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

Author: Grafiati

Published: 4 June 2021

Last updated: 28 July 2025

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1

BERTOLASI, Eliseo. "Italy - Crimea: history and modernity." Perspectives and prospects. E-journal, no. 3 (2019): 25–33. http://dx.doi.org/10.32726/2411-3417-2019-3-25-33.

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On 18 May 2016, in Venice, the Council of the Veneto Region was the first institution in the European Union that recognized the reunification of Crimea with Russia. This resolution paved the way for the same action by other Italian regional institutions: on 29 June 2016 in Genoa, the Council of the Liguria Region approved the recognition of thenew Crimean status; on 5 July, was the turn of the Lombardia Region. It is no coincidence that Veneto and Liguria have taken this step, but there are very specific historical reasons. Crimea in the Middle Ages hosted Venetian and Genoese colonies.

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Musatova, Tatyana. "Venice. Finality of the Journey of Emperor Nicholas I to Italy (1845)." Stephanos Peer reviewed multilanguage scientific journal 69, no. 1 (2025): 45–69. https://doi.org/10.24249/2309-9917-2025-69-1-45-69.

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The article deals with the protocol and artistic program of Nicholas I in Venice, the last stop on his tour of Italy in 1845. There Nickolas I managed to resolve the problem of the marriage of Grand Duchess Olga Nikolaevna, his daughter. As a statesman, he deeply felt Venice, be informed in the history of Venetian statehood, and the common cultural code that united Russia and the former Republic of St. Mark. He knew well and highly appreciated the sights of Venice, traced the history of Russian-Italian relations from Peter I’s trip to Europe, and therefore the loss of independence by the Venet

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Franchetti, Cécile, and Jon Hunner. "Review: Venice, the Jews and Europe, 1516–2016. The Doge’s Palace, Venice, Italy." Public Historian 39, no. 2 (2017): 86–90. http://dx.doi.org/10.1525/tph.2017.39.2.86.

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Roner, Marcella, Massimiliano Ghinassi, Mariaelena Fedi, et al. "Latest Holocene depositional history of the southern Venice Lagoon, Italy." Holocene 27, no. 11 (2017): 1731–44. http://dx.doi.org/10.1177/0959683617708450.

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

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

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Sperling, Jutta. "Dowry or Inheritance? Kinship, Property, And Women's Agency in Lisbon, Venice, and Florence (1572)." Journal of Early Modern History 11, no. 3 (2007): 197–238. http://dx.doi.org/10.1163/157006507781147470.

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AbstractThe marital property regimes, inheritance practices, and kinship structures of Renaissance Italy and early modern Portugal were at opposite ends of a spectrum. In Italy, the legitimacy of marriage was defined as the outcome of dowry exchange governed by exclusio propter dotem, thus conceptually linked to the disinheritance of daughters and wives. In Portugal, where the Roman principle of equal inheritance was never abolished, domestic unions qualified as marriages insofar as joint ownership was established. Kinship structures were rigidly agnatic in Italy, but cognatic, even residually

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Pigatto, Luisa, Nha Il-Seong, Jürgen Hamel, et al. "DIVISION XII / COMMISSION 41 / WORKING GROUP HISTORICAL INSTRUMENTS." Proceedings of the International Astronomical Union 4, T27A (2008): 423. http://dx.doi.org/10.1017/s1743921308025994.

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The Historical Instruments Working Group (WG-HI) and Commission 41 started planning an interdisciplinary conference titled Astronomy and its instruments before and after Galileo since January 2007. This conference, as an IYA2009 initiative, aims “to highlight mankind's path toward an improved knowledge of the sky using mathematical and mechanical tools as well as monuments and buildings, giving rise, in doing so, to scientific astronomy”. Commission 46 and Commission 55 also support this conference, to be held on the Isle of San Servolo, Venice (Italy), 27 September – 3 October 2009. As a fact

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Kennedy, Claire, and Judy Watson. "Judy Watson." Queensland Review 30, no. 1 (2023): 101–17. http://dx.doi.org/10.1558/qre.26498.

