Relevant bibliographies by topics / Venetian churches

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

Academic literature on the topic 'Venetian churches'

Author: Grafiati
Published: 4 June 2021
Last updated: 3 February 2022

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Journal articles on the topic "Venetian churches"

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Boren, Braxton B., and Malcolm S. Longair. "Acoustic simulation of renaissance Venetian churches." Journal of the Acoustical Society of America 130, no. 4 (2011): 2318. http://dx.doi.org/10.1121/1.3654261.

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Savoy, Daniel. "Palladio and the Water-oriented Scenography of Venice." Journal of the Society of Architectural Historians 71, no. 2 (2012): 204–25. http://dx.doi.org/10.1525/jsah.2012.71.2.204.

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Andrea Palladio’s Venetian churches of San Giorgio Maggiore and Il Redentore overlook the Bay of San Marco and its tributaries, the Grand Canal and the Giudecca Canal. In Palladio and the Water-oriented Scenography of Venice, Daniel Savoy examines the churches from their surrounding waterways, explaining them as centerpieces in an elaborate program of urban scenography that must be seen as a work of collective civic authorship. Through close topographical and contextual analysis, he shows that Palladio and his patrons oriented the churches to be seen from the perspective of the waterways approaching and transversing the city while evoking the visual experience and cosmological associations of theater. The scheme accords with Palladio’s theoretical project but also builds on Venetian conventions of aquatic urbanism and symbolic geography, implicating the architect in a centuries-old tradition in which the mythical image of Venice was projected through the city’s spectacular waterfront architecture.
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Drakopoulou, Eugenia. "Comments on the artistic interchange between conquered Byzantium and Venice as well as on its political background." Zograf, no. 36 (2012): 179–88. http://dx.doi.org/10.2298/zog1236179d.

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Political choices and historical imperatives dictated a rapprochement of the Eastern and Western Churches in the fifteenth and sixteenth centuries. The Venetian state, attracted by the superiority of Byzantine culture, always coveted a seat among its beneficiaries, while renowned Byzantine exiles sought Venetian assistance against the Ottomans. The Orthodox artworks they brought with them, gave the artists of Renaissance Venice the opportunity to commune with the art of Constantinople, creating new cultural contributions. In the first decades of the sixteenth century, the political and religious alliances of Ohrid and the West were associated with a Venetian-inspired artistic revival in painting on the territory of the Archbishop of Ohrid.
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Bonsi, Davide, Malcolm Longair, Philip Garsed, and Raf Orlowski. "Acoustic and audience response analyses of eleven Venetian churches." Journal of the Acoustical Society of America 123, no. 5 (2008): 3353. http://dx.doi.org/10.1121/1.2933918.

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Tulić, Damir. "Glory Crowned in Marble: Self-promotion of Individuals and Families in Seventeenth- and Eighteenth-Century Monuments in Istria and Dalmatia." Radovi Instituta za povijest umjetnosti, no. 43 (December 31, 2019): 139–50. http://dx.doi.org/10.31664/ripu.2019.43.11.

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Senior representatives of the Venetian Republic inspired distinguished noblemen and rich citizens in Venice, as well as in Terraferma and Stato da Mar, to perpetuate their memory through lavish commemorative monuments that were erected in churches and convents. Their endeavour for self-promotion and their wish to monopolise glory could be detected in the choice of material for the busts that adorned almost every monument: marble. The most elaborate monument of this kind belongs to the Brutti family, erected in 1695 in Koper Cathedral. In 1688 the Town of Labin ordered a marble bust of local hero Antonio Bollani and placed it on the facade of the parish church. Fine examples of family glorification could be found in the capital of Venetian Dalmatia – Zadar. In the Church of Saint Chrysogonus, there is a monument to the provveditore Marino Zorzi, adorned with a marble portrait bust. Rather similar is the monument to condottiere Simeone Fanfogna in Zadar’s Benedictine Church of Saint Mary and the monument to the military engineer Francesco Rossini in Saint Simeon. All these monuments embellished with portrait busts have a common purpose: to ensure the everlasting memory of important individuals. This paper analyses comparative examples, models, artists, as well as the desires of clients or authorities that were able to invest money in self or family promotion, thus creating the identity of success.
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Georgopoulou, Maria. "Vernacular Architecture in Venetian Crete: Urban and Rural Practices." Medieval Encounters 18, no. 4-5 (2012): 447–80. http://dx.doi.org/10.1163/15700674-12342115.

