for works in the traditional Byzantine style. At the heart of this study are three noble Cypriot lineages - the Podocataro, Costanzo, and Synglitico - that were well established in both Cyprus and the lagoon. Contrary to the prevailing perception of Cyprus as a distant colony where Renaissance culture found faint echoes only in the major urban centres, these families engineered and exploited opportunities for economic and social advancement that the shared political space of the stato da mar afforded them. Through the recovery of previously overlooked archival documents, the business and the domestic worlds of the three Cypriot families is reconstructed, while these sources shed new light on a series of significant paintings by leading Venetian masters.
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Maltempi, Anne R. "WE ARE THE KINGDOM OF SICILY: HUMANISM AND IDENTITY FORMATION IN THE SICILIAN RENAISSANCE." University of Akron / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=akron1596150493052512.

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3

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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Nieddu, Luisa. "Retables peints en Corse aux XVe et XVIe." Thesis, Corte, 2022. http://www.theses.fr/2022CORT0003.

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Le projet de recherche présenté ici est le résultat d'un recensement territorial, accompagné d’une action d'identification et de reconnaissance du patrimoine mobilier des XVe et XVIe siècles de la Corse, que j’ai entrepris pour le compte de la Direction du Patrimoine de la Collectivité de Corse à partir de 2004. La présente dissertation présente donc pour la première fois un inventaire analytique des retables en bois de la période chronologique considérée, dans lequel les œuvres picturales sont associées à leurs possibles matrices culturelles sur la base des valeurs formelles et stylistiques. En 1453, la République de Gênes céda l'île au Banco di S. Giorgio, une institution puissante, qui la conserva au moins jusqu'en 1562. Cependant, l'île, qui était génoise d'un point de vue politico-administratif, ne l'était pas exclusivement d'un point de vue culturel et figuratif. D'une manière générale, les artistes locaux semblaient remanier, de manière réductrice et plutôt modeste, les méthodes des maîtres qui opéraient dans la zone nord-ouest de l'Italie (de la Ligurie à l'Oltregiogo, en passant par la Bassa Padana et la région niçoise), créant ainsi leur propre langage, tellement retravaillé dans la simplification qu'il rendait à peine reconnaissables les matrices figuratives du continent. Néanmoins, grâce aux flux commerciaux et aux relations politiques constantes avec la mère patrie, l'île s'est montrée réceptive aux impulsions provenant de l'ensemble du littoral, et dans la même mesure des rives occidentale et orientale, comme l'atteste le retable de Cassano, signé et daté en 1505 par Antonio da Calvi. Mais on observe aussi, le long des voies de circulation transalpines, un retour vers la Corse de produits déjà modernisés, comme le polyptyque de l'Assomption de Canari, attribué à la phase de maturité de l’artiste piémontais Agostino Bombelli (1530 ca.). L'envoi de cette œuvre atteste de la diffusion sur le territoire d'un modèle architectural de type « serlienne » avec un arc de triomphe, basé sur des critères plus modernes, semblable aux polyptyques de Moltifao (1545) et Tox. Il ne manque pas non plus d’exemples suggérant une adhésion au naturalisme lombard, et plus particulièrement au naturalisme liguro-pavesan, comme la Vierge à l'Enfant de Piedicroce. La récupération cruciale du patrimoine figuratif de la Corse est donc le résultat de conjonctures hétérogènes, exprimées par les maîtres autochtones qui revisitaient les multiples éléments stylistiques selon leurs propres moyens, de sorte que l'on peut peut-être enfin parler d'une « école de peinture corse »
The research project carried out here is the result of a territorial census connected with an action of identification and recognition of the movable heritage of the XV-XVI century in Corsica, which I commenced on behalf of the Directorate of the Heritage of the Collectivité de Corse, back in 2004. This discussion therefore presents for the first time an analytical inventory of the wooden altarpieces of the chronological phase in question, in which, on the basis of formal and stylistic values, the pictorial evidences are linked to their possible cultural matrices of reference. In 1453 the Republic of Genoa transferred the island to the powerful institute of the Bank of Saint George, which possessed it at least until 1562. However, the island, Genoese from a political-administrative point of view, was not Genoese from a cultural-figurative one. In general, it would seem that the local artists refashioned in a reductive and basically modest way the styles of the masters working in the North Western Italian area (from Liguria to the Oltregiogo, to the Po Valley, and to Nice region), creating their own language, so much reworked in its simplification to make hardly recognizable any figurative matrices of the mainland. However, thanks to the commercial flows and the constant political relations with the Motherland, the island proved to be receptive to the impulses coming from the entire coastal arc of Liguria, in equal measure from the two shores of Ponente and Levante, as proved by the retable of Cassano, signed and dated by Antonio da Calvi in 1505. There was also a flow of up-to-date creations along the transalpine traffic routes into Corsica, such as the polyptych of the Assumption of Canari attributed to the mature phase of the Piedmontese Agostino Bombelli (1530 ca.). The sending of this work documents the spread in the territory of a "Palladian window" architectural scheme, with a triumphal arch, based on more modernized criteria, similar to the polyptychs of Moltifato and Tox. There are also cases that suggest adhesion to Lombard naturalism, and more specifically the Ligurian-Pavese one, such as the Madonna and Child of Piedicroce. The critical rediscovery of the figurative heritage of Corsica thus highlights how much this is the product of heterogeneous conjunctures, expressed by native masters who reworked multiple stylistic features according to their own means, so that perhaps we can finally speak of a "Corsican pictorial school"
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Cazenave, de la Roche Arnaud. "La construction navale au XVIème siècle en Méditerranée : l’apport de l’épave de la Mortella III (Saint-Florent, Haute-Corse)." Thesis, Sorbonne université, 2018. http://www.theses.fr/2018SORUL014.

