Search results

1

A Weak Dominance: Winds of Revolt in Florentine Territory (the Second Half of the Fourteenth Century)

100%

Pirillo P.

Acta Poloniae Historica

|

2019

|

vol. 119

PL

This article highlights some of the challenges the nascent Florentine territorial state faced in the second half of the fourteenth century, after it was visited with the Great Plague of 1348. When mercenaries began to cross the territory, and the ruling class found itself unable to handle this kind of emergency, the exurban population turned to forms of self-defence. These initiatives resemble the coeval ones undertaken by the Tuchins in Normandy or those in Languedoc and southern Piedmont.

2

The Communal Ideology in Giovanni Villani’s Nuova cronica

100%

Anuszkiewicz Z.

Acta Poloniae Historica

|

2015

|

vol. 112

EN

The essay analyses the ideological message of Giovanni Villani’s Nuova Cronica. Rather than a cohesive theory of good governance, the Florentine chronicler shows scattered images, and in the comments added to the events described he makes explicit what political virtues and inadequacies he considered crucial. Insofar as the earlier books seem to have been inspired by the Roman republican ethos and the Franciscan cult of paucity preached by Dante, he focuses in the final section mostly on the citizens’ internal disposition: their expected attitude would be to hold the Commune in magnanimous love. Villani discerns between the virtues of citizens and those of the rulers, with whom discretion and prudence, rendering political practice efficient, is paramount; such prudence is easier to find with affluent burghers than good artisans. The superior value that ought to be sought through the citizens activities, in the area of policymaking and not only, is the grandeur of their Commune.

3

‘Per popolo e per confini’. Florentine tavola delle possessioni and the Property Registration in the Middle of the Fourteenth Century

100%

Pomierny-Wąsińska A.

Acta Poloniae Historica

|

2019

|

vol. 120

PL

In the mid-fourteenth century, the authorities of Florence resolved to establish registers of all the real properties within the Florentine dominion. A project, unprecedented in the Florentine history, to record and compile an inventory of estates was conceived. The article considers the circumstances behind the project, primarily the socioeconomic and political factors that drove the authorities’ decision. Details are discussed regarding the selection of officials responsible for the project and the work they did. Analysis of the project in question enables to address certain specific issues of late medieval perception and rationalisation of urban and off-urban space.

4

PRINCE STANISŁAW PONIATOWSKI: EXPERT ON AND COLLECTOR OF ANCIENT AND ITALIAN ART

100%

Bender A.

Muzealnictwo

|

2020

|

vol. 61

80-89

EN

The current state of research into the patronage and collecting activities of Prince Stanisław Poniatowski (1754–1833) in Italy with which he was connected for almost 40 years of his life is outlined. Over the period, the Prince made 3 long trips there which preceded 30 years of living in Italy on a permanent basis, first in Rome, and then in Florence where he was buried. Despite his many accomplishments and extraordinary personal history, the Prince has not taken as prominent a position either in academic research or in the collective memory of Poles as his junior cousin Prince Józef who drowned in the Elster River giving his life for the homeland. Although no monograph has as yet been published on Stanisław Poniatowski, he is not entirely forgotten. However, the major studies dedicated to him were published a relatively long time ago. The most extensive, i.e. the book I Poniatowski a Roma (Firenze 1972), speaking of the history of Prince Stanisław and the Poniatowski family, was written by the Italian writer and columnist Andrea Busiri Vici and has never been translated into Polish. As the current state of research shows, very few Polish art historians have taken any in depth interest in the Prince’s activity. Apart from the mentions scattered in different studies, there are merely four articles dealing with some selected aspects of the Prince’s patronage and collecting activity (by Janina Michałkowa, Elżbieta Budzińska, Tadeusz Jaroszewski, Dominika Wronikowska). Historically the most complete study dedicated to Prince Stanisław is to be found in Jerzy Michalski’s paper from 50 years ago published in the Polish Biographical Dictionary. The to-date Polish and foreign publications in history, history of art and archaeology do not exhaust many issues related to the person, activity, and the collecting passion of Prince Stanisław.

