Catalogo degli stemmi araldici dei Malaspina

Renaissance Quarterly, 2019

of the Meadow he used both egg and oil for the transparencies, in the Pala di San Giobbe he achieves the corpose areas by adding oil and white lead to pigments, while the velature are tempera. This reveals how difficult it is to assess the transition from a "double technique" to oil. Painters seem to adapt techniques according to the implementation of artworks, the pictorial effects sought, and material and economic constraints. In the next chapter, inventories and cross-sectional data shed light not only on the nature and use of pigments but also on the role of painters, such as Titian or Tintoretto, in the commerce and the international network of Venetian vendicolori. Aiming at understanding pittura tonale and unione, the final chapters consider how colorito implemented intense or blended colors, shadows, glazes, and impastos. If unione depends on the relation between colors and volumes, Giorgione and Titian resolved the problem through shadows, but without resorting to cangiantismo. Indeed, La Serenissima's painters created shadows suitable to local colors, mastering transparent glazes. From the 1530s onward, they also started using unusual blends, often darkening their colors. In unione, a key role is played by the brushwork: if in Giorgione, the young Titian, or Sebastiano del Piombo it defines forms, textures, and lights, Tintoretto gives an original turn to the technique, making the work quicker, as in the Scuola Grande di San Rocco's Brazen Serpent. Also, since Titian adopted visible brushwork as soon as the 1540s, Hochmann revives discussions on the (alleged) unfinished state of some his paintings. In the closing chapter, unione is taken into consideration as a function of colors' gradation, shadows' quality, and colored preparations: for Titian, Tintoretto, or Bassano, chiaroscuro and a darkened palette never meant a renouncement of color intensity, and Veronese's brilliant colorito did not lead to accepting chromatic dissonances. Finally, the specificity of the Venetian technique results more from the exaltation of materiality itself than from specific materials and mediums. Among the book's many virtues, three must be emphasized: First, thanks to the author's perfect knowledge of Italian art history, the Venetian technique is placed in the wider perspective of artistic practices in Italy. Second, each chapter opens with a relevant overview of literature on the topic at hand. Last, but not least, the book is a wonderful, ceaseless mine of information!

Metropolitan Museum Journal vol.48., 2013

A century ago Joseph Breck, then an assistant curator at The Metropolitan Museum of Art, proposed that the two sitters depicted in the Museum’s landmark portrait by Filippo Lippi could be identified as the Florentine born Agnola di Bernardo Sapiti and her husband, Lorenzo di Rinieri Scolari. Breck’s identification was based on his reading of the coat of arms under the male sitter’s hands as that of the Scolari family. Remarkably, aside from Dieter Jansen’s counterproposal in 1987 that the coat of arms is that of the Ferrero family of Piedmont, the premise of Breck’s hypothesis has never been put to the test. The present article aims to do just that, reading details of the picture in light of emerging archival information about the Scolari family.

“Il Potere, Le Arti, La Guerra: Lo Splendore dei Malatesta” (exhibition, Rimini, 3 March – 15 June 2001), for Renaissance Studies 16,1 (2002), 80-83.

Emblems and Enigma: The Heraldic Imagination. London Society of Antiquaries, 26 April 2014