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Au XVIème siècle, la construction navale méditerranéenne - en particulier italienne - est réputée pour sa qualité. Cette culture technique est héritée d’une tradition séculaire transmise oralement de génération en génération. Mais elle est aujourd’hui en grande partie méconnue car, à la rareté de la documentation écrite s’ajoute la pauvreté de la documentation archéologique. La découverte des épaves de la Mortella (Saint-Florent, Hte-Corse) en 2005 et 2006, et l’entreprise d’un programme de fouille sur l’une d’entre elles - la Mortella III - en 2010 mettant en évidence une architecture du XVIème siècle de tradition méditerranéenne, offre la perspective de contribuer à combler ces lacunes. En étudiant les données archéologiques issues des cinq campagnes de fouilles réalisées sur cette épave, notre travail de recherche se fixe comme objectif essentiel la mise en évidence de « marqueurs » qualifiés d’ « empreintes techniques » et « architecturales » susceptibles de contribuer à la définition d’un modèle de construction navale au XVIème siècle en Méditerranée, tel que la recherche archéologique a commencé à en esquisser les traits à partir des années 80. Dans cette perspective, l’analyse se base sur des comparaisons avec les données archéologiques d’autres épaves de la période. Elle s’appuie par ailleurs sur les références apportées par les sources écrites ainsi que l’iconographie. Enfin, les recherches documentaires qui ont été menées en marge du travail d’archéologie ont permis de rattacher les épaves de la Mortella à leur histoire, en l’occurrence aux guerres d’Italie de l’année 1527. Dans ce sens, l’étude archéologique - qui demeure l’épicentre de cette thèse - est utilement complétée par la recherche historique
During the 16th century, the Mediterranean shipbuilding –especially in Italy– was renowned for its quality. It held a technical culture inherited by an ancient tradition that had passed down orally from one generation to the next. But today it is largely unknown, since, to the scarcity of documentation in writing, is added a poor archaeological documentation. The discovery of the Mortella shipwrecks (Saint-Florent, Upper Corsica, France) in 2005 and 2006, and the programme of archaeological excavations of one of them –the Mortella III– undertaken in 2010, highlight an architecture from the 16th century that belongs to the Mediterranean tradition and offer the prospect of contributing to fill the existing gaps. After studying the archaeological data from the five excavation campaigns done on this wreck, our research sets as key goal identifying ‘indicators’ such as ‘technical and architectural traits’ which can contribute to the definition of a model of shipbuilding from the 16th century in the Mediterranean, initiated by previous archaeological research started in the eighties. In this perspective, the analysis is based on comparisons with archaeological data from other wrecks of that period. Moreover, it also relies on the references provided by the written sources, as well as the iconography. Finally, the archival researches undertaken in the margins of the archaeological work have allowed to link the wrecks of the Mortella to their history, in this case to the Italian wars of 1527. In this regard, the archaeological study –which remains the epicenter of this thesis– is usefully supplemented by the historical research
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Книги з теми "Mediterranean Renaissance"