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Abstract The architecture built in Venice’s colony on Crete between its establishment in 1211 and the Ottoman conquest of the island in 1669 displays an intermingling of Western (Latin) architectural traditions with pre-Venetian Byzantine (Orthodox) forms and styles. Previous scholarship has explored the urban architecture of Venetian Crete, but less attention has been granted to the many rural Orthodox churches of the later medieval period that dot the Cretan countryside. While the official monuments of Cretan cities have been interpreted as employing architectural forms with a strong ideological—especially political—intent, the use of forms in rural buildings was not as ideologically charged. These more modest structures employed “Western” and “Byzantine” architectural styles in an ideologically neutral manner that reflected trends in fashion or taste rather than distinctions of cultural or political identity. By the fourteenth century, “Latin” and “Orthodox” architectural traditions had merged into a local style that expressed the cosmopolitan character of medieval Crete.
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Matić, Marina. "Мултикултуралност и мултиконфесионалност у Боки Которској у XVIII веку. Идентитет и српска православна црква у Боки под Млетачком влашћу (1687-1797)". Issues in Ethnology and Anthropology 11, № 4 (2017): 1101. http://dx.doi.org/10.21301/eap.v11i4.8.

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As we had already depicted, life in XVIII century Boka Kotorska was marked by great migrations and numerous heterogeneous factors of this multicultural and multiconfessional environment, under the auspice of the Republic of Venice. Common people, although of different religions, lived in accordance with their social and economic needs and interests, in mutual tolerance, interlacing and respecting sanctities of both churches. The role of the church, both Orthodox and Catholic, was multifaceted and essential. Its part in organizing civil life and institutionalization of legal bodies, as well as its place within private devotion of individuals in the local area, were very important. The Orthodox Church, which was not an official church of the Republic of Venice, implied in its fundamental function efforts for preserving the ethnic and religious identity of the Serbian Orthodox community in this area, as a pivot of multiculturalism. Especially important in that aspect is Savina Monastery, the Zion of the Orthodox people in XVIII century Boka Kotorska, in the absence of the Diocese of Dalmatia and Boka and under foreign Venetian rule.
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Apostolopoulos, Charis, and Panagiotis Sotiropoulos. "Venetian churches of Lefkada, Greece Construction documentation and seismic behaviour “Virgin Mary of the Strangers”." Construction and Building Materials 22, no. 4 (2008): 434–43. http://dx.doi.org/10.1016/j.conbuildmat.2006.10.016.

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Tomić, Radoslav. "Slikar Filippo Naldi (II)." Ars Adriatica, no. 2 (January 1, 2012): 217. http://dx.doi.org/10.15291/ars.450.

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According to his own testimony, the painter Filippo Naldi was of Florentine origin. He lived and worked in Dalmatia in the mid-eighteenth century while serving in the Venetian army. He was mentioned in records as a port manager at Opuzen. In the wider Dalmatian area, Naldi painted a large number of religious works and several portraits. This paper attributes to him seven paintings in churches situated in the Dalmatian hinterland and the region of Poljica (at Zavojane near Vrgorac, Dobranje near Imotski, Kostanje at Poljica, Čaporice near Trilj and in the Franciscan monastery at Sinj). The author analyzes the characteristics of Naldi’s painting and his significance in eighteenth-century Dalmatian art and society.
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Seferović, Relja. "Preachers, Sermons, and State Authorities in late Baroque Dubrovnik." Slovene 6, no. 2 (2017): 648–77. http://dx.doi.org/10.31168/2305-6754.2017.6.2.28.

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In order to keep its traditional neutrality in foreign policy and to preserve inner stability after the disastrous earthquake of 1667, the state authorities of the Republic of Dubrovnik controlled the entire public life in this city-state, which was clamped between Ottoman and Venetian possessions on the coast of the south Adriatic. They managed to impose their will on archbishops of the local Church in various aspects of religious life, including the election of public preachers in the city cathedral. Treated as simple officials in service of the government, these clerics (mostly members of various religious orders who came from Italy) played their role according to their employers’ desires, with only formal concern for their flock. However, sermons by their local counterparts, who preached mostly in smaller city churches, left a deeper mark in this highly conservative Catholic milieu. An analysis of their experiences and preserved texts of their sermons offers a new perception of the political, social, linguistic, and even theological culture of late Baroque Dubrovnik, a city whose importance remained incomparable within the Slavonic world in the Mediterranean.
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Dissertations / Theses on the topic "Venetian churches"

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Hopkins, A. J. "Baldassare Longhena, Santa Maria della Salute, and the influence of Ducal ceremony on architectural design #." Thesis, Courtauld Institute of Art (University of London), 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.336500.

