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Journal articles on the topic 'Gonzaga, duke of Mantua'

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Published: 4 June 2021

Last updated: 28 July 2025

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1

James, Carolyn. "Marriage by Correspondence: Politics and Domesticity in the Letters of Isabella d’Este and Francesco Gonzaga, 1490–1519*." Renaissance Quarterly 65, no. 2 (2012): 321–52. http://dx.doi.org/10.1086/667254.

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The marriage in 1490 of Francesco Gonzaga, Marquis of Mantua, and Isabella d’Este, daughter of the Duke of Ferrara, cemented an important Italian dynastic alliance and was in no sense a love match. Francesco and Isabella were well aware, however, that they had to establish a harmonious conjugal rapport if the strategic aims of their union were to be realized. This study examines the ways in which the Este-Gonzaga couple built familiarity, affection, and shared interests through frequent letter exchanges that both shaped and facilitated their domestic and political collaboration. The epistolary

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2

Chambers, D. S. "The 'Bellissimo Ingegno' of Ferdinando Gonzaga (1587-1626), Cardinal and Duke of Mantua." Journal of the Warburg and Courtauld Institutes 50 (1987): 113. http://dx.doi.org/10.2307/751320.

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3

Strainchamps, Edmond. "The life and death of Caterina Martinelli: new light on Monteverdi's ‘Arianna’." Early Music History 5 (October 1985): 155–86. http://dx.doi.org/10.1017/s0261127900000693.

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In the early spring of 1608 a calamity befell the Gonzaga court at Mantua with the sudden death of their young virtuoso singer, Caterina Martinelli. And the shock felt at her untimely demise was made all the worse by the realisation that the court's prestige and the standing of Duke Vincenzo himself were thereby threatened. More precisely, what was at risk were the elaborate plans that the Mantuans had made – plans in which Caterina Martinelli had figured very prominently – for an extraordinary series of musical-theatrical events to be held later in that spring to which the whole world (or at

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4

Nugent, George. "Anti-Protestant Music for Sixteenth-Century Ferrara." Journal of the American Musicological Society 43, no. 2 (1990): 228–91. http://dx.doi.org/10.2307/831615.

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This study explores the motivations that lie behind three polyphonic works by musicians active at Ferrara and Mantua in the first half of the sixteenth century: a motet by Maistre Jhan, and a motet and mass by Jacquet. The background that links all three is the intense campaign that was waged between reform and orthodoxy. Music and visual art were sometimes put to use as propaganda. The Este and Gonzaga families who ruled the two states were related by blood and political alliances. They had strong reasons to defend the orthodox religion; they were also deeply persuaded of music's communicativ

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5

Tucker, J. Allan, and Aaron H. DeGroft. "From Renaissance Art to Contemporary Electron Microscopy: DeGroft's Rediscovery of Titian's "Lost" Portrait of Federico II Gonzaga, Duke of Mantua, of 1539-40." Ultrastructural Pathology 26, no. 4 (2002): 195–201. http://dx.doi.org/10.1080/01913120290076874.

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6

Bowers, R. "Claudio Monteverdi and Sacred Music in the Household of the Gonzaga Dukes of Mantua, 1590-1612." Music and Letters 90, no. 3 (2009): 331–71. http://dx.doi.org/10.1093/ml/gcp050.

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7

Jaffe-Berg, Erith. "Performance as Exchange: Taxation and Jewish Theatre in Early Modern Italy." Theatre Survey 54, no. 3 (2013): 389–417. http://dx.doi.org/10.1017/s0040557413000276.

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In early modern Italy, an unusual form of exchange between Jewish and Christian communities materialized in Mantua: Jews in Mantua were required to perform an annual play as a tribute to their Gonzaga rulers. Elsewhere in the Italian peninsula, far more onerous “performances” were extorted from the Jews during carnival, but in the Mantuan performances, several communities—the ruling Gonzaga family, the Jewish community, and Christian audience members—interacted. I consider these performances a form of taxation because the full cost, which was extensive, was borne by the Jewish community. Howev

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8

Even, Yael, and Joanna Woods-Marsden. "The Gonzaga of Mantua and Pisanello's Arthurian Frescoes." Sixteenth Century Journal 21, no. 2 (1990): 328. http://dx.doi.org/10.2307/2541109.