1

Venetian Renaissance fortifications in the Mediterranean. Jefferson, North Carolina: McFarland & Company, 2016.

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2

Printing a Mediterranean world: Florence, Constantinople, and the renaissance of geography. Cambridge: Harvard University Press, 2012.

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3

Vratović, Vladimir. Croatian latinity and the Mediterranean constant. Zagreb: Croatian P.E.N. Centre, 1993.

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4

To wake the dead: A Renaissance merchant and the birth of archaeology. New York: W.W. Norton & Co., 2009.

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5

Stoenescu, Livia. The Pictorial Art of El Greco. NL Amsterdam: Amsterdam University Press, 2019. http://dx.doi.org/10.5117/9789462989009.

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The Pictorial Art of El Greco: Transmaterialities, Temporalities, and Media investigates El Greco’s pictorial art as foundational to the globalising trends manifested in the visual culture of early modernity. It also exposes the figurative, semantic, and allegorical senses that El Greco created to challenge an Italian Renaissance-centered discourse. Even though he was guided by the unprecedented burgeoning of devotional art in the post-Tridentine decades and by the expressive possibilities of earlier religious artifacts, especially those inherited from the apostolic past, the author demonstrates that El Greco forged his own independent trajectory. While his paintings have been studied in relation to the Italian and Spanish school traditions, his pictorial art in a global Mediterranean context continues to receive scant attention. Taking a global perspective as its focus, the book sheds new light on El Greco’s highly original contribution to early Mediterranean and multi-institutional configurations of the Christian faith in Byzantium, Venice, Rome, Toledo, and Madrid.
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6

Letizia, Gaeta, ed. La scultura meridionale in età moderna nei suoi rapporti con la circolazione mediterranea: Atti del Convegno internazionale di studi "La scultura meridionale in età moderna nei suoi rapporti con la circolazione mediterranea," Lecce, 9-10-11 giugno 2004. [Galatina (Lecce)]: Mario Congedo, 2007.

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7

Barbatelli, NIcola, Maria Cristina Paoluzzi, and Alessandro Tomei. Leonardo e il Rinascimento fantastico: "una mostra tra Napoli e le rotte del Mediterraneo". Sorrento: Comune di Sorrento, 2010.

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8

Garnier, Edith. L' age d'or des galeres de France: Le champ de bataille mediterraneen a la Renaissance. Paris: Felin, 2005.

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9

Guidotti, Carmen Ravanelli. MediTERRAneum.: Cerámica española en Italia entre el Medioevo y el Renascimiento [sic]. Viterbo [Italy]: FAVL, 1992.

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10

Eslami, Alireza Naser, 1957- editor, ed. Incontri di civiltà nel Mediterraneo: L'Impero Ottomano e l'Italia del Rinascimento : storia, arte e architettura. Firenze: Leo S. Olschki editore, 2014.

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Частини книг з теми "Mediterranean Renaissance"

1

Arbel, Benjamin. "Cypriot Wildlife in Renaissance Writings." In Mediterranean Nexus 1100-1700, 321–44. Turnhout: Brepols Publishers, 2012. http://dx.doi.org/10.1484/j.mednex.1.102925.

