Italian Influence Research Articles

Music & Musicians in Nineteenth-Century Italy

This book presents a grassroots view of the daily musical life of the Italian people throughout the 19th century. The author demonstrates that Italians of all walks of life, from Sicilian fisherfolk to Venetian aristocrats, shared a common and eclectic musical tradition that ranged from the rustic shepherd's pipe tunes to the greatest opera arias. This book deals with such questions as: how did ordinary people learn such music, how were musicians trained and organized, how true is it that the Italians were wholly taken up with opera, a supposedly popular and nationalistic art? Some of the conclusions of this book are that folk music in the period remained fragmented, with little notice taken of it by the educated, but that art music was unified even when the country was split up into small states. Unity and continuity were ensured, first by a strongly traditional musical profession, based on family and apprenticeship and on craft methods of work, and secondly by musicians' ceaseless travels along a circuit that took in not only many Italian towns, but also many European and American towns under Italian influence. This traditional world was severely shaken by the political and economic changes of mid-19th century. With exceptions like semi-commercial Neopolitan song, Italian music became more European and less distinctively Italian.

Die "Auffindung und Prufung des Hl. Kreuzes durch Kaiserin Helena." Zu einem wiederaufgefundenen Fruhwerk Hans von Aachens

An important altarpiece by Hans von Aachen, Empress Helena Discovers and Tests the True Cross, long believed lost, was rediscovered a few years ago in a private collection. The painting was commissioned by Count Otto Heinrich von Schwarzenberg in 1586 for his family's funerary chapel in the cemetery of the Franciscan church in Munich, but disappeared in Austria following the demolition of the church. Based on previously unknown source material as well as on a comparative analysis of the presentation drawing and the final painting, the work can be dated between 1586 and 1588. Although the preliminary drawings were made while the painter was still in Venice, the painting itself was executed in Munich. This is the first work by Aachen, other than his bourgeois portraits, in which central Italian influences are replaced by elements of the Venetian style.

ITALIAN INFLUENCES ON EAST EUROPEAN CHURCH MUSIC IN THE LATE SIXTEENTH AND THE SEVENTEENTH CENTURIES

A close study of European musical culture at the end of the sixteenth century, taking Europe as a whole ?the ?Europa magna?? reveals that there is much in common in the processes going on in both its Western and Eastern parts. In the East, just as in the West, the last decades of the sixteenth century were very significant for Slavonic music and this period may be justly called a turning point in its development. The aim of this paper is to prove the assumption that at that time the Italian influence played an important role in the Ukraine. The difference in the situation at the Eastern border and in other parts of the continent lies mainly in the fact that this influence was not supported by the pre sence of musicians from the Apennine peninsula ?at least, there is no available evidence confirming it. It was the transition from Middle Ages to modern times that brought about changes first in the Ukraine and then in Russia. In the Ukraine the sharpness of the collision between two cultural paradigms was mi tigated by the already formed ability to adopt new tendencies, which might be due to its specific historic-political, and even geographic con ditions. Being a part of the Polish-Lithuanian Commonwealth for some centuries, the Ukraine exerted a strong impact on national mentality. Not without reason it was called ?Ukraine?, meaning ?at the border?. It was an Eastern border for Poland and a Western outpost for Muscovy (though the Muscovites called all the Western lands simply ?Litva?). Such ?buffer? position ?between two worlds of the Western and Eas tern Christianity? made the Ukraine an arena of permanent wars, plun dering raids of Tatars and Turks. But at the same time, life in the mul tinational state (which was so remarkable in previous centuries for its confessional tolerance), the co-existence with the Catholics made Uk rainians subject to Western influence and in intercultural relations. And,