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9

Eden, Bradford Lee. ":Music at the Gonzaga Court in Mantua." Sixteenth Century Journal 45, no. 1 (2014): 218–19. http://dx.doi.org/10.1086/scj24247538.

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10

Saalman, Howard, Livio Volpi Ghirardini, and Anthony Law. "Recent Excavations under the "Ombrellone" of Sant'Andrea in Mantua: Preliminary Report." Journal of the Society of Architectural Historians 51, no. 4 (1992): 357–76. http://dx.doi.org/10.2307/990735.

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Recent excavations have revealed the existence of an integrated complex of vaulted rooms, stairs, and passages under the so-called ombrellone of the western portico of Sant'Andrea in Mantua. The authors suggest that this complex and its adjacent rooms may have been intended to serve for the exposition of the relics of the Most Precious Blood of Christ, preserved in Sant'Andrea, possibly in times of danger and plague, and for the guardian brotherhood of the relics, the Venerable Company of the Most Precious Blood, established in Sant'Andrea by Pius II in 1462. The adjacent rooms over the first

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11

Armstrong, Lilian. "The Gonzaga of Mantua and Pisanello's Arthurian Frescoes.Joanna Woods-Marsden." Speculum 66, no. 4 (1991): 956–57. http://dx.doi.org/10.2307/2864698.

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12

Grendler (book author), Paul F., and John Patrick Donnelly (review author). "The University of Mantua, the Gonzaga & the Jesuits, 1584–1630." Renaissance and Reformation 34, no. 1-2 (2012): 271–73. http://dx.doi.org/10.33137/rr.v34i1-2.16183.

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13

Bourne, Molly. "Francesco II Gonzaga and maps as palace decoration in renaissance Mantua." Imago Mundi 51, no. 1 (1999): 51–82. http://dx.doi.org/10.1080/03085699908592903.

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14

Carter, Tim. "Monteverdi, Early Opera and a Question of Genre: The Case of Andromeda (1620)." Journal of the Royal Musical Association 137, no. 1 (2012): 1–34. http://dx.doi.org/10.1080/02690403.2012.669927.

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ABSTRACTIn 1985, Albi Rosenthal reported his discovery of a printed libretto for the opera Andromeda, composed by Monteverdi for performance in Mantua in Carnival 1620. This libretto deserves a new examination for its dramatic content, its likely musical setting (now lost) and some fundamental questions of genre. Its patron, Prince Vincenzo Gonzaga, used the librettist Hercole Marliani to broker his self-fashioning by imitating both Monteverdi's Orfeo (1607), supported by Vincenzo's elder brother, and Arianna (1608), which in effect belonged to the prince's parents. Monteverdi was typically sl

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15

Shemek, Deanna. "Aretino's Marescalco: Marriage woes and the Duke of Mantua." Renaissance Studies 16, no. 3 (2002): 366–80. http://dx.doi.org/10.1111/1477-4658.00022.

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16

Augelli, Francesco, Arianna Bordina, and Jessica Migliavacca. "Diagnosis for the Conservation of Wooden Ceilings inside the Ducal Palace in Sabbioneta (Mantua, Italy)." Advanced Materials Research 778 (September 2013): 849–56. http://dx.doi.org/10.4028/www.scientific.net/amr.778.849.

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The Ducal Palace in Sabbioneta, commissioned by Vespasiano Gonzaga in the end of 16th century, keeps four precious wooden ceilings inside. Rough wooden planks nailed to a skeleton structure creates the support for fine wood decorative elements. The requirement of a conservation work has prompted a diagnosis phase about the ceilings as a whole. This was carried out by closed up observations, drilling tests and laboratory analysis.