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Garb, Yoni. "Fear and Power in Renaissance Mediterranean Kabbalah." In Fear and its Representations, 137–51. Turnhout: Brepols Publishers, 2002. http://dx.doi.org/10.1484/m.asmar-eb.3.3069.

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Matar, Nabil. "Arab Views of Europeans, 1578–1727: The Western Mediterranean." In Re-Orienting the Renaissance, 126–47. London: Palgrave Macmillan UK, 2005. http://dx.doi.org/10.1057/9780230523869_8.

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Papacostas, Tassos. "A Gothic Basilica in the Renaissance: Saint George of the Greeks at Famagusta." In Mediterranean Nexus 1100-1700, 339–66. Turnhout: Brepols Publishers, 2014. http://dx.doi.org/10.1484/m.mednex-eb.4.00061.

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Croke, Brian. "Procopius of Caesarea in Renaissance Italy." In Italy and the East Roman World in the Medieval Mediterranean, 23–48. London: Routledge, 2021. http://dx.doi.org/10.4324/9781315108094-2-4.

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Luiten, Loek. "Slavery and violence against women in Renaissance Central Italy." In Women and Violence in the Late Medieval Mediterranean, ca. 1100–1500, 160–72. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003098430-13.

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Heywood, Colin. "Microhistory/Maritime History: Aspects of British Presence in the Western Mediterranean in the Early Modern Period." In Études Renaissantes, 83–111. Turnhout: Brepols Publishers, 2014. http://dx.doi.org/10.1484/m.er-eb.4.00181.

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Fuess, Albrecht. "Braudel and the Sea: Revisiting Braudel’s Méditerranée for the Study of the Greater Mediterranean Region in the 15th and 16th Centuries." In Études Renaissantes, 47–65. Turnhout: Brepols Publishers, 2014. http://dx.doi.org/10.1484/m.er-eb.4.00179.

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"The Mediterranean in the Medieval and Renaissance World." In The Mediterranean, 91–109. Routledge, 2014. http://dx.doi.org/10.4324/9781315832524-13.

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"2. The Mediterranean Dawn." In The Renaissance of the Levant, 55–110. De Gruyter, 2019. http://dx.doi.org/10.1515/9783110634006-004.

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Тези доповідей конференцій з теми "Mediterranean Renaissance"

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Perojević, Snježana, and Branislav Trifunović. "The Aquila tower: a part of the Renaissance coastal defence system of Pučišća." In FORTMED2020 - Defensive Architecture of the Mediterranean. Valencia: Universitat Politàcnica de València, 2020. http://dx.doi.org/10.4995/fortmed2020.2020.11423.

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At the end of the fifteenth century the Ottoman Empire won the land at the middle of the eastern side of the Adriatic, between the town of Omiš and the Neretva River. Thus exposing the northern settlements of the island of Brač, which were under the Venetian Administration at the time, to immediate danger from the Turkish invasion. The settlement of Pučišća was particularly vulnerable. Therefore, the settlement was intensively fortified, and a series of thirteen individual small coastal towers was built, after which the entire settlement was named Castello Pucischia in 1600. One of these towers –the Aquila tower– had a key role in defending Pučišća during the Ottoman-Venetian War, also known as the War of Cyprus (1570-1573). The Aquila tower was built at the beginning of the sixteenth century and today it is a well-preserved detached building situated on the Pučišća coast. Despite all the damage and transformations endured in the past, all the tower elements have been sufficiently preserved to reconstruct its original appearance, including the residential character of the overall interior: a stone wardrobe and a built-in stone basin (Cro. pilo), a fireplace, stairs, as well as those of a defensive character: mechanisms for lifting the drawbridge, loopholes, cannon openings, channels for extracting gunpowder smoke. The wooden beams’ supports in the walls above the first floor have also been preserved, as well as the barrel vault over the ground floor and the groin vault over the second floor which are still intact even today. On the external of the tower, the original corbels of machicolations as well as the semi-circular cornice above the escarp are partially preserved. By analysing the remains of the tower and by studying historical and bibliographic sources, a reconstruction of the original appearance of the Aquila tower has been made, both for the external and internal part, including transformations that took place over the time, since its construction to the present day. This has contributed to the knowledge of the typology of Renaissance coastal fortifications as well as to providing basis for potential renovation and reconstruction of the Aquila tower.
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Villada Paredes, Fernando. "De cerca medieval islámica a frente abaluartado: génesis y evolución del Frente de Tierra de Ceuta." In FORTMED2020 - Defensive Architecture of the Mediterranean. Valencia: Universitat Politàcnica de València, 2020. http://dx.doi.org/10.4995/fortmed2020.2020.11403.

