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vistisenurquhart4 · 2 years

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ferragamo belt 1

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mayolfederico · 4 years

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ventitré settembre

Giuseppe Bazzani, Sant’Antonio da Padova con il Bambino Gesù, 1740-1750

Autobiografia

Quando, raramente, parlava di se stessa, mia madre raccontava: Lamia vita è stata triste e calma, sempre in punta di piedi camminavo. Ma quando mi arrabbiavo e pestavo un po’ i piedi, le tazze della mamma sulla credenza si mettevano a tintinnare e io dovevo sorridere.

Raccontava che al momento…

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#Albert Manent #Alberto Asor Rosa #Carles Riba #Domenico Basile #Emma Orczy #Franz Xaver Fuhr #George Jackson #Giorgio Spini #Giuseppe Bazzani #John Coltrane #Leonard Feather #Les McCann #Marvel Moreno #Mauro Fabi #Pasquale Vitagliano #Per Olov Enquist #Renato Curcio

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caveartfair · 6 years

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The 11 Most Nightmarish Depictions of Hell in Art History

Detail view of Jan Van Eyck, The Last Judgment, ca. 1440–1441. Photo via Wikimedia Commons.

The famed medieval Italian poet Dante Alighieri had a mesmerizingly grotesque imagination, especially when it came to conceiving the horrors of hell. Ravenous monsters hungry for sinners fill the pages of Inferno, the first section of his epic poem The Divine Comedy, penned in the early 1300s. In one canto, the crimson-eyed, three-headed beast Cerberus, who guards the gates of the underworld, “tears the spirits, flays them,” with “claw’d hands” and “ravenous maw.”

While the writer’s frighteningly vivid depiction of hell’s nine circles might be literature’s most famous, artists have also composed visions of the underworld that are just as harrowing—if not more so. Western art history teems with hellscapes—compositions showing all manner of physical, psychological, and spiritual torment. Many build directly on Dante’s writings, while others draw from descriptions of damnation in Christian scripture, meant to intimidate believers into virtuousness. Later artists responded to the infernal realities of war or their own emotional turmoil, or “personal hell.” Below, we take a tour of the most chilling interpretations of hell from Dante’s time to today. Some are macabre, others delightfully absurd—but all explore a heady mix of human fear, guilt, and suffering.

Giotto, The Last Judgment (ca. 1307)

Scanned image of Giotto di Bondone, The Last Judgment at the Cappella Scrovegni, ca. 1307, from Giotto and the Arena Chapel: Art, Architecture & Experience. Photo via Wikimedia Commons.

Detail view of Giotto di Bondone, The Last Judgment , ca.1306. Photo via Wikimedia Commons.

Detail view of Giotto di Bondone, The Last Judgment, 1306. Photo via Wikimedia Commons.

Florentine painter Giotto had a flair for the dramatic. Like most artists working at the dawn of the 14th century, he primarily painted frescoes for the private chapels of wealthy families. Yet his paintings are utterly unique: The biblical characters that fill his compositions aren’t flat and stylized like those of his Byzantine forebears. Instead, they writhe with red-blooded energy and fierce human emotion.

Nowhere is this more apparent than in the Scrovegni Chapel in Padua. At the back of the chapel lies one of art history’s most impressive paintings of the Last Judgment, the momentous event described in the New Testament when, at the end of the world, God either shepherds the dead to heaven or banishes them to the fiery underworld. The religious text doesn’t leave many clues as to what hell might look like, so Giotto built on past artistic interpretations, as well as his own fertile imagination.

In the lower right-hand corner of the fresco, a gluttonous, horned monster (likely Satan) stands at the gates of hell, devouring sinners, then unceremoniously excreting them. Such cruel and unusual punishments abound: Naked men and women are dragged down to hell by fearsome black demons, where they are spit-roasted and speared or stuffed into deep pits. Dante himself likely visited the fresco as Giotto painted it; according to historian Giorgio Vasari, the two were “dear friends.” Dante began writing his Divine Comedy around the time Giotto was painting the Arena Chapel.