Byron: The Italian Literary Influence

Byron: The Italian Literary Influence

Jean-Baptiste Greuze's Italian Sojourn 1755–57

Jean-Baptiste Greuze's Italian Sojourn 1755-57 HEATHER McPHERSON After his triumph at the Salon of 1755, Jean-Baptiste Greuze set off for Rome in the company of the abbe Gougenot and remained in Italy until April 1757. A trip to Italy was still practically de rigueur for a young artist who wished to succeed, and Greuze did not lack ambi­ tion. However, most scholars from Mariette to Brookner have dis­ counted the importance of Greuze's Italian sojourn. In the words of the noted connoisseur Mariette, "Il a fait le voyage d'Italie en 1756, voyage qui lui etait assez inutile, et ou la vanite dut avoir la principale part."1 Brookner's denial of the utility of Greuze's Italian trip is even more categorical. It is generally recognized that the journey to Italy, which took place in 1755-57, did nothing for Greuze's art. It might almost be true to say that it wasted two years which he might otherwise have em­ ployed in following up the Dutch models which he had set himself and to which he returned in the late 1750s.2 Only Sauerlander, in his 1965 article entitled "Pathosfiguren im Oeuvre des Jean-Baptiste Greuze," recognized an early and lasting Italian in­ fluence on Greuze's art.3 Edgar Munhall, in his 1976 exhibition cata­ logue, Jean-Baptiste Greuze 1725-1805, emphasized the importance of the four paintings in Italian costume which Greuze exhibited at the 1757 Salon.4 In this author's view, Greuze's Italian sojourn was more significant 93 94 / MCPHERSON in the development of his unique moralizing genre than has generally been realized. The impact of the Italian trip was both immediate and lasting. Italian influence surfaced in the paintings shown in 1757 and continued to affect Greuze's art during the rest of his career. This paper will focus on the four Italian paintings which figured at the 1757 Salon: La Paresseuse italienne, Un Oiseleur, Les Oeufs casses, and Le Geste napolitain.5 In addition, Greuze exhibited the following works: Le Matelot napolitain, Un Ecolier qui etudie sa legon, two portraits, two heads, and a sketch representing Des Italiens qui jouent a la More.6 The four Italian paintings draw upon different aspects of the Italian heritage from antique statuary to contemporary genre painting. Greuze's early and continuing appreciation of Italian art sheds light upon his subsequent artistic development, his history painting am­ bitions, and his precocious neoclassical tendencies. In addition, the Italian link contributes to our understanding of the evolution of genre painting in France. The ascendancy of Netherlandish painting has long been recognized, but Italian influence has received little atten­ tion from scholars. However, it was in Italy that many young French artists came of age and began experimenting with genre subjects. French artists, like Greuze, who travelled to eighteenth-century Rome encountered a sort of "moveable feast" where antiquity coex­ isted with Renaissance and baroque art and the picturesqueness of Roman street life. The genre tradition was alive and well in Italy, es­ pecially outside Rome. Eighteenth-century Italian genre artists such as Crespi, Ceruti, and Longhi enjoyed considerable reknown at mid­ century. Two parallel genre painting currents existed: the costume study and the anecdotal realistic scene or bambochade. Greuze's Italian works drew upon both these currents, but were also indebted to Ren­ aissance and Baroque history painting and classical antiquity. This is hardly surprising for an ambitious artist like Greuze who aspired to the title of history painter. On the way to Rome, Greuze visited the major Italian cities and copied diverse works ranging from the Dying Gladiator to the paint­ ings of Michelangelo and Titian. In 1755, he designed a series of cos­ tume studies for Gougenot's Album de voyage en Italie which were en­ graved by the Moitte family in 1768. These illustrations fall within the tradition of picturesque costume studies which were in vogue in eighteenth-century France. Relatively little is known about Greuze's Italian sojourn.7 We do know the itinerary Greuze and Gougenot followed but frustratingly little about Greuze's social and artistic contacts, especially in Rome. Greuze and Gougenot passed through Turin, Genoa...

