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Littérature scientifique sur le sujet « Venetian Prints »

Auteur : Grafiati

Publié le 4 juin 2021

Mis à jour le 1 février 2022

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Articles de revues sur le sujet "Venetian Prints"

STOURAITI, ANASTASIA. « PRINTING EMPIRE : VISUAL CULTURE AND THE IMPERIAL ARCHIVE IN SEVENTEENTH-CENTURY VENICE ». Historical Journal 59, n^o 3 (6 avril 2016) : 635–68. http://dx.doi.org/10.1017/s0018246x1500031x.

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ABSTRACTThis article analyses the relationship between imperial expansion and popular visual culture in late seventeenth-century Venice. It addresses the impact of the military on the marketplace of print and examines the cultural importance of commercial printmaking to the visualization of colonial motifs during the 1684–99 war with the Ottoman Empire. Through a broad array of single-sheet engravings and illustrated books encompassing different visual typologies (e.g. maps, siege views, battle scenes, portraits of Venetian patricians, and representations of the Ottomans), the article re-examines key questions about the imperial dimensions of Venetian print culture and book history. In particular, it shows how warfare and colonial politics militarized the communication media, and highlights the manner in which prints engaged metropolitan viewers in the Republic's expansionist ventures. In so doing, the analysis demonstrates how the printing industry brought the visual spectacle of empire onto the centre stage of Venetian cultural life.

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Meijer, Bert W. « Over Jan van Scorel in Venetië en het vroege werk van Lambert Sustris ». Oud Holland - Quarterly for Dutch Art History 106, n^o 1 (1992) : 1–19. http://dx.doi.org/10.1163/187501792x00127.

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AbstractThe information we have about Jan van Scorel's presence, work and contacts in Venice around 1520-21 comes from Karel van Mander and a number of paintings, some of them dated. Of the van Scorel paintings in Venetian collections mentioned by Marcantonio Michiel, this article places the recently found Crossing of the Red Sea chronologically in the artist's 'Venetian' oeuvre. The painting is reminiscent of the triptych in Obervellach, dated 15 19. In terms of technique, colouring and figuration it is less dependent on Venetian painting than Tobias and the Angel in Düsseldorf, dated 1521. With regard to a number of compositional and iconographical elements, on the other hand, Scorel's Crossing seems to draw on Titian's large woodcut of the same subject. The Amsterdam painter Lambert Sustris went to Venice about fifteen years after van Scorel. In the 1540s he settled in Padua. Sustris is chiefly known for his portraits and for his landscapes with religious and mythological themes, some of which are of outstanding quality. They unite the northern and Venetian, notably Titian, traditions in a suggestive manner, often featuring antiquary and Raphaclesque elements. In this article new arguments are presented in favour of Peltzer's assumption that Sustris was a pupil of van Scorel's, probably around 1530. In that connection the Sermon of John the Baptist (Utrecht, Centraal Museum), formerly regarded as van Scorel's work and bearing a signature commencing with the letter L and otherwise illegible, is attributed here to Sustris. Sustris may also have designed two frieze-like prints with hunting representations, which exhibit Scorelian traits in the landscape and elsewhere. The powerful influences of classical art and Raphael on the figures and composition apparently stem from Sustris' sojourn in Rome. In view of the fact that these prints are clearly devoid of the 'venetianized' style on which Sustris embarked shortly before 1540, the artist's designs probably predate his move to the Venetian Republic.

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Wilson, Bronwen. « “il bel sesso, e l'austero Senato“ : The Coronation of Dogaressa Morosina Morosini Grimani ». Renaissance Quarterly 52, n^o 1 (1999) : 73–139. http://dx.doi.org/10.2307/2902017.

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The Venetian printmaker Giacomo Franco produced several engravings for the 1597 coronation of Morosina Morosini, the wife of doge Marin Grimani (1595-1605). Focusing on three of these prints in which a bird's-eye view of the city is framed with illustrations of the festivities, this essay explores relations between space, gender, allegory and costume as they were manifested in this rare female procession. An examination of the pictorial conventions used by Franco and other artists to depict the event suggests that Morosina's coronation functioned both to resist existing codes of gender but also to reassert female patrician status.