Jan van Eyck, The Last Judgment (1440–41)

The Crucifixion; The Last Judgment, ca. 1440–1441. Jan van Eyck The Metropolitan Museum of Art

Working in the Netherlands over 100 years after Giotto, the pioneering oil painter Jan van Eyck created his own Last Judgment scene on the right half of a diptych that also includes a depiction of the Crucifixion. While measuring only about 22 by 7 inches, the Last Judgment panel packs a bone-chilling punch thanks to Van Eyck’s garish depiction of hell, which Metropolitan Museum of Art curator Maryan W. Ainsworth has described as a “diabolical invention.”

Beneath the outstretched arms of a giant and menacing skeleton tumbles a cascade of damned souls, each subjected to a different form of punishment. In one corner, a man screams in pain as he’s disemboweled by a serpent. Elsewhere, a demon—part skull, part sharp-toothed jaguar—gnaws on a fleshy rump. The anguish here is so evocative that Ainsworth has characterized the scene as cacophonous—viewers can almost hear the sounds of torture: “The cracking and breaking of bones, the gnashing of teeth of the monsters relentless in their pursuit.”

Fra Angelico, The Pains of Hell, from The Last Judgment (ca. 1431)

Fra Angelico, The Last Judgment, ca. 1431. Photo via Wikimedia Commons.

Detail view of Fra Angelico, The Last Judgment, ca. 1431. Photo via Wikimedia Commons.

Posthumously nicknamed the “Angelic Painter” by his acolytes, the Dominican friar Fra Angelico—known as Fra Giovanni during his lifetime—is somewhat ironically renowned for several of his visceral hellscapes. Perhaps his most horrifying scene comes from a fresco depicting the Last Judgment, originally created for the basilica of Santa Maria degli Angeli in Rome (it now hangs in Florence’s Museo di San Marco).

Here, the artist takes a cue from Dante, visualizing hell as a tenebrous cave where the damned are grouped by their sins; each of them has its own tailored brand of torture. For instance, those guilty of greed have melted gold coins poured down their throats, while those guilty of wrath are forced to incessantly fight each other. At the base of the fiery pit, Lucifer chomps on human bodies as he simultaneously bathes in a soup of melting souls, dutifully stirred by a cohort of demons.

Hieronymus Bosch, The Garden of Earthly Delights (1490–1500)

The Garden of Earthly Delights, 1490-1500. Hieronymus Bosch Museo del Prado, Madrid

There can’t be a discussion of hellscapes without Hieronymus Bosch, whose spellbinding masterwork The Garden of Earthly Delights rivals the fame of Dante’s Inferno. The Dutch painter came of age in the mid-1400s during the Protestant Reformation, when Christians began to interpret the word of God for themselves, rather than rely on the Church as an intermediary. Bosch incorporated this approach in his painting, depicting heaven and hell through rollicking, chaotic scenes set against a contemporary Dutch backdrop.

Rather than the fiery pits mentioned in the Bible or explored in depth in Inferno, Bosch shows hell as a raucous battlefield teeming with horrifying, surrealistic creatures who take pleasure in torturing their human opponents. The painting’s fame may be largely due to the proliferation of mesmerizingly odd details: A dismembered foot hangs like a prize from the helmet of a spiny bird-monster; other sinners are stretched taut across giant instruments and played by beady-eyed demons, or eaten and then pooped out by their aggressors.

Pieter Bruegel the Elder, Dulle Griet (Mad Meg) (1561)

Pieter Bruegel, Dulle Griet (Mad Meg), 1561. Courtesy of Museum Mayer Van den Bergh.

Detail view of Pieter Bruegel, Dulle Griet (Mad Meg), 1561. Courtesy of Museum Mayer Van den Bergh.