5

Contemporary Music in Central Italy: an Overview of Recent Decades

84%

Mastropietro A.

Interdisciplinary Studies in Musicology

|

2013

|

issue 12

13-40

PL

The present article tries to make thematic the geographical plan of the present volume, by examining the major focal points of Contemporary Music in Central Italy which act as centres disseminating compositional trends through a long-established interest in recent music, as well as didactical structures and important teachers. Clearly, Rome is a more influential centre than Florence (where the endemic tendency of Florentine culture towards a sense of order, the settlement there of Dallapiccola, and the rise of a pioneering activity in the field of electronic music since the ‘60s are noteworthy); this is due to the teaching - through different generations - of Petrassi, Guaccero, Donatoni, Corghi and now Fedele, as well as the presence of many musical institutions, and the availability of artists and writers involved in exchanges and collaborations with composers. For this reason, many composers who were educated or active in Rome developed an outstanding - often prophetic - predilection for mix-media or theatrical works. After Bussotti, Guaccero, Macchi and Bertoncini, Giorgio Battistelli is a pivotal figure representing this trend in the next generation of composers; nonetheless an aptitude for it can be perceived also in other composers from both generations (Clementi, Pennisi and Renosto; Sbordoni, Lombardi, Rendine, D’Amico and De Rossi Re), including among the younger ones Silvia Colasanti, Roberta Vacca and Francesco Antonioni. In parallel, electronic music has been cultivated by Evangelisti and Branchi, as a way of renewing musical thought and language from their foundations: researches in the musical application of digital processing have been remarkable in Rome, along with experimentation in real time sound-generation and -transfoimation (Nottoli, Lupone, Di Scipio). On the whole, the generation born in the 1950s seems to tend (in aesthetics as well as in poetics) towards a change of thinking about musical form, integrating paradigmatic (structural) categories, typical of serial music, with syntagmatic (fictional) ones. Such an integration is perceivable as early as in the works of Donatoni, which have widely influenced many younger Italian composers, whether they have studied under him or not. The compositional horizon in Central Italy will be examined, with a special focus on that generation, with regard to two issues: 1) Has this change been determined (or helped) by post modernism? Before post-modernism became widespread during the 1980s, some composers from Rome had already elaborated a language which included heterogeneous sound materials and playing with musical codes, even if they did not deny the necessity of historical progress of musical language. Furthermore, postmodernism doesn’t suffice to explain the music of many composers, for whom the stratification of musical language and the sphericity of internal relationship inside a work is a result of the theory of complexity. 2) What is the aesthetical and poetical tendency in the youngest generation of composers, since a radicalization between a fictional and a visionary approach seems to have been established in their music?

6

Polski wygnaniec. Teofil Lenartowicz w oczach Giovanniego Papiniego

84%

Ślarzyńska M.

Colloquia Litteraria

|

2023

|

vol. 34

|

issue 1

99-112

EN

This article focuses on giovanni Papini’s little-known short story L’esule polacco from the volume Passato remoto (1948) and the encounter between teofil Lenartowicz and the Italian writer described in it. The meeting between the teenage Papini, who was wandering with his father through the hills around Florence, and the elderly Polish poet, who had been in Italy for years, took place in 1892. Papini’s reminiscence evoked the most important elements of the characteristics of the figure and oeuvre of Lenartowicz, in whom the Italian writer immediately recognised a true poet. Papini’s reminiscence about of Lenartowicz left a trace in the perception of later Polish emigration in Italy, as evidenced by the recalled text by Leonardo Kociemski. The article is accompanied by a translation of the short story L’esule polacco, previously not translated into Polish.

7

Unia florencka

84%

Grzywaczewski J.