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Kuyvenhoven, Fransje. « De aan Hendrik Voogd (1768-1839) toegeschreven tekeningen in de Gallerie dell'Accademia te Venetië Hun herkomst en hun ware auteur : Francesco Londonio ». Oud Holland - Quarterly for Dutch Art History 106, n^o 1 (1992) : 20–31. http://dx.doi.org/10.1163/187501792x00136.

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AbstractIn 1956 Ilaria Toesca published an article in Bolletino d'Arte on a group of 19th-century drawings of North European origin cntitled : 'Alcuni disegni delle gallerie di Venezia. The drawings in question were by the Englishman William Young Ottley and the Dutchmen David Pierre Giottin Humbert de Superville and Hcndrik Voogd. I confine my remarks to the latter, who lived in Rome from 1788 until his death in 1839. The drawings come from the bequest of the Milan art-lover Giuseppe Bossi, with whom Voogd had a good business relationship. Discussing a signed drawing by Voogd, Toesca attributed 21 other drawings to him. The signature on the Venetian sheet is not the only proof of Voogd's authorship. Further evidence is provided by the circumstance that it is a preliminary study for a worked-up wash drawing in Hamburg (Kunsthalle) and also that it was preceded by a sketch in the Amsterdam Historical Museum. The topographical particulars of these three drawings arc discussed here. The attribution of the other 21 drawings is made 'dubitativamente' by Toesca. In my opinion her doubts are justified. Neither stylistically nor technically do they bear a resemblance to the rest of Voogd's oeuvre. The fact that the motifs (landscapes, cattle, studies of trees and plants) do occur in Voogd's work probably led to the attribution. The back of one of the drawings is inscribed 'Londonio'. The sale catalogue of Bossi's bequest (1818) lists both the Voogd drawing and work by Londonio. Francesco Londonio (1723-1783) was a Milan engraver and draughtsman who is chiefly known for his prints. Various print rooms in Europe possess work by him. It appears that the drawings attributed to Voogd are really preliminary studies by Londonio which he used for his oeuvre of prints. Indeed, some of the motifs in a series of etchings in the Rijksprentenkabinet in Amsterdam derive from the Venetian drawings. I therefore conclude that the Gallerie dell'Accademia in Venice own only one (signed) drawing by Hendrik Voogd, purchased by Bossi personally from the artist during his second visit to Rome (1810), and that the name of the true artist - Francesco Londonio - was lost when the sheets were removed from the original collector's albums.

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Török, Zsolt Győző. « Cartographic circles : maps of Hungary as the Habsburg-Ottoman military border in the 16th century ». Proceedings of the ICA 3 (6 août 2021) : 1–12. http://dx.doi.org/10.5194/ica-proc-3-11-2021.

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Abstract. The expansion of the Ottoman Empire became an all-European military problem after the 1526 battle of Mohács and the fall of the Kingdom of Hungary A huge zone of defence was constructed between the Habsburg and Ottoman powers, dividing the former country. The first map of the country (Lazarus, 1528) was printed to serve Habsburg, imperial and Christian propaganda. The printed maps in the first half of the 16th century were compiled by humanist scholars (Lazius, 1556), and their representations of the stage of the Turkish wars were circulated in European atlases (Ortelius, 1570). Although proper military maps were rare in the Renaissance, the systematic, military-purpose mapping of the border fortifications indicates a Habsburg military cartography. The cartographic workshop of the Angelinis, an Italian family of military architects in Vienna, produced systematic collections of plans, views and chorographic maps in the 1570s. Map historians rarely consider the transfer of cartographic information between different modes and audiences. In this paper, the exchanges between Renaissance humanistic, military and commercial mapping are studied by map examples. Emphasizing the functional and representational changes the cartographic processes implied we focus on the connections between the contemporary, public and printed and the secret and manuscript cartographies. To expand the scope of the study a cross-cultural example, the representations of the 1566 siege of Sziget on Venetian prints and Ottoman topographical miniatures are compared. The Ottoman-Habsburg conflict, the series of the Turkish wars in Rumelia in 16th century exemplifies an appropriate context for the early-modern cartography of Hungary as a transitional and contested war zone.