Thomas Mann and Italy by Ilsedore B. Jonas (review)

THOMAS MANN AND ITALY BY ILSEDORE B. JONAS Translated by Betty Crouse (University: University of Alabama Press, 1979. viii + 185 pages + illus., $14.75) I. B. Jonas's detailed study of Italy's influence on Thomas Mann and the German author's influence on Italian literature maximizes the southern country's importance to the northern novelist and viceversa. The work is divided into five chapters — Mann's Encounters with the Italian World, Reflections of Italy in Mann's Works, Mann's Influence on Italian Literature, and Results of the Investigation of Mann's Relationship with Italy — followed by a chronological table of Mann's trips to Italy, extensive notes, a useful bibliography, an index of persons, and eight pages of photographs. From 1895 to 1954 Mann made over twenty separate trips to Italy. His initial reaction to the colorful Italian scene was reserved, but his reserve gradually turned into a fascination with the Latin culture. In Death in Venice, as in the earlier novella Tonio Kroger and the sketch Gladius Dei, the south comes to represent sensuality and the north asceticism. An Italian setting is absent from The Magic Mountain, but the figure of Lodovico Settembrini (undoubtedly based on the historical Luigi Settembrini ) introduces the motif of Italian liberalism and humanism. Settembrini's admiration for Carducci, Mazzini, and Garibaldi and his references to Dante, Petrarch, Brunetto Latini, Pietro Aretino, and Giacomo Leopardi testify to Mann's familiarity with Italian literature. In Mario and the Magician the scene is once again Italian, and the author's anti-Fascist sentiments are in the foreground; the character Cipolla, furthermore, is modelled on Boccaccio's Frate Cipolla. Adrian Leverkühn, in Doctor Faustus, travels to Italy in search of freedom. In this and all Mann's works containing descriptions of Italy the author draws on his personal recollections to capture the southern scenes. Until Mann received the 1929 Nobel Prize, Italian interest in him was minimal. In the 1930's and 1940's Lavinia Mazzucchetti, Italy's chief Mann scholar, was most responsible for directing southern attention to the German writer. In 1952 Mann received the Feltrinelli Prize. Italian literature of our era has taken French and American authors as models, but the German traditions has rarely exerted extensive influence over Italy. Jonas's main contribution is her demonstration that Italian influence on Mann was much greater than previously thought. MADISON U. SOWELL* •MADISON U. SOWELL, Assistant Professor of Italian and Comparative Literature at Brigham Young University, has a Ph.D. from Harvard University in Romance Languages and Literatures. His specialty is Italian literature of the Middle Ages and the Renaissance. He is completing a book on Dante's use of simile in the Commedia. 168VOL 34. NO 2(SPRING 1980) ...

Italian Influences on the Development of Calvinist Scholasticism

THIS ARTICLE TRIES show that the rise of Calvinist scholasticism, which was the most important development in Calvinist theology during the second half of the sixteenth century, stemmed largely from several converging Italian influences, particularly from the writings of Peter Martyr Vermigli and Jerome Zanchi. Here Calvinist theology refers not only the personal thought of John Calvin but also the teachings of the founders of the Reformed or Calvinist tradition as it spread out from Geneva and Switzerland France, Germany, England, Scotland, Poland, and the Low Countries. In this context Calvin emerges as the brightest star in a galaxy of Reformed theologians which includes Heinrich Bullinger, Pierre Viret, Theodore Beza and Wolfgang Musculus as well as Martyr, Zanchi and others. These theologians were often more influential than Calvin himself at a given place or time or on a given point of doctrine. Bullinger, Martyr, and Martin Bucer were all more important for spreading Calvinist ideas Edwardian England than was John Calvin. Early Elizabethan Protestantism looked more Zurich than Geneva, as did early Polish Calvinism. German Calvinism owed more Heidelberg than Geneva.' These leaders developed their theologies sometimes in mutual dependence, sometimes with surprising independence. By no means was their relation Calvin simply that of disciple master, for each gave a personal nuance his style of Calvinism. Thus the sixteenth century Jesuit Cornelius Schulting states on the opening page of his five volume polemic against Calvin and Peter Martyr that Martyr was clearer and far more learned than Calvin.2 Recently John Bray has pointed out that research in seventeenth century Calvinism leads to the conclusion that the impact of Calvin upon the Calvinistic movement has been greatly over-rated. It may well be that some of