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Artist Judy Watson, a member of the Waanyi people of north-west Queensland, has spent several periods in Italy, including on a residency in Tuscany in 1992, and when selected to present her work in the Australian pavilion at the Venice Biennale in 1997 and as a speaker at the aabaakwad gathering of First Nations artists at the Biennale in 2022. In the interview, Watson reflects on her connection to culture and Country and speaks of the works inspired by her stays in Italy. She also comments on changes over time in the Venice Biennale, as well as the interest in Indigenous Australian artists in

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

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

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

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

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

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

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AbstractAt a time when European cities depended on three sources of fresh water for their domestic and industrial needs—rivers, spring-fed aqueducts and groundwater wells—early modern Venice added a fourth possibility: a dense network of cisterns for capturing, filtering and storing rainwater. Venice was not unique in relying on rainwater cisterns; but nowhere in Italy (indeed in Europe) was the approach so systematic and widespread, the city concerned so populous, the technology so sophisticated and the management so carefully regulated as in the lagoon city. To explore Venice’s cistern-syste

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

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

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

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@FP = CHARLES DICKENS ADAMANTLY DECLARES he will not indulge in “any grave examination into the government or misgovernment of any portion” of Italy, because “that beautiful land” requires only aesthetic reflections that “have ever a fanciful and idle air” (1); and John Ruskin relentlessly insists on turning attention away from the action in the Italian streets and inward toward the motionless stones of buildings, because Venice, “Queen of Marble and of Mud,” has no political dimension (“Stones of Venice” 9: xxix). Elizabeth Barrett Browning, by contrast, masterfully tackles the problem of the

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Chekan, Yurii. "Teatro San Cassiano in Opera History." Art Research of Ukraine, no. 23 (November 28, 2023): 162–69. http://dx.doi.org/10.31500/2309-8155.23.2023.297536.

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The study is devoted to the first publicly accessible opera house Teatro San Cassiano (Venice, 1637), the establishment of which became a cardinal factor in the transformation of opera from aristocratic court entertainment to creative industry. The author considers the issues related to the history of the theater’s construction and the actions of its owners, the Venetian nobles, the Tron brothers, aimed at turning opera into a profitable business. The article reveals possible prototypes and reasons for the constructive solutions in the theater, in particular the boxes and the U-shaped audience

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

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The purpose of this paper is to present the phenomenon of wine-making in Greece and Italy. To highlight the characteristics of wine tourism in those countries either positive or negative. Also the “Road of wine” in both countries is analyzed and the way they manage this event to welcome tourists and locals who want to learn more things about local wine. The first section analyzes the definition of tourism, tourist incentive, forms of alternative tourism and the consequences arising from tourism on the economy and society. The second section analyzes the history of wine in Greece and Italy. Imm

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17

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

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AbstractThis essay examines the development of humanistic rhetoric in fifteenth-century Venice, taking as its starting point a remark of Ermolao Barbaro's on the inadequacy of academic rhetorical instruction as a preparation for the practical oratorical skills necessary to Venetian civic life. It is argued that the context of Barbaro's remark is a series of humanistic polemics on rhetoric that took place in Venice and Padua in the latter decades of the Quattrocento, culminating in the famous debate of the 1490s on the authenticity of theRhetorica ad Herennium. As the essay shows, a considerati

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

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This article contributes to the study of the early sub-Saharan African diaspora in Europe by analyzing both visual and documentary evidence relating to black gondoliers in Renaissance Venice. Gondolas and gondoliers were iconic features in fifteenth-century Venice, yet most gondoliers were not Venetian. Although black Africans were highly visible in a predominantly white society, naming practices and linguistic usages rendered them virtually invisible in the documentary sources. It is now possible not only to investigate representations of black gondoliers in paintings, but also to identify bl

