Huck wrote:virtual Studiolo of Montefeltro ... movie
Intarsien (marqueterie) work in the studiolo of Montefeltro in Urbino ...
... the interesting object is the checkered ring with (I tried to count the fields from this picture, hopefully I'm not wrong) with 32x8 fields.
At least modern chess variants know the version how to play "without left and right border" (a figure, which leaves the chess board at the right side, enters the left side). ... ... One can (and should) play this game in 2D-modus, ... ... using the upper ring would need magnetic figures and a cord to hang it somewhere. But the ring might be a visualization of this game idea.
The dimension of the board are astronomic, so it might be rather difficult to play a game till its end.
Another emblem on the main wall shows an ermine surrounded by a circle of mud with the Italian motto NO[N] MAI ("never") above. The ermine is a well-known symbol of innocence and purity because it was believed it would rather die than soil its immaculate white coat.
In the center of the main wall is the Order of the Garter. It is the most prominent personal symbol, one identified with the very presence of the prince, and it was displayed throughout his private apartments and on the door of his studiolo. Federico had been elected a member of the prestigious English Order of the Garter and confirmed by King Edward IV. The insignia of the order, the jeweled garter, was presented to him by the English ambassador in a solemn ceremony held at the abbey of Grottaferrata, near Rome.
Other emblems allude to Federico's virtues as a military leader. The crane, with a leg held up and a stone in its claw, is a time-honored symbol of watchfulness and an allusion to Federico's celebrated virtue of being "always vigilant and awake."
As did many noblemen of his time, Federico had several personal emblems or devices that alluded to significant events, virtues, or aspirations. Along the center of the main wall an ostrich holds a spearhead in its beak, behind the bird is the German saying: "I can swallow a big iron." The oldest of the emblems used by Federico, it had belonged to his grandfather, on whose tomb it appears—it was evidently meant as a symbol of resistance to adversity.
1) studiolo 2) loggia 3) dressing chamber 4) duke's bedchamber 5) sala d'udienza 6) sala degli angeli.
This book offers an English translation of the Italian manuscript that commemorated the marriage of Costanzo Sforza Lord of Pesaro and Camilla d’Aragona of Naples, which took place in Pesaro in 1475. Furthermore, this richly illustrated text provides the reader with the necessary historical background and biographical details.
This publication is the first English translation from the Italian of the fascinating contemporary account of the spectacular four-day celebrations that took place in Pesaro in May 1475 to mark the marriage of Costanzo Sforza Lord of Pesaro and Camilla d’Aragona of Naples. The event was commemorated both in manuscript and early print in an anonymous narration that describes in great detail the arrival of the bride and her welcome procession into Pesaro; the actual marriage ceremony and the celebratory banquet that followed; the pageants, presentation of gifts and fireworks that filled the third day; and the final day’s excitement of jousts and yet more theatrical entertainment.
The translation has been made from the early printed text (the incunable in the British Library, I.A.31753 Sforza, Costantio Signore di Pesaro, 1475) and also directly from the unique illustrated presentation manuscript in the Vatican Library (MS Vat. Urb. Lat. 899) which, though previously thought to have been produced in 1480, may in fact have been made at the same time as the incunable edition. It is not known for whom the printed books were intended (7 copies only survive), but it is likely that the prominent dignitaries among the 108 guests – who included Federico da Montefeltro, the groom’s brother-in-law – would have been the recipients of the account when it was printed in November 1475.
This present edition of the text includes all the images that illustrate the original manuscript – 32 full-page miniatures that depict the floats that welcomed the bride at the city gates of Pesaro; the costumed figures at the wedding banquet who represented the presiding Sun and Moon or the male and female messengers of the classical gods and goddesses who announced the exotic dishes of the 12-course banquet; and further colourful, unusually interesting illustrations of the ballets, fireworks and triumphs of the final two days of the celebrations.
In addition to the Introduction that provides the reader with the historical background and biographical details of the protagonists and personalities of this special occasion, Dr Bridgeman also adds helpful and highly informative annotations to the narration itself. In addition she provides full descriptions and explanations of the illustrations – all reproduced here in colour – and devotes a separate appendix to listing and explaining all the dishes served at the wedding banquet, together with their ingredients and recipes.
Dr Jane Bridgeman is an Associate Lecturer in Fashion History and Theory at Central St Martin’s College of Art, London. After graduating in Italian at Birmingham University, she studied History of Dress under Stella Mary Newton at the Courtauld Institute of Art, London where she also gained her Ph.D. on Aspects of Dress and Ceremony in Quattrocento Florence. She has taught at a number of universities and art colleges in the UK and has published numerous articles in English and Italian on the iconography of dress and the history of textiles.
Browse a selection of sample pages online: http://bit.ly/1abOmqf
At all events, why do the 'CVI' and 'AS' decks feature black shields on the highest suit of swords, a color of mourning?
My 2 cents ...maybe this was just a free place to add the heraldry of the buyer of the deck?
That only makes sense if the black is then painted over with the relevant livery color(s) of the buyer/recipient, which in the case of the 'AS' would be red; why is it instead black, when on the numerous examples in the festival book they always show the Sforza-Pesaro color of red? E.g.:
It makes more sense for an artist studio to leave a shield blank and not waste the black paint. The black signified something: (a) death.
ANJOU (Charles Ier d')
D'azur, semé de fleurs de lis d'or, au lion d'argent mis au franc-quartier ; à la bordure de gueules.
Comte du Maine, de Guise, de Mortain, vicomte de Châtellerault, lieutenant général pour le roi en Languedoc et en Guyenne ; troisième fils de Louis II de Sicile et de Yolande d'Aragon ; marié : 1°, avant 1434, avec Cobelle Ruffo (2), veuve de Jean-Antoine Marzano, duc de Sessa, prince de Rossano, fille de Charles Ruffo, comte de Montalto et de Corigliano, grand justicier du royaume de Naples, et de Cevareila de Saint-Séverin (voyez ce nom) ; 2°, par contrat du 9 janvier 1443, avec Isabelle de Luxembourg, fille de Pierre de Luxembourg, comte de Saint-Pol, et de Marguerite des Baux ; né au château de Montils-les-Tours, le 14 octobre 1414 ; mort à Neuvy, en Touraine, le 10 avril 1472, et inhumé dans l'église de Saint-Julien du Mans.
(2) Par cette alliance, Cobelle Ruffo était devenue la belle soeur de trois rois, Louis III de Sicile, René d'Anjou et Charles VII. Polyxène Ruffo, sa soeur, épousa en premières noces François-Alexandre Sforza (voyez ce nom).
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