Teologiczne Studia Siedleckie

|

2022

|

issue Teologiczne Studia Siedleckie

341-358

EN

The article presents in abbreviation the context of the Union of Florence in 1439 between the Catholic Church in the West and the Orthodox Church in Greece. It is a presentation according to the “Memoires” of Silvester Syropoulos, a clerk associated to Hagia Sofia. He belonged to the adversaries of this union. He signed it, as many bishops, under emperor’s pressure. Emperor John VIII Paleologos supported the project of union with the West in the hope of military support against the Turks. In fact, the governors of the West (pope and kings) were not able to grand such a support to Greece, even if they tried to do it. The fall of Constantinople (1453) harmed relationship between the Latin and Greek Churches. The Union of Florence concerned Polish Kingdom because on its territory lived many people of orthodox rite. The Union of Florence is considered in Poland as preparation for the Union of Brest (1596).

PL

Artykuł przedstawia w skrócie przebieg obrad Soboru w Ferrarze i Florencji, które zostały zakończone podpisaniem unii pomiędzy Kościołem katolickim a greckim Kościołem prawosławnym w 1439 roku. Debata odbywała się okresie tuż przez upadkiem Konstantynopola (1453). Jest też zarys sytuacji po Soborze w Grecji oraz w Królestwie Polsko-Litewskim. Oryginalność artykułu polega na tym, że jest on opracowany w oparciu o zapiski Sylwestra Syropoulosa, diakona i eklezjarchy (kanonika) z bazyliki Hagia Sofia, który był przeciwnikiem unii z Zachodem, ale w swojej relacji starał się o obiektywność. W Polsce Unia florencka jest uważana za wstęp do Unii brzeskiej (1596).

8

Unia florencka

84%

Grzywaczewski J.

Teologiczne Studia Siedleckie

|

2022

|

vol. XIX/19

341-358

EN

The article presents in abbreviation the context of the Union of Florence in 1439 between the Catholic Church in the West and the Orthodox Church in Greece. It is a presentation according to the “Memoires” of Silvester Syropoulos, a clerk associated to Hagia Sofia. He belonged to the adversaries of this union. He signed it, as many bishops, under emperor’s pressure. Emperor John VIII Paleologos supported the project of union with the West in the hope of military support against the Turks. In fact, the governors of the West (pope and kings) were not able to grand such a support to Greece, even if they tried to do it. The fall of Constantinople (1453) harmed relationship between the Latin and Greek Churches. The Union of Florence concerned Polish Kingdom because on its territory lived many people of orthodox rite. The Union of Florence is considered in Poland as preparation for the Union of Brest (1596).

PL

Artykuł przedstawia w skrócie przebieg obrad Soboru w Ferrarze i Florencji, które zostały zakończone podpisaniem unii pomiędzy Kościołem katolickim a greckim Kościołem prawosławnym w 1439 roku. Debata odbywała się okresie tuż przez upadkiem Konstantynopola (1453). Jest też zarys sytuacji po Soborze w Grecji oraz w Królestwie Polsko-Litewskim. Oryginalność artykułu polega na tym, że jest on opracowany w oparciu o zapiski Sylwestra Syropoulosa, diakona i eklezjarchy (kanonika) z bazyliki Hagia Sofia, który był przeciwnikiem unii z Zachodem, ale w swojej relacji starał się o obiektywność. W Polsce Unia florencka jest uważana za wstęp do Unii brzeskiej (1596).

9

Teofil Lenartowicz – the Mazovian lyre player, and heir of Italian Renaissance Artists. The case of ‘The Holy Workers’: the bas-relief and the poem

67%

Bartnikowska-Biernat M., Bartnikowska-Biernat M.

Ruch Literacki

|

2019

|

issue 1

10

Luksusowy egzemplarz Dei Sepolcri Ugo Foscola w zbiorach Biblioteki Jagiellońskiej – pochodzenie i droga do Krakowa

67%

Rostworowska-Kenig W.