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Lillywhite, Marie-Louise. "The counter reformation and the decoration of Venetian churches 1563-1610 : San Giacomo dall'Orio, Santa Maria dell'Umiltà, the Redentore and San Giorgio Maggiore." Thesis, University of Warwick, 2013. http://wrap.warwick.ac.uk/58313/.

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This thesis examines the effects that the religious changes heralded by the Counter Reformation and the decrees regarding religious imagery and the Eucharist promulgated at the Council of Trent had on the decoration of Venetian churches from the close of the Council in 1563 until the first years of the seventeenth century. Although politically Venice shielded her independence from the power of the Papacy, she nonetheless responded in conformity to the Tridentine decrees and played an important role throughout the Cinquecento as a centre for religious renewal. In turn this had an important impact on the fabric and decoration of the city’s churches, particularly in the last two decades of the Cinquecento. Focusing on four Venetian churches that were the objects of extensive decorative programmes during the late Cinquecento; San Giacomo dall’Orio, Santa Maria dell’Umiltà, the Redentore and San Giorgio Maggiore, this thesis combines archival and visual evidence to reach a deeper understanding of how the decoration of the Venetian church changed in this period. The central tenet of this thesis is that Venice made an important and early contribution towards developing the ‘ideal’ visual response required by the Council of Trent. In the immediate aftermath of the Council of Trent until the end of the century Venice enjoyed a period of important artistic renewal and achievement. This ‘golden age’ emerged in the years following Trent and in a period characterised by ongoing war and ravaging pestilence. Yet far from discouraging creative genius, the contemporary religious and political upheaval appears to have challenged artists and patrons to ever greater achievements. It thus appears that the conditions imposed by the Council of Trent created a framework within which artists could better represent the values of the renewed Catholicism of the late sixteenth century.
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Green, Richard James. "Andrea Palladio's influence on Venetian church design, 1581-1751." Thesis, University of British Columbia, 1987. http://hdl.handle.net/2429/26755.

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Andrea Palladio was born in Padua in the Republic of Venice in 1508 and practiced his architecture throughout the Veneto until his death in 1580. Today, there are some forth-four surviving palaces, villas, and churches by the master. These buildings have profoundly moved the imagination of countless generations of academics, artists, and architects for over four hundred years. Without a doubt, he has been the most exalted and emulated architect in modern history. While Palladio is well-remembered for his innovative palaces and villas of the Veneto, he is also most distinguished for his revolutionary religious architecture in Venice Itself. His designs for San Francesco della Vigna (1562) (Fig. 1), San Giorgio Maggiore (1565) (Fig. 3), Le Zitelle (1570) (Fig. 4), II Redentore (1576) (Fig. 5), and the Tempietto (1580) (Fig. 6) at Master, represented fresh and independent visions, exemplifying his deep-seated understanding of the ideas of the High Renaissance. Nowhere was Palladio's influence on the future development of ecclesiastical design more profoundly felt than in Venice itself. Collectively, the emulators of Palladian church design form a coherent episode which can be discernedly traced from Santa Maria Celeste (Figs. 7 and 8) in 1581 through to San Giovanni Novo (Fig. 9) of 1751. Between these years and buildings, there were sixty-two churches erected in Venice. Of these, some thirty-five structures, or fifty-six percent, exhibit, through their system of organizing plans, elevations and spatial relationships, different degrees of debt to Palladio. All in all they demonstrate a highly significant concurrency in the overall development of religious architecture in Venice. The aim of this present thesis is to investigate the architectural character of a large number of Venetian churches built between 1581 and 1751 in an attempt to clarify the extent of Palladio's influence on their design. This study will be divided into four chapters. In order to better understand sixteenth century Venetian building in general and Palladio's prominent position within it, Chapter One will explore the unfolding ambience of Renaissance architecture in Venice, elucidating the rich, productive, and international development of the city's most innovative architects. Herein, the saliency of Palladio and his churches, as crowning symbols of this period, will be examined. Chapters Two, Three and Four will explore the thirty-five churches under investigation. These last sections will analyze some ten or more buildings each, and, for the most part, in the chronological order of their construction. In the end, it is hoped that this study will demonstrate a clear and coherent tradition of Venetian church design which fulfilled itself through an integration of a whole series of Palladian prototypes.<br>Applied Science, Faculty of<br>Architecture and Landscape Architecture (SALA), School of<br>Graduate
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Sherman, Allison M. "The lost Venetian church of Santa Maria Assunta dei Crociferi : form, decoration, and patronage." Thesis, University of St Andrews, 2010. http://hdl.handle.net/10023/1021.