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17

D'Andrea, David. ":The University of Mantua, the Gonzaga, and the Jesuits, 1584—1630." Sixteenth Century Journal 42, no. 2 (2011): 556–57. http://dx.doi.org/10.1086/scj23076854.

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18

Chambers, D. S. "A Defence of Non-Residence in the Later Fifteenth Century: Cardinal Francesco Gonzaga and Mantuan Clergy." Journal of Ecclesiastical History 36, no. 4 (1985): 605–33. http://dx.doi.org/10.1017/s002204690004402x.

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Was non-residence in benefices necessarily an abuse? It was an old problem, usually linked with pluralities, and even if the Councils of Constance and Basel had done nothing about it, non-residence had been denounced by Gerson, by Panormitanus and by Denys the Carthusian; it remained a live issue in the later fifteenth century. An interesting discussion of the subject emerges from the correspondence of Cardinal Francesco Gonzaga (1444–83) with his father and brother, successive rulers of Mantua. It raises points of wider importance than the particular matters at stake and throws some light upo

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19

Welch, Evelyn. "The art of expenditure: the court of Paola Malatesta Gonzaga in fifteenth-century Mantua." Renaissance Studies 16, no. 3 (2002): 306–17. http://dx.doi.org/10.1111/1477-4658.00018.

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20

Mallegni, Francesco, Elena Bedini†, Gabriele Mallegni, and Paolo Bertelli. "Ricognizione e analisi antropologiche delle spoglie mortali di Ferrante Gonzaga Duca di Guastalla." Archivio per l'Antropologia e la Etnologia 153 (November 1, 2023): 83–104. http://dx.doi.org/10.36253/aae-2343.

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The mortal remains of Ferrante Gonzaga (Mantua, 28 January 1507-Brussels, 15 November 1557), Italian condottiere (military leader) leader and trusted man of Emperor Charles V, are presented and discussed from the physical-anthropological point of view. Ferrante Gonzaga was appointed by Charles V as viceroy of Sicily from 1535 to 1546 and governor of Milan from 1546 to 1554. His skeletal remains were found in a room of the current sacristy of the Duomo in a lead coffin of anthropomorphic shape enclosed in turn in a wooden box, parallelepiped-shaped with a «barrel» roof. Through the anthropologi

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21

Pincelli, Maria Agata. "La Roma triumphans e la nascita dell'antiquaria: Biondo Flavio e Andrea Mantegna." Studiolo 5, no. 1 (2007): 19–28. http://dx.doi.org/10.3406/studi.2007.1186.

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Roma triumphans and the birth of antiquarianism : Biondo Flavio and Andrea Mantegna. Biondo Flavio completed his Roma triumphans, the foundation of the Renaissance antiquarian movement, in 1459 while in Mantua. The work was immediately successful : in a letter written in December 1460 to Ludovico Gonzaga, Biondo himself reported that it was already being read and copied in courts all over Europe. First published in Mantua in 1473 and continually reprinted from the late 15th century to the mid-16th century, Roma triumphans rapidly became a crucial point of reference for the study of Roman antiq

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22

Rückert, Peter. "‘From Mantua to Württemberg: Barbara Gonzaga and Her Court': A German-Italian Exhibition to Mark the Reopening of the Palazzo Ducale in Mantua." Journal of Paper Conservation 13, no. 4 (2012): 35–38. https://doi.org/10.1080/20571682.2012.12462152.

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23

Murphy, Paul V. "The University of Mantua, the Gonzaga, and the Jesuits, 1584–1630 by Paul F. Grendler." Catholic Historical Review 100, no. 2 (2014): 356–57. http://dx.doi.org/10.1353/cat.2014.0137.

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24

Lai, Alessandro, Giulia Leoni, and Riccardo Stacchezzini. "Governmentality rationales and calculative devices: The rejection of a seventeenth-century territorial barter proposed by the King of Spain." Accounting History 17, no. 3-4 (2012): 369–92. http://dx.doi.org/10.1177/1032373212443226.