Biuletyn Biblioteki Jagiellońskiej

|

2019-2020

|

vol. 69-70

85-98

EN

This article is devoted to a copy of the first edition of Ugo Foscolo’s Dei Sepolcri from 1807, held in the Jagiellonian Library. However, its aim is not to analyse the text itself but to make an attempt to solve the mystery of whom the work might have originally belonged to. Having identified the donor, a woman named Kicińska, I next managed to get through to Elżbieta Skotnicka née Laśkiewicz, who may have been the owner of a part of the book collection donated in the 1930s. This is attested not only by the blood ties between the two women, but also by the reason why it was likely Skotnicka who acquired the aforementioned copy of the Italian work. Foscolo’s poem is set around the theme of the graves of great and distinguished Italians in the Florentine church of Santa Croce, where the remains of Michał Bogoria Skotnicki, a Polish painter and Elizabeth’s husband, were actually interred several years after its publication. It therefore seemed worthwhile to me to reconstruct the history of this particular work and to present it to the readers of “Biuletyn Biblioteki Jagiellońskiej.”

PL

Artykuł poświęcony jest przechowywanemu w Bibliotece Jagiellońskiej egzemplarzowi pierwszego wydania utworu Dei Sepolcri Ugo Foscola z roku 1807. Celem rozważań nie jest jednak analiza samego tekstu, lecz próba rozwikłania zagadki, do kogo dzieło to pierwotnie mogło należeć. Zidentyfikowawszy osobę ofiarodawczyni – Kicińską, dotarłam następnie do Elżbiety z Laśkiewiczów Skotnickiej, która mogła być właścicielką części przekazanego w latach 30. XX wieku księgozbioru. Wskazują na to nie tylko łączące obie panie więzy krwi, ale również powód, dla którego prawdopodobnie Skotnicka nabyła omawiany egzemplarz włoskiego dzieła. Wokół tematyki grobów wielkich i zasłużonych Włochów we florenckim kościele Santa Croce osnuty jest poemat Foscola, tam zaś kilka lat po jego wydaniu złożono szczątki Michała Bogorii Skotnickiego, polskiego malarza i męża Elżbiety. Zasadnym wydało mi się więc zrekonstruowanie historii tego konkretnego dzieła i przybliżenie jej czytelnikom „Biuletynu Biblioteki Jagiellońskiej”.

11

Florencja i jej biblioteki. Działalność edukacyjna bibliotek Uniwersytetu we Florencji

67%

Błach M.

Biblioteka i Edukacja

|

2017

|

issue 11

PL

Celem artykułu jest przybliżenie edukacyjnej działalności bibliotek florenckich na przykładzie Biblioteki Narodowej oraz bibliotek Uniwersytetu we Florencji. Autorka opisała szczegółowo inicjatywy promujące zbiory specjalne, takie jak wystawy przygotowane przez poszczególne filie Biblioteki Uniwersytetu we Florencji. Ponadto zwrócono uwagę na zagadnienia związane z ochroną zbiorów bibliotecznych w przypadku klęsk żywiołowych.

EN

The aim of this paper is to describe educational activities held at the University of Florence Library and at the National Library of Florence. The author draws attention to the special collections of old books and ways the information about them is spread out as well as the issues concerning the protection of rare books in case of natural disasters.

12

Florence, Pope Clement VII and Emperor Charles V. A contextual study of the motet ‘Dominator caelorum’ by Jean Conseil / Costanzo Festa (?)

67%

Odoj W.

