scholarly journals Recovering of an identity: restoration works of the Orsini-Colonna castle in Avezzano, Italy

X ◽  
2020 ◽  
Author(s):  
Marco Felli ◽  
Antonello Incerto
Keyword(s):  
Sixteenth Century ◽  
Fifteenth Century ◽  
Historical Development ◽  
Modern Art ◽  
Historic Buildings ◽  
Art Gallery ◽  
Corps Of Engineers ◽  
Concert Hall ◽  
The World ◽  
The City

The Orsini Colonna castle of Avezzano represents one of the most important historic buildings in the internal area of Abruzzo. Founded at the end of the fifteenth century, on the rests of an older structure, with continuing modification till the sixteenth century, the building had several damages with the earthquake of January thirteenth 1915, which destroyed the entire city Avezzano and the neighborhood, causing more than 30000 victims. After the quake event, the efforts and the works for the preservation didn’t have the time to start, because of the beginning of the world wars; in particular, the castle suffered more damages with the three different bombardments on the city in 1943 and 1944. The first works of recovering and restoration were achieved in 1964 by the Genio Civile of Avezzano, the corps of engineers, with the direction of Tommaso Orlandi; in this intervention, the building had been interested by the recovering of the structures, with the reconstruction of the perimeter walls, also with the purpose of avoiding deterioration and the complete abandonment. The second works were conducted by the architect Alessandro Del Bufalo, who designed the restoration of the entire building, inserting an internal concert hall in the courtyard with a new structure in steel and glass, recovering the castle basement under the towers, and creating a modern art gallery museum in the second level. The works finished in 1994. This paper aims to redefine the historical development of the building, focusing in particular on the restoration interventions of the last century, and their different methods in the efforts of preservation, which approached to the preservation and reconstruction of the building in different ways.

Music, Architecture, Proportion and the Renaissance Way of Thinking

2020 ◽  
pp. 1-16
Author(s):  
Vasco Zara
Keyword(s):  
Sixteenth Century ◽  
Fifteenth Century ◽  
Middle Ages ◽  
Unified Theory ◽  
The World ◽  
Universal Truth ◽  
Way Of Thinking ◽  
The Middle Ages

During the Renaissance, the language of proportion became a unified theory capable of encompassing the understanding of the world within a coherent theological, philosophical and artistic framework. Music, with its harmonic paradigm, plays a key role in this construction. From the fifteenth century through to the end of the sixteenth century, architects and architectural theorists made reference, both in new treatises and commentaries to Vitruvius, to musical matters, transforming architecture into the summa of knowledge. The affinity to music was grounded on both a common mathematical and rhetoric gnosiology. Formerly conceived of as ideal, numbers became eloquent, reinforcing the quantitative paradigm of proportion with its qualitative one. The language of proportion as a compositional tool reveals the shift between the Middle Ages and the Renaissance: while the Medieval tèchne based on modular thinking provides beauty and universal truth using the technique of repetition, the Humanist paradigm of variety produces pleasure and individual truth – a condition typical of the premodern.

“What in the World Have You Done To Me, My Lover?” Sex, Servitude, and Politics among the Pre-Conquest Nahuas as seen in the Cantares Mexicanos

2006 ◽  
Vol 62 (3) ◽  
pp. 349-389 ◽  
Author(s):  
Camilla Townsend
Keyword(s):  
Sixteenth Century ◽  
Fifteenth Century ◽  
First Century ◽  
Spanish Conquest ◽  
The People ◽  
The World ◽  
Twenty First Century ◽  
In The Beginning ◽  
First Time ◽  
Warrior Women

