16th century Venice

Some children, before they reach the age at which it is time for them to express themselves clearly, find voice and say something distinctly, and then go on as before until the usual age for speaking arrives. Some regard such incidents as portents. (PSEUDO-ARISTOTLE, Problems) 1 A voice appearing from out of the blue can seem nothing short of a revelation. The ordinary substrate of workaday language, a voice, once unconcealed, assumes extraordinary significance. Poetry and song work this way; it is the social contract established by these verbal forms to offer the voice up as a site of pleasure, a field of sonic play that suspends discursive norms. But revelation is not always pleasurable, or even desirable. When it appears outside any sanctioned form of catharsis or enjoyment, a bare voice can engender wonder, amazement, or terror. And when the specter of a voice that escapes or exceeds the social is raised, it can be a good indication that the sites and formations of the social themselves have shifted. At least this has been a tenet of scholarship on the voice. 2 Mladen Dolar warns of the voice's historically "dangerous, threatening, and possibly ruinous"

Par-delà l'aide basique à la mémorisation fournie par ses images peintes, pouvant fonctionner en images de mémoire préfabriquées de notions générales, le « théâtre » inventé par Camillo est resté énigmatique dès 1530 pour les deux enjeux exceptionnels promis à son usager : perfectionner l'éloquence et la rhétorique, et accéder à une vraie sagesse et à des savoirs supérieurs. Voici l'hypothèse que cet article propose de démontrer :
Le « théâtre » de Camillo repose sur un art spécifique qui a concrétisé, dans une cabine en bois et son décor, le thème mentionné par Marsile Ficin dans son De vita coelitus comparanda (1489), celui d'un spiritus mundi cernable et manipulable : il a utilisé les définitions de Ficin, et les a complétées, pour les raisons séminales animant ce spiritus, par les textes de saint Augustin.
Le « théâtre » propose une concentration de spiritus mundi, déposé dans des « lieux » qui reprennent l'origine divine selon Augustin des raisons séminales, et exprimé dans des images peintes, qui respectent le caractère aérien et le caractère igné dudit spiritus selon Ficin.
Ainsi l'usager du « théâtre », en contemplant les peintures, est censé absorber ce spiritus mundi par les yeux, le recevoir dans l'âme, et bénéficier des bienfaits célestes-ie-des dons intellectuels et spirituels remontant à l'origine divine du spiritus, et donc des deux enjeux exceptionnels du « théâtre » selon Camillo. Seule condition : le degré de piété de l'usager et la grâce divine ou angélique dont il dispose.
Camillo pouvait espérer donner à son « théâtre » une efficacité théurgique censée répondre aux aspirations personnelles de l'usager, et accroitre ainsi le désir de celui-ci de recourir au « théâtre » pour se perfectionner. Cette utilisation mènerait l'usager à plus de curiosité encore, car selon Ficin « plus on connait, plus on brûle de connaitre la suite » , et ainsi pourrait prolonger l'investissement initial par des cours particuliers rétribués.

Manfredo Tafuri once said of Venice that this singular maritime city can be seen as the place where antitheses have been removed, where dialectics has no function, in which there is no contradiction between tradition and innovation, development and memory, continuity and renewal, sacred and profane. This insight can help us to enter into the project on the Serenissima jointly drawn and authored by Mosetti and Rakowitz.

The chronology of the paleotypes from the first publishing cycle of Božidar Vuković (Dionisio della Vecchia) – a prominent merchant, one of the leaders of the Greek confraternity in Venice (Scuola dei Greci), an intelligence operative, and a would-be Serbian despot – is a complex matter due to inconsistencies in the chronological elements in the colophons of his books. A particularly baffling matter is the differences in calculating years by the Era of the World calendar or the Christian calendar, starting from Christ’s birth. 
The paper looks into the use of various styles for marking years of the Era of the World, primarily the Creation Era of Constantinople and the Ides of March era, as well as the variants of reckoning time starting from Christ’s birth. It examines the consular (where a new year begins on 1st January), more veneto (1st March), and the Annunciation (25th March) styles, which were used in various parts of the Christian world. In addition to basic chronological markings, the paper explores secondary chronological elements – epacts, golden numbers, solar cycles, lunar cycles, and indictions, as well as their relationships, which played a prominent role in dating these books.
Besides exploring various chronological systems, the paper analyses the typographic and graphic distinctive characteristics of Vuković’s paleotypes, including the chosen script, ornamentation, and printing technique, all of which provide additional indications on the time and context of the creation of his publications.
Following a comprehensive analysis, the paper argues that Vuković’s first editions were likely published in 1520–1521. The preparation and production of the letters (type set) and other typographic elements seem to have begun in the autumn of 1519, with the printing of the first part of the Psalter completed on 7th April 1520. Three months later, he published the Hieratikon (7th July 1520) before moving on to the second part of the Psalter (Posledovanje/Appendices), which was completed on 12th October 1520. By 6th March 1521, Vuković published the Prayer Book, completing his first publishing cycle.