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Almost 400 years ago, Ferdinando Gonzaga, Duke of Mantova and Marquis of Monferrato, refused a territorial barter proposed by the King of Spain, who had offered the Isle of Sardinia in exchange for the Marquisate of Monferrato. In 1618, an advisor to the Duke drafted a report to highlight the governmental issues surrounding the island. This Relatione, together with correspondence between the governors and advisors engaged in the prospective transfer, reveals why the Duke rejected the proposal. These sources provide the foundation for a close analysis of the potential effects of the trade on th

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25

Chekan, Yurii. "Locations of the first opera performances: from elitism to general availability." Scientific herald of Tchaikovsky National Music Academy of Ukraine, no. 136 (March 28, 2023): 75–86. http://dx.doi.org/10.31318/2522-4190.2023.136.276560.

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Relevance of the study. The object of research in the history of music usually is the spiritual component of artistic culture, it's genre- and style-centric processes of the art itself. Specific conditions of artistic artifacts's existence, locations where the premiere and subsequent performances took place, draw less scientific attention. At the same time, without taking this information into account, the musico-historical aspects of the past appear devalued and deformed; certain things remain not understood completely, certain moments fall out of sight. The purpose of the study. It is

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26

Becker, Rotraud. "Scipione Gonzaga, Fürst von Bozzolo, kaiserlicher Gesandter in Rom 1634–1641." Quellen und Forschungen aus italienischen Archiven und Bibliotheken 102, no. 1 (2022): 239–307. http://dx.doi.org/10.1515/qufiab-2022-0014.

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Abstract In the first half of the 17th century, the image of the imperial embassy in Rome was dominated by the long-standing service of the brothers Paolo and Federico Savelli. In comparison, the period in between, during which Scipione Gonzaga held the office, has left hardly any traces. Yet a closer look at his years of service reveals the political problems of those years and shows the prince of Bozzolo to be a committed diplomat. Furthermore, the circumstances of his life show the envoy’s activity in an unusual context, that of a lower-ranking prince in Imperial Italy who sought to gain st

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27

Höbelt, Lothar. "The unwicked Stepmother: the Dowager Empress Eleonora II Gonzaga as a swing vote at the Court of Vienna." Librosdelacorte.es, no. 29 (December 30, 2024): 72–100. https://doi.org/10.15366/ldc2024.16.29.003.

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The Dowager Empress Eleonora II Gonzaga was credited with great influence overher step-son Emperor Leopold I (r. 1657-1705). For that reason, she was not just courted byVenetian, French and Papal diplomats. Unusual for female members of the Casa d’Austria,even the minutes of official meetings of Austrian ministers show that she was a force to bereckoned with. However, Eleonora did not consistently favour one of the court factions. Themarriage of her daughter to Polish king Michal Korybut in 1670 might have been supposed toturn her into an ‘Easterner’, willing to appease the French. Indeed, Ele

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28

Aichinger, Wolfram. "Parma contra Mantua, Farnesio contra Gonzaga: La comedia palatina de Calderón y la distancia entre Italia y Madrid." Hispanófila 175, no. 1 (2015): 15–22. http://dx.doi.org/10.1353/hsf.2015.0049.

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29

Adami, A., C. Balletti, F. Fassi, et al. "The bust of Francesco II Gonzaga: from digital documentation to 3D printing." ISPRS Annals of Photogrammetry, Remote Sensing and Spatial Information Sciences II-5/W3 (August 11, 2015): 9–15. http://dx.doi.org/10.5194/isprsannals-ii-5-w3-9-2015.

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Geomatics technics and methods are now able to provide a great contribution to the Cultural Heritage (CH) processes, being adaptable to different purposes: management, diagnosis, restoration, protection, study and research, communication, formation and fruition of the Cultural Heritage. This experimentation was done with an eye to encouraging and promoting the development of principles and good practices for recording, documentation and information management of cultural heritage. <br><br> This research focuses on the documentation path of a cultural asset, in particular a Renaissa

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30

Waddell, Mark A. "The University of Mantua, the Gonzaga and the Jesuits, 1584-1630, by Paul F. Grendler.The University of Mantua, the Gonzaga and the Jesuits, 1584-1630, by Paul F. Grendler. Baltimore, Maryland, Johns Hopkins University Press, 2009. xxi, 287 pp. $60.00 US (cloth)." Canadian Journal of History 46, no. 2 (2011): 382–83. http://dx.doi.org/10.3138/cjh.46.2.382.

