Reforming theatre in Farnese Parma: the case of the Accademia degli Innominati (1574-1608)

The essay explores the socio-cultural role of the main academy in Parma, the Innominati (1574-1608), which flourished in the years when the Farnese dynasty was beginning to assert more forcefully its political control over the new state of Parma and Piacenza. The Innominati was from the start associated with the ruling dynasty, who must have recognized the importance of its cultural activities to strengthening their regime, particularly in the absence of a strong local university. This essay explores the institution’s contested position within the cultural landscape – as reflected also in its membership of courtiers, clergymen, and feudal aristocrats with more ambivalent relations with the Farnese. In particular, the focus falls on the theatrical activities of the group during the 1580s, a decade which saw the establishment of the Parma Index (1580) and the succession of the internationally celebrated Duke Alessandro Farnese (1587). Based on the little surviving evidence it is argued that the Academy in the 1580s became a creative hub for theatrical experimentation – through theoretical debate and composition, and possibly even performance. However, as relations between the Farnese and the local elites, especially feudal aristocrats, became more contested the Academy’s theatrical production and the public memory of this became increasingly controlled.

Raccontare gli Antichi: le "Imagini" di Vincenzo Cartari

Con le "Imagini degli dei degli antichi", pubblicate a Venezia nel 1556 e poi in più edizioni arricchite e illustrate, l’impegnato gentiluomo estense Vincenzo Cartari realizza il primo, fortunatissimo manuale mitografico italiano in lingua volgare, diffuso e tradotto in tutta l’Europa moderna. Cartari rimodula, secondo accenti divulgativi ma fedeli, fonti latine tradizionali: come le ricche "Genealogie deorum gentilium" di Giovanni Boccaccio, l’appena precedente "De deis gentium varia et multiplex historia" di Lilio Gregorio Giraldi, i curiosi "Fasti" ovidiani, da lui stesso commentati e tradotti. Soprattutto, però, introduce il patrimonio millenario di favole ed esegesi classiche, di aperture egiziane, mediorientali, sassoni, a una chiave di lettura inedita, agile e vitalissima: l’ecfrasi. Le divinità e i loro cortei di creature minori, aneddoti leggendari e attributi identificativi si susseguono secondo un taglio iconico e selettivo. Sfilano, in trionfi intrisi di raffinato petrarchismo neoplatonico e di emblematica picta poesis rinascimentale, soltanto gli aspetti figurabili e distintivi dei personaggi mitici: perché siano «raccontate interamente» tutte le cose attinenti alle figure antiche, «con le imagini quasi di tutti i dei, e le ragioni perché fossero così dipinti». Così, le "Imagini" incontrano il favore di lettori colti e cortigiani eleganti, di pittori e ceramisti, di poeti e artigiani. Allestiscono una sorta di «manuale d’uso» pronto all’inchiostro del poeta o al pennello dell’artista, una suggestiva raccolta di «libretti figurativi» ripresi tanto dalla maniera di Paolo Veronese o di Giorgio Vasari, quanto dal classicismo dei Carracci e di Nicolas Poussin. Si rivelano, infine, summa erudita capace di attirare appunti e revisioni: l’antiquario padovano Lorenzo Pignoria, nel 1615 e di nuovo nel 1626, vi aggiunge appendici archeologiche e comparatistiche, interessate al remoto regno dei faraoni quanto agli esotici idoli orientali e dei Nuovi Mondi.

Approaching diplomatic and courtly gift-giving in Europe and Mughal India. Shared practices and cultural diversity

This article deals with courtly gift-giving practices in Europe and Mughal India from a comparative and interwoven perspective. Given the historiographical lacunae on Mughal gift-giving, the article presents preliminary observations for further research. Unlike most contributions to this volume, this article understands the notion of diversity in terms of an intercultural diversity that came to the fore in courtly contexts and in diplomatic encounters. My arguments are bifold. On the one hand, European and Mughal rulers and their envoys shared a common ground of diplomatic gift-giving practices that were shaped by an understanding of what was worthy of giving and of the symbolic power of the given objects. On the other hand, courtly gift-giving practices were embedded in different social and cultural environments in Europe and India. By looking at the notion of the ‘gift’ and the social organisation of the Mughal elite, it becomes clear that pīshkash was an idiosyncratic concept in South and Central Asian contexts and that offerings of manṣabdārs to the Mughal emperor had a different character than those of European courtiers to their rulers.