The paper considers the manner in which the Venetian historiography represented one of the episodes related to the origins of the Venetian community – along with the Trojan foundations and the mission of St Mark in the lagoon. It is about the representation of Attila the Hun. The presence of Attila is so extended in the Venetian chronicles for the simple reason that it indirectly determined the foundation of the city in the lagoons, traditionally dated in 421.
The devastating expedition of Attila in Italy offered the opportunity to the many Venetian chronicles to present in apocalyptical view and to imply a vision of clash of civilizations between the Christians and the Pagans.
It is somehow undeniable that the part taken by Attila in the history of Venice be connected to a propagandistic feature. It is not by chance that the troops of this terrible enemy and Attila himself are many times regarded as Hungarians, since the context when a great part of the Venetian chronicles was written the relationship between the Venetian state and the Hungarian Kingdom were constantly tensed due to their claims over the Dalmatian coast.
The paper emphasizes the representation of Attila in accordance with 273 Venetian chronicles that cover the period of Attila’s invasion in Gaul and Italy. These texts deliver a variety of representation for this particular event, the character being present in two different major circumstances: either when narrating his confrontations in Gaul against Aetius (451), or when inserting the legend that develops on a larger scale his action in Italy (452) against the Christian forces led by King Janus of Padua, where the Eastern Christians from Constantinople would also be involved towards the end of the story. However, the Venetian chronicles are common in underlining the fierceful image of the Pagan king and emphasizing the clash between the two ‘worlds’.

Рефлексията за жената в творчеството на две писателки от ранно-модерна Венеция-Модерата Фонте и Лукреция Маринели" АВТОРЕФЕРАТ на дисертационен труд за присъждане на образователна и научна степен "доктор" по научна специалност "Теория и история на културата" НАУЧЕН РЪКОВОДИТЕЛ проф. д.н. Ангел Ангелов Благоевград, 2019г.

This article aims to present a Venetian writer Moderata Fonte, pseudonym of Modesta da Pozzo di Forzi. The author is unknown to the Bulgarian audience and is presented with her most famous work Il merito delle donne (The Worth of Women), a posthumously-published dialogue in 1600. In this dialogue she criticizes the treatment of women by men while celebrating women`s virtues and intelligence and arguing that women are superior to men. This work is seen as part of Querelle des Femmes. The article is included in a collection of papers from a round table (проект „Женски гласове в преводната художествена литература до Втората световна война. Жената като автор, преводач, критик, персонаж“)- Would Have Kept Her Locked Untill She Stopped Writing, 2015.