The year 13-Reed [1479]. It was at this time that the people of Ame-cameca and the Chalcas Tlalmanalcas came to sing for the first time in Mexico. At that time they performed the song of the women of Chalco, the Chalca Cihuacuicatl. They came to sing for the lord Axayacatzin.The song and the dance were begun in the patio of the palace while Axayacatl was still inside in the house of his women. But in the beginning the song was poorly performed. A noble of Tlalmanalco was playing the music very clumsily, and making the great drum sound in a lazy offbeat way until finally in desperation he leaned down over it, not knowing what else to do.There, however, close to the place of the drums, was a man called Quecholcohuatzin, noble from Amecameca, a great singer and musician as well. When he saw that all was being lost and that the song and the dance were being ruined, he quickly placed himself next to the drum section. He picked up a drum and through his effort he gave new strength to the dance so that it would not be ruined. Thus Quecholcohuatzin made the people sing and dance. . . . Axayacatl who was still inside the palace, when he heard how marvelously Quecholcohuatzin played the music and made the people dance, was surprised, and his heart filled with excitement. He quickly arose and left the house of his women and joined in the dance. As Axayacatl approached the place of the dance his feet began to follow the music and he was overcome with joy as he heard the song and so he too began to dance and spin round and round.When the dance was over, the lord Axayacatl spoke, saying, “Fools, you have brought this fumbler before me, who played and directed the song. Don’t let him do it again.” The people from Chalco answered him, saying, “It is as you wish, supreme lord.” And because Axayacatl had given this command, all the nobles of Chalco became terrified. They stood there looking at each other, and it is said that truly they were very frightened.. . . But the lord Axayacatl was well pleased [with Quecholcohuatzin] and continued to take delight in the “Song of the Women of Chalco,” the Chalca Cihuacuicatl. So it was that once again he had the Chalcas, all of the nobles, return, and he asked them to give him the song and he also asked all those from Amecameca, because the song was theirs, it belonged to the tlailotlaque, the men who had returned. The song was their property, the “Song of the Warrior Women of Chalco.” Chimalpahin, Seventh Relation Ms. Mexicain 74, Bibliothèque Nationale de Paris Folios 174-176The indigenous historian Chimalpahin seemed quite certain that events on a certain day in 1479 had unfolded as he described them, though he wrote over a century later and saw it all through the refracting lens of the intervening Spanish conquest. Posterity has been the more inclined to believe him since there exists a song amongst those collected in the sixteenth century under the auspices of the Franciscans entitled “The Song of the Women of Chalco” (Chalca cihuacuicatl) in which the singer addresses Axayacatl as the conqueror of Chalco and as her own lord and master. But what can we in the twenty-first century make of these two sources? We might pursue a number of interpretive avenues. In this article I will ask specifically what we actually know about the fifteenth-century performance event, and what, if anything, we can glean from the song concerning the lives of the Nahua women in that nearly untranslatable category whom we know in English as “concubines.”

scholarly journals Sejarah Gereja Belanda Austin Friars di City of London: Refleksi Sejarah Gerakan Reformasi � Harapan dan Tantangan

2017 ◽  
Vol 2 (1) ◽  
pp. 55
Author(s):  
Henk Ten Napel
Keyword(s):  
Sixteenth Century ◽  
The Netherlands ◽  
Protestant Church ◽  
The World ◽  
History Of ◽  
City Of London ◽  
The City ◽  
Church In The World ◽  
The Church ◽  
Formative Years

In the centre of the City of London one can find the Dutch Church Austin Friars. Thanks to the Charter granted in 1550 by King Edward VI, the Dutch refugees were allowed to start their services in the church of the old monastery of the Augustine Friars. What makes the history of the Dutch Church in London so special is the fact that the church can lay claim to being the oldest institutionalised Dutch protestant church in the world. As such it was a source of inspiration for the protestant church in the Netherlands in its formative years during the sixteenth century. Despite its long history, the Dutch Church is still alive and well today. This article will look at the origin of this church and the challenges it faced and the developments it experienced during the 466 years of its existence.

scholarly journals Waarom die vorm en oriëntatie van Borssele?

Bulletin KNOB ◽  
2021 ◽  
pp. 1-13
Author(s):  
Pieter Van der Weele ◽  
Reinout Rutte
Keyword(s):  
Sixteenth Century ◽  
Fifteenth Century ◽  
Driving Force ◽  
Cultural Landscape ◽  
Dutch Republic ◽  
Conscious Decision ◽  
The Family ◽  
Double Symmetry ◽  
The Village ◽  
The City