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From Medieval Islamic Wall to Bastioned Land Front: Genesis and evolution of the Land Front of CeutaCeuta is built on a peninsula at the southern shore of the Strait of Gibraltar. It’s a strategic point for communications between the Mediterranean Sea and the Atlantic Ocean and between two continents: Europe and Africa. As Ceuta ships rule the Gibraltar Strait in Medieval and Modern Ages, main defensive efforts were tuned of to Land Front. Consequently, in 950 ‘Abd al-Rahman III built a new fence in order to protect the madina reusing Roman and Byzantine fortifications. Although repaired and enlarged by Almohads, Marinids, and Portuguese, these walls and towers protected the Land Front of Ceuta until the sixteenth century. But, at this moment, pirobalistic artillery development had made this defensive device obsolete and a new bastioned front, an early and outstanding example of the new Renaissance ideas for the defense of the cities, was built. Archival documents, cartographic sources, etc., let us follow the main lines of this evolution. Recently, an archaeological research project has added new data on how this evolution, from Medieval to Renaissance fortifications, took place.
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Zapata Parra, José Antonio. "El castillo de Mula (1520-2020). Historia de la construcción de una fortaleza renacentista." In FORTMED2020 - Defensive Architecture of the Mediterranean. Valencia: Universitat Politàcnica de València, 2020. http://dx.doi.org/10.4995/fortmed2020.2020.11355.

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The castle of Mula (1520-2020). History of the construction of a Renaissance fortressFive hundred years after the construction of the castle of Mula, which was ordered to build the I Marqués de los Vélez, Pedro Fajardo Chacón, as a result of his expulsion from the town during the communal uprisings of the kingdom of Murcia. The fortress, a work of masonry, built on the old Andalusian citadel, has a novel construction in the southeast of the peninsular from the point of view of the multi-aesthetic. The conservation of documentation related to its construction between 1520 and 1531, allows us to approach the work of the stonecutters and master gunners.
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Broglia, Francesco. "Fortifications at Piacenza. Historical background, restoration, open-air museum and urban planning." In FORTMED2020 - Defensive Architecture of the Mediterranean. Valencia: Universitat Politàcnica de València, 2020. http://dx.doi.org/10.4995/fortmed2020.2020.11427.

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The “modern” fortifications at Piacenza are situated at a significant physical and cultural crossroads linking the Mediterranean and roads leading to Central Europe and the North Sea. This paper aims to include their historical bastion features and city walls within an open-air educational museum that is well integrated within the modern town. Starting from the original basis of a defensive nature conceived to mark boundaries and divide kingdoms, the plan is to build a park which, by means of a fully-equipped green belt, is able to narrate the story of the Siegecraft and Renaissance apse techniques. At the same time, the aim is to explain how such a system may serve as a valuable means of allowing sustainable urban transport along with that of respecting and highlighting cultural heritage. In order to tell the complete story, an attempt is made to describe how direct relief may relate to the “compact town.”
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Mollo, Giuseppe, and Giuseppe Piccolo. "La trasformazione dell’impianto fortificato della città di Nola tra Quattrocento e Cinquecento." In FORTMED2020 - Defensive Architecture of the Mediterranean. Valencia: Universitat Politàcnica de València, 2020. http://dx.doi.org/10.4995/fortmed2020.2020.11416.