is brush was, so to speak, a thunderbolt that terrified everyone with its lighting» 1. Thus, Carlo Ridolfi not only likened the painter's explosive brushwork-and the wonder of beholding it-to the power of a violent storm, but also pronounced Tintoretto the flame-thrower of his generation 2. For Ridolfi, Tintoretto's lightning assault had stopped his rivals in their tracks, silencing them with its deafening thunder. In a poetic nod to Pliny's story of Apelles' Alexander the Great wielding thunderbolts, «where the lightning seems to be darting from the picture», Ridolfi alluded to Tintoretto as a modern-day Apelles, a virtuoso who had eclipsed Titian-a modernday Protogenes-through his economic use of color and his dazzling illusionism 3. Just as Pliny's Apelles had employed only four colors to effect the appearance of lightning, which seemed to «project from the surface and stand out from the picture», so Ridolfi's Tintoretto had captured and harnessed the fleeting and wonderous effects of stormy weather with lighting speed and astonishing efficiency. Invested with the power to animate Nature, Tintoretto conjured what could not be fully grasped by eye or ear: flashing mortars, streaks of lighting, deafening claps of thunder; or, as Pliny famously put it, «things which in reality do not admit of being portrayed: thunder, lighting, and thunderbolts». Some readers might have detected in Ridolfi's account a modern-day Demosthenes, the 4 th-century Athenian orator described in de Sublimitate (also known as the Peri Hupsous) attributed to the 1 stcentury writer Longinus, a work whose printed editions circulated widely in Italy in the 15 th and 16 th centuries, thanks, in large part, to early editions first issued from Venetian presses 4. Demosthenes was also a flame thrower who «output all his rivals» with «the intensity of lofty speech, living emotions, abundance, acuteness, speed where speed is vital, […] vehemence, and power. The crash of his thunder, the brilliance of his lighting make all other orators, of all ages, insignificant. It would be easier to open your eyes to an approaching thunderbolt than to face up to his unremitting emotional blows» 5. Just as the power of Demosthenes' words left audiences speechless, so the divine touch of Tintoretto's fulminating brush-like a «lightning

Marietta Tintoretto (c. 1552-1590), daughter of the great Venetian painter Jacopo Tintoretto, was herself a renowned artist, admired by her contemporaries, especially for her portraits, and sought after as court painter by rulers including King Philip II of Spain and the Holy Roman Emperor Maximilian II. Despite early acclaim and a biography by Carlo Ridolfi (1648), today not a single painting can be securely identified as executed by her hand. The essay addresses this conundrum, reviewing the documentary evidence of Marietta's life, revisiting the scholarly literature, and evaluating works that could potentially be attributed to her, based on the authors' reconsideration of the oeuvre of Jacopo Tintoretto and his circle. The essay includes transcriptions of all documents referring to Marietta that have been identified to date, as well as the essential references to her by contemporaries and early biographers. It concludes by suggesting a new, potentially promising approach to identifying an oeuvre for Marietta.

This roundtable, composed of the team working on the Cultures of Philosophy project (ERC/UKRI) at the University of Exeter (UK), responds to that call by applying a case study-led perspective to women's transnational and multi-genre philosophical writing in seventeenth-century Europe, to produce a more inclusive, contextually defined approach to women's philosophical writing from the period. With five interventions, looking at France, Italy, England, and the Dutch Republic, and at the subdiscipline of natural philosophy, we will use genre as an initial way into this question. We address the need to look beyond 'legitimate' forms of philosophy, such as the treatise, dialogue and essay, or even 'legitimate' forms of literary philosophy, such as science fiction or epic-length poetry, to include marginalia, miscellany, paratext, dedications, historical fiction, hagiography, and incidental 'salon' verse. We examine texts by authors including Lucrezia Marinella, Mary Astell, Madeleine de Scudéry, Maria Margareta van Akerlaecken and Sarah Cowper to address questions of authorship, attribution, genre purity, and canonicity. Underpinning this roundtable is also a transnational and interdisciplinary focus. Not only will panelists touch on the importance of historical networks (e.g the Muiderkring; Elizabeth of Bohemia and her circle) and academies, especially the Accademia dei Ricovrati (Padua) and Accademia dell'

According to the dialogue between Marco Polo and Kublai Khan as imagined by Italo Calvino in his Le città invisibile [Invisible Cities], the Venetian traveller would have said "Ogni volta che descrivo una città dico qualcosa di Venezia. [Every time I describe a city, I am saying something about Venice.]" Indeed, despite the fact that it preserved its singularity of being originally raised on the lagoons, Venice also represented a combination of a lot of cities and places, which makes difficult, if not impossible to settle its definite association to the West or the East. Far from pretending the clarification of the respect of these possible affiliations, the Serenissima series of Trivent Publishing House intends to organize the online conference Venice between East, West and Itself, by gathering papers focused on two different major panels:-Venice and the West, and-Venice and the East, to which one would attach a third one:-Venice and Itself, as a return of the city to its internal life and affairs. The conference is addressed not only to the scholars dealing with the history of Venice, but also to those specialized in the history of the communities that came into contact with the Venetian state both from the East (Byzantium, Mamluk Sultanate, Ottoman Empire, Hungary, and so on) and from the West (non-Venetian Italy, Western Empire, France, England, Iberian Peninsula, and so on). As mentioned, the panel entitled "Venice and Itself" leaves the door open to those scholars that examine the internal history of the Venetian state. It is also not limited to the field of political history and international relations, but also to art history, social history, economic history, linguistics, codicology and palaeography, arts and architecture, daily life.

