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Alla metà del XVIII secolo a Verona alcune nuove Arti si costituiscono autonomamente, dotandosi di propri statuti, tra cui quella dei festari o scaletteri, ovvero degli addetti alla confezione di prodotti dolciari. Questa nuova Arte entra però immediatamente in conflitto con quelle dei pistori (panettieri) e degli speziali, che tradizionalmente si occupavano degli stessi alimenti e prodotti. Attraverso documentazione archivistica si ricostruiscono le vicende di questo conflitto – in parte sostenuto dallo stesso potere politico, che in questo modo indeboliva le Arti tradizionalmente più potenti –, risolto entro lo stesso secolo attraverso alcuni compromessi nella definizione delle categorie merceologiche che ciascuna Arte poteva trattare e la corresponsione di alcune compensazioni economiche. Dalla documentazione, in particolare dai verbali degli esami di ammissione all’Arte, emergono i dettagli delle modalità di produzione di alcuni dolci che vengono qui illustrati.

La ricerca d’archivio ha portato alla scoperta di un importante documento relativo all’arte veronese del diciottesimo secolo. Si tratta di un contratto privato tra il nobile bresciano Giammaria Mazzuchelli e lo scultore veronese Francesco Tomezzoli. Il primo chiede al secondo di realizzare alcune statue per il giardino della villa che aveva fatto edificare a Ciliverghe, in territorio bresciano. Dieci dovevano rappresentare i personaggi della Commedia dell’arte, due le divinità Flora e Pomona. Queste sculture non si sono conservate. Il documento tuttavia è importante per la ricchezza di informazioni che fornisce sulla realizzazione di questi manufatti: iconografia, dimensioni, prezzo stabilito, tempi di consegna, materiali da impiegare, modalità di trasporto.

Finti drappi dipinti a trompe-l’œil per celare e svelare le raffigurazioni di soggetto storico nascoste sotto (Pietro Antonio Rotari), soggetti scelti tra le pagine meno note di Ovidio (Francesco Lorenzi), preziose miniature realizzate su ogni tipo di supporto, come la seta dei piviali e il cuoio delle legature, tele rifinite non a vernice ma con albume d’uovo e succo d’aglio (Agostino Ugolini): la pittura del Settecento veronese continua a stupirci per la raffinatezza raggiunta da alcuni dei suoi protagonisti. Costoro in vita finirono per farsi notare ben oltre le mura di Verona (primo fra tutti l’internazionale Rotari), ma nel mercato dell’arte attuale rischiano di essere confusi con altre artisti e altre scuole, come spesso capita al cólto Lorenzi e al sempre raffinato Ugolini. Lorenzi esibisce la sua cultura in soggetti assai poco noti, come il perduto Telane ed Ermelinda, o il Erisittone abbatte l’albero sacro a Cerere recentemente comparso in asta. Ugolini ci incanta anche nei dipinti profani, ad esempio nelle Storie di Ester oggi a palazzo Maffei

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The Pauline Monastery in Sv. Petar u Šumi became the site of a miracle of lacrimation, i.e., the weeping of the image of the Blessed Virgin Mary located on the main altar of the monastery church. The lacrimation occurred on Christmas Eve, December 24, 1721, and lasted throughout the Christmas octave. This work represents the first attempt to analyze archival sources consisting of a later transcript of a part of the chronicle of this Pauline monastery, records from the Pauline Order chronicle, and a report from 1745 conducted by Bishop Gaspare Negri as part of his visitation to this parish in the Imperial part of Istria. Apart from contemporary Pauline historians, this event has not been studied in detail in later historiography, although art historians have touched upon it. The article presents the event of lacrimation and the reaction of the community as a new impetus for the development of pilgrimage to St. Peter. The recorded pilgrims, i.e., the data associated with them (social and family status, origin, education, miracles of healing, votive offerings), are subjected to detailed analysis. It is noted that the news of the lacrimation crossed the borders of the Habsburg Monarchy, and even residents of areas under Venetian administration in Istria were among those who made pilgrimages to Sv. Petar. The lacrimation of the Virgin's image led to the strengthening of this pilgrimage center of the Istrian Peninsula, which found devotees among broader segments of society. The pilgrimage area was limited to the boundaries of the peninsula. The article concludes with a table of data on pilgrims. [ABSTRACT FROM AUTHOR]

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The article focuses on duelling in the Habsburg hereditary lands, with an emphasis on Styria. It presents around fifteen cases of duels that have been fought or provoked, from 1643 to 1750. In the Habsburg hereditary lands and in the Holy Roman Empire in general, duelling flourished during and after the Thirty Years' War, and thrived between 1660 and 1730. Anti-duelling decrees prescribed fines and sometimes imprisonment, and the death penalty in homicide cases. Duels continued despite strict bans (also) because sanctions were generally not enforced, and if the 'criminal' was brought to court, he was almost always pardoned by the Emperor. In practice, the death penalty for duellists was an extraordinary event, since even trials were exceptional, including cases when duels resulted in deaths. [ABSTRACT FROM AUTHOR]