While he’s best known for homely peasant scenes, Dutch master Pieter Bruegel the Elder also had a knack for shocking his audience. “Like a director of horror films, the painter tried to appeal to all the senses in order to arouse fear and create pleasure at the same time,” Bruegel biographer Leen Huet has written. Nowhere is this more apparent than in his 1561 canvas Dulle Griet (Mad Meg), which takes a cue from Bosch and explores hell through the lens of contemporary Flemish culture.

This painting depicts the folkloric character of Dulle Griet, the leader of an all-female army on a quest to pillage hell. Her strength is underlined by her massive scale; she dwarfs both her compatriots and her opponents, a multitude of fantastical demons that dot the otherwise familiar Dutch landscape. Bruegel has depicted the underworld as an eerie fusion of fantasy and reality. Griet seems to run toward a literal gaping “mouth of hell,” its scaly skin resembling bricks in the surrounding architecture. Instead of devouring the dead, the monsters of this hell battle flesh-and-blood warriors.

Some scholars have also read the painting as an exploration of 16th-century Netherlandish gender dynamics. A 1568 book of proverbs provides context: “One woman makes a din, two women a lot of trouble, three an annual market, four a quarrel, five an army, and against six the Devil himself has no weapon.” In this way, the painting can be read as a study of female power. Is Griet a greedy agent of chaos or a heroic victor who isn’t afraid to go head-to-head with the Devil?

William Blake, The Punishment of the Thieves (1824–27)

William Blake, The Punishment of the Thieves from the Divine Comedy, 1824–27. Photo via Wikimedia Commons.

While the soft hues and undulating lines of this watercolor by British artist William Blake might not immediately scream “inferno,” a closer look reveals a particularly garish manner of suffering. The scene comes from a series of works Blake produced to illustrate an edition of The Divine Comedy. Blake took the commission, according to writer Maria Popova, because “Dante’s contempt for materialism and the way power warps morality” resonated with the eccentric 19th-century artist, who believed that the political and social climate in England was defined by greed. Here, Blake depicts a scene from cantos 24 and 25, where it is explained that snakes steal and manipulate the bodies of thieves, who must then search in vain for a home for their soul. Here, monstrous serpents strangle, penetrate, and rope around the thieves’ Rubenesque bodies as they are dragged underwater.

John Martin, Pandemonium (1841)

John Martin, Le Pandemonium, 1841. Photo via Wikimedia Commons.

It could be said that 19th-century British painter John Martin’s favorite subject was doom. Over the course of his career, he painted copious depictions of hell, as well as other fiery, end-of-world scenes—and he did it with dramatic panache. Martin based this hellscape on English poet John Milton’s 1667 masterwork Paradise Lost, in which hell is dubbed Pandemonium. Martin’s version of Pandemonium is a deserted, red-hot world of torment helmed by an armored Satan. In the foreground, the devil raises his arms in as he calls unseen rebel angels to action.

This version of hell might have looked sinisterly familiar to Martin’s London contemporaries. In fact, the massive, intimidating building that Satan faces borrows architectural elements from some of the city’s most famous edifices, including the towering gates of Somerset House and the arcade of Carlton House Terrace.

William-Adolphe Bouguereau, Dante and Virgil (1850)

William-Adolphe Bouguereau, Dante and Virgil , 1850. Photo via Wikimedia Commons.

The two sinners duking it out in William-Adolphe Bouguereau’s depiction of hell appeal to the vampire-obsessed among us. The French painter concocted this Dante-inspired scene in hopes of winning the coveted Prix de Rome. Dante enjoyed renewed popularity during this time: Fellow Romantic painters were similarly enthralled; the poet provided deliciously dramatic fodder for their theatrical canvases.

Bouguereau chose to zoom in on two damned souls from the epic poem in order to emphasize their physical pain. Surrounded by writhing sinners, Dante and Virgil look on as Gianni Schicchi, a character guilty of committing fraud, viciously bites the neck of Capocchio, a heretic and alchemist. (Inferno describes constant fighting as one of hell’s many punishments.) The painter pays particular attention to his subjects’ nude bodies; dramatically lit, their muscles and expressions strain in utter agony. Writing at the time, critic Théophile Gautier described the duo’s “strange fury,” rendered “magnificently through muscles, nerves, tendons, and teeth.” Only the bald, bat-winged demon hovering over them seems to take any pleasure in the scene.