Otio iuventutis dicatum. Le residenze e le collezioni di Matteo di Capua come crocevia della vita culturale napoletana tra Cinque e Seicento Andrea Zezza iii. Una corte nobiliare tra pubblico e privato Giovanni Muto iv. I palazzi napoletani dei conti di Palena e dei principi di Conca Aldo Pinto v. Il «gioco del pallonetto» nella «domus magna» Leonardo Di Mauro vi. La residenza napoletana dei principi di Conca e il rapporto con i celestini di San Pietro a Majella Sabrina Iorio vii. Un luogo per l'otium. La villa urbana di Matteo di Capua a Vico Equense

In the 16th century, Venice became known for a particular style of gown that opened in the front and exposed the linen undergarments beneath it. The bodices of these gowns were unique from their counterparts on the mainland peninsula, because they were nearly always depicted with smooth, flat fronts, and perfectly parallel ladder lacing. Unfortunately, no extant Venetian style gown has survived to the modern day, much less one of the open-bodice style. 1 Therefore, the method by which these gowns achieved both the parallel lacing and the smooth, flat fronts is purely speculative. In this work, I explore evidence of these gowns from portraiture, historical records and extant artifacts from neighboring regions, and compare this information with over a decade of applied research in using and wearing this style bodice with different methods of constructing. With this combined body of evidence, I make an argument for its successful construction.

This is a brief treatment of the world map produced in 1506 by Giovanni Matteo Contarini and Francesco Roselli and how they incorporated references to the allegorical story of Prester John onto the map at the northern latitudes revolving around 72°. The story of Prester John was the story of the 12th century constructed baptistery in North America.

Google Drive Word document (62.3 MB): https://docs.google.com/document/d/1BIWNVS8RLcYmO43VhkZN5Irt8-xCvUM_/edit?usp=sharing&ouid=116070484337093837945&rtpof=true&sd=true

Google Drive PDF (3.3 MB): https://drive.google.com/file/d/1cN613DWWbwyRhoraoCnbMWyZAetyw6qb/view?usp=sharing

This presentation documents the use of a digital microscope to assess selected features on the State 3C version of the Ruysch World Map. This version of the map was not colorized. Three tower icons, one being a “Monopoly house” were illustrated on BIGGETU IN[SULA} just outside of Narragansett Bay.
    Public thanks to the staff at the American Geographical Society Library for allowing access to their cartographic works.
    This presentation contains 24 slides.

Google Drive PowerPoint (60.2 MB): https://docs.google.com/presentation/d/1LfQmCnv0QGhbAS6HYgBKEgmYb2Gz5hmY/edit?usp=sharing&ouid=116070484337093837945&rtpof=true&sd=true

Google Drive PDF (6.7 MB): https://drive.google.com/file/d/1w8xvBicFa0bZ4waOAo5ZnRULJlJQXhfD/view?usp=sharing

The talk aims to examine iconographical aspects of the cycle of canvases in the Cappella Avanzi of the St. Bernardino's church in Verona in relation to the Gospel of St. John. This series of paintings includes a vast range of Veronese painters, from Francesco Morone to Paolo Veronese, and represents a compendium of the Veronese painting in the Renaissance.