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The transformation of the walls in the city of Nola between the fifteenth and sixteenth centuriesThe study relating to the town walls of Nola (a city near Naples) is one of the most interesting among those about the Neapolitan military architecture between the fifteenth and sixteenth centuries. The building phases of the defensive walls allow us to retrace two main moments of the Renaissance military architecture. It is to say, from the original and most ancient example of a puntoni struts fortifications, about which we can relate thanks to the precious and detailed Ambrogio Leone de Nola’s description made at the beginning of 1500, to the renewed defensive rampart body designed by el comendador Luis Escrivà during the Toledian period. A thorough recon of the iconographic sources, the regarding of the specialistic historiography, the contemporary theoretical assumptions and, most of all, a thorough recon of the still visible traces in the urban fabric and those emerged during the recent archeological investigations enable us to propose a structured theory about the building of the walls of Nola.
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López-Menchero Bendicho, Víctor Manuel, Herbert D. G. Maschner, James Bart McLeod, Jeffrey P. Du Vernay, and Miguel Ángel Hervás Herrera. "The work of Global Digital Heritage for the massive digitization of fortifications in Spain." In FORTMED2020 - Defensive Architecture of the Mediterranean. Valencia: Universitat Politàcnica de València, 2020. http://dx.doi.org/10.4995/fortmed2020.2020.11415.

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In the last 20 years the field of cultural heritage has experienced a revolution in terms of documentation methods. The latest technological advances in laser scanners and photogrammetry have opened the possibility of documenting in three dimensions all types of monuments and sites regardless of their size or complexity. In this revolution fortified spaces have not been an exception. Hundreds of research teams around the world have developed 3D digitization projects of castles and fortresses. However, the overall impact of these projects has been very limited, partly due to the lack of collaboration and partly due to the inability of citizens to freely access the data. Currently, the research team of the US non-profit entity Global Digital Heritage is working on the massive digitization of fortifications in Spain, regardless of their chronology or size. In this context, work has been done on digitizing the prehistoric fortified site of Motilla del Azuer in Daimiel, the Iberian oppidum of Cerro de las Cabezas in Valdepeñas, the fortified Islamic city of Calatrava La Vieja in Carrión de Calatrava, the medieval Christian castle of Calatrava La Nueva in Aldea del Rey, the medieval-Renaissance castle of Los Vélez in Mula, the watchtower of Cope in Águilas or the machine-gun bunker of the Spanish Civil War in Alhama de Murcia, to name just a few examples.
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Bertocci, Stefano, and Matteo Bigongiari. "Rilievo digitale delle fortificazioni di Piombino." In FORTMED2020 - Defensive Architecture of the Mediterranean. Valencia: Universitat Politàcnica de València, 2020. http://dx.doi.org/10.4995/fortmed2020.2020.11530.

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Digital survey of the fortifications in PiombinoThis paper deals with the documentation and digital survey of fortifications in the historic city of Piombino. During the Renaissance the fortified perimeter of the city was considerably enlarged, both because of the will of the Lords of Piombino, the Appiani, to build a fortified citadel, deeming the previous urban palace inadequate for the ruling family, and to improve the defenses by land with the construction of a rivellino in front of the north door and of a fortress to the east. The defenses, conquered by Valentino’s troops in 1502, were redesigned by Leonardo da Vinci, as documented in the pages of Code II of Madrid, which contains drawings and calculations for the construction of the works. The present project, started in April 2018, plans to carry out an accurate digital survey of fortifications, in order to provide the basis for graphic documentation on which to base further cognitive investigations, from archaeological ones to diagnostic ones. The survey operations were carried out with today’s digital technologies, laser scanners and cameras, creating reliable point clouds and three-dimensional models mapped with texture, from which to extract 2D drawings. The study of the sources, of the texts of Leonardo’s scholars and accurate archaeological investigations will provide the opportunity to further analyze Leonardo’s intervention on the still existing structures.
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Taddei, Domenico, Caterina Calvani, Roberto Pistolesi, Antonio Taddei, and Andrea Martini. "Recupero architettonico e strutturale del “mastio” e del suo cortile della fortezza nuova di Volterra." In FORTMED2020 - Defensive Architecture of the Mediterranean. Valencia: Universitat Politàcnica de València, 2020. http://dx.doi.org/10.4995/fortmed2020.2020.11361.