Muzyka

|

2019

|

vol. 64

|

issue 3

3-17

PL

Costanzo Festa (ok. 1490–1545) i Jean Conseil (ok. 1498–1534) spędzili większość swojegożycia działając obok siebie w kapeli papieskiej i byli autorami motetów opartych na tych samych tekstach: Deus venerunt gentes, skomponowanych prawdopodobnie pod wpływem tragicznych wydarzeń z maja 1527 r., kiedy to niemiecko-hiszpańskie wojska Karola V zdobyły i złupiły Rzym, a także kompozycji do tekstu Lumen ad revelationum/Nunc Dimittis. Pięciogłosowy motet Dominator caelorum w różnych źródłach przypisywany jest obydwu kompozytorom, i chociaż został opublikowany w Opera Omnia Festy, bardzo często wymieniany jest jednak jako kompozycja Jeana Conseila. Na podstawie zaobserwowanych zmian w warstwie tekstowej i politycznego kontekstu towarzyszącego powstaniu motetu, sugeruję, że kompozycja ta być może została faktycznie skomponowany przez Francuza jako osobisty wkład w uświetnienie spotkania Karola V i papieża Klemensa VII w Bolonii na przełomie 1529 i 1530 roku. Jeśli zatem motet Festy Ecce advenit dominator – jak to przekonująco przedstawił Klaus Pietschmann – został skomponowany na tę samą uroczystość, to być może obydwa utwory – Ecce advenit dominator i Dominator caelorum – należałoby traktować jako kolejny dowód współpracy i przyjaznej rywalizacji dwóch wybitnych kompozytorów działających w kapeli papieskiej w I poł. XVI wieku.

EN

Costanzo Festa (ca. 1490–1545) and Jean Conseil (ca. 1498–1534) spent most of their life in the papal chapel and composed motets based on the same texts: 'Deus venerunt gentes’, probably written in response tothe sack of Rome in 1527, as well as 'Lumen ad revelationum / Nunc Dimittis’. The five-voice motet 'Dominator caelorum’ is ascribed both to Festa and to Conseil. Thus if 'Ecce advenit dominator’ was really composed by Costanzo Festa, a papal composer, and performed at the meeting between Charles V and Clement VII in Bologna, as Klaus Pietschmann persuasively demonstrates, could not 'Dominator caelorum’ have been Conseil’s small musical contribution to this event? If so, it may have been Conseil who composed 'Dominator caelorum’ to embellish the Bologna meeting as Festa did by composing 'Ecce advenit dominator’.

13

A comparative analysis of literary depictions of social violence in two important 16th Century autobiographies, from the perspective of the fencing manuals of the Renaissance.

59%

Chandler J.

Acta Periodica Duellatorum

|

2015

|

vol. 2015

|

issue 1

101-137

EN

In the late 16th century two interesting individuals made substantial contributions to the relatively new genre of the autobiography. In 1595 Bartholomäus Sastrow (1520–1603), a north German burgher, notary, diplomat, and eventually burgomeister of the Hanseatic City of Stralsund, penned his life story. Benvenuto Cellini (1500–1571), goldsmith, soldier, musician and famous Renaissance artist from Florence, wrote his memoir between 1558 and 1563. Though they were born twenty years apart, both men had similar backgrounds. Both were from the lower-middle strata of society but rose to high status, both were widely traveled and directly acquainted with the most powerful individuals of their time (as well as some of the most lowly) and both experienced firsthand some of the most dramatic and important political and military events of the mid-16th century. Amidst a backdrop of war and severe religious conflict, Sastrow, a German and a Lutheran, traveled to Italy, and Cellini, an Italian Catholic, travelled through Germany to France. This allows us to see each region from both a native and an outsider’s perspective. Both men participated in or were witness to numerous incidents of social violence and warfare during their lifetimes, as described in detail in their memoirs. These accounts give us an opportunity to examine the depiction of incidents of social violence by people who witnessed or participated in them first-hand, allowing us to contrast these episodes with the principles of self-defense as portrayed in the fightbooks. We can also compare these personal anecdotes with documented written and unwritten rules governing dueling, fighting, and the carrying of arms. This will help grant us further insight into the reality of personal armed conflict in the era of the fightbooks, and improve our understanding of their context and meaning.

14

Madonna in trono col Bambino di Bernardo Daddi nella collezione Lanckoroński del castello di Wawel

59%

Tracz S.