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

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

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20

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

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<p>This article attempts to study the history of a sixteenth-century Greek type in Italy. The type was produced under the auspices of Cardinal Marcello Cervini who wished to publish some of the manuscripts from the Vatican Collections. Cervini commissioned the Roman printer Antonio Blado to be in charge of the project. Since Blado did not own Greek type and had no experience with Greek he invited Stefano Nicolini da Sabbio, the noted printer of Greek in Venice, to come to Rome and take charge of the cardinal's project. The scholar-scribe Nikolaos Sophianos also joined the project along w

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Bianco, Francesca. "Padua and Venice: The first complete translations of Shakespeare's plays." Cahiers Élisabéthains: A Journal of English Renaissance Studies 112, no. 1 (2023): 119–31. http://dx.doi.org/10.1177/01847678231200362.

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For the Italian cultural milieu, the second half of the eighteenth century is an important moment: along with the rest of Europe, Italy participates in the debate about the theory and practice of vertere. As a result, it is during this period that the discovery and reception of Shakespeare's works begins to take place. This article aims at showing how Italian translation techniques changed and improved over time, and how literati as Melchiorre Cesarotti, Francesco Gritti, and Giustina Renier Michiel contributed to a new literary taste during a complex period in which several poetic genres coex

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

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Abstract Marina Fiorato’s The Glassblower of Murano (2008) tells the story of Eleonora, a young woman who travels to Venice in search of her genealogical past and existential roots. Coming from London, Eleonora incarnates a “modern” outlook on what she assumes to be the timeless life and culture of Venice. At one point in the novel, admiring the old houses on the Canal Grande, Eleonora is “on fire with enthusiasm for this culture where the houses and the people kept their genetic essence so pure for millennia that they look the same now as in the Renaissance” (2008, 15). This discourse of pure

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23

Bushkovitch, Paul. "Maksim the Greek." Canadian-American Slavic Studies 57, no. 3-4 (2023): 303–18. http://dx.doi.org/10.30965/22102396-05703003.

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Abstract Studies in both Russia and Italy over the past sixty-odd years on Maksim Grek (né Michael Trivolis) on his Greek origins and formation, his time spent in Florence, Venice, and Mirandola, his education, personal ties, and work there, and on his original writings and translations while in Muscovy have greatly enriched our knowledge of this central figure in 16th-century Russian religion and culture. Of special note here are evidence of manuscripts he copied while in Italy, precise borrowings from Savonarola’s and other Roman Catholic writings, and a polemic Maksim composed in Russia aga

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

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

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Franklin Hugh Adler,Italian Industrialists from Liberalism to Fascism. The Political Development of the Industrial Bourgeoisie, Cambridge University Press, Cambridge, 1996, xv + 458 pp., ISBN 0–521–433406–8 hbk, £40.00Giuseppe Berta,Il governo degli interessi. Industriali, rappresentanza e politica nell'Italia del nord-ovest 1906–1924, Marsilio, Venice, 1996, xv + 175 pp., ISBN 88–317–6342–3 pbk, 32,000 LireGiorgio FioccaStoria della Confindustria 1900–1914, Marsilio, Venice, 1994, 266 pp., ISBN 88–317–5850–0 hbk, 70,000 LireThe three books under review trace the organization of industrial int

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

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AbstractShimʻon Günzburg’s Yiddish collection of customs, first brought to press in Venice in 1589 and reprinted dozens of times over the following centuries, is often considered a mere translation of the Hebrew Minhagim put together by Ayzik Tyrnau in the 1420s. Another claim often made about the book is that, although it was first printed in Venice, it was intended less for the Italian book market than for export. This article sets out to test these assumptions by examining Günzburg’s compilation from the perspective of minhag, or prayer rite. Drawing on Yiddish manuscripts preserved from si

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

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

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

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

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Kulieva, Dilshoda Alijon qizi. "HISTORY OF THE STUDY OF THE "CODEX CUMANICUS" MANUSCRIPT." International journal of word art 5, no. 5 (2022): 5. https://doi.org/10.5281/zenodo.7038229.

