Готові списки джерел за темами / Sacro monte di pietà

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Добірка наукової літератури з теми "Sacro monte di pietà"

Автор: Grafiati

Опубліковано: 11 березня 2023

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Статті в журналах з теми "Sacro monte di pietà"

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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Дисертації з теми "Sacro monte di pietà"

Mastrodonato, Michela. "«Pietà per la creatura !» : Il sentimento del sacro nella poesia di Pier Paolo Pasolini." Thesis, Paris 4, 2013. http://www.theses.fr/2013PA040124.

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L’écoute du sacré touche les racines de la poésie de Pasolini, même si il se décrit comme un athée. La recherche analyse sa poésie dans sa chronologique: les collections de la jeunesse (La meglio gioventù et L’usignolo della Chiesa Cattolica) sont caractérisées par visions et images christologiques dans un paysage de «apparences sacrée» où il découvre l’homosexualité comme une «faute innocente», pas intentionnelle, qui lui empêche d'entrer en communion avec les autres créatures. Pour ce péché il demande écoute, engageant une dispute biblique et théologique. Avec l'arrivée à Rome s’ouvre une nouvelle phase: Pasolini découvre la dimension chorale des banlieues romaines et cette découverte rompt son isolement intellectuel (Le ceneri di Gramsci). Alors il cesse de demander pardon et revoit le concept de péché qui n'est plus à l'intérieur mais aussi à l'extérieur de lui-même, commis par qui (la bourgeoisie néo-capitaliste, hégémonique, irréligieuse et « fasciste ») empêche chaque «créature» d'être telle qu'elle est. Pour chaque «créature», unique, Pasolini appelle à la miséricorde: «Pitié pour la créature!» (La religione del mio tempo) et construit, dans le chemin de la meilleure tradition humaniste de Virgile à Dante à Leopardi, une vision sacrée de la réalité inscrite dans un horizon non « créationniste » mais certainement « créaturelle», dans lequel Dieu ne peut pas être vu mais seulement aperçu à la façon d’un soleil éclipsé, lumière occulte dont on ne voit pas la source, qui tombe sur les créatures (surtout les dernières et les marginalisés) et qui leur donne une vie pleine de sens poétique: l'incarnation du «surhumain» dans l’«humaine» (Trasumanar et organizzar)
The sense of a sacred vision deeply influences the poetry of Pasolini. This research paper confronts the fact that P. always saw himself as an atheist. It analyses his poetry in its chronological evolution, indicating how the first collections (La meglio gioventù and L’Usignolo della Chiesa Cattolica) are characterized by Christological visions and images. In Friuli, in a maternal landscape made up of “sacred appearances”, he discovers his homosexuality as a "guilty innocent", something not intentional and that prevents him from the communion with other creatures. For this sin, he asks to be heard, engaging in a biblical-theological dispute. His arrival in Rome opens a new phase: P. discovers the choral dimension of the Roman suburbs that breaks the previous isolation (Le ceneri di Gramsci). He stops asking for forgiveness and reviews the concept of sin that is not only internal, but also external, committed by the neo-capitalistic bourgeoisie who is both irreligious and “fascist”, preventing any single “creature” from being as it truly is. For every “creature”, unique and different from all the others, P. calls for mercy: «Pity the creature!» (La religione del mio tempo) and in the wake of the best humanistic tradition from Virgil to Dante onwards to Leopardi, he builds a sacred vision of reality which is inscribed into a philosophical horizon, not “creationist” but “creatural", in which God is felt rather than seen, like an eclipsed sun, a dimmed light whose source is impossible to see. A light which illuminates the last “creatures” (workers and all marginalized people), the incarnation of celestial dimension in human history (Trasumanar e organizzar)

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Ceccaroni, Giada <1992&gt. "Approfondimento sull'opera di Giulio Carpioni e le grottesche presso il Monte di Pietà di Vicenza." Master's Degree Thesis, Università Ca' Foscari Venezia, 2017. http://hdl.handle.net/10579/10041.

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La ricerca è volta ad arricchire e precisare le notizie riguardanti l'opera di Giulio Carpioni ripercorrendo la fortuna critica e artistica.Si tratteranno le influenze di altri importanti artisti nella formazione del pittore. Si analizzerà in maniera approfondita il caso degli affreschi a grottesche realizzati da Giulio Carpioni per la Fraglia dei Merciai presso il Monte di Pietà a Vicenza.