The village of Borssele was founded in 1616 in a polder of the same name on the island of Zuid-Beveland in the province of Zeeland. The driving force behind both the diking of the polder and the construction of the village during the Twelve Year Truce (1609-1621) in the young Dutch Republic was the mayor of the city of Goes, Cornelis Soetwater. This article argues that the unusual form and orientation of the Borssele village plan reflects a conscious decision by Soetwater to combine and improve on the best of the Zeeland’s impoldering and village planning tradition, and on the most striking old Zuid-Beveland villages. Soetwater’s decision to give Borssele’s main square a resolutely northern orientation and an unconventional, rotated positioning within the polder grid, and to model its plan on that of the most distinctive medieval villages on the islands of Zuid-Beveland, Nisse and Kloetinge, served to anchor the new village emphatically in its immediate surroundings. Moreover, Borssele represents the culmination of an honourable tradition initiated during the fifteenth century by the Zeeland nobleman Adriaan van Borssele with the construction of ringstraatdorpen[1] such as Dirksland, Sommelsdijk and Middelharnis, in the large Flakkee polders. The marquises of Bergen op Zoom and the family of Orange continued this tradition during the sixteenth century in the construction of Willemstad and Colijnsplaat, among others. Soetwater exploited the symbolic significance of these new villages, which was as important to Adriaan van Borssele and his followers as their economic and administrative function, for his own purposes. By continuing a trend towards orthogonality and symmetry in the layout of sixteenth-century ringstraatdorpen in the double symmetry of the Borssele street plan, Soetwater was able to emphasize the victory of rationality over chaos. Not just in the sense that the wild water had been turned into orderly cultural landscape, but also in the sense that after many years of war, the Twelve Year Truce had ushered in a period of peace, order and the prospect of a bright future. [1]  The ringstraatdorp was a combination of two older types of Zeeland village plans, the kerkringdorp and the voorstraatdorp. Its main street (voorstraat) was perpendicular to the polder dike and its landward end terminated in a kerkring (church encircled by a street).

scholarly journals X.—A Fifteenth Century Treatise on Gardening

Archaeologia ◽  
1894 ◽  
Vol 54 (1) ◽  
pp. 157-172
Author(s):  
John Gardener ◽  
Alicia M. Tyssen Amherst
Keyword(s):  
Sixteenth Century ◽  
Fifteenth Century ◽  
The World ◽  
The Subject

We have few writings on the subject of English gardening before the sixteenth century, when Turner, Tusser, Hill, Fitzherbert, and Gerard gave their well-known works to the world, and were quickly followed by numerous other writers on the same subject.

Wangara, Akan and Portuguese in the fifteenth and sixteenth centuries. I. The matter of Bitu

1982 ◽  
Vol 23 (3) ◽  
pp. 333-349 ◽  
Author(s):  
Ivor Wilks
Keyword(s):  
Seventeenth Century ◽  
Sixteenth Century ◽  
Early Modern ◽  
Fifteenth Century ◽  
Trade Agreements ◽  
Late Medieval ◽  
Modern Times ◽  
The World ◽  
Early Modern Times ◽  
Late Fifteenth

In late medieval and early modern times West Africa was one of the principal suppliers of gold to the world bullion market. In this context the Matter of Bitu is one of much importance. Bitu lay on the frontiers of the Malian world and was one of its most flourishing gold marts. So much is clear from sixteenth- and seventeenth-century writings, both African and European. A review of this body of evidence indicates that the gold trade at Bitu was controlled by the Wangara, who played a central role in organizing trade between the Akan goldfields and the towns of the Western Sudan. It is shown that Bitu cannot be other than Bighu (Begho, Bew, etc.), the abandoned Wangara town lying on the northwestern fringes of the Akan forest country, which is known (from excavation) to have flourished in the relevant period. In the late fifteenth century the Portuguese established posts on the southern shores of the Akan country, so challenging the monopolistic position which the Wangara had hitherto enjoyed in the gold trade. The Portuguese sent envoys to Mali, presumably to negotiate trade agreements. The bid was apparently unsuccessful. The struggle for the Akan trade in the sixteenth century between Portuguese and Malian interests will be treated in the second part of this paper.

A Note on Meccan Women in the Fifteenth Century

Hawwa ◽  
2016 ◽  
Vol 14 (3) ◽  
pp. 239-250
Author(s):  
Hatoon Ajwad Al-Fassi
Keyword(s):  
Sixteenth Century ◽  
Fifteenth Century ◽  
Public Life ◽  
Multiple Roles ◽  
The Public ◽  
Women's Lives ◽  
History Of ◽  
Unexplored Area ◽  
The City ◽  
Scholarly Attention

The history of women in Arabia is a relatively new and unexplored area of research and the place of women in Mecca (Makkah), Islam’s holiest city, is particularly shrouded in darkness. From the fifteenth century, however, there has been a stream of biographical works (tabaqat) that shed much light on the women of the city. This note turns scholarly attention on such fifteenth and sixteenth century works as Taqi al-Din al-Fassi’s (d. 1429) eight volume Al-‘Iqd al-Thamin fi Tarikh al-Balad al-Amin, which dedicates a volume to women, in an effort to continue the scholarly appraisal of women’s lives in Muslim societies. Reading such important sources shows how women actively participated in the public life of the city, including its intellectual circles, contrary to Orientalist stereotypes. By exploring the multiple roles of Meccan women in the fifteenth century, the hope is to prompt further study of their significance and its historical implications.