in occasione del restauro per la mostra Splendeur de Venise 1500-1600 (2006). Nonostante non si conosca ancora alcuna versione autografa di Jacopo sul tema, a lui va attribuita la creazione dello schema. Lo testimoniano la stessa intensa produzione di bottega e la presenza nell'inventario post mortem del maestro -pubblicato da Giambattista Verci nel 1775 -di un "quadretto di notte di Giacob ed Esaù". Jacopo ambientò la storia dei due fratelli nelle ore più buie, rendendola un'interessante occasione per sperimentare gli effetti del lume notturno, quei forti contrasti tra luce e ombra ai quali fu particolarmente interessato a partire dalla metà degli anni Settanta. Per questa sua specialità Lorenzo Marucini, che ne Il Bassano (1577) lo definisce "novo Apelle" e "pittore eccellentissimo", lo indica anche come "inventore del vero pingere delle notti in tela, & sopra le pietre negre da Verona". Se nelle versioni più tenebrose dell'Adorazione dei pastori e dell'Annunzio ai pastori, però, il buio è squarciato da un bagliore divino, nella storia di Giacobbe ed Esaù la luce proviene da una fonte artificiale, da una candela accesa al centro della scena che fa emergere dall'oscurità i due protagonisti, i loro genitori -Rebecca e Isacco -e la grande piattaia con i volatili appesi a frollare. La popolarità della composizione durante il primo Seicento si avverte, poi, attraverso l'apprezzamento di Hendrick ter Brugghen, artista di Utrecht che fu tra i più importanti seguaci nord-europei di Caravaggio. In un articolo sul Burlington Magazine (1960) lo studioso

„‚Sciocco fu’l tuo desire‘: Liebesdiskurs im Palazzo – Cross-Dressing im Madrigal“, in: Klingende Innenräume: GenderPerspektiven auf eine ästhetische und soziale Praxis im Privaten (Musik – Kultur – Geschichte, Bd. 12), hrsg. v. Sabine Meine und Henrike Rost, Würzburg 2020, S. 79–90.

MadSans lineadacqua edizioni srl San Marco 3716/b 30124 Venezia I contributi pubblicati in questo volume sono stati valutati, in forma anonima, da studiosi competenti per la specifica disciplina (doubleblind peer review). Nessuna parte di questo libro può essere riprodotta o trasmessa in qualsiasi forma o con qualsiasi mezzo elettronico, meccanico o altro senza l'autorizzazione scritta dei proprietari dei diritti e dell'editore.

I examined the burial data in Charles Di Peso's Casas Grandes: A Fallen Trading Center of the Gran Chichimeca (Dragoon, AZ:  Amerind Foundation Publication Number 9, 1974) looking for ceramics in burials in single-storey structures -- the idea being that those structures are probably the oldest at the site, and therefore the ceramics contained in the burials might be the oldest at the site.  I did not find much of anything  -- but, for what it's worth, here is the raw data on a spreadsheet.

The spiritual turmoil of the sixteenth century had a profound impact on religious life throughout Italy. Art and architecture were directly implicated in the seismic historical events of the age, as the Catholic Church countered Protestant iconoclasm through the embrace of sacred images as decreed by the Council of Trent in 1563. In this volume, Marie-Louise Lillywhite considers the impact of religious reform on the devotional art and architecture of sixteenth-century Venice. Interrogating early modern censorship, artistic liberty, notions of decorum tied to depictions of the body, and the role of sacred images in the shaping of local identity, she shows how Venice, a crossroads city exposed to a rich gamut of religious and artistic currents, serves as a fascinating case study through which to explore these themes. Her study reconstructs the conditions that enabled artistic invention to prevail and how artists became interpreters of spiritual values.

In Renaissance Italy, the political power of authorities found one of its expressions in material symbols of sovereignty. The placing of inscriptions, sculptures and columns and the commissioning of frescoes in streets, piazzas and public spaces, for example, were essential ways of communicating political or spiritual authority to the populace. Sometimes perceived as representations of a top-down form of communication, in the urban context these same material emblems of power became political objects through which to express dissent, as in the case of public loggias, speaking statues or graffiti on walls and civic palaces. Presenting case-studies from various cities in northern Italy, this article investigates the dialectics between the people and the authorities in the urban fabric, especially in everyday life. Combining a spatial and a material approach to politics, this article reveals the dynamic and relational nature of political public spaces.