Nella Francia del diciottesimo secolo, l'atto di piangere di fronte a un dipinto era considerato un'esperienza piacevole radicata in un'estetica emozionale. Una tale idea trovava la propria base teorica negli scritti di Jean-Baptiste Du Bos, secondo il quale la chiave per apprezzare l'arte era simpatizzare con le emozioni rappresentate dall'opera d'arte. Tuttavia, questa risposta emozionale all'arte richiedeva anche moderazione. Mentre lo spettatore poteva essere coinvolto dalle emozioni rappresentate e farne esperienza lui stesso, vi era anche la necessità di mantenere una certa distanza (un disinteresse estetico). Nel contesto del diciottesimo secolo francese era diffusa la convinzione che (nei termini di capacità di godere la vita e partecipare alla società) i migliori individui fossero quelli che possedevano un alto grado di simpatia. La simpatia era considerata come una caratteristica umana fondamentale, che permetteva agli individui di connettersi l'uno all'altro, di coltivare relazioni e indirizzare le interazioni sociali.

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In questo testo viene presentata l’antologia Nulla che non possano i versi – Antologia de poesia italiana entre o Brasil e a Itália (2018), in cui sono presentati dei poeti, uomini e donne, nati/e, vissuti o attualmente residenti in Brasile, che tra il XVIII ed il XXI secolo hanno adottato l’italiano come lingua di poesia. Ognuno/a a suo modo, si sono impegnati/e nella valorizzazione della lingua italiana e nella possibilità di stabilire proficui dialoghi tra l’Italia e il Brasile. S’intravede, nell’insieme della loro opera, una possibile tradizione di scrittura in lingua italiana in Brasile

Lungi dal rappresentare un gruppo di anonimi redattori di documenti, i notai lombardi del XVIII secolo si rivelano dotati di una spiccata versatilità, che consentì loro di incunearsi nei diversi settori istituzionali in cui si articolava il potere periferico di antico regime e di interagire con la popolazione svolgendo, almeno a certi livelli e in determinate condizioni, un ruolo di mediazione non soltanto giuridica, ma pure sociale e culturale, guidando e indirizzando i rapporti, talvolta intricati, tra i privati, così come tra gli enti ecclesiastici e la società.

As of today, there is not a complete study on the villas in Naples between the 16th and 17th centuries. The demolition or the big transformations of buildings incorporated in the new town have, until now, discouraged the scholars from this systematic investigation that could perhaps bring new insights on the theme of the villa in Italy. The study of architectural history of Villa Carafa in the 17th century can maybe help move forward in this direction. This paper retraces the architectural history of Villa Carafa between the 17th and 18th centuries, before the opening of the new via Posillipo in the 19th century, when the villa was then distanced from the hill and was forced to change its orientation, urging for a new re-configuration. With the help of new archival documents, the essay investigates the origins back to when the property belonged to the Hierosolymite Order in the early seventeenth century and focuses on the architectural works promoted by Carlo Carafa, after his brother purchased it in 1629. It was then that it became the magnificent villa overlooking the sea eulogised in the 17th century books and repeatedly depicted by landscape artists during the 18th century.

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Copyright of Mediterranea - Ricerche Storiche is the property of Mediterranea-Ricerche Storiche and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Mediterranea - Ricerche Storiche is the property of Mediterranea-Ricerche Storiche and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The paper focuses on the objects of cultural transfer present in the dwellings of the Carniolian nobility in the first half of the 18th century. It is mostly based on the analysis of probate inventories. The analysis shows that objects of cultural transfer can be found in almost all inventories. These objects, which concern different segments of domestic material and intellectual life such as clothes, pieces of furniture, etc., made the life more comfortable, fashionable, interesting and luxuorious and contributed to the individual and social prestige of the nobles as well as to their vanity. Most of the items from abroad came from the German and Italian regions, but we can easily find objects from the Ottoman Empire (carpets), France (clothes), the Netherlands (lace) or America (coffee, tobacco, chocholate). Important items in noble homes, which almost exclusively came from abroad, were books. Novelties such as coffee, tea, and chocolate point to more peaceful and intimate forms of socializing. The channels of cultural transfer include voyages of noblemen and noblewomen, contacts with friends abroad, the professional commerce and the strangers living or working in Carniola. [ABSTRACT FROM AUTHOR]