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Mulvey, Christopher. « The English Project's History of English Punctuation ». English Today 32, n^o 3 (27 avril 2016) : 45–51. http://dx.doi.org/10.1017/s0266078416000110.

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The mission of the English Project (www.englishproject.org) is to explore and explain the English language in order to educate and entertain the English speaker, and 2015 was the year of punctuation for the Project because 6 February 2015 was the 500th anniversary of the death of Aldus Manutius. Aldus was a Venetian printer who shaped the comma, invented the semicolon and created italic fonts. He may have been the greatest punctuator of all time. We ‘punctuated’ the year by looking in turn at the full stop, the semicolon, the colon, the comma, the slash, the hyphen, the parenthesis, the exclamation, the apostrophe, the quotation mark and the question mark. Those twelve provide the fundamentals of English language punctuation, and all of them do more than one job. If we had a complete and unambiguous set of punctuation marks, we might need as many as 50, but the writing world does not want the trouble of such precision. In just same way, the writing world has never accepted the need for 44 separate letters to match the 44 separate sounds of the English language. Providing a separate grapheme (letter) for every phoneme (sound) is the linguist's business. Punctuation marks are ambiguous therefore. They suggest rather than define. They rely on context and the quick wittedness of the reader. If precision is needed, there are proofreader's marks. Merriam-Webster lists 42 of them, but proofreading is a special practice. Punctuation marks are a special set of symbols, and of symbols and signs there is no end. Punctuation marks are regularly appropriated by the devisers of computer languages. Punctuation marks can become logotypes – ‘a single piece of type that prints a word’. The exclamation mark can be made to work like &, $, or @. There are fuzzy edges to the subject of punctuation.

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Schulting, TO. « 'Sterckheyt van Wij sheyt en Voorsichticheyt verwonnen' : Overwegingen bij een Allegorie van Cornelis Ketel ». Oud Holland - Quarterly for Dutch Art History 111, n^o 3 (1997) : 153–62. http://dx.doi.org/10.1163/187501797x00186.

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AbstractDuring his sojourn in England, from 1573 to 1581, Cornelis Ketel received numerous portrait commissions, but did not paint many allegories. Van Mander gives a brief description of only one of them: Kracht door Wijsheid en 1 óorzichtzgheid overwonnen (Strength Conquered by Wisdom and Prudence, o.c. note 1, fol. 275 14-20). In 1986 an Allegory dating from the period in question (1580) appeared on the market. In a decor of captured weapons, it shows three nude men subjugated by a woman and tied up with snakes [figs. 1, 2). A number of circumstances preclude the conclusive identification of this painting as the one described by Van Mander: a) the woman with the snake might be Prudence, but Wisdom is missing; the reason for this might be that the canvas has been cropped, as is indicated by the absence of cusping; b) the attitude of Strength, the muscular man wearing a loincloth, is more consistent with the characteristics of Fury as described by Virgil, Cartari and Ripa (notes 7-9). A biblical source for this theme is Ecclesiastes 9:15-18, where Wisdom is rated higher than Strength and weapons of war. All sources associate Fortitude/ Fury with acts of war, so that a political connotation cannot be ruled out. In the Duke of Buckingham's collection was another allegory by Ketel representing victorious Virtues. This painting was not as tall as the work of 1580 published here (notes 13-19). The Duke of Buckingham's painting cannot be identified with the one for the Amsterdam jeweller Jan van Wely (Van Mander, fol. 275 r43 -275v30), as that painting was still in the collection of his family in 1670 (notes 17, 18). Iconographically, there is a remarkable correspondence with a work by Frans Floris, the subject of which has not been satisfactorily accounted for either (fig. 3, note 20). Pending a definitive identification, it seems to represent Fortitude/Mars/Fury rendered powerless by the loss of his weapons, and conquered by the female personifications of Wisdom and/or Prudence. Ketel was stylistically influenced not only by Floris (fig. 5, notes 23-25) but also by prints after Maarten van Heemskerck and Michelangelo (figs.6, 7). There is something of the Venetian style in the manner of painting. Ketel was acquainted with this style from an altar-piece by Dirck Barents, in the St. Janskerk in Gouda (note 29). It should be stressed that Ketel was unable to find a market for his allegories in England (cf. note 30), as may also be deduced from Van Mander. At the Tate Gallery's exhibition Dynasties 1530- 1630 (1995/96, note 32), Ketel's Allegory of 1580 contrasted starkly with the other exhibits: at the time when he was in England, the delicate subtlety of painters like Hilliard and Oliver was more to the British taste. Their manner was a far cry from Ketel's boldly painted allegory with its large figures. Not until some fifty years later, when the Venetian School, Rubens and Van Dyck were gaining ground, was Ketel duly appreciated in England.