Teşrifat-i kadime

Esat Efendi.

The beautiful Lady Craven; the original memoirs of Elizabeth, baroness Craven, afterwards margravine of Anspach and Bayreuth and princess Berkeley of the Holy Roman empire (1750-1828);

Appendices: Early poetic efforts of Lady Craven (vol.II, p. 245-268)

The institution of a young noble man.

The text is a facsimile reproduction from the copy in the Newberry Library.

'Indiscretions' of Lady Susan,

Mode of access: Internet.

Il libro del cortegiano,

Mode of access: Internet.

Madame de la Vallière : la morale de Bossuet à la cour de Louis XIV /

Includes bibliographical references.

Lettres écrites en 1786 et 1787 /

"Le produit de la vente de cet ouvrage sera remis à l'hospice de Marie-Thérèse, par les soins de m. Théophile de Ferrières, rue de Cherche-Midi, no. 15."

An Irish beauty of the regency;

Mode of access: Internet.

The memoirs of Charles-Lewis, Baron de Pollnitz. Being the observations he made in his late travels from Prussia thro' Germany, Italy, France, Flanders, Holland, England, &c. In letters to his friend, discovering not only the present state of the chief cities and towns; but the characters of the principal persons at the several courts.

"Account of the electoral family of Saxony, translated from the Bron's State of it": v. 1, p. 99-155.

L'évaluation des coûts de transaction d'une caisse de retraite

La présente étude vise à définir le processus de transaction, des différentes composantes des coûts de transaction, et des différents moyens pour les mesurer. Plus particulièrement, cette étude porte sur l'utilité de l'évaluation des gestionnaires de portefeuille de l'Université de Sherbrooke par rapport aux coûts de transaction calculés par Abel Noser. Abel Noser est une firme de consultant de New York qui se spécialise dans l'évaluation des fonds de pension. Ils ont mesuré durant deux périodes, les commissions et l'impact de marché subi par des courtiers utilisés par les gestionnaires. L'objectif principal, voulait examiner s'il y avait eu une différence au niveau de l'impact de marché subi par les courtiers pour les deux périodes. Vu que les courtiers n'ont pas été avertis qu'ils étaient mesurés, on ne devrait pas trouver de différence significative. Par contre, s'il y a une différence entre les deux périodes, alors que les courtiers n'étaient pas informés, on pourra conclure que la mesure d'Abel Noser donne des résultats aléatoires puisque les courtiers ne sont pas sensés avoir cherché à contourner le système. La synthèse des résultats de la première hypothèse n'a pas permis de vérifier la validité de la mesure d'Abel Noser. Par contre, quand on se réfère aux critiques faites par plusieurs auteurs, la mesure d'Abel Noser peut porter à confusion. En conclusion, cette étude ne recommande donc pas au comité de retraite de l'Université de Sherbrooke d'utiliser les services d'Abel Noser.

King of the Renaissance: Art and Politics at the Neapolitan Court of Ferrante I, 1458-1494

In the second half of the fifteenth century, King Ferrante I of Naples (r. 1458-1494) dominated the political and cultural life of the Mediterranean world. His court was home to artists, writers, musicians, and ambassadors from England to Egypt and everywhere in between. Yet, despite its historical importance, Ferrante’s court has been neglected in the scholarship. This dissertation provides a long-overdue analysis of Ferrante’s artistic patronage and attempts to explicate the king’s specific role in the process of art production at the Neapolitan court, as well as the experiences of artists employed therein. By situating Ferrante and the material culture of his court within the broader discourse of Early Modern art history for the first time, my project broadens our understanding of the function of art in Early Modern Europe. I demonstrate that, contrary to traditional assumptions, King Ferrante was a sophisticated patron of the visual arts whose political circumstances and shifting alliances were the most influential factors contributing to his artistic patronage. Unlike his father, Alfonso the Magnanimous, whose court was dominated by artists and courtiers from Spain, France, and elsewhere, Ferrante differentiated himself as a truly Neapolitan king. Yet Ferrante’s court was by no means provincial. His residence, the Castel Nuovo in Naples, became the physical embodiment of his commercial and political network, revealing the accretion of local and foreign visual vocabularies that characterizes Neapolitan visual culture.