Edvard Munch, Self-Portrait in Hell (1903)

Selvportrett i helvete (Self-Portrait in Hell), 1903. Edvard Munch "Mapplethorpe + Munch" at Munch Museum, Oslo

Nordic Symbolist Edvard Munch’s oeuvre is defined by very convincing representations of psychological anguish, many of which are self-portraits. In this work, he uses the concept of hell to underline his own suffering by placing his sickly, nude body within a blackish-red environment, the color of stoked flames. Even as a child, Munch remembered being plagued by melancholy and promises of a hellish afterlife: “Disease and insanity were the black angels on guard at my cradle,” he wrote of his youth. “I felt always that I was treated unjustly, without a mother, sick, and with threatened punishment in hell hanging over my head.”

Franz von Stuck, Inferno (1908)

Inferno, 1908. Franz von Stuck The Metropolitan Museum of Art

When Franz von Stuck first exhibited Inferno at the Met in 1909, the New York Times praised the work’s “sovereign brutality.” Indeed, the piece shocked and awed audiences with its raw depiction of eternal damnation, cementing the German Symbolist’s “reputation as a visionary artist unafraid to explore the dark side of the psyche,” according to the museum.

Stuck’s work frequently emphasizes both the physical and psychological pain of his subjects. Across this canvas, the artist shows only the wrenching bodies and contorted faces of several sinners—rather than a nightmarish overview of hell—in order to emphasize their personal suffering, with a dissonant color scheme that punctuates their distress. Perhaps the most striking manifestation of mental torment comes from a female figure, whose wide eyes glow unnervingly from the background, communicating pure fear in the face of her terrible fate.

Jake & Dinos Chapman, Fucking Hell (2008)

Jack & Dinos Chapman, Fucking Hell, 2008. Photo by Hugo Glendinning. Courtesy of the artist and Blain Southern.

British artists Jake & Dinos Chapman have made a career of shocking viewers by fusing dark humor and the grotesque. Some pieces completely dispense with comedy, though, in favor of emphasizing history’s atrocities. This is the case with Fucking Hell, an adaptation of the duo’s 1999 piece Hell, which ironically went up in flames in a warehouse fire.

The massive installation contains nine vitrines filled with 60,000 toy soldiers. Despite being forged from miniature toys, a closer look inside reveals unimaginable carnage. In the monumental, chaotic battle scene that unfolds, an army of skeletons, mutants, and aliens battle Nazis. While it’s unclear which side is winning, the swastika-bearing soldiers are certainly getting their due: in this tableau, they have become the massacred.

“The Nazis practised genocide on everyone they thought was inferior,” Jake Chapman said of the work. “What we’ve done is to mirror that: the Nazis are being recycled within their own mechanism.” For the Chapman brothers, hell is on earth, engendered by the long history of human violence.

from Artsy News

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uwua · 7 years

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Houston Scuba Diving Sites: We Rented From Scooters Bonaire A Reputable Firm With Fairly New Scooters

Local diver Don Dibble played a key role in placement of that grate. He nearly died attempting to find last two divers that got lost in tocave, that is to longest underwater systems in Texas. Natural spring water forces its way to surface through porous limestone. Along toway, it creates tunnels and sometimes large chambers that cave divers like to explore in what has become known as most dangerous sport on planet earth. The well formed as part of an underground aquaflow system. There's also a sandy onsite bar/restaurant with potent daiquiris, a nice beach area with cabanas and loungers, lockers and a surf shop that rents windsurfing accoutrements and standup paddleboards. Nevertheless, Lac Bay is surrounded by a mangrove forest, I managed to master turning, My young instructor had me standing on a board, in towater, sail in hand, in less than 60 minutes. Essentially, I booked a lesson at Jibe City, hippest and most bustling of windsurf companies on Lac Bay. This is tocase. It was easy to pass an entire day hanging out at Jibe City, as many people do. Let me tell you something. The gorgeous turquoise lagoon encompasses a few square miles, a large portion of which is 'thigh deep' flat water.