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Ohanian, Wahan. « Ojciec Ghewond Aliszan : poeta i historyk promiennej Armenii ». Lehahayer 6 (31 décembre 2019) : 149–64. http://dx.doi.org/10.12797/lh.06.2019.06.05.

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Father Ghewond Alishan: Poet and Historian of Bright Armenia The article is an attempt to present the legacy of the Venetian Mechitarist, Father Ghewond Alishan (1820-1901) and show him as an armenologist, poet and propagator of Armenian patriotism. In addition, the author examines Alishan’s correspondence (the collection of letters is currently being prepared for print), which offers a special, more personal perspective on Alishan and the Venetian monastery on the island of San Lazzaro, where he spent most of his life.

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Bocchi, Andrea. « On the earliest printed portolano (Venice, 1490) ». International Journal of Maritime History 32, n^o 3 (août 2020) : 729–35. http://dx.doi.org/10.1177/0843871420956489.

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In November 1490, Bernardino Rizo da Novara issued the earliest printed anonymous portolano. Several months later, a print privilege was issued at the request of Andrea Badoer, a merchant. With the support of a newly published database of Venetian privileges, it is contended that Badoer sponsored the print and possibly provided the text of the portolano.

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Zelen, Joyce. « The Venetian Print Album of Johann Georg I Zobel von Giebelstadt ». Rijksmuseum Bulletin 63, n^o 1 (15 mars 2015) : 2–51. http://dx.doi.org/10.52476/trb.9819.

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Thèses sur le sujet "Venetian Prints"

Schade, Melody Marchman. « Paratextual frames| A material study of Ottaviano Petrucci's four-voice Venetian motet prints, 1502-1505 ». Thesis, State University of New York at Buffalo, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3629842.

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This dissertation constitutes a material study of the four-voice motet prints published in Venice by Ottaviano Petrucci between 1502 and 1505. These prints, Motetti A, Motetti de passione de cruce de sacramento de beata virgine et huiusmodi, Motetti C and Motetti Libro Quarto, coincided with a burgeoning silent reading culture that was interested in and attuned to devotional reading—particularly as it was made available through books of hours (horae)—and thus, represented a new opportunity for early sixteenth-century singers, readers, and collectors. This dissertation considers how the relationship between motet print, reader and horae might have encouraged a devotional attitude from readers and singers of these volumes.

Chapter 1 considers horae, late medieval reading practice, and the intertwined relationship between reading and prayer. Many of the material aspects of the prints—especially size and mise-en-page ("page layout")—are similar to those of contemporaneous books of hours (horae) and their likeness might have encouraged a reading posture that resonated with devotional reading. Additionally, pictorial evidence is presented that suggests that by the mid-sixteenth century at least one family may have considered printed music in this manner.

Chapter 2 takes the page as a formal starting point and, building upon the work of Gérard Genette and Bonnie Mak, extends the discussion of materiality to considerations of paratexts. Here, a nuanced reading of the mise-en-page, which considers the page layout, typeface, musical font, and table of contents (tavolae), reveals a web of intellectual and devotional associations available to a contemporary reader of Petrucci's four-voice Venetian motet prints.