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This dissertation reconstructs the original form and sixteenth-century decoration of the lost Venetian church of Santa Maria Assunta dei Crociferi, destroyed after the suppression of the Crociferi in 1656 to make way for the present church of the Gesuiti. The destruction of the church, the scattering of its contents, and the almost total lack of documentation of the religious order for which the space was built, has obscured our understanding of the many works of art it once contained, produced by some of the most important Venetian artists of the sixteenth century. This project seeks to correct scholarly neglect of this important church, and to restore context and meaning to these objects by reconstructing their original placement in the interest of a collective interpretation. Various types, patterns and phases of patronage at the church—monastic, private and corporate—are discussed to reveal interconnections between these groups, and to highlight to role of the Crociferi as architects of a sophisticated decorative programme that was designed to respond to the latest artistic trends, and to visually demonstrate their adherence to orthodoxy at a moment of religious upheaval and reform.
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Jiráková, Hana. "Benátské vlivy na dílo Boccaccia Bocaccina." Master's thesis, 2013. http://www.nusl.cz/ntk/nusl-327847.

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(in English) The key theme of my thesis are venetian influences on the Boccaccio Boccaccino's work, who was one of the most important exponents of the Cremonese school of painters. Initially he worked in Genoa, Cremona and Milan and he was influenced by the painters as Leonardo, Bramantino and Boltraffio. In the years 1497-1500 Boccaccino is documented in Ferrara. In this period he executed so-called tondo Gronau, The Christ on the way to Calvary, The Virgin and Child, now in Boston, The Virgin and Child, now in Padua, The Adoration of the Shepherds, now in Naples and Dead Christ supported by an Angel. This works show the influence of Bramantino, umbrian school but also early influence of venetian art. In 1500 or 1501 he painted the altarpiece with Virgin and Child with Sts Peter, Michael, John the Baptist and John the Evangelist for the church of S. Giuliano in Venice. Models of this composition are the S. Cassiano altarpiece of Antonello da Messina and Virgin and Child with Saints which Giovanni Bellini executed for the church of S. Giobbe. Boccaccino's image in S.Giuliano is also inspired by Ercole de'Roberti and Lorenzo Costa. His colours show the influence of Giorgione. In 1506 is Boccaccino documented in Venice but also in Cremona. In the years 1500-1506 he stayed probably in Venice, but he...
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Books on the topic "Venetian churches"

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Inc, Venetian Heritage, ed. San Salvador: La pala d'argento dorato restaurata da Venetian Heritage = the gilded silver altarpiece restored by Venetian Heritage. Marcianum Press, 2011.

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Dellwing, Herbert. Die Kirchenbaukunst des späten Mittelalters in Venetien. Wernersche Verlagsgesellschaft, 1990.

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Cacciavillani, Ivone. I papi veneti. 2nd ed. Corbo e Fiore, 2000.

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Manousakas, M. I. Ta lēxiarchika vivlia tēs Hellēnikēs Adelphotētos Venetias. Hellēnikon Institouton Venetias, 1993.

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Gabriel, of Venice, fl. 1518-1536 and Alonso Vañes Carlos, eds. Gabrielis Veneti O.S.A. Registrum generalatus. Institutum Historicum Augustinianum, 2010.

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Brouskarē, Ersē. Hē ekklēsia tou Hagiou Geōrgiou tōn Hellēnōn stē Venetia. Archaiologikē Hetaireias, 1995.

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The Venetian upper clergy in the sixteenth and early seventeenth centuries: A study in religious culture. Institut für Anglistik und Amerikanistik, Universität Salzburg, 1995.

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Logan, Oliver. The Venetian upper clergy in the 16th and early 17th centuries: A study in religious culture. Edwin Mellen Press, 1996.

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Zettler, Alfons. Offerenteninschriften auf den frühchristlichen Mosaikfussböden Venetiens und Istriens. W. de Gruyter, 2001.