One way to work off all fine food is to try your hand at windsurfing.

There's no better place to do it, especially for beginners, than internationally acclaimed Lac Bay on Bonaire's eastern coast.

While meaning that there's no chance of you and your board drifting out to sea, s also a steady inland trade wind. The accessibility of shore dive sites is arguably biggest lure of Bonaire -they're everywhere, right on side of road and clearly marked, just pick up amid to map guides that lists them all from any number of local businesses and dig in whenever and wherever you like. Nonetheless, Though I didn't scuba dive, I will confess to stopping at a slew of snorkeling spots while cruising on two wheels. It's just on planet earth, surrounded by azure water clearer than glass and reefs that stretch out like submerged cities near toshoreline.

In Kralendijk proper, Donna Giorgio is a more rustic and intimate Italian trattoria with a short chalkboard menu and hulking slices of tiramisu.

Nearby, divey Bobbijan's is a popular, homespun spot for barbecue ribs and charred chicken skewers served with a peanut sauce.

Above it in identical building, there's Osaka Sushi Bar, where a patio seat overlooking main drag is a nice perch from which to order up generous plates of fresh sashimi and inventive rolls. United, Economy fares start at around $ 600. With a Sunday return in the course of the summer, United offers nonstop flights to Bonaire on Saturdays. Another weekend flight or two is added during winter's peak season. North of Kralendijk, roads are hillier and landscape more rugged. Cactus fences pave way to Rincon, a quiet, notsotouristy inland town. The oldest village in southern Caribbean, Rincon dates back to 1527 and is home to Cadushy Distillery, that makes bright greenish liquor using native cactus plant and offers quick instructional tours, and free tastes. Of course Go to 'Sign In' and 'Manage Profile' at totop of topage.

Click below for totop news from around Houston area and beyond. Sign up for our newsletters to be first to learn about live news and more. Hundreds of species of fish and coral permeate this governmentprotected marine sanctuary, lesser developed of ABC islands that also include Aruba and Curacao. With another two dozen or so at uninhabited islet Klein Bonaire, More than 60 diving sites. Wrap around its western coast, a half mile boat ride away. Furthermore, Nighttime snorkeling yielded tarpon sightings. Generally, The resort's 'onsite' dive company rents snorkel and scuba gear, and offers boat rides to uninhabited islet Klein Bonaire. For example, Even shallow water just off Harbour Village's privately maintained beach teems with marine life, including cowfish, parrotfish, large schools of blue tang and a spiny lobster. We rode over with a very seriouslooking scuba diver named Lenny, who was venturing out to hunt/spear lionfish, an invasive species that is wreaking havok on protected reefs throughout toisland. Just think for a moment. You'll need to rent a car in advance to scootersbonaire, It cost $ 65 for three days. Ironically, transportation -once their livelihood -is a Bonaire donkey's gravest enemy. Donkey Sanctuary Bonaire is home to hundreds of rescued donkeys, animals first brought over by Spaniards in 17th century for labor purposes. There are no stoplights on to'car happy' island, and many an errant ass has wandered unsuccessfully into street before landing in this sanctuary. Oftentimes Open to visitors, it's similar to a 'drivethrough' safari where you cruise around toproperty, roll down car windows and take a lot of pictures. So, The experience was so surprisingly fun -and yes, made for hilarious pictures -that we vowed to return before trip was over. High tailing it to toproperty's watch wer nearby, we escaped up a few flights of stairs to take in arid expanse from a covered wooden platform. It's a well Below, a fourlegged crowd about 20 strong had gathered around toscooter, whose seat housed prized root vegetables.

After a comedic song and dance, we did eventually re saddle and make it around that park.