Chapter 3 explores the relationship between the page and the music-making that the page enabled and considers these through a study of a uniquely musical paratext—the fermata. Analytic apparatus advanced by both Robert Hatten and Bonnie Blackburn reveals that the concept of markedness as it relates to the visual, oral, and aural aspects of the page allows for all the elements of the page to coalesce in a manner uniquely familiar and meaningful to the devotionally attuned reader/singer of Petrucci's prints.

In analyzing the material and paratextual features of Petrucci's motet prints, this dissertation engages with an array of theoretical, analytical, and historical frameworks. It simultaneously positions Petrucci's prints within a multivalent world of reading, printing, publishing, and singing and ultimately situates the prints within the realm of devotional activities.

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Livres sur le sujet "Venetian Prints"

Metropolitan Museum of Art (New York, N.Y.), dir. Venetian prints and books in the age of Tiepolo. New York : Metropolitan Museum of Art, 1997.

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Meijer, Bert W. Rondom Rembrandt en Titiaan : Artistieke relaties tussen Amsterdam en Venetië in prent en tekening. s'-Gravenhage : SDU, 1991.

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Tani, Irene. Le Rime di Bernardo Cappello. Venice : Edizioni Ca' Foscari, 2018. http://dx.doi.org/10.30687/978-88-6969-257-4.

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Bernardo Cappello (Venezia 1498 ca.-Roma 1560), member of one of the oldest patrician families of Venice, played an active role in the politics of the Venetian Republic, until his exile in 1540. After that, he became a collaborator and a protégé of cardinal Alessandro Farnese, who is one of the most significant figures of the century. Then he took refuge in Rome, where over the years he held varied appointments. Since his youth and in parallel with his political career, Cappello constantly devoted himself to humanistic studies and to rhymes production: pupil of Pietro Bembo, interlocutor of Giovanni Della Casa and close friend to Bernardo Tasso, the author is among the greatest exponents of the sixteenth-century Petrarchism. For the first time the critical edition of Rime by Bernardo Cappello is here given, namely the book of 353 compositions that the author elaborated on the pattern of Bembo’s directives, over a large period of time. In his book of poetry (canzoniere), through lyrical pieces, the author creates his own existential and biographical path. Regarding the evolution of the architecture of Cappello’s collection, four witnesses survived, in which we distinguish different phases: the first one is genetic and manuscript (Roma, Biblioteca Casanatense, 277), with addition of corrections that generally are close to the textual variants of the princeps; the second is the print of 1560 for the press of the Guerra brothers; finally, a further evolutionary stage is represented by two postillated prints. To these witnesses a rich miscellaneous tradition is added, which, for a large number of rhymes, restores the elaborative complexity through multiple genetic forms. Poems ousted from the ancient print, but part of the canzoniere in other phases of composition, are included in this critical edition.

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Venetia : Le immagini della Repubblica. Piazzola s/Brenta (PD) [Italy] : Papergraf, 2001.

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Maltezou, Chrysa A. Charaktika tou Hellenikou Institoutou Venetias = : Incisioni dell'Istituto Ellenico di Venezia. Venetia : [Hellēniko Institouto Vyzantinōn kai Metavyzantinōn Spoudon Venetias], 2000.

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Bravetti, Patrizia, et Orfea Granzotto, dir. False date. Florence : Firenze University Press, 2009. http://dx.doi.org/10.36253/978-88-8453-895-6.

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A considerable number of the books published in the course of the eighteenth century were printed with false details of the place of publication, authorised by the censorship offices themselves. This phenomenon, which was common throughout Europe, was particularly marked in Venice where over 800 titles, among the most sought-after of the time, were licensed exploiting this expedient to get around the bottleneck of the official publishing rules. The volume publishes the registers of the related Venetian documentation, complete with notes and indices that sketch a fairly complete picture of this aspect of the censorship system of the Ancien Régime.