scholarly journals Preludio al Ghetto di Venezia Gli ebrei sotto i dogi (1250-1516)

2021 ◽  
Author(s):  
Renata Segre
Keyword(s):  
Sixteenth Century ◽  
Fifteenth Century ◽  
Urban Area ◽  
Historical Context ◽  
Systematic Research ◽  
Special Importance ◽  
Jewish Communities ◽  
Documentary Sources ◽  
History Of ◽  
The City

A history of the Jewish presence in Venice and in the Serenissima Republic before the establishment of the Venice Ghetto had not yet been written, because there was no relevant investigation into the documentary sources of archives and libraries. On the occasion of the celebrations for the five hundred years of the Ghetto, it was still maintained that only from 1516 did the Jews settle in the city. This book, the result of twenty years of systematic research, intends to controvert that myth, which is an integral part of the larger myth of Venice. The documentary scope covers almost three hundred years (between the midthirteenth century and the second decade of the sixteenth century), that is, from the first ascertained presence of Jews to their definitive settlement in the urban area called the Ghetto, in a particularly troubled period of Venetian history. In this historical context, Mestre had special importance, becoming, close to the fifteenth century, the capital of Venetian Judaism: not only did the loan banks operate there, but there were also the only official synagogue (with relative cult and rabbinate), the hostel for those who had business to see to in the capital, and the cemetery. Unfortunately, none of these testimonies was preserved, and the very memory of that community was soon erased. A very similar story took place in Treviso, a primary Ashkenazi centre, which disappeared at the end of the fifteenth century, unlike Padua that was the only one, among the largest and oldest Jewish communities, to overcome the centuries, without ever being able to contend for primacy with the Venice Ghetto.

Mede, Cuthy (1949--)

2018 ◽  
Author(s):  
Laurel Birch de Aguilar
Keyword(s):  
White Light ◽  
Religious Beliefs ◽  
Modern Art ◽  
Lake Malawi ◽  
Local People ◽  
City Center ◽  
Art Gallery ◽  
Mother And Child ◽  
The City ◽  
Fluorescent Tube

Born in Zimbabwe in 1949 to Malawian parents, Cuthbert (Cuthy) Mede grew up on Likoma Island, Lake Malawi. Internationally, Mede is considered the most well known Malawian artist. Known for his cubist forms and pointillist style, Mede unites modern art techniques with traditional Malawian subjects, and his work is inspired by his religious beliefs and local imagery. With a single dot giving perspective to his pointillism paintings, Mede’s most well recognized style emerges in wavy lines of white light over portraits of local people, or vivid primary colors of dancing, celebrations, and movement. His subjects are distinctly local: a woman with snuff; a witchdoctor; a mother and child; traditional instruments; cooking pots; images of imaginary spirit forms in reds, oranges and blues. Cuthy Mede taught modern art in Chancellor College as a young man, but soon became a successful artist. Mede opened the first art gallery in Malawi, the Gallerie Africaine in the city center, in Lilongwe in the early 1980s, and exhibited his works throughout Malawi from 1970s on, finding success worldwide. In recent years Mede is known for his fluorescent tube white garden and his purely white artworks.

The Global Archive and the Future of Poetics

2021 ◽  
Vol 5 (1) ◽  
Author(s):  
Barrett Watten
Keyword(s):  
Michel Foucault ◽  
Historical Development ◽  
Modern Art ◽  
Global Scale ◽  
Exhibition History ◽  
The Enlightenment ◽  
Critical Regionalism ◽  
Formal Presentation ◽  
Fredric Jameson ◽  
The City

In defining “the global archive,” this essay refers, first of all, to the historical development of exhibitions in Germany that address a global horizon, a distinct cultural project since at least the Enlightenment. After 1945, modern art, which had been removed from public view by the Nazi state, was reintroduced as a project of reeducation as much as aesthetics. Documenta, beginning in 1955, exhibited modern and later artists in the destroyed buildings of the city of Kassel, and expanded its formal and cultural address to a global scale over its fifty-year history. Documenta itself became a kind of continuous archive of its own exhibition history, a mode of formal presentation that increasingly relied on the works it presented. Here I read in detail the archival strategies and form of dOCUMENTA 13, arguably a highpoint of this effort to archive globality as it emerges. Theorists from Michel Foucault, Fredric Jameson, and Arjun Appadurai to the “critical regionalism” of Cheryl Herr and the “negative globality” of Alberto Moreiras assist in the project of comprehending the “archive as form,” seen in a series of artists working on a global scale.

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