He cemented a grate over tunnel entrance to cave about 100 feet down sink hole -tofirst attempt to close off todive, right after his accident.

They even left a cell phone number he adds, it had a Houston area code. Three months later he went to check on it and divers had removed it leaving a note saying you cant keep us out. Notice, Perhaps most famous cave dive site is at Ginny Springs in Central Florida which thousands of divers safety visit almost any year. Well explored' caves are mapped out with guide lines so divers dont get lost if lights fail in pitch grey waters. As a result, For those who seek a classical Caribbean beach vacation, it has one of Bonaire's rare private beaches, that apparently is allowed as long as these donkeys aren't dangerous. We suddenly became very popular. A couple hundred yards in, along dusty path, I'm almost sure I fed a carrot to a single donkey in a large open pasture full of them. After purchasing two carrots bags in small gift shop, an employee waved us through a gate.

Several locals recommended It Rains Fishes, a restaurant and fish market, and with good reason.

Whenever chatting over almost white tablecloths and bottles of whitish wine on breezy veranda with a Caribbean view, s packed nightly with residents and urists alike.

Don't miss ice cream here either, that was preferable to those found in ice cream parlors downtown. The fresh catch of day or a market fish -possibly snapper, wahoo, mahi or barracuda -comes with your choice of Creole, saffron, whitish wine or pesto sauce. Roving within these waters, I was ld by a friend before I left Houston, is akin to dropping into a very large, well maintained aquarium.

Some 70 urists percent make pilgrimage here just to dive.

The quiet coastal road hugs toshoreline, and whizzing by on a scooter it felt like we had that island to ourselves.

Watch for flamingos wading near imposing white pyramids of salt crystals, with pinkhued pans on one side and turquoise ocean on toother. South of Kralendijk is mostly flat land. For instance, A large portion of this region is comprised of salt flats, indicative of Bonaire's main export. We scooted to stunning 1000 Steps site on steeper northern part of toisland, ok in unbelievable coral formations and had a picnic under a shady canopy, with fins and mask strapped to my back. We did get to watch a pod of dolphins pop up and down across water where sea floor drops off a hundred yards or so from toshoreline, pink Beach. Near salt flats in southern part of island has less cover, save for a few palm trees.

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hisourart-blog · 7 years

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Historical Institute of Resistance in Tuscany, Florence, Italy

New Post has been published on https://hisour.com/place/europe/historical-institute-resistance-tuscany-florence-italy/