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This article explores the history of the study of the ancient Turkic manuscript Codex Cumanicus. This ancient Turkish monument is preserved today in the Marchana National Library in Venice, Italy. The article compares the research conducted on the monument. The result showed that the works of Hungarian G. Kuun, French scientist Drimba, Ukrainian scientist Garkavets, Turkish scientists M. Argunshah and G. Guner have been recognized and motivated many studies. Each of them translated the manuscript into their native languages. B. Jafarov, one of the Uzbek scientists, also created a blessing on t

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

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Botryllus schlosseri is a widespread colonial ascidian commonly considered cosmopolitan and amply used as model for researches ranging from developmental biology to immunobiology. Recently, molecular data lead to hypothesize that the species named B. schlosseri may consist of more than a single taxon. Indeed, five highly divergent clades, named A-E, have been genetically identified and are referred as cryptic species. In this context, and lacking both a type and a detailed morphological description, we believe that it is necessary, as a taxonomic reference point, to designate a neotype and re-

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

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This article examines how states with a fascist past – Germany, Austria and Italy – used modernism in the visual arts to rebrand national and European culture at the Venice Biennale of Art after 1945. I argue that post-war exhibitions of modern art, including those at the Biennale, reveal a vast confrontation with Jewish absence after the Holocaust. Christian Democrats and proponents of European integration attempted to reimagine modernism without the Jewish minority that had shaped it in crucial ways. Meanwhile, living Jewish artists resisted their exclusion from the post-war interpretations

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

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This article sets out to throw light on the intellectual and scientific activities of a group of Spanish humanists associated with the diplomat, aristocrat, and writer Diego Hurtado de Mendoza in the course of his fifteen years in Venice, Trent, and Rome, focusing on two aspects that have been neglected to date. These are (a) the integration of practices connected with the study of nature (herborizing expeditions and the production of herbaria) with the work of collating, translating, and commenting on classical texts dealing with natural history and materia medica; and (b) the insertion of th

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Romano, Dennis. "Aspects of Patronage in Fifteenth- and Sixteenth-Century Venice*." Renaissance Quarterly 46, no. 4 (1993): 712–33. http://dx.doi.org/10.2307/3039020.

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Michael Baxandall's Study Painting and Experience in Fifteenth-Century Italy opens with the useful reminder that a “painting is the deposit of a social relationship,” that is, a relationship between patron and client. When Baxandall and other historians of Renaissance art use the term patronage, they generally do so in a restricted sense to indicate the relationship that existed when an individual or an institution such as a guild, confraternity, or monastic establishment commissioned a specific work of art from an artist or artisan. Often formalized through a contract, the relationship betwee

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

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This paper’s focus is women as professed members of the Order of St John in Italy, as documented in cities such as Milan, Florence, Venice, Genova, Monteleone di Spoleto, Perugia, Penne and Sovereto. The adherence of women to the Order came under several institutional forms. Some women were laypeople, associated consorores who carried out the Order’s activities, sometimes working in its hospitals. Others lived in the houses of the Order of St John, where they could also take the vows, with consequent formation of “mixed” convents or monasteries. But in some cases, separate nunneries were creat

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

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In the last decade, an increasing number of analyses of accounting history literature have been undertaken to classify historical research paths and to “map” the variety of approaches and issues of the discipline in different geographical settings so as to make international comparisons. The paper develops these topics in the Italian context by studying the development of accounting history research (AHR) in the last 15 years. Contributions by Italian authors have been published in international and national specialist journals as well as in more general accounting journals. Other papers have

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Perenizhko, Oksana A. "Representation of the USSR at the XVI Venice Biennale of 1928: Toward a History of Soviet-Italian Cultural Ties." Общество: философия, история, культура, no. 8 (August 23, 2023): 152–56. http://dx.doi.org/10.24158/fik.2023.8.22.