1981

This study seeks to capture the identity of a hitherto unknown genre, to chart its development and to assess its significance. It has been called querelle to indicate that arms and letters are "quarrelling": over privileges and titles of greater nobility and utility. Arms and letters can signify the military and literary professions, the men who practise them, the tools and methods peculiar to either, the virtues necessary for or inherent in them, their aims, and the type of life they secure. The genre was particularly popular in the second half of the l6th cent., but first manifested itself at the end of the 15th. Its origins however can be traced back to the 12th cent., amongst Ro¬ man lawyers, in the querelle of Knights and Doctors, which sought to establish, from the Corpus juris, the rights of precedence of knights (milites) and doctors of law. The genre developed as follows. 1_. 12th and 13th cent. First stirrings of the querelle of Knights and Doctors in legal glosses. 2_ The querelle takes shape at the hands-of the Com¬ mentators. During this and the preceding stage no independent works are produced on the subject, except for a lecture given at Vercelli in 13^0. 3_ Early 15th cent. The querelle of Knights and Doctors has become so well known, that it inspires the works of non-lawyers, which however remain isolated phenomena at the margins of the genre. the value of learning. With the passing of time (and the return of the genre to northern Italy), a reconciliation seems to take place between the contending parties, but the relations may not always have been as friendly as they were made out to be. CONTENTS INTRODUCTION 3 Chapter I: THE QUERELLE OF KNIGHTS AND DOCTORS A. Tommaso Beccadelli: Breve e Delia disputatione de precedentia intra el cavaliero, doctore et conte 17 B. The Glossators and Commentators 26 C. Signorelus de Homodeis: Quaestio utrum doctor in signum honoris et praecellentiae debeat praecedere militem vel econverso 31 D. Ludovico Bolognini's edition of and additions to the Quaestio of Homodeis^3 E. Cristoforo Lanfranchino: Tractatulus seu questio ut¬ rum preferendus sit doctor an miles 52 Chapter II: AT THE MARGINS OF THE QUERELLE OF KNIGHTS AND DOCTORS A. Flavio Biondo: Borsus 65 B. Giovanni d'Arezzo: De medicinae et legum praestantia, and Leon Battista Alherti: De commodis litterarum atque ineommodis J6 C. Lapo da Castiglionchio: Comparatio inter rem militarem et studia literarum 82 Chapter III: THE EARLY STAGES OF THE QUERELLE OF ARMS AND LETTERS A. Bernardo Lapini da Montalcino detto Ilicino: Commento sopra i Trionfi del Petrarca 103 B. Antonio de Ferrariis detto Galateo: De dignitate disciplinarum 12U C. Agostino Nifo: De armorum literarumque comparatione comentariolus, and Luca Prassicio: Impugnatio contra Augustinum Niphum asserentem arma prestare licteris 160 Chapter IV: THE LATER STAGES OF THE QUERELLE OF ARMS AND LETTERS A. Antonio Brucioli: Dialogo della preminentia dell'armi et delle lettere 193 B. Isabella Andreini: Amoroso contrasto sopra le armi e le lettere 215 C. The querelle during the latter part of the Cinquecento 228 Chapter V: THE SIGNIFICANCE OF THE QUERELLE Chapter I THE QUERELLE OF KNIGHTS AND DOCTORS A. Tommaso Beccadelli: Breve e bella disputatione de precedentia intra el cavaliero, doctore et eonte. "Volendo Giovanni Bentivogli che Annibale il figliuolo riuscisse nel governo della repubblica huomo pratico, egli lo fa creare confalloniere di giustitia; fu il primo d£ di novembre, la domenica. II quale hebbe per compagni gli infrascritti signori antiani, cioe: Bernardino

2020

This book has two main leitmotifs: one’s origin (origo), their understanding, creation and use, and the coat of arms (arma) as the main symbol representing a noble person’s status – one that not only distinguishes him/her as a privileged member of society but an image that also carries important functions in the life of a noble. The coat of arms served in the interest of personal goals while also marking one as a state official, revealing the noble’s genealogical self-awareness, which often bore relation to politics and warfare, and was a reflection of cultural and mental trends in the Grand Duchy of Lithuania (GDL) and Europe at large. This study is the first attempt to conduct complex research of the genealogical self-awareness and heraldry of nobles of various ranks from the GDL in the 16th–18th centuries based on genealogical trees, genealogical diagrams and illustrations, publications released to mark special occasions, heraldry, sigillography and other sources. This book also sees the introduction into academic circulation of such large quantities of genealogical trees and diagrams of GDL nobles of various ranks, as well as the coats of arms and seals they used. Particular attention is given to combined coats of arms and the ways in which these arms were combined. The heraldry of women and supporters is also studied.

Iconography of the Coats of Arms Donated by the Princes of Transylvania. In: History and Archaeology in the Central Europe. New Historiography Interpretations. Ed.: Sfrengeu, Florin–Gyulai, Éva–Şipos, Sorin–Radu, Delia. Editura Universitâţii din Oradea, Oradea, 2011. 74–86., 2011

The classification ofemblems shows the society of Transylvania and the Partium (and partly also that of Upper Hungary) to be extremely militarised, which can be accounted for on the one hand by the specific internal andforeign political relations of the period of the Turkish occupation but on the other hand, also reveals that among the people applying for and getting coats of arms, military elements were of decisive importance. In addition to the surprisingly high rate of letters patent of nobility bearing a soldier or a half arm, this claim is confirmed by the fact that the attributes referring to warfare may appear on the crest even ifthey are absentfrom the emblem ofthe shield. It is an important residt and outcome of my research that it confirms the opinion long held in historical science that the donation of coats ofarms is a part ofthe social and military policy of the sovereign. On the one hand, there being no decorations in the age, letters patent of nobility (and any other favours accompanying it) can be regarded as the reward of social activities and particularly military service, and on the other hand, with the donations, princes tried to create a social base and an elite loyal to both their persons and the principality. It is a new feature, however, that the increase ofthe class possessing letters patent of nobility could also be a device of unsuccessful and bad princely administration. For example, the political practice of George Rakoczi II, leading to catastrophy, was characterised by an unbridled donation ofnobility. The most important result ofthe research is the creation ofthe database from which the most important data of the letters patent of nobility, including the coat of arms descriptions and the different elements ofthe emblems, can be retrieved. With the help of the database, different lists can be compiled as research aids for heraldry and other branches of historical science.