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Life and death in a Venetian convent: The chronicle and necrology of Corpus Domini, 1395-1436. University of Chicago Press, 2000.

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Book chapters on the topic "Venetian churches"

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Bevilacqua, Livia. "Liturgical and devotional artefacts in the Venetian churches of the Levant, thirteenth to fifteenth centuries." In Late Byzantium Reconsidered. Routledge, 2019. http://dx.doi.org/10.4324/9781351244831-10.

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Cristellon, Cecilia. "Venetian “Matrimonialia”: A Quantitative Analysis (1420–1500)." In Marriage, the Church, and its Judges in Renaissance Venice, 1420-1545. Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-38800-7_6.

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Remport, Eglantina Ibolya. "The Stones of Venice: Lady Augusta Gregory and John Ruskin." In John Ruskin’s Europe. A Collection of Cross-Cultural Essays With an Introductory Lecture by Salvatore Settis. Fondazione Università Ca’ Foscari, 2020. http://dx.doi.org/10.30687/978-88-6969-487-5/016.

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John Ruskin’s diaries, letters, lectures and published works are testimonies to his life-long interest in Venetian art and architecture. Lady Augusta Gregory of Coole Park, County Galway, Ireland, was amongst those Victorian genteel women who were influenced by Ruskin’s account of the political and artistic history of Venice, following in Ruskin’s footsteps during her visits to Sir Henry Austen Henry and Lady Enid Layard at Ca’ Capello on the Grand Canal. This article follows Lady Gregory’s footsteps around the maritime city, where she was often found sketching architectural details of churches and palaces. By doing so, it reveals the extent of the influence of Ruskin’s Italian travels on the formation of Lady Gregory’s aesthetic sensibilities during the 1880s and 1890s, before she founded the Abbey Theatre in Dublin with the Irish dramatist John Millington Synge and the Irish poet and dramatist William Butler Yeats in 1904. As part of the discussion, it reveals the true subject matter in one of Lady Gregory’s Venetian sketches for the first time, one that is now held in Dublin at the National Library of Ireland.
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Marchetti, Luca, and Beatrice Spampinato. "Peltae subacquee e specchiature marmoree La forma dell’acqua tra storia dell’arte e filosofia." In Taking and Denying Challenging Canons in Arts and Philosophy. Fondazione Università Ca’ Foscari, 2020. http://dx.doi.org/10.30687/978-88-6969-462-2/003.

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This paper focuses on two canonical representations of water in 12th-century Venetian churches: (i) the so-called ‘peltae pattern’, usually defined as ‘geometric decoration’ and recognized as the symbol of water; and (ii) the ‘marble slab’, usually included among non-iconic decorations and recognized as il mare. Why did the medieval masters represent the same natural element in the same type of location in these two different ways? Our hypothesis is that (i) represented the turbulent water of terrestrial life, while (ii) represented heavenly water. We argue that support for both claims can be found by retracing the sources of the two decorative models and looking at them from an art historical point of view, and by analyzing them from a philosophical and perceptological standpoint in order to retrieve universal perceptual patterns that can sustain the iconological reading.
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Despotakis, Eleftherios. "A LETTER IN PRAISE OF CARDINAL BESSARION IN THE CONTEXT OF THE FIFTEENTH-CENTURY VENETIAN FLEXIBILITY TOWARDS THE UNION OF THE CHURCHES." In Contra Latinos et Adversus Graecos. Peeters Publishers, 2020. http://dx.doi.org/10.2307/j.ctv1q26vtj.28.

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Agazzi, Michela. "Il mercato antiquariale nella Venezia di Ruskin: l’arte medievale in Germania." In John Ruskin’s Europe. A Collection of Cross-Cultural Essays With an Introductory Lecture by Salvatore Settis. Fondazione Università Ca’ Foscari, 2020. http://dx.doi.org/10.30687/978-88-6969-487-5/012.