Roczniki Humanistyczne

|

2017

|

vol. 65

|

issue 4: Historia sztuki

5-33

PL

Tronująca Madonna z Dzieciątkiem z kolekcji Lanckorońskich na Wawelu (nr inw. 7908) wraz z zachowanymi w innych zbiorach kwaterami ze św. Bartłomiejem, św. Wawrzyńcem, św. Katarzyną i św. Cecylią oraz z przynależącymi do zwieńczenia tablicami z błogosławiącym Chrystusem i Ewangelistami, przynależała pierwotnie do rozproszonego obecnie po świecie retabulum ołtarzowego, gdzie stanowiła część centralną. Nastawę wykonał ok. 1340 r. Bernardo Daddi z przeznaczeniem do kaplicy śś. Bartłomieja i Wawrzyńca w karmelitańskim kościele Santa Maria del Carmine we Florencji. Tablica po rozdzieleniu około połowy XVIII wieku trafiła przed 1903 r. do wiedeńskich zbiorów Karola Lanckorońskiego (1848-1933), a wraz z nimi znalazła się w 1994 r. na Wawelu. Kompozycja i treści ideowe kwatery pozostają w ścisłym związku z wcześniejszą bracką tablicą ołtarzową z Santa Maria del Carmine we Florencji, ukazującą Tronującą Madonnę z Dzieciątkiem i dwoma aniołami oraz umieszczonym w jej zwieńczeniu, oddzielonym pierwotnie ramą, Chrystusem Błogosławiącym między dwoma aniołami, przypisywaną Maestro della Sant’Agata z ok. 1270 r., przechowywaną obecnie w kaplicy Brancaccich. Równocześnie wawelska kwatera wpisuje się w szereg toskańskich Madonn określanych w ikonografii jako Regina coeli lub Maestà. Dokładna analiza na podstawie tekstów źródłowych skondensowanych na tablicy Daddiego treści ideowych oraz podjęta próba rekonstrukcji całości pozwala wysunąć hipotezę, iż wykonana w jego warsztacie nastawa ilustrowała wizję Niebieskiego Jeruzalem, opartą na tekście Apokalipsy św. Jana Apostoła. Artysta na tablicy z Tronującą Madonną odwołał się do prawdy o królewskiej godności Maryi, Jej współudziale w tajemnicy Wcieleni i Odkupienia, samego zaś Chrystusa ukazał jako Baranka Bożego, który zgładził grzechy świata i dlatego święci patronowie kaplicy oddają Mu cześć. Całościowe spojrzenie na wawelską tablicę oraz jej powiązania ze sztuką Toskanii pozwala stwierdzić, że jest to obiekt, który pod względem artystyczno-formalnym, jak i treściowym stanowi jeden z najcenniejszych przykładów włoskiego Trecenta, znajdujący się w zbiorach polskich.

EN

Madonna and Child Enthroned in the Lanckoroński family collection in the Wawel castle (inv. No. 7908) along with the quarters with St. Bartholomew, St. Lawrence, St. Catherine and St. Cecilia that are preserved in other collections as well as with the panels that present the blessing Christ and the Evangelists used to be an essential part of a retable that can currently be found in various places across the world. The retable was made by Bernardo Daddi around 1340. It was intended to be a part of St. Bartholomew and St. Lawrence Chapel in the Carmelite church of Santa Maria del Carmine in Florence. After being divided into parts around 1750, the panel had become a part of the Viennese collection of Karol Lanckoroński (1848-1933) by the end of 1903. In 1994, the collection, including the previously mentioned panel, was placed in the Wawel Royal Castle, where it is held today. The composition and the ideological content of the quarter are closely related to an earlier confraternal altar panel from the church of Santa Maria del Carmine that includes Madonna and Child Enthroned with Two Angels as well as Christ Blessing between Two Angels placed at the top and originally separated with a frame. The altar panel, credited to Maestro della Sant’Agata (around 1270) is currently stored in the Brancacci chapel. The Wawel quarter is in line with Tuscan Madonnas that are defined in the iconography as the Regina Coeli or Maestà. A thorough analysis of ideological content presented on the Daddi panel based on source materials as well as an attempt to reconstruct the whole panel leads us to the conclusion that the retable made in Daddi’s workshop presented the vision of Heavenly Jerusalem, based on the Revelation to St. John. Through the Madonna and Child Enthroned with Two Angels panel the artist referred to the truth about the royal dignity of Mary and her participation in the mystery of the Incarnation and Redemption whereas Christ Himself was presented as the Lamb of God who took away the sins of the world. Therefore, the patron saints of the chapel worship Him. A holistic view of the Wawel panel and the way it is connected with the art of Tuscany shows that it is the object that, in artistic and formal terms as well as in content, is one of the most valuable examples of Italian Trecento that can be found in Polish collections.