The recent publication of the revised English edition of Unfabling the East by Jürgen Osterhammel, originally published in 1998, makes a masterly work of a leading figure in the contemporary international framework of global history available to a larger reading public. Inquiring into the ways in which European culture of the age of Enlightenment approached the Asiatic world, Osterhammel's book offers an original interpretative proposal, mainly focusing on the discontinuity between an inclusive Eurocentrism of the 18th century culture and the exclusive one of the following age. It is an important revision of the effects of the Saidean approach to the study of the European 18th century intellectual and cultural context, giving suggestions for further inquiries and investigations which are still valid many years since the first edition of the book. [ABSTRACT FROM AUTHOR]

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Copyright of Societa e Storia is the property of FrancoAngeli srl and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Societa e Storia is the property of FrancoAngeli srl and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Societa e Storia is the property of FrancoAngeli srl and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Il culto di Sant'Isidoro Agricola, santo nazionale spagnolo canonizzato nel 1622, viene introdotto nella seconda metà del Seicento nel Regno di Sardegna e utilizzato dal governo spagnolo per radicare il sentimento della hispanidad nella società sarda. In questo contributo si illustrera la diffusione nell'isola di questo culto attraverso la produzione degli scultori in legno, che reinterpretano in chiave popolaresca i modelli aulici della madre patria.

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Copyright of Societa e Storia is the property of FrancoAngeli srl and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Ignazio Vincenzo Paternò Castello di Biscari (1719-1786) e Gabriele Lancillotto Castelli di Torremuzza (1727-1792) sono certamente tra le figure più importanti della cultura siciliana del XVIII secolo. Ben conosciuti a livello europeo, punto di riferimento per i dotti viaggiatori che, sempre più numerosi, visitavano l’isola, in corrispondenza con studiosi italiani ed europei, i due principi sono celebri, in particolare, per la loro incessante attività collezionistica, per il loro impegno nella tutela dei monumenti antichi e, soprattutto nel caso di Torremuzza, per le loro pubblicazioni scientifiche riguardanti, a volte – è specialmente il caso di Biscari – oggetti delle loro raccolte. In questo studio si pubblica integralmente, per la prima volta, il reciproco carteggio che, pur conservato solo in parte, offre un interessante quadro dei grandi temi dell’antiquaria settecentesca: collezionismo, ricerche archeologiche, studi eruditi, senza perdere di vista la dimensione “sociale” e impegnata che, secondo la mentalità più avanzata del tempo, doveva essere tipica dell’intellettuale, soprattutto se aristocratico.

Considering the most relevant works of some noteworthy authors, this article aims at reconstructing the thought of the eighteenth century Italian Jansenism concerning the theme of martyrdom. During the eighteenth century some of the most important followers of Jansenism, such as Pietro Tamburini, Giuseppe Zola, Giovanni Battista Guadagnini, Giuseppe Maria Pujati, Scipione de Ricci, reflected more or less systematically on the theme of martyrdom. This article develops an analysis of the ecclesiology and the political theology of the eighteenth century Italian Jansenism. This perspective of research makes it possible to highlight how the reflection of Jansenism regarding the theme of martyrdom had mainly rhetorical and propaganda purposes, aimed at criticizing the authority of the Roman curia and the pope. The analysis of the thought of Italian Jansenism about martyrdom constitutes a privileged point of view for understanding the evolution of the identity and self-perception of this religious movement during the eighteenth century. [ABSTRACT FROM AUTHOR]

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Copyright of Societa e Storia is the property of FrancoAngeli srl and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Societa e Storia is the property of FrancoAngeli srl and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The region of Maina in the Southern Peloponnese was conquered by the Venetians during the First Morean War and was formally administrated by the provveditori of Kelepha and Zarnata until the Turkish reconquest of 1715. Although this apparent subjugation, the Maina district was indeed an area with his own juridical system: throughout the Venetian domination, the limitation of feud and his partial integration within the Venetian state law represented one of the most relevant challenges for the Serenissima's local officers. [ABSTRACT FROM AUTHOR]

Il dibattito sette-ottocentesco sui cimiteri non deve prescindere dalla riflessione architettonica ed ingegneristica. La codificazione dei modelli delle nuove necropoli è alternativamente fine e strumento della presa in gestione dell’ultimo passaggio da parte delle amministrazioni laiche ed è alla base dello svilupparsi di un culto delle tombe e dei morti e di nuove forme e modi del ricordo.Progetti e realizzazioni testimoniano la necessità di una sistemazione formale delle aree cimiteriali e le impellenze di “smaltimento” dei cadaveri, la definizione di spazi distinti, pantheon, monumenti. Un fenomeno questo che non prescinde dal dialogo con le confessioni e le consuetudini.Attraverso lo studio dei progetti e delle riflessioni degli architetti è possibile iniziare a descrivere l'evolversi sotto l'aspetto architettonico del culto civile dei morti.