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ANGELERI, PAOLA. "IL SACRO MONTE DI VARALLO DOPO GAUDENZIO FERRARI E PRIMA DI MORAZZONE." Doctoral thesis, Università degli Studi di Milano, 2015. http://hdl.handle.net/2434/266802.

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This research project focuses on the study of the Sacro Monte in Varallo in the period between Gaudenzio Ferrari and Pier Francesco Mazzucchelli called “Morazzone”. This period is the second half of the sixteenth century, when at the Sacro Monte were active a number of unknown artists, in some cases from Milan. Studying their activity at the Sacro Monte has been the starting point for a wider research, in which I tried to reconstruct their artistic profiles and to research the patronage.

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Mor, Marta <1986&gt. "La Chiesa del Varallino di Galliate: storia e arte di un Sacro Monte in pianura." Master's Degree Thesis, Università Ca' Foscari Venezia, 2012. http://hdl.handle.net/10579/2158.

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In questo lavoro si sono raccolte il maggior numero di informazioni riguardanti la Chiesa del Varallino di Galliate (San Pietro di Vulpiate) mettendola a confronto con la tipologia dei Sacri Monti e analizzandone la storia e l'apparato figurativo.

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SCACCABAROZZI, ANNALISA. "Il progetto di paesaggio e il ruolo della composizione architettonica : il Sacro Monte a Varallo Sesia, il Vittoriale a Gardone Riviera e la Scarzuola a Montegabbione." Doctoral thesis, Università IUAV di Venezia, 2004. http://hdl.handle.net/11578/278476.

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Lepoittevin, Anne. "La statuaire très chrétienne des Sacri Monti d'Italie (1490-1680) : Génèse, histoire et destin d'une invention moderne." Thesis, Tours, 2013. http://www.theses.fr/2013TOUR2012.

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La thèse établit l’histoire comparative des différents Sacri Monti italiens dans un but précis : étudier la transformation d’ « architectures » qui étaient des copies de lieux vides de Terre Sainte en vastes cycles chronologiques animés de nombreuses peintures et statues. Les nécessités religieuses de ces sites définissent un rapport original entre les arts qui donne la première place aux statues : on l’appellera « paragone chrétien ». La statuaire y est exceptionnellement didactique et propre à susciter les émotions. Didactique : les Sacri Monti mettent progressivement en place une statuaire narrative. Propre à susciter les émotions : ces terres cuites polychromes à grandeur sont « vivantes » au point d’incarner les scènes. À la fois familiers et exotiques, variés et récurrents, les très nombreux personnages des chapelles composent souvent des types singulièrement outrés. Leur beauté et surtout leur laideur cruelle et difforme, doit être utile : s’appuyant sur une lecture physiognomonique des scènes, le pèlerinage (guidé) aux Sacri Monti constitue une catharsis chrétienne
This dissertation examines the history of the Italian Sacri Monti from a comparative perspective. The main objective is to understand how “architectures” that were copies of void monuments from the Holy Land were transformed into large chronological cycles animated through the use of numerous paintings and statues. The religious motivations of these sites define a specific relationship between the different art forms, one that emphasizes sculpture and which can be characterized as a “Christian paragone”. Statuary is particularly didactic and emotional. It is didactic in the sense that the Sacri Monti serve to stage a narrative statuary It is also emotional since the life-sized and polychrome terracotta sculptures are so “alive” that they seem to be performing the scenes. The many characters in the chapels are both familiar and exotic, diverse and repetitive. They constitute types that often look strangely outraged. Their beauty but also their cruel and deformed ugliness serve a didactic purpose: grounded on a physiognomic reading of the scenes, the (guided) pilgrimage to the Sacri Monti mediates a Christian catharsis

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Книги з теми "Sacro monte di pietà"

Il Sacro Monte di Pietà di Roma nel XVI secolo (1539-1584): Dalla costituzione del Monte all'assegnazione del Banco dei Depositi. Napoli: Editoriale scientifica, 2001.

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Arcelli, Federico. Gli statuti del 1581 del Sacro Monte di Pietà di Roma. Soveria Mannelli [Italy]: Rubbettino, 1999.

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Melchiorre, Vito A. Il Sacro Monte di Pietà e Ospedale civile di Bari. Bari: Levante, 1992.