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31

Brown, Clifford M. "“Concludo che non vidi max la più bella casa in Italia”: The Frescoed Decorations in Francesco II Gonzaga's Suburban Villa in the Mantuan Countryside at Gonzaga (1491-1496)*." Renaissance Quarterly 49, no. 2 (1996): 268–302. http://dx.doi.org/10.2307/2863159.

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“Universae Italiae Liberatori.” On the 500th Anniversary of the Battle of Fornovo and the completion of the Madonna della Vittoria (1495/96 - 1995/96).Scholarly discussion of late Quattrocento art patronage in Mantua has largely been confined to projects associated with Isabella d'Este (1474-1539, marchesa from 1490 and dowager marchesa from 1519). And yet in 1494 her husband wrote that “painting delights us not a little and by its pleasures we often relax and console our mind from the various occupations, anxieties, and cares in which it is involved.” Francesco II Gonzaga's effulgent praise o

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32

Partridge, Loren. "Joanna Woods-Marsden. The Gonzaga of Mantua and Pisanello's Arthurian Frescoes. Princeton: Princeton University Press, 1988. 141 illus. + xxv + 274 pp. $60." Renaissance Quarterly 43, no. 4 (1990): 856–59. http://dx.doi.org/10.2307/2862811.

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33

Brown, Clifford. "DUKE FERDINANDO CARLO AND THE DISPERSAL FROM VENICE OF THE GONZAGA COLLECTION OF GRECO-ROMAN ART." Source: Notes in the History of Art 8/9, no. 4/1 (1989): 25–33. http://dx.doi.org/10.1086/sou.8_9.4_1.23202694.

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34

Romano, Antonella. "Paul F. Grendler,The University of Mantua, the Gonzaga and the Jesuits, 1584-1630, Baltimore, Johns Hopkins University Press, 2009, XX-287 p." Annales. Histoire, Sciences Sociales 66, no. 3 (2011): 910–11. http://dx.doi.org/10.1017/s0395264900011483.

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35

Herold, Jürgen. "Begegnungen am Weg. Die Beziehungen der Wettiner zu den Gonzaga, Markgrafen von Mantua, von der Mitte des 15. bis zum Beginn des 16. Jahrhunderts." Neues Archiv für sächsische Geschichte 85 (January 1, 2015): 1–20. http://dx.doi.org/10.52411/nasg.bd.85.2014.s.1-20.

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36

Monfasani, John. "Paul F. Grendler . The University of Mantua, the Gonzaga, and the Jesuits, 1584–1630 . Baltimore : Johns Hopkins University Press . 2009 . Pp. xx, 287. $60.00.." American Historical Review 115, no. 3 (2010): 913. http://dx.doi.org/10.1086/ahr.115.3.913.

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37

Black, Robert. "The University of Mantua, the Gonzaga, and the Jesuits, 1584–1630. By Paul F. Grendler. Baltimore: Johns Hopkins University Press, 2009. Pp. xxiv+287. $60.00." Journal of Modern History 83, no. 1 (2011): 192–94. http://dx.doi.org/10.1086/658027.

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38

Diaconu, Adelina. "Vocalitatea și profilul psihologic al personajelor principale masculine din opera „Rigoletto” de Giuseppe Verdi." Analele Universităţii „Dunărea de Jos” din Galaţi. Fascicula XXV,CercetARTE / The Annals of ”Dunarea de Jos” of Galati. Fascicle XXV, ARTSResearch 7 (December 15, 2023): 62–74. https://doi.org/10.35219/cercetarte.2023.06.