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Veloudēs, Giōrgos. To Hellēniko typographeio tōn Glykēdōn stē Venetia, 1670-1854 : Symvolē stē meletē tou Hellēnikou vivliou kata tēn epochē tēs Tourkokratias. [Athens] : Ch. Bouras, 1987.

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Lombardo, Luca. Albertino Mussato, Epistole metriche Edizione critica, traduzione e commento. Venice : Fondazione Università Ca’ Foscari, 2020. http://dx.doi.org/10.30687/978-88-6969-436-3.

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The Metric Epistles of Albertino Mussato (1261-1329) are a collection of 20 compositions in Latin verse (of which, 12 in elegiac couplets, 8 in hexameters, for a total of 1,570 verses) composed between 1309 and 1326 and addressed to different recipients. The list of recipients includes friends of the author and representatives of the Paduan political and intellectual élite of the early 14th century such as the judges Rolando da Piazzola, Giovanni da Vigonza and Paolo da Teolo, the notary Zambono d’Andrea and Marsilio Mainardini; masters of grammar and rhetoric such as the Venetian Giovanni Cassio, Bonincontro from Mantua and Guizzardo from Bologna; religious personalities such as the Dominican friars Benedetto and Giovannino da Mantova, respectively lecturer and professor of theology at the Studium Generale of the convent of S. Agostino in Padua; collective recipients, such as the College of Artists and fellow citizens of Padua. After an editio princeps was printed in Venice in 1636 on the basis of a now lost manuscript, a critical edition of the Epistles is published here for the first time, including the complete corpus of the texts in the light of their entire manuscript tradition. The texts are accompanied by an Italian translation and a detailed commentary, which mainly aims to bring to light and analyse the dense intertextuality of Mussato’s poem (in particular classical Latin sources), reconsidering the cultural background of the author and his contemporaries in the context of the so-called ‘Paduan prehumanism’ and an ideal dialogue with Dante’s coeval biographical and literary experiences.

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1809-1878, Albèri Eugenio, dir. Venedik elçilerinin raporlarına göre Kanunî ve Şehzâde Mustafa Bernardo Navagero, 1553 tarihli anonim rapor ve Domenico Trevisano'nun raporları orijinal adı : Eugenio Albèri, Le Relazioni Degli Ambasciatori Veneti Al Senato, Firenze 1840, Serie III, cilt I. Kapak resmi : Şehzâde Mustafa'nın öldürülmesi. İstanbul : Yeditepe, 2012.

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Boorsch, Suzanne. Venetian Prints and Books in the Age of Tiepolo. Yale University Press, 2013.

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Chapitres de livres sur le sujet "Venetian Prints"

Badolato, Nicola. « Armidoro, Oristeo e altri principi giardinieri sulle scene dell’opera veneziana nel Seicento ». Dans Studi e saggi, 301–25. Florence : Firenze University Press, 2020. http://dx.doi.org/10.36253/978-88-5518-150-1.19.

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The subject of aprince dressing as a gardener to approach his beloved is dear to the European theatrical tradition: the model of Don Duardos by Gil Vicente (1562), reprinted in El rincipe viñador by Luis Vélez de Guevara (1668), is also used in French theatre, which proposes a variation in Le Prince déguisé by Georges de Scudery (1636), partly based on the novel Grisel y Mirabella by Juan de Flores (1524). This subject was later integrated into 17th century Italian theatre, starting with Venetian opera. This essay analyses in particular some works produced in Venice in the middle of the century, starting with Il prencipe giardiniero by Benedetto Ferrari (1644), whose subject anticipates first L’Oristeo (1651) by Giovanni Faustini and Francesco Cavalli, and Laurindo by Gio. Andrea Moniglia, written in 1657 and printed as Il principe giardiniere under the name of Giacinto Andrea Cicognini starting from 1664.

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San Pedro, Iñaki. « Venetian Sea Levels, British Bread Prices and the Principle of the Common Cause : A Reassessment ». Dans EPSA Philosophy of Science : Amsterdam 2009, 341–54. Dordrecht : Springer Netherlands, 2011. http://dx.doi.org/10.1007/978-94-007-2404-4_29.