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Architectural and structural recovery of “mastio” and its courtyard of the new fortress of VolterraThe recovery of the “mastio” and the surrounding courtyard of the new fortress of Volterra (1472-1474) has as its objective the opening to the public of this fortified work, after 542 years from its construction, with the possibility of being enjoyed without interposing with the prison function of the complex, it also represents the possibility of knowledge and study of a constructive typology in the context of the Renaissance fortified architecture of the Italian school called “transition” with the use of the first artillery. The fortress was born as a military garrison and at the time of Lorenzo the magnificent only a part was used as a prison, it will be definitively transformed into a House of Imprisonment during the Grand Duchy of Lorraine in the middle of the eighteenth century. It is the first work by Francesco di Giovanni di Matteo called the Francione (1428-1495), it has an almost square shape with large cylindrical towers at the corners (rondelle) and at the center of the inner courtyard, a large cylindrical tower like of “mastio” (donjon) and inserted the artillery in the walls. The “mastio” consists of a basement and five floors above ground with a domed roof and connected by a narrow spiral staircase. After the cognitive essays carried out on the internal domes of the “mastio”, placed in the first three floors including the cistern, the presence of “hemispherical domes” emerged, made by workers of the Opera del Duomo in Florence, built entirely in bricks without the carpentry of “centina” (self-supporting), with the system called “alla fiorentina”, as well as the dome of Santa Maria del Fiore in Florence by Filippo Brunelleschi. This construction system is also applied in the fortified structures of Pietrasanta, Poggibonsi, Sarzanello, Castrocaro, Pisa and Terra del Sole.
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Rinaldi, Simona. "L’architettura militare italiana della Cittadella di Ancona: tecniche costruttive e sistemi difensivi del XVI secolo." In FORTMED2020 - Defensive Architecture of the Mediterranean. Valencia: Universitat Politàcnica de València, 2020. http://dx.doi.org/10.4995/fortmed2020.2020.11481.

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The Italian military architecture of Ancona’s Citadel: construction techniques and defensive systems in the sixteenth centuryThe objective of this research is regarding the construction techniques used in the military architecture of Cittadella-Fortezza (Ancona, Marche, Italy). In this case, attention will focus primarily on historical, bibliographic and archive research, then through a comprehensive analysis of building methods used in the sixteenth century and on the strategic function that this fortification covered in the coastal strip of the Middle Adriatic. Together with Rocca Paolina (Perugia) and Fortezza da Basso (Florence), it has in fact a remarkable importance in the military architecture’s history, as it was one of the first experiments of fronte bastionato all’italiana. Built from 1532 by Antonio da Sangallo il Giovane, it rises on the top of Astagno hill in a panoramic and defensive position, overlooking the city and the port. It clearly distinguishes itself from the surrounding building fabric as it is characterized by five mighty bastions in bricks and by the central bulwark with the vaulted ground floor. The study aims to investigate the structural details of Ancona’s fortress such as the modeling of walls, the suppression of protruding volumes, the extension and rounding of the corner towers and the introduction of the central type plan. A great understanding of this research will be analyzed in the drawings and the volumes’ reliefs, which highlighted the general geometric data, the materials used for the realization of the work, the angle of the curtain walls and the technical/constructive strategies. Therefore, the methodical-metric knowledge of the parts will be made more accessible also in relation to the three-dimensional modeling of the fortress, in addition to the critical comparison based on other historical examples of military architecture in the Renaissance period.
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