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Giuseppe Verdi was a musician who knew how to emphasize drama in his creations, creating new melodic-rhythmic-harmonic typologies of characters, giving music a portrait role. By adhering to the Risorgimento (Revival) phenomenon and through his personal experiences, Verdi was preoccupied with human dramas and these appear transposed in the melodies, harmonies and rhythms he used, in the conflicts constantly existing in his works and in the strong personalities of the characters, hence resulting in the complexity of his musical language. After a series of remakes of the play, which received titl

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39

Gómez, Susana. "Paul F. Grendler. The University of Mantua, the Gonzaga, and the Jesuits, 1584–1630. xxiv + 287 pp., illus., app., bibl., index. Baltimore: Johns Hopkins University Press, 2009. $60 (cloth)." Isis 103, no. 2 (2012): 404–5. http://dx.doi.org/10.1086/667493.

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40

Pankina, Elena V. "The Musical Iconography of the Private Chambers of Studiolo and Grotta of Isabella d’Este." Observatory of Culture 15, no. 4 (2018): 468–78. http://dx.doi.org/10.25281/2072-3156-2018-15-4-468-478.

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The article is dedicated to the analysis of certain components of the historical interior of the studiolo and grotta of Isabella d’Este, Marquise of Mantua (1474—1539). The article considers, in the imagological aspect, the decorative elements of her private chambers in the “Palazzo Ducale” as a form of personal and, at the same time, status representation of the wife of the ruler of the state and as a reflection of some aspects of the behavioral standard of the Renaissance noble lady. For the first time, the artistic design of the Mantuan studiolo (private studio)and grotta (adjoining storage

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POP, Ioan Aurel, and Alexandru SIMON. "Sabotaj al cruciadei antiotomane sau necesitate politică italiană? Un raport al lui Leonardo Botta din 27 iulie 1475." Studii și Materiale de Istorie Medie 41, no. 1 (2024): 9–17. http://dx.doi.org/10.62616/smim.2023.01.

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On 27 July 1475, Leonardo Botta, Milan’s representative in Venice, wrote to his master, Duke Galeazzo Maria Sforza. He informed him that he had convinced Florence’s envoy in the Laguna, Luigi Guicciardini, not to inform the Serenissima that his Signoria had received Pope Sixtus IV’ recent message. The Papal brief had been sent on 1 July, at the request of Venice in the support of Stephen III of Moldavia, the favourite of the republic. Botta’s task had been relatively easy. Guicciardini was a close associate of the Sforzas and former podestà of Milan. In all likelihood, he had been in possessio

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42

Davies, Jonathan. "Paul F. Grendler. The University of Mantua, the Gonzaga and the Jesuits, 1584–1630. Baltimore: The Johns Hopkins University Press, 2009. xxi + 287 pp. index. append. illus. tbls. map. bibl. $60. ISBN: 978–0–8018–9171–7." Renaissance Quarterly 63, no. 1 (2010): 225–26. http://dx.doi.org/10.1086/652564.

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43

Tworek, Michael. "The University of Mantua, the Gonzaga and the Jesuits, 1584–1630. By Paul F. Grendler. Pp. xiii+287 incl. 4 maps, 2 genealogical charts and 13 figs. Baltimore: The Johns Hopkins University Press, 2009. £31. 978 0 8018 9171 7." Journal of Ecclesiastical History 61, no. 4 (2010): 859. http://dx.doi.org/10.1017/s0022046910001466.

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44

Ruiz, Jiménez Juan. "Impresos de compositores españoles o impresos en España en la Librería musical de la basílica ducal de Santa Bárbara en Mantua (1611)." Paisajes sonoros históricos (c.1200-c.1800), December 16, 2023. https://doi.org/10.5281/zenodo.10395483.