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The article analyzes the participation of the Soviet delegation in the XVI International Art Exhibition in Venice in 1928. The successful presentation of Soviet art at the XIV Biennale in 1924 noticeably strengthened the USSR’s position in the development of cultural ties with Italy and contributed to the formation of an attractive image of the Soviet man among ordinary Italians. In 1926, the difficult economic situation did not allow the Soviet dele-gation to participate, but two years later, as part of the XVI Biennale in the Russian Pavilion in Venice, the public could once again see the wo

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

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Throughout the twentieth century the International Art Exhibition Venice Biennale was seen as a major event by the art world of Belgrade and, more broadly, of Serbia and Yugoslavia. After the Second World War this biggest and most important international show of contemporary art provided Belgrade?s artists and art critics with an opportunity to acquaint themselves with the latest developments on the international art scene. At the same time, it was used as a platform for the leading figures of Belgrade?s artistic and cultural-policy establishment to create, through the exhibitions mounted in t

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

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As a consequence of its dismal experience in the War of Cambrai (1509-1517), the Venetian Republic adopted a military policy of avoiding battlefield encounters. As a commander in the war and as doge of Venice after 1523, Andrea Gritti was the foremost proponent of this strategy, earning for himself the appellation of "Fabius Maximus," the Roman general who opposed Hannibal by delay and defense in the Second Punic War. In the 1520s, the Republic aspired to play the role of a great power — or at least that of an independent, balancing force between France and the Spanish-Habsburg Empire; but its

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Borrini, Matteo. "Forensic Facial Approximation and Archaeology: the case of Carmilla, the «Vampire of Venice»." Archivio per l'Antropologia e la Etnologia 154 (November 19, 2024): 35–50. http://dx.doi.org/10.36253/aae-3086.

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In 2006 an archaeological excavation on Lazzaretto Nuovo Island (Venice, Italy) uncovered an anomalous grave dated by stratigraphic evidence to the 1576 plague pandemic. The human remains (ID 6) were interred with a brick placed in the mouth, indicative of historical practices against «undead» and vampires. A multidisciplinary study incorporating forensic, anthropological, folkloric, and chemical analyses reconstructed the life and death of this individual, informally named Carmilla. Facial approximation,performed using rigorous forensic techniques on a 3D-printed replica of the skull, brought

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Fasan, Giulia. "The training ship Scilla. History of a venetian educational institution." Rivista di Storia dell’Educazione 11, no. 2 (2024): 41–53. https://doi.org/10.36253/rse-16486.

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This paper examines the history of the training ship Scilla, established in 1904 in Venice by professor and philanthropist David Levi Morenos, who also promoted the Consortium of Vocational Schools for Maritime Workers in 1917. The ship, serving as a training and boarding school, accommodated orphans from the age of 7, aiming to provide technical, practical, and cultural training for careers in naval professions and the lower ranks of the Merchant Navy, in both traffic and fishing sectors. Similar to other contemporary programs in Genoa, Naples, and Bari, this initiative combined vocational tr

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Wallace, William E. "Miscellanea Curiositae Michelangelae: A Steep Tariff, a Half Dozen Horses, and Yards of Taffeta." Renaissance Quarterly 47, no. 2 (1994): 330–50. http://dx.doi.org/10.2307/2862916.

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There is such an abundance of documentary information about the life of Michelangelo Buonarroti that we necessarily are selective in our use of the primary sources: nearly 1,400 letters to and from the artist, more than three hundred published pages of his personal and professional ricordi, and an extensive correspondence among members of his immediate family. In addition to what they tell us about the artist and his commissions, these primary sources offer a rich and detailed picture of everyday life in Renaissance Italy. The following miscellany is offered as diverse glimpses into the world

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Baze, Ermal. "The Social-Legal Rights and Political Activity of Albanian Women in the Late Middle Ages (Thirteenth–Fifteenth Centuries)." Aspasia 17, no. 1 (2023): 53–72. http://dx.doi.org/10.3167/asp.2023.170104.

