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Promoting an Artist as an Integral Part of Diplomatic Networking: Chiappino Vitelli and Federico Zuccari at the Court of Queen Elizabeth I

100%
Mavilla F.
Legatio: The Journal for Renaissance and Early Modern Diplomatic Studies
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2020
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issue 4
PL
In the field of study on relations between Italy and Flanders in the second half of the sixteenth century, the military leader Gian Luigi, better known as Chiappino, Vitelli (1520–75) deserves special attention. Trusted man of Cosimo I de’ Medici and maestro di campo generale of the Spanish armies in Flanders since 1567, he was among the protagonists of the first ten years of the Dutch Revolt.Based on the identification of new archival documents, this essay aims both to broaden the sphere of investigation and deepen the understanding of the role of Chiappino in cultural exchanges between Florence, the Habsburg’s and Elizabeth I’s courts. At the same time, it is aimed to draw attention to the political and cultural dynamics in which Chiappino Vitelli’s action towards the English Queen is embedded. From the documents, it clearly emerges how Vitelli took advantage of his role to earn the favour of the sovereign and, in addition to his loyalty, he did not hesitate to offer her the most varied of gifts, such as animals, weapons and artists, such as the painter Federico Zuccari, who reached Flanders in 1574. Zuccari’s sending to the English court should be interpreted as an attempt by the military leader to gain the favour of Elizabeth I when the support of the courts of Florence and Madrid seemed to be lacking, especially after the death of Cosimo de’ Medici and the replacement of the Duke of Alba as governor of Flanders.
2
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Spektakl suwerenności: uroczystości koronacyjne królowej Elżbiety I

100%
Olechnowicz E.
Pamiętnik Teatralny
|
2018
|
issue 4(268)
5-33
EN
The coronation ceremonies of Queen Elizabeth I in 1559, as all ceremonies regarding transfer of royal power, are an interesting example of what Victor Turner called “social drama.” Elizabeth was highly aware of the inextricable bond between statecraft and stagecraft, as can be evinced by the words she famously uttered: “we princes, I tell you, are set on stages in sight and view of all the world duly observed.” The entry progress through the city of London and the coronation were the first public occasions for the queen to present her public persona with theatrical means, through the use of decorations, attributes, gestures, and costumes. The intention behind the ceremonial entry was both to laud the ascending queen and to indicate her government’s policies in the wake of a political crisis following the death of Queen Mary. Allegorical spectacles accompanying the entry comprised a unified programme presenting Elizabeth as the opposite of her predecessor. The purpose of the coronation ceremonies, on the other hand, was quite the opposite: each of its features and rituals was meant to convey and emphasise the continuity and enduring nature of monarchy. The ruler ascending the throne took on a new identity and a new body. In line with the Tudor doctrine of “the king’s two bodies,” described by Ernst Kantorowicz, at coronation the monarch relinquished their individual identity to become a super-individual King who was immortal. Thus, the festivities and ceremonies inaugurating Elizabeth’s rule had a twofold nature, and the two main elements were complementary to each other: they presented the queen as a “new hope” of the Protestant England and as a rightful heir to the throne not just worthy of her predecessors but rather identical with them.
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“A Pattern for Princes to Live by”: Popery and Elizabethan History During England’s Exclusion Crisis, 1679-1681

84%
Petrakos C. R.
American, British and Canadian Studies Journal
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2015
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vol. 25
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issue 1
132-154
EN
This article investigates the intersections of historical memory and political behavior during England’s “Exclusion Crisis” of 1679-1681. In doing so, I bring together theorists of social and historical memory in interpreting the Exclusion Crisis polemic. Between 1679 and 1681, opposition Whigs and Loyalist Tories rehashed sixteenth-century Elizabethan history because it provided potent analogues to the contemporary crisis over the succession. Through an analysis of parliamentary debates and historical writing, I argue that England’s sixteenth-century history was an integral part of the contemporary political debate. The context of Elizabeth’s Treason Act and the imprisonment of Mary, Queen of Scots provided historical parallels that opposition writers used to justify the exclusion of the Duke of York as well as make claims for parliamentary sovereignty in determining the succession. The Elizabethan era provided a wellspring of historical examples that could be culled to refute arguments for monarchial divineright absolutism. Rather than foreground the role of political theory in structuring attitudes and assumptions about the monarchy and parliament, this article sets out to show that sixteenth-century historical polemic set the terms of contemporary debate and, thus, influenced political outcomes.
4
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Due regine per un’attrice: Maria Stuarda e Elisabetta I nell’interpretazione di Adelaide Ristori

84%
Simoncini F.
Italica Wratislaviensia
|
2019
|
issue 10.2
223–237
EN
The essay analyses some scenes from Friedrich Schiller’s Mary Stuart and from Paolo Giacometti’s Queen Elizabeth I of England, performed by Adelaide Ristori. Through a careful comparison between textual sources (memoirs, scripts, testimonies) and iconographic sources (paintings, photographs, engravings), the scene movements and gestures used by the great actress are reconstructed.
IT
Il saggio analizza alcune scene di Maria Stuarda di Friedrich Schiller e di Elisabetta I regina d’Inghilterra di Paolo Giacometti interpretate da Adelaide Ristori. Attraverso un’attenta comparazione tra fonti testuali (memorie, copioni, testimonianze) e fonti iconografiche (quadri, fotografie, incisioni) vengono ricostruiti i movimenti di scena e la gestualità usati dalla Grande Attrice per delineare e rendere scenicamente i caratteri e le psicologie delle due regine rivali.
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