Creative Reproductions: Diana Mantuana and Printmaking at Court

2021 ◽  
Author(s):  
Maria F. Maurer
Keyword(s):  
Papal Court ◽  
Female Occupation

Maria Maurer examines the career of Diana Mantuana (c. 1547–1612), the first female printmaker to sign her work and one of the few female artists mentioned by Vasari in the second edition of his Lives (1568). Recognizing that printmaking was an unusual female occupation due to its technique and wide circulation, Maurer argues that Diana entered into visual dialogue with Mantuan and papal court artists to promote her work. Focusing on two prints made after the work of Giulio Romano, Maurer reveals that, through her work in a reproductive medium, the artist commented upon the ability of women and printmaking to both copy and generate, engaging broader discourses regarding imitation and invention to market herself as a rare commodity.

An Italian Workshop at the Avignon Court: Matteo Giovannetti, Painter to Pope Clement VI (1342–1352)

2017 ◽  
Vol 72 (3) ◽  
pp. 453-488
Author(s):  
Étienne Anheim
Keyword(s):  
Project Management ◽  
Visual Culture ◽  
Fourteenth Century ◽  
Papal Court ◽  
Innovative Techniques

The artist Matteo Giovannetti, originally from Viterbo, arrived at the papal court of Avignon in the early 1340s. During the reign of pope Clement VI (1342–1352), he succeeded in organizing a court-based workshop of an unprecedented size, which has left numerous traces in the papal administrative archives. This exceptional documentation makes it possible to reconstruct the administrative, financial, material, and technical phases of this workshop’s development, corresponding to the increasing affirmation of Matteo’s artistic position. As well as his mastery of the new Italian visual culture, Matteo drew on innovative techniques in fresco production, project management, and bookkeeping. Studying his workshop thus shines a light on the figure of the artist, at once craftsman, courtier, and entrepreneur. It also reveals the collective and material dimension of creative labor in fourteenth-century Europe.

La Storia dell’Età Moderna nelle „Quellen und Forschungen aus italienischen Archiven und Biblioteken“: lo specchio di un secolo di ricerche

2020 ◽  
Vol 100 (1) ◽  
pp. 40-46
Author(s):  
Irene Fosi
Keyword(s):  
Early Modern ◽  
20Th Century ◽  
Middle Ages ◽  
Early Modern Period ◽  
Historical Events ◽  
Social Composition ◽  
Modern Period ◽  
The Social ◽  
History Of ◽  
Papal Court

AbstractThe article examines the topics relating to the early modern period covered by the journal „Quellen und Forschungen aus italienischen Archiven und Bibliotheken“ in the hundred volumes since its first publication. Thanks to the index (1898–1995), published in 1997 and the availability online on the website perpectivia.net (since 1958), it is possible to identify constants and changes in historiographical interests. Initially, the focus was on the publication of sources in the Vatican Secret Archive (now the Vatican Apostolic Archive) relating to the history of Germany. The topics covered later gradually broadened to include the history of the Papacy, the social composition of the Curia and the Papal court and Papal diplomacy with a specific focus on nunciatures, among others. Within a lively historiographical context, connected to historical events in Germany in the 20th century, attention to themes and sources relating to the Middle Ages continues to predominate with respect to topics connected to the early modern period.

The Litany of the Saints on Holy Saturday

1950 ◽  
Vol 1 (1) ◽  
pp. 51-62
Author(s):  
Stephen A. van Dijk
Keyword(s):  
Fourteenth Century ◽  
Holy Saturday ◽  
Liturgical Reform ◽  
Personal Connections ◽  
History Of ◽  
Papal Court ◽  
The Church

Everybody who knows the ABC of the history of the Roman liturgy has undoubtedly heard of the story about the fourteenth-century dean of Tongres, Ralph van der Beke (de Rivo). His education in matters ecclesiastical had been splendid; his zeal for the reform of the Church was fervent and sincere; he was especially devoted to a revival of the liturgy of his time and the problems which he raised are accepted as being of the greatest importance. But this is not the whole story. Ralph's life does not lack a certain note comigue which is not often heard of. Ralph had his weaknesses: one of them was a whole-hearted aversion to the Friars Minor, who a century before had occasioned a liturgical reform in the Church, the consequences of which he saw every day and simply did not like. Until someone has checked Ralph's personal connections with the friars and the influence which he underwent from those Italians, who, under a show of zeal for the Eternal City, hid their jealousy and selfinterest and disputed everything concerning the papal court at Avignon, it is difficult to decide whether he could not stand the friars because of their Roman liturgy or the Roman liturgy because of the friars. All the same, whatever they did, for Ralph it was always wrong, and the most flattering thing which he could find in his heart was that those friars singularem usum cum regula servant singulari, as though it were a crime to follow the customs of the pope and nothing but praiseworthy to keep to those of the bishop of Liège or Lyons, or even the abbot of Cluny or Montecassino.

Canterbury Proctors at the Court of ‘Audientia Litterarum Contradictarum’

Traditio ◽  
1966 ◽  
Vol 22 ◽  
pp. 311-345 ◽  
Author(s):  
Jane Sayers
Keyword(s):  
Early History ◽  
History Of ◽  
Papal Court ◽  
Judicial Procedure

Little is known of the early history of the court of audientia litterarum contradictarum. Professor Barraclough has suggested that its origins must be sought in the 1150's and 1160's, when under the popes Eugenius III and Alexander III there was considerable development of judicial procedure by rescript. To begin a suit before papal judges, the plaintiff or his proctor produced a letter to the pope announcing the petition, stating the ‘libellus’ or charge, and beseeching him for the cause to be heard at Rome, or, more frequently, for a mandate to judges delegate. It is likely that the plaintiff would have informed the charged party of his action, and that by this time the defendant's proctor, too, would have been instructed in the matter and would be ready to appear at the papal court.

Music for Martyrs

2021 ◽  
Vol 38 (4) ◽  
pp. 436-478
Author(s):  
Kimberly Beck Hieb
Keyword(s):  
Seventeenth Century ◽  
Sacred Music ◽  
Roman Emperor ◽  
Left Behind ◽  
Local Practices ◽  
Counter Reformation ◽  
Liturgical Practice ◽  
Papal Court

This article interrogates sacred repertoire produced in late seventeenth-century Salzburg as a reflection of a local Catholic piety that centered on sacrifice, especially the ultimate sacrifice of martyrdom. As an individual principality that was subject to both the Papal court in Rome and the Holy Roman Emperor, Salzburg provides a meaningful case study in the heterogeneous regional post-Tridentine Catholic practices that musicologists and historians alike have only begun to explore. Compositions by Andreas Hofer (1629–84) and Heinrich Biber (1644–1704) present a prime example of sacred music’s ability to manifest a region’s distinct piety. Supported by their patron Prince-Archbishop Maximilian Gandolph von Kuenburg (r. 1668–87), Hofer and Biber left behind musical evidence of this exceptional Catholicism in the feasts they elaborated with substantial concerted compositions as well as the distinct texts they set, which do not align with prescribed liturgies and likely reflect persistent local practices that resonated with the prince-archbishop’s Counter-Reformation agenda. Printed liturgical books and emblems celebrating Maximilian Gandolph further support the claim that throughout the seventeenth century liturgical practice and sacred music in Salzburg maintained a local flavor that concentrated on themes of sacrifice and martyrdom.

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