Le ragioni di un'indagine critica concernente le voci femminili e poetiche della «scuola di Milano» «Si è trattato di un periodo molto effervescente, pieno di vita»: così sosteneva Daria Menicanti, parlando della «scuola di Milano» degli anni Trenta, nata intorno alla lezione di Antonio Banfi. Di fronte all'intervistatrice che sottolinea l'ambizione filosofica e civile animosa di questa scuola, Daria Menicanti consentiva, precisando che, certamente, si voleva «fondare un nuovo tipo di scuola, però per me, che sono poeta, ciò che contava era la possibilità di interpretare la sensibilità nuova che si avvertiva», giacché tutti questi studiosi erano «razionalisti, poiché Banfi aveva fondato una scuola filosofica di tipo razionalistico», i cui maggiori rappresentanti «erano giovani filosofi come Paci, Preti e Cantoni; tra i poeti si erano distinti Sereni e Pozzi; tra i filologi Anceschi». Quando poi le si chiede «come mai i poeti donna sono sempre poco

il libro ericostruisce la storia delle famiglie che si avvicendarono tra le mura del palazzo lungo via Santa Chiara e getta nuova luce sulle sue decorazioni pittoriche presentando per la prima volta un inedito ciclo di affreschi attribuiti a Battista del Moro.

Il caso delle ville "a cubo" nel Padovano tra XVI e XVII secolo. L'articolo esplora il fenomeno di numerose ville sparse nel territorio padovano (ma diffuse anche in altre zone della Terraferma veneta) non riconducibili all'intervento di famosi architetti ma piuttosto di anonimi "mureri" e "proti", e caratterizzate da uniformità nella loro tipologia.

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Nella singolarità monumentale del Palazzo Contarini del Bovolo e davanti al magnifico Paradiso di Jacopo Tintoretto saranno esposte opere di artisti della collezione universitaria V:Ar.Co (Vanvitelli per l'Arte Contemporanea) presso il Dipartimento di Lettere e Beni Culturali (DiLBeC) a Santa Maria Capua Vetere: un Doppio Dialogo, appunto, tra originali espressioni moderne e passate. Ludovico Bomben (Pordenone, 1982) e Amedeo Sanzone (Napoli, 1968) troveranno un punto di contatto e di confronto nella ricerca della politezza delle forme grazie agli speciali materiali che ne contraddistinguono la produzione: a ognuno sarà riservato uno spazio di rappresentazione che andrà a unirsi di fronte al cielo del Paradiso. Il dialogo al Bovolo sarà dunque innescato dalle opere donate a V:Ar.Co accanto a nuovi lavori site-specific: la natura preparatoria della grande tela tintorettesca permetterà l'incontro tra diversi quanto affini sentire. Il progetto espositivo proseguirà con la seconda coppia artistica, Olimpia Biasi e Antonello Tagliafierro protagonisti del secondo Doppio Dialogo dal 6 giugno al 31 agosto 2025: a loro sarà chiesto di proporre e ridiscutere le loro parallele riflessioni sulla Natura e sulle sue ferite sempre più evidenti e lacerate. In prossimità del finissage del primo appuntamento, venerdì 30 maggio 2025, sarà presentato al Bovolo un unico catalogo (MyMonkey Edizioni, Bologna) per entrambe le rassegne, strumento scientifico e memoria del progetto.

Padua is among the most important poles for intellectual circulation in the late Renaissance. Here, students found the most radical university of the time, but also a cultural circle of the highest order, the one run by Gian Vincenzo Pinelli between 1558 and 1601. This chapter aims to investigate the student presence in Pinelli’s house. Many students were educated in that exceptional environment, consulting avvisi, ancient works, university and private lectures, genealogies, travel accounts, and much more. The reasons that attracted those young scholars to the circle, what kind of resources they had at their disposal, the people they dealt with, and the relationships they established with the patron and his friends are analyzed. It was a fundamental circle for many students, such as Andreas Dudith, Thomas Seget, or Nicolas-Claude Fabri de Peiresc, intellectuals who in turn continued to spread knowledge in their cultural and national contexts.

Nella Venezia del Cinquecento emerge la dirompente scrittrice e
meretrice Veronica Franco, offrendoci una pletora di modalità
con cui fa del corpo il suo vessillo, declinandolo sotto diversi
punti di vista: l’erotizzazione del corpo e della mente, il vigore
del corpo e la violenza prevaricante del genere maschile nei
confronti del genere femminile che Franco cerca di sconfiggere,
e per ultimo il dolore, dettato dalla sofferenza amorosa, sebbene
non si lasci mai sopraffare da esso.