REVIEWS

REVIEWS Get access The Italian Influence on Scottish Literature. By R. D. S. JACK. Pp viii+256Edinburgh: University Press, 1972. £3.50 net. M. F. M. MEIKLEJOHN M. F. M. MEIKLEJOHN Search for other works by this author on: Oxford Academic Google Scholar The Review of English Studies, Volume XXIV, Issue 95, August 1973, Pages 380–382, https://doi.org/10.1093/res/XXIV.95.380 Published: 01 August 1973

REVIEWS

Journal Article REVIEWS Get access The Italian Influence on Scottish Literature. By R D S JACK Pp viii + 256 Edinburgh University Press, 1972. £3 50 net M F. M MEIKLEJOHN M F. M MEIKLEJOHN Search for other works by this author on: Oxford Academic Google Scholar The Review of English Studies, Volume XXIV, Issue 93, 1973, Pages 380–382, https://doi.org/10.1093/res/XXIV.93.380 Published: 01 January 1973

Franco Simone. <italic>The French Renaissance: Medieval Tradition and Italian Influence in Shaping the Renaissance in France</italic>. Translated from the Italian by H. Gaston Hall. [London:] Macmillan; distrib. by St. Martin's Press, New York. 1969. Pp. 335. $11.50

Franco Simone. <italic>The French Renaissance: Medieval Tradition and Italian Influence in Shaping the Renaissance in France</italic>. Translated from the Italian by H. Gaston Hall. [London:] Macmillan; distrib. by St. Martin's Press, New York. 1969. Pp. 335. $11.50

The French Renaissance. Medieval Tradition and Italian Influence in Shaping the Renaissance in France

The French Renaissance. Medieval Tradition and Italian Influence in Shaping the Renaissance in France

Franco Simone. The French Renaissance. Medieval Tradition and Italian Influence in Shaping the Renaissance in France. Translated from the Italian by H. Gaston Hall. London: Macmillan, 1969; New York: St. Martin's Press, 1970. 336 pp. $11.50.

Franco Simone. The French Renaissance. Medieval Tradition and Italian Influence in Shaping the Renaissance in France. Translated from the Italian by H. Gaston Hall. London: Macmillan, 1969; New York: St. Martin's Press, 1970. 336 pp. $11.50. - Volume 24 Issue 2

Reviews : Franco Simone, The French Renaissance: Medieval Tradition and Italian Influence in shaping the Renaissance in France. Translated by H. Gaston Hall. Macmillan, I969. 335 pp. 75s

Reviews : Franco Simone, The French Renaissance: Medieval Tradition and Italian Influence in shaping the Renaissance in France. Translated by H. Gaston Hall. Macmillan, I969. 335 pp. 75s

Petrus Christus: A Reconstructed Triptych with an Italian Motif

In the literature on Petrus Christus, historians have often considered the possibility that he may have travelled to Italy.1 Support for the belief in such a trip usually has been based on the mention of a “Piero di Burges” working at the court of Milan in 1456,2 although this reference has not been identified positively with Petrus Christus. As additional proof for the journey, Germain Bazin points out that no less than eight of about twenty-five extant works by Christus were acquired in Italy and Spain or still remain there.3 Furthermore, as early as 1492 the inventory of the collection of Lorenzo de’ Medici lists “una tavoletta dipintovi di una testa di dama franzese cholorita a olio, opera di Pietro Cresti da Bruggia.”4 The aim of this study is to consider an Italian motif in a triptych by Christus, in an attempt to prove at least a definite Italian influence on the work if not an actual southern journey.

Petrus Christus: A Reconstructed Triptych with an Italian Motif

In the literature on Petrus Christus, historians have often considered the possibility that he may have travelled to Italy.1 Support for the belief in such a trip usually has been based on the mention of a “Piero di Burges” working at the court of Milan in 1456,2 although this reference has not been identified positively with Petrus Christus. As additional proof for the journey, Germain Bazin points out that no less than eight of about twenty-five extant works by Christus were acquired in Italy and Spain or still remain there.3 Furthermore, as early as 1492 the inventory of the collection of Lorenzo de’ Medici lists “una tavoletta dipintovi di una testa di dama franzese cholorita a olio, opera di Pietro Cresti da Bruggia.”4 The aim of this study is to consider an Italian motif in a triptych by Christus, in an attempt to prove at least a definite Italian influence on the work if not an actual southern journey.