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Ruskin made his first trips to Venice when the city was under the Austrian domination, a long period which witnessed the dispersion of many Venetian medieval objects. These objects became of interest to a market which had to meet several requests, including not only those of private collectors, amateurs and foreign tourists looking for “souvenirs”, but also high-standard commissions aimed at creating museums and evocative places. This is the case with the massive purchase by Frederick William of Prussia, in the 1840s, of some ancient medieval sculptures in Italy which would become an important core in the medieval and Byzantine art sections of national museums under construction. Among these sculptures we can find an interesting group of Venetian masterpieces all bought from the same Venetian trader (Pajiaro). Frederick William’s brother as well, Charles, bought several Venetian works of art to replicate a Venetian cloister in the Glienicke Palace. Again: the Church of Peace in Potsdam is adorned with a mosaic bought in Murano, once part of the demolished Saint Cyprian Church. Fragments and entire works of art make up collections intended for the public and its education, or for the embellishment of neo-medieval or picturesque buildings, that was a pillage going in the opposite direction ofRuskin’s interests. His eye and his hand gave us the graphic and visual documentation of a heritage in context. His writings are characterized by the attention to each and every fragment as the witness of a manner of doing which is also history. Some traces of the exportation of medieval works of art can be found in Venetians’ reaction, Seguso’s first of all. In their writings and following actions we can appreciate a greater attention and responsibility for an heritage that will be perceived as an element of their identity. After the annexation to Italy, although this market and sales continued to exist, we witness not only a new dynamic which gives more importance to the restoration of buildings relevant on a national level (such as Piazza San Marco and the Doge’s Palace) or on a civil level (the Fondaco dei Tedeschi), but also the establishment of museums where the fragments emerged from the restoration and decontextualized statues can find their place. All of this has been accomplished in the name of a new spirit and of an attention of whom Ruskin has been the main promoter and protagonist.
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Fortini Brown, Patricia. "Recovery." In The Venetian Bride. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780192894571.003.0003.

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The city of Udine begins to heal, the castle of Villalta is rebuilt, and the six Della Torre children come of age. Two sons become soldiers, and three others, including Girolamo, enter the church. Ginevra, the only daughter, marries a Colloredo from another feudal family hostile to the Savorgnan and begins raising a family that would continue the vendetta. Reprisals for the 1511 massacre continue, with periodic outbursts of revenge punctuating a time of relative calm. The year of 1527 is a grim turning point, with famine in the Friuli, the Sack of Rome, and the death of Giovanni, one of the Della Torre soldier brothers. After studying law in Bologna and challenging an exiled Venetian noble to a duel, Girolamo—although a cleric—is granted a licence to carry arms in Venetian territories.
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Fortini Brown, Patricia. "Restitution." In The Venetian Bride. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780192894571.003.0004.

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Giovanni da Udine returns to his native city after the Sack of Rome and participates in a campaign of urban renewal. The Della Torre brothers engage in protracted litigation to receive financial restitution from the Savorgnan heirs, during which time Raimondo dies. The three surviving brothers also petition for entrance into the hereditary Venetian nobility, a rare distinction held by the Savorgnan, but are rejected. The rebuff is lessened in 1533 when the brothers are named cavalieri aureati—Knights of the Golden Spur—by the Emperor Charles V, just two weeks after he granted the same honour to Titian (Tiziano Vecellio). Girolamo, now head of the family, takes the lead in rebuilding Palazzo Torriani. Alvise II attends to family affairs at Villalta. Michele becomes a favourite of Pope Paul III, thus creating lasting links with the powerful Farnese family, and rises in the hierarchy of the church in Rome.
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Fortini Brown, Patricia. "Suitable Alliances." In The Venetian Bride. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780192894571.003.0012.

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Girolamo marries off all five daughters to Friulian nobles—three to feudal lords, two to wealthy city dwellers—thus strengthening the family network of alliances. Alvise and Giovanni become priests, the latter destined to follow his uncle Michele into high church office. Girolamo’s oldest son, Sigismondo, seeks his fortune in service of the Hapsburgs. His first marriage brings him the feud of Spessa, complete with castle, in Gorizia, and a son and heir, Carlo, named after the archduke. A second marriage into a collateral Della Torre line based in imperial territory ties him ever more firmly to the Hapsburgs. Girolamo expands the castle at Villalta, grafting a seigneurial Renaissance country villa onto the medieval fortress, the complex becoming a metaphor for a feudal family that now embraces Venetian republican values. Michele is featured in Paolo Paruta’s Della perfezione della vita politica (1579), a treatise celebrating politics as civil discipline.
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"Double-Identity Churches on the Greek Islands under the Venetians: Orthodox and Catholics Sharing Churches (Fifteenth to Eighteenth Centuries)." In Innovation in the Orthodox Christian Tradition? Routledge, 2016. http://dx.doi.org/10.4324/9781315588650-9.

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