Giovanni Leardo, a Venetian cartographer, produced this map in 1452. This world map was the last of three that Leardo produced, the two earlier ones dating to 1442 and 1448.
…..The analysis of the 1452 Leardo World Map employed microscopic imagery that the author obtained in November 2024 during a visit to the American Geographical Society Library at the University of Wisconsin-Milwaukee.
…..The focus of the analysis was to locate and catalogue the miniature tower icon features that Leardo rendered in the Atlantic Ocean, either as stand-alone features or situated upon island features. Additionally, tower icon features were identified on the western coast of Africa.
…..To allay any confusion, the term “tower icon” is used as a generic classification to identify features that represent habitations, this latter term also somewhat generic as a habitation can simply be a location that was temporary, such as a provisioning location for the seafarers. The overall point is that cartographers illustrated the extent of exploration in the Atlantic Ocean and on the North/South American continents by illustrating miniature structures. Most times the structures were represented as rectangular icons, sometimes topped with a pole.
    Respective of South America, the author did not note any visually obvious features on the western edge of the ocean, or within the circles encompassing the circumference of the map in the region opposite of Africa, while examining the map in November 2024. Other scholars, if they put a microscope to the map in this area, or if multi-spectral imaging of this specific region is done, might have different results.
    Leardo most certainly was illustrating miniature tower icon features on his map – and some of them are quite small even by the definition of miniature. While Leardo produced miniature features, they are neither elegant nor done all the time with precision, the author would describe them as functionally adequate.
    The drawing instrument in his hand adequately formed the rectangular tower icon shape, sometimes with projecting poles, and at times he fashioned cityscape arrangements. He employed contrasting colors (black and white) to fashion extended cityscape features on islands. Typical of cartographers of the era, his island representations rested upon white pigment “patch” presentations, this arrangement lending both depth and outline to the islands. Leardo then illustrated tower icons on the islands (primarily using a dark color). In the Atlantic Ocean, Leardo “submerged” tower icon/island features within the blue ocean pigment as well as the gently curving red bands extending from the wind illustration – these features were quite difficult to locate even with microscopic imagery.
    Leardo illustrated the North American Baptistery (Newport Tower) in a cityscape feature near the western margin of his map, placing this feature at ≈ 42° latitude within a red wind band.

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Analysis
File name: 1452 Giovanni Leardo World Map, 2Feb2025 // 94 slides
Google Drive PowerPoint (381.4 MB): https://docs.google.com/presentation/d/1s4w7C2ChSI0B4fkRFtMixMvxbUrkJYhH/edit?usp=sharing&ouid=116070484337093837945&rtpof=true&sd=true

Google Drive PDF (34.8 MB): https://drive.google.com/file/d/1Cfpf4GLHKLLX6TVCR8yaCngaF0Wjb7Ga/view?usp=sharing
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The analysis generated a large number of snippet images whose file sizes created an unwieldy PowerPoint file size. Thus, the images were moved into a separate file. This file contains no analysis discussion. The images are provided for your review (and use, if you wish).

Additional imagery generated by the analysis:
File name: 1452 Leardo W_Map_Microscope_Discards, 2Feb2025 // 52 slides
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In 1431, the ship of the Venetian Pietro Querini departed from Crete (Greece) to Flanders (Belgium) and shipwrecked in the northern Atlantic. Only few survivors were rescued by the inhabitants of a small island in the Lofoten archipelago, north of the Arctic Circle. After 535 days from departure, a mere 11 out of the 68 crew members safely returned to Venice.
We have received a vivid account of this shipwreck through two reports authored by the main characters of the adventure. These narratives openly portray the fears and moral challenges confronted by a group of men struggling for survival.
Among the earliest written testimonies of encounters between Mediterranean and Northern European peoples, the tales remain one of the most interesting travel accounts of the 15th century, providing a glimpse into the daily life of a small fishing community in the North Sea.
This study presents the first English translation of the two original manuscripts held at the Marciana Library in Venice and the Apostolic Library in Rome.

Nel 1548 usciva a stampa per Giolito la raccolta di Lettere di molte valorose donne di Ortensio Lando. Si trattava di un’operazione editoriale che, forte della recente diffusione del genere dei libri di lettere e della presenza di nomi di donne celebri, mirava a inserirsi nel coevo dibattito su alcuni degli aspetti dominanti della vita nel secondo Cinquecento. Fin dalle prime epistole raccolte, in particolare da quelle che vedono coinvolta ‘Pacientia Pontremola, hebrea mantovana’, la questione religiosa si insinua nell’antologia, costituendo un filone tematico - talvolta sotterraneo, talvolta trattato in termini più espliciti - che riveste un’indubbia importanza all’interno di tutta l’opera.