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Abstract This article addresses women's legal status in urban areas in Albania during the late Middle Ages, particularly Shkodra, Durrës, Ulqini, Tivari, and others. The documentary sources of the time reveal the role and importance of women, and shed light on the legal and penal protection of her person, dignity, and honor. In cases of murder, assault, insult, violence, and rape against women, no individual, neither layperson nor clergy, had immunity from prosecution before the law. This article also addresses the political influence of Albanian noblewomen during the late fourteenth and early

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Berkutov, Stepan Maksimovich. "Italian communes and Russian city-states: features of political structure and patterns of republicanism evolution." Исторический журнал: научные исследования, no. 3 (March 2025): 132–48. https://doi.org/10.7256/2454-0609.2025.3.73782.

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The article is dedicated to identifying the common patterns of political system development in the city-states of medieval Italy and the urban republics of the Russian Northwest - Novgorod and Pskov. Alongside the Novgorod Republic, which existed from the 12th to the 15th centuries, trading city-states flourished in Northern Italy during nearly the same chronological period (from the late 11th century to approximately the mid-15th century). These included not only the well-known Venice or Genoa but also hundreds of larger and smaller republics, the history of which demonstrates similar process

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

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The article covers international and diplomatic aspects of the conflict of Sigismund of Luxembourg, the King of Hungary and the Romans, and the Republic of Venice in 1411—1413. Venetian claims to Dalmatia that nominally belonged to the Hungarian Crown were the formal reason of the conflict. The article notices that the main battleground was in Italia, not Dalmatia. The author thereupon concludes that the actual factor of the events was the competition between Italian states. But contrary to the traditional opinion the researcher assigns the part of the main power that competed with Venice to F

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

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

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

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Studies of medieval society in recent years have laid increasing stress on the effectiveness of the power of the saints. They enriched their churches, defended their possessions, created great centres at once of pilgrimage and commerce and provided for the healing of the sick and the care of the poor. The cults of the saints formed a model for secular government. Kings appeared before their people as walking reliccollections and exercised the power of healing, and patron saints (like St Mark at Venice and St Denis in France) helped to define the identity of the political communities over whose

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Muhamet Qerimi. "Durres During The First Norman Attack 1081-1085." Journal of Namibian Studies : History Politics Culture 36 (October 3, 2023): 721–35. http://dx.doi.org/10.59670/jns.v36i.4997.

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Following the Norman conquest of Byzantine Italy and Saracen Sicily, Robert Guiscard took the initiative to conquer the Byzantine Empire in 1081. Robert Guiscard set out from Italy for the island of Corfu, which he soon conquered. After landing, he received military reinforcements from Italy, and attacks began on the city of Durres, the main port on the Adriatic. The city was well protected on a long, narrow peninsula running parallel to the coast but separated by swamps. Guiscard brought his army to the peninsula and set up camp outside the city walls, but the Norman fleet sailing towards Dur

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Yastrebov, A. O. "Peter the Great's Venetian Policy and the Prut Campaign." MGIMO Review of International Relations 14, no. 6 (2021): 172–90. http://dx.doi.org/10.24833/2071-8160-2021-6-81-172-190.

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Russia's regular contacts with the Republic of Venice on the eve of the RussianTurkish war 1710-1713 resumed after almost a ten-year break. Before Sultan Ahmed III declared war, the Tsar sent two letters to the doge. They can be interpreted as a call to Venice to recognize the intermediate results of the Northern War and as an appeal to the republic's orthodox subjects to join Russia in the impending conflict. This episode is scarcely covered in Russian and international historiography. The connection of the envoys with the Prut campaign is also not covered in the literature. Therefore, it see

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Upart, Anatole. ":Ambrogio Leone’s De Nola, Venice 1514: Humanism and Antiquarian Culture in Renaissance Southern Italy." Sixteenth Century Journal 51, no. 2 (2020): 541–43. http://dx.doi.org/10.1086/scj5102116.

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

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