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Un inventario de la Librería musical de la basílica ducal de Santa Bárbara en Mantua, efectuado en 1611, nos permite conocer la presencia en ella de distintos impresos de Cristóbal de Morales y Tomás Luis de Victoria, así como un ejemplar del <em>Missae Sex</em> de Philippe Rogier, impreso en la Tipografía regia, en Madrid, en 1598. Estos libros se trasladaron en 1851 a la Biblioteca del Conservatorio de Musica "Giuseppe Verdi" de Milán, donde actualmente se encuentran. An inventory of the music library at the ducal basilica of Santa Barbara in Mantua carried out in 1611 revealed several print

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"A Shrunken Head (Tsantsa) In The Gonzaga of Mantua Collections, In 1627?" Journal of Humanities & Social Sciences 5, no. 2 (2022). http://dx.doi.org/10.33140/jhss.05.02.09.

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Mantua, a North-Italian Po Valley city sided by the Mincio river spreading into three lakes, was ruled by the Gonzaga family from 1328 to 1707. The Gonzaga were famous all around Europe for the marvellous palace they had built: the Ducal Palace, that could more properly described as a city-scale architectural complex, made up by a number of different buildings. Gardens, squares and galleries, huge halls and precious cabinets make it a unique creation worldwide. The Gonzaga were also renown for the rich and variety of the collections they had there gathered.

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46

"The Gonzaga of Mantua and Pisanello's Arthurian frescoes." Choice Reviews Online 27, no. 02 (1989): 27–0755. http://dx.doi.org/10.5860/choice.27-0755.

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47

Заиченко, Д. А. "Ренессансный двор Мантуи: привилегии в обмен на искусство". Istoricheskii vestnik, № 52(2025) (1 червня 2025). https://doi.org/10.35549/hr.2025.2025.52.004.

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Эпоха Возрождения создала новый образ правителя и предоставила ему ранее непопулярные инструменты для прославления себя и государства. Маркизы и герцоги Гонзага успешно применили эти новшества и создали в Мантуе XV–XVI вв. блестящий двор, собравший музыкальные, литературные, художественные и артистические таланты. При дворе устраивались шумные праздники с музыкой, маскарадами, танцами и театральными постановками, которые подчеркивали успех правящей династии и одновременно были частью общегородской культуры и быта. Пока правители итальянских городов возрождали придворный театр руками художников

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48

Romani, Marzio A. "Poder y contabilidad: Guglielmo Gonzaga e Angelo Pietra (1586-87)." Ohm : Obradoiro de Historia Moderna, no. 17 (December 4, 2012). http://dx.doi.org/10.15304/ohm.18.517.

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El proceso judicial promovido en Mantua contra el prelado Camillo Luzzara y el romano Bernardino Pia en 1586 vendría a poner de manifiesto el malestar existente en la corte ducal contra el gobierno del tercer duque, Guglielmo Gonzaga. Uno de los factores que habría contribuido al mismo sería la revisión de los procedimientos contables encargada por el duque al monje genovés Angelo Pietra, reforma que formaba parte de un plan destinado a sanear las finanzas ducales y a garantizar el control de las finanzas cortesanas. Este artículo analiza las características del nuevo sistema basado en la dobl

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49

Romani, Marzio A. "Poder y contabilidad: Guglielmo Gonzaga e Angelo Pietra (1586-87)." October 31, 2017. https://doi.org/10.15304/ohm.18.517.

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Abstract:

El proceso judicial promovido en Mantua contra el prelado Camillo Luzzara y el romano Bernardino Pia en 1586 vendría a poner de manifiesto el malestar existente en la corte ducal contra el gobierno del tercer duque, Guglielmo Gonzaga. Uno de los factores que habría contribuido al mismo sería la revisión de los procedimientos contables encargada por el duque al monje genovés Angelo Pietra, reforma que formaba parte de un plan destinado a sanear las finanzas ducales y a garantizar el control de las finanzas cortesanas. Este artículo analiza las características del nuevo sistema basado en la dobl

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50

"The University of Mantua, the Gonzaga & the Jesuits, 1584-1630." Choice Reviews Online 47, no. 05 (2010): 47–2805. http://dx.doi.org/10.5860/choice.47-2805.

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