Reflections on the French Renaissance : The Emergence of a New Historiographical Framework

REFLECTIONS ON THE FRENCH RENAISSANCE: THE EMERGENCE OF A NEW HISTORIOGRAPHICAL FRAMEWORK Get access FRANCO SIMONE: The French Renaissance: Medieval Tradition and Italian Influence in Shaping the Renaissance in France Translated from the Italian by H. G. HallLondon: Macmillan, 1969 [ 1970]. 335 pp. £3.75. FRANCO SIMONE FRANCO SIMONE Turin Search for other works by this author on: Oxford Academic Google Scholar Forum for Modern Language Studies, Volume VI, Issue 4, October 1970, Pages 342–345, https://doi.org/10.1093/fmls/VI.4.342 Published: 01 October 1970

REFLECTIONS ON THE FRENCH RENAISSANCE: THE EMERGENCE OF A NEW HISTORIOGRAPHICAL FRAMEWORK

REFLECTIONS ON THE FRENCH RENAISSANCE: THE EMERGENCE OF A NEW HISTORIOGRAPHICAL FRAMEWORK Get access FRANCO SIMONE: The French Renaissance: Medieval Tradition and Italian Influence in Shaping the Renaissance in France Translated from the Italian by H. G. HallLondon: Macmillan, 1969 [ 1970]. 335 pp. £3.75. FRANCO SIMONE FRANCO SIMONE Turin Search for other works by this author on: Oxford Academic Google Scholar Forum for Modern Language Studies, Volume VI, Issue 4, October 1970, Pages 342–345, https://doi.org/10.1093/fmls/VI.4.342 Published: 01 October 1970

The Yugoslav-Bulgarian Perpetual Friendship Pact of 24 January 1937

While Stojadinovic's government categorically refused to accept the transformation of the Little Entente into a universal defence pact, it was at the same time negotiating with Bulgaria for a pact with Bulgaria and Italy. This policy of the Yugoslav government had farreaching consequences upon the modification of the entire political constellation in the Balkans, as well as upon the influence exerted by individual great powers interested in this area, which also determined their respective attitudes towards these pacts. The process of Yugoslav-Bulgarian rapprochement was facilitated by the British policy of winning Bulgaria over for adhesion to the Balkan Pact, which Britain followed at the time of the Italian aggression on Ethiopia. During its negotiations with the governments of Yugoslavia, Turkey and Greece for mutual aid, the British government tried to strengthen its own position with Italy by including Bulgaria in the Balkan Pact. Being a revisionist country, Bulgaria always represented a potential ally of Italy in the Balkans. According to some documents, it seems that the British government was even prepared to help the Yugoslav-Bulgarian rapprochement outside the Balkan Agreement only in order to draw Bulgaria away from the Italian influence. At the end of May and in the beginning of June 1936, Edward Boyle, chairman of the Balkan Committee in London, was staying in Sofia. Boyle was known to be a friend of Bulgaria and a champion of the theses of the Pan-Bulgarian bourgeoisie on the "Bulgarian population" in "Serbian" Macedonia. Though he was there in an unofficial capacity, the Yugoslav minister in Bulgaria, Jurisic, was informed that Boyle had been instructed to investigate the disposition of Bulgaria towards Yugoslavia. In his contacts with Bulgarian officials and leaders of Macedonian emigrants, Boyle recommended the continuation of the policy of rapprochement with "fraternal Yugoslavia" as the soundest

Menzuralni fragment iz Nadškofijskega arhiva v Ljubljani

Menzuralni fragment iz Nadškofijskega arhiva v Ljubljani

The Paradise of Travellers: The Italian Influence on Englishmen in the Seventeenth Century

The Paradise of Travellers: The Italian Influence on Englishmen in the Seventeenth Century