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Bernstein, Jane A. « INSIDE THE VENETIAN PRINT SHOP ». Dans Print Culture and Music in Sixteenth-Century Venice, 29–68. Oxford University Press, 2002. http://dx.doi.org/10.1093/acprof:oso/9780195141085.003.0003.

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Böninger, Lorenz. « Da Vespasiano da Bisticci a Franz Renner e Bartolomeo Lupoto ». Dans Printing R-Evolution and Society 1450-1500. Venice : Edizioni Ca' Foscari, 2020. http://dx.doi.org/10.30687/978-88-6969-332-8/022.

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In 1967 Roberto Ridolfi presented, albeit incompletely, a series of archival documents on the Venetian-Florentine book trade in 1477. A fresh look at this and other relating material allows us to reconstruct the network of the Venetian printer Francesco della Fontana (Franz Renner) and his sponsor Leonardo Donà between Venice, Florence, Lucca and Genova. Lists of incunabula often included the expected sale prices for them, but these were subject to different forces on the local markets. Many of the books sent from Venice after 1477 were still available in Bartolomeo Lupoto’s shop in Genova in 1487.

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Fortini Brown, Patricia. « The Sacrifice ». Dans The Venetian Bride, 222–48. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780192894571.003.0010.

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Girolamo completes his sentence in mid-1559, and the family moves into the bishop’s castle in Ceneda, and then on to the castle at Villalta. Giulia furnishes each residence, as well as Palazzo Torriani in Udine, with trappings and furniture suitable to the family’s noble status. Giovanni da Udine embellishes the ceiling of a studiolo in the Castello di Colloredo with grotteschi decoration. While the Della Torre stay out of trouble, their Colloredo relatives keep the blood feud alive. After bearing two more daughters, Ginevra and Elena, Giulia is pregnant again and prophesies her own death. She dies in Ceneda in spring 1562 shortly after giving birth to Giulia II, her tenth child, ‘renewing the major part of the ancestors and herself’. The bloodline was secure. Francesco Sansovino honours Giulia in 1565 with the first freestanding female biography of an ordinary woman to appear in print in Renaissance Italy.

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Fortini Brown, Patricia. « Suitable Alliances ». Dans The Venetian Bride, 279–89. 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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Bernstein, Jane A. « THE FINANCING OF VENETIAN MUSIC BOOKS ». Dans Print Culture and Music in Sixteenth-Century Venice, 73–81. Oxford University Press, 2002. http://dx.doi.org/10.1093/acprof:oso/9780195141085.003.0004.

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Bernstein, Jane A. « THE DISTRIBUTION OF VENETIAN MUSIC BOOKS ». Dans Print Culture and Music in Sixteenth-Century Venice, 85–95. Oxford University Press, 2002. http://dx.doi.org/10.1093/acprof:oso/9780195141085.003.0005.

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« Venetian editors and ‘the grammatical norm’, 1501–1530 ». Dans Print Culture in Renaissance Italy, 64–78. Cambridge University Press, 1994. http://dx.doi.org/10.1017/cbo9780511597510.007.

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Dondi, Cristina. « From the Corpus Iuris to ‘psalterioli da puti’, on Parchment, Bound, Gilt... The Price of Any Book Sold in Venice 1484-1488 ». Dans Printing R-Evolution and Society 1450-1500. Venice : Edizioni Ca' Foscari, 2020. http://dx.doi.org/10.30687/978-88-6969-332-8/020.

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The ledger of the Venetian bookseller Francesco De Madiis, known as the Zornale (1484-88), which is currently being studied by Cristina Dondi and Neil Harris, offers a unique insight into the market value of the earliest printed books, of any sort. The essay offers the analysis of a variety of subjects, prices, sales, customers, and comparison with the cost of living in Renaissance Venice, the largest place of production and distribution in 15th-century Europe. The focus is first and foremost on the cheapest and most popular items, a production and trade enabled by the new technology.

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