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Rita, Rossella De. Il Monte di pietà di Roma: Credito e beneficenza alla fine dell'Ottocento. Rome]: Progetto cultura, 2011.

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Arcelli, Federico. Banking and charity in sixteenth-century Italy: The Holy Monte di Pietà of Rome (1539-84). Leicestershire: Upfront, 2003.

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Il credito disciplinato: Il Monte di pietà di Bologna in età barocca. Bologna: Società editrice Il mulino, 2014.

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Delbianco, Maria. Le sedi storiche del Monte di pietà di Bologna. [Florence, Italy]: Leo S. Olschki, 1999.

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Sagro monte di pietà di Bologna. Il giornale del Monte della Pietà dei Bologna: Studi e edizione del più antico registro contabile del Monte di Piet`a di Bologna (1473-1519). Bologna: Minerva, 2003.

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Antonello, Paola. Dalla pietà al credito: Il Monte di Pietà di Bologna fra Otto e Novecento. Bologna: Il mulino, 1997.

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Angelo, Varni, and Baravelli Andrea, eds. Per diritto di conquista: Napoleone e la spoliazione dei monti di pietà di Bologna e Ravenna. Bologna: Società editrice Il Mulino, 1996.

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Частини книг з теми "Sacro monte di pietà"

Ho, Cynthia. "The Visual Piety of the Sacro Monte Di Orta." In Finding Saint Francis in Literature and Art, 109–27. New York: Palgrave Macmillan US, 2009. http://dx.doi.org/10.1057/9780230623736_8.

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İstekli, Murat, and Murat Ustaoğlu. "Monte di Pietà." In The Evolution of Interest and Debt, 86–96. Milton Park, Abingdon, Oxon; New York, NY: Routledge, 2021.: Routledge, 2020. http://dx.doi.org/10.4324/9781003041245-9.

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Athanassakis, Irini. "Monte di Pietà della Città di Firenze, 1645." In Die Aktie als Bild, 101–15. Vienna: Springer Vienna, 2008. http://dx.doi.org/10.1007/978-3-211-75490-0_4.

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"Palm Sunday Procession / Monte di Pietà: 27 March 1496." In Selected Writings of Girolamo Savonarola, 222–43. Yale University Press, 2017. http://dx.doi.org/10.12987/9780300129045-016.

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Borelli, Anne, Maria Pastore Passaro, Donald Beebe, Alison Brown, and Giuseppe Mazzotta. "Palm Sunday Procession/Monte di Pietà:1 27 March 1496." In Selected Writings of Girolamo Savonarola, 222–43. Yale University Press, 2006. http://dx.doi.org/10.12987/yale/9780300103267.003.0010.

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"The Temptation of the Senses at the Sacro Monte di Varallo." In Religion and the Senses in Early Modern Europe, 393–451. BRILL, 2012. http://dx.doi.org/10.1163/9789004236653_017.

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"Learning from others’ failures: the rise of the Monte di pietà in early modern Bologna." In The History of Bankruptcy, 115–32. Routledge, 2013. http://dx.doi.org/10.4324/9780203066836-14.

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Terry-Fritsch, Allie. "Dramatic Action and the Participatory Spectator at the Sacro Monte di Varallo: Frozen Theatre or Immersive Installation?" In Performing the Sacred: Christian Representation and the Arts, 140–72. BRILL, 2022. http://dx.doi.org/10.1163/9789004522183_010.

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Toaff, Ariel. "Witchcraft, Black Magic, and Ritual Murder." In Love, Work and Death, 118–42. Liverpool University Press, 1996. http://dx.doi.org/10.3828/liverpool/9781874774198.003.0007.

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Анотація:

This chapter explores the accusations against the Jews of the Umbria. It was particularly in the last part of the fifteenth century, in the years following the founding of the Perugia Monte di Pietà in 1462, that accusations against Jews of witchcraft, ritual assassination, and black magic became a positive obsession in Umbria, as in the rest of the Italian peninsula. Hunting Jewish witches was a self-evidently tautologous exercise — simply being Jewish laid one open to accusations of witchcraft — but this did not mean that their uselessness was always quite so clear to those performing or promoting them. The charges of iconoclasm and of the ‘scraping off’ of sacred images were also sometimes brought against the Jews of the Umbrian communities. However, the most serious charge made against Jews was that of ritual murder.

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