15

Biblioteki Florencji Tam, gdzie przeszłość współistnieje z teraźniejszością

51%

Swoboda I.

Nowa Biblioteka. Usługi, Technologie Informacyjne i Media

|

2016

|

issue 2(21)

117-144

PL

Florencja − kolebka renesansu, centrum nauki i sztuki, miasto Dantego, Michała Anioła, Donatella, Machiavellego i Leonarda da Vinci słynie także z niezwykłych bibliotek, które zachwycają nie tylko pięknymi zabytkowymi wnętrzami, ale też bogactwem zbiorów. W artykule przedstawiono genezę i współczesne oblicze bibliotek Florencji. Spośród najstarszych zaprezentowano: bibliotekę dominikanów z kościoła Santa Maria Novella, bibliotekę Michelozzo, Laurenzianę, Riccardianę, Marucellianę oraz Centralną Bibliotekę Narodową we Florencji.

EN

Florence – the cradle of the Renaissance, the center of science and art, the city of Dante, Michelangelo, Donatello, Machiavelli and Leonardo da Vinci; famous for remarkable libraries, which impress not only with beautiful historic interiors, but also the richness of their collections. The article presents the origins and contemporary face of libraries in Florence. Among the oldest are: the library of the Dominican church of Santa Maria Novella, Michelozzo Library, Laurentian Library, Riccardi Library, Marucelli Library and the Central National Library of Florence.

Refine search results

A Weak Dominance: Winds of Revolt in Florentine Territory (the Second Half of the Fourteenth Century)

The Communal Ideology in Giovanni Villani’s Nuova cronica

‘Per popolo e per confini’. Florentine tavola delle possessioni and the Property Registration in the Middle of the Fourteenth Century

PRINCE STANISŁAW PONIATOWSKI: EXPERT ON AND COLLECTOR OF ANCIENT AND ITALIAN ART

Contemporary Music in Central Italy: an Overview of Recent Decades

Polski wygnaniec. Teofil Lenartowicz w oczach Giovanniego Papiniego

Unia florencka

Unia florencka

Teofil Lenartowicz – the Mazovian lyre player, and heir of Italian Renaissance Artists. The case of ‘The Holy Workers’: the bas-relief and the poem

Luksusowy egzemplarz Dei Sepolcri Ugo Foscola w zbiorach Biblioteki Jagiellońskiej – pochodzenie i droga do Krakowa

Florencja i jej biblioteki. Działalność edukacyjna bibliotek Uniwersytetu we Florencji

Florence, Pope Clement VII and Emperor Charles V. A contextual study of the motet ‘Dominator caelorum’ by Jean Conseil / Costanzo Festa (?)

A comparative analysis of literary depictions of social violence in two important 16th Century autobiographies, from the perspective of the fencing manuals of the Renaissance.

Madonna in trono col Bambino di Bernardo Daddi nella collezione Lanckoroński del castello di Wawel

Biblioteki Florencji Tam, gdzie przeszłość współistnieje z teraźniejszością