Due to its elaborate woodcuts and artificial language, Hypnerotomachia Poliphili (Venice: Aldus Manutius, 1499, hereafter ‘HP’) has traditionally been presented as a fringe anomaly within the histories of the book and of Italian philology. Other studies have examined the influence of the HP in art and literature, but there has been little study of the role of readers in mediating that influence. This framing of the HP as unreadable visual marvel has impeded consideration of Aldus’ creation as a used text within the wider fabric of humanism.

Liane Lefaivre’s conceptualisation of the HP as a creative dream-space for idea generation was a significant step towards foregrounding the text’s readers. This thesis set to testing this hypothesis against the experiences of actual readers as recorded in their marginalia.
A world census of annotated copies of the HP located a number of examples of prolific annotation, showing readers making use of the HP for a variety of purposes. Benedetto and Paolo Giovio applied a Plinian model of extractive reading to two copies at Como and Modena, reading the HP in a manner analogous to the Natural History. Ben Jonson read his copy of the 1545 HP as a source for visual elements of stage design. An anonymous second hand in Jonson’s copy read the text as an alchemical allegory, as did the hands in a copy at the Buffalo and Erie County Public Library. Pope Alexander VII (Fabio Chigi) combed the text for examples of verbal wit, or acutezze, while comparing Poliphilo’s journeys through an architectural dream with his own passages through Rome. Informed by analogy with modern educational media, I have reframed the HP as a ‘humanistic activity book’, in which readers cultivated their faculty of ingegno through ludic engagement with the text.

The debate about the origin and development of the language of reason of state has so far ignored the long period between Francesco Guicciardini’s formulation of the expression (1521–5), and Giovanni Botero’s first theoretical approach to the topic (1589). My paper analyses a case study of the language of reason of state in the instruction by secretary Giovanfrancesco Peranda to Papal nuncio Annibale di Capua in 1576, when he was sent on a mission to Venice. It was printed for the first time in 1589 as part of the anonymous collection of occasional political writings titled "Thesoro politico", a miscellany published under a false imprint, and in mysterious circumstances. Peranda’s instruction is among a handful of texts that Church authorities decided to prohibit, and thus put the entire "Thesoro politico" on the Index of Forbidden Books. As for the content, the instruction advises the addressee to do everything possible to avoid any criticism of the Venetian foreign policy during the delicate period following the separate peace agreements between the Republic and the Turkish empire. In order to do so, the author develops diplomatic strategies, where the main issue at stake is the interest of the Church as a state. From a literary angle, the instruction stands between Machiavelli’s diplomatic instruction to Raffaello Girolami (1522), and Torquato Tasso’s  philosophical reflection on the role of the diplomat in "The messenger" (1580–83). From different perspectives and contexts, the three texts touch upon the ethical issue of the acceptance of lying and deceit when acting on behalf of the prince.

This study examines the involvement of Ottoman Turkish merchants in international commerce, challenging prevalent misconceptions. By analyzing primary sources and scholarly works, it highlights the Ottoman Empire's commercial relations with the Serenissima (Venetian Republic) and its role in international trade from its early days. Particular attention is given to the participation of non-Muslim subjects and the integration of Turkish-Muslim traders into global markets, illustrated by examples from Cemal Kafadar’s work, A Death in Venice (1575): Anatolian Muslim Merchants Trading in the Serenissima.

The study also delves into Ottoman-Venetian relations in Mediterranean trade and their societal impacts on both parties. Its aim is to provide a comprehensive understanding of the Ottoman Empire's trade dynamics by examining the economic and cultural dimensions of commerce and the roles of diverse ethnic and religious groups. This analysis elucidates the factors influencing Ottoman Turkish subjects’ participation—or hesitation—in international trade, while presenting detailed merchant profiles as case studies.

Keywords: Ottoman Empire, Serenissima, Turkish merchants, Ottoman-Venetian relations, non-Muslim traders.