Historical Institute of Resistance in Tuscany, Florence, Italy

The Historical Institute of Resistance in Tuscany (L'Istituto storico della Resistenza in Toscana) is associated with the National Institute for the History of the Liberation Movement in Italy (INSMLI). The Institute deals with contemporary history, in particular Italian and European twentieth century, fascism and anti-fascism and resistance in Italy and Tuscany. He has a wealth of archival and library resources, including a rich collection of periodicals, photographs and written and oral testimonies (audio and video). He has an intensive research and teaching activity in history, for teachers and students of every order and class, collaborating with Tuscan universities and other cultural institutes, above all the historical Institute of Resistance and Contemporary Age present in Tuscany and in general those associated with them to the Insmli network. It also promotes initiatives aimed at consolidating the role of historical knowledge in public debate, in collaboration with associations and other actors in civil society. They have public and private contributions, mainly on specific projects. His current location is at Via Giosuè Carducci 5 in Florence, where he is from November 17, 2008. Previously he had a seat in Via Cavour, in the Medici Riccardi Palace, where he still retains the most precious exhibition space and for some time in via dei Pucci, at Palazzo Pucci, where the documentary and photographic archives were kept, with the tape recorder and the video library. It dates back to a group of Florentine antifascists, composed by Carlo Campolmi, Dino Del Poggetto, Enzo Enriques Agnoletti, Mario Fabiani, Mario Leone, Foscolo Lombardi, Attilio Mariotti, Achille Mazzi, Guido Mazzoni, Giulio Montelatici and Nello Niccoli. founded on October 24, 1953. The Institute: collects and orders all the documents and memorabilia that relate to the history of the Resistance in Tuscany and the publications published everywhere, from the beginnings of Fascism until the Italian liberation ended; collects testimonies of the participants in the fight, promotes inquiries with public and private bodies, ascertains statistical data on the military, political, economic and social life of that period; promotes cultural events and compiles and possibly publishes a periodical bulletin of studies and monographs. The Institute retains, among other things, funds from participants in the Liberation War, including the Nello Niccoli Fund, containing correspondence, memorabilia, papers by Aldobrando Medici Tornaquinci, containing documents relating to its political activity, donated to all Institute of Heirs; the archive of Foscolo Lombardi. Moreover, due to their magnitude and importance, the Tuscan National Liberation Committee Fund (CTLN), the National Liberation Committees Fund (CLN) of the Municipalities of the Province of Florence, the National Liberation Provincial Committee's Fund (CPLN) Apuania, the Fund for Justice and Freedom, the Gaetano Salvemini Fund, the National Association of Italian Partisans (ANPI) in Florence and the Tuscany Region Fund. In the last two decades of the twentieth century, the Institute has been providing the Central State Archives with extensive documentation of Tuscan fascism and anti-fascism and numerous microfilms of the documentation produced by the Wehrmacht departments, purchased by the National Archives of Washington, they operated in Tuscany. In 1962, the Council of the Institute acquired many historical volumes, all of which ranged from World War I to Liberation and Reconstruction. The library then included 1727 volumes and pamphlets. The volumes were all cataloged by counselor Dino Del Poggetto, thanks to which the library had a log of access and a file; the pamphlets were also recorded and cataloged. In the following years, the integration of the library with purchases on the current and antique market and donations (eg bookstore fund John Francovich, book fund Ferdinando Schiavetti) continued to be integrated, resulting in tens of thousands of titles. Access to the library and archives was established by a regulation drafted by Foscolo Lombardi and approved by the Council with amendments. Both the library and the archive received numerous donations from members of the Institute, consisting of books, documents, photographic material, newspapers, clandestine prints and posters, reports of partisan formations, documents that were part of the filing commission , documents extracted from the Mario Carità trial, concerning its arrest and subsequent deportation, memoranda It should be pointed out that: (a) that the papers concerning the punishment commission have never been part of the archives of the Institute, since at the end of the work of that commission the documentation produced by it was delivered to the prefecture of Florence; with these cards were poured, and never again found, the practices of the CTLN Information Office, which therefore, in this respect, is mutilated; b) that the cards defined as relating to the process of Mario Charity are in fact the documents relating to the process of the gang members whom the Charity has named; Charity was never arrested or prosecuted for the simple reason that in the first days after the end of the war he was killed in a clash with a department of Anglo-American security forces who were searching for him. An assessment of the size and importance of the ISRT archive can be carried out on the basis of the Archiving Guide, which is part of the Resistance Archives Guide published in the "State Archives Review", new series, at. II (2006), n. 1-2 The Institute received other donations: the last autograph of Piero Calamandrei, entitled Our Republic, by Mrs. Ada Calamandrei; documents relating to C.L.N. of Asciano and of Castelfiorentino; were donated by the heirs of Aldemiro Campodonico documents relating to the criminal trial of Campodonico-Favi for the controversy owned by the New Journal; In addition, the Ministry of Education - Directorate General Academies and Libraries donated some seventy volumes around the history of fascism Scholarships: Starting from 1965, with the consent of the Ministry of Education and the local Provveditorato to the Studies, the Institute banned a competition to award an annual prize to the best theme among high school pupils. This prize was named after the memory of Adina Tenca, consort of Enzo Enriques Agnoletti, who gave the Institute a sum, whose fruits, earned annually, served to the creation of the prize. The Prize Luigi Boniforti was also set up for the best thesis graduate degree on Resistance that was discussed in one of the Universities of Tuscany The National Research Council awarded the Institute a £ 1 million research grant for the development of a program for the identification and retrieval of documentary sources and archival material on Resistance in the various provinces of Tuscany Assemblies held in 1964-1965: On 15 March 1964 Carlo Ludovico Ragghianti commemorated Cesare Fasola. On January 31, 1965 Secretary Foscolo Lombardi, together with Giorgio Spini, Giulio Montelatici, Nello Traquandi, Alfredo Merlini, Giuseppe Pratesi, reminded Attilio Mariotti The History of Resistance in Tuscany: At this Institute on September 29, 1963, in the room of Luca Giordano, in the Palazzo Medici Riccardi, the first conference of Storia della Resistenza in Tuscany, I C.L.N. of Tuscany in their relations with the Allied Military Government and with the Government of Liberated Italy. The program of the convention was foreseen the celebration of the twenty years of the constitution of C.L.N. and Enzo Enriques Agnoletti was the rapporteur, with the introduction by Carlo Ludovico Ragghianti November 4, 1966: During the flood of 1966 in Florence, the Institute, whose seat was located on the ground floor of Palazzo Medici Riccardi, was invested and covered with water and mud and many papers were flooded, including Calamandrei cards, Foscolo cards Lombardi. Also the collection of clandestine newspapers published during the liberation war, together with newspapers, periodicals of the fascist, pre-fascist and post-liberation period, together with the collection of La Martinella, the first socialist newspaper printed in Tuscany between 1886 and 1923, they had the same fate. The library, specializing in the Fascist period and World War II, including unpublished works featured about 1,000 flooded volumes, about 5,000 volumes. Other damage suffered from the files, the furniture, the publications of the Institute. The work of release from the mud began from November 5, 1966 and saw the attendance of students from the University of Siena, Syracuse University and Smith College, among others, under the direction of the Institute's staff. Florence and Piombino From an initial estimate, it was found that most of the documents could be saved, while the 1,000 volumes flooded could partially be restored and partially replaced by the purchase of new books. In fact, the flooded documentary material could be saved in the size of 95/98% by virtue of the aid received from the Provincial Administration of Pistoia and the other Institutes of Resistance in Italy, in particular that of Turin. Tuscany in the fascist regime (1922-1939): On 23 and 24 May 1969, at the Four Seasons Hall of the Medici Riccardi Palace in Florence, a convention was held on the subject: Tuscany in the fascist regime (1922-1939). The official acts of this convention were printed on the volume published by Leo S. Olschki on the initiative of the Regional Association of the Tuscan Provinces (URPT), the Provincial Administration of Florence and the Historical Institute of Resistance in Tuscany. Historians and scholars present at the Conference [edit] edit wikitesto] The Management Committee of the Modern and Contemporary Tuscany History Library entrusted the organizational aspects and features of the Conference to a committee composed of Professors Giorgio Spini, Ernesto Ragionieri, Giorgio Mori and Carlo Francovich. Professors Andrea Binazzi and Ivo Giusti of the Cultural Office of the Province of Florence joined the executive branch. Many reports and interventions by Italian and foreign historians, including Alberto Predieri, Mario Rossi, Giorgio Luti, Emilio Sereni, Stuart Woolf, Reading University in the United Kingdom, Max Gallo, Wilhelm Alff of Marburg, Leopoldo Sandri, General Manager of the Central State Archives, Dr. Bonelli of the Einaudi Foundation in Turin, Antonio Bernieri, Roberto Cantagalli, Lando Bortolotti, Franca Pieroni Bortolotti, Marino Raicich, Antonio Pellicani and Franco Catalano. Interviews by Gabbuggiani and Niccoli: The President of the Province of Florence, who at the time was Elio Gabbuggiani, said that the conference was intended to make a contribution to the history of the economic, political and social structures of Fascist Italy, in the historical period between 1922 and 1939. In Niccoli, in that year, President of the Resistance Institute in Tuscany, in his opening speech, he explained that the conference was intended to study with what methods fascism had been established in the region; what structures he used for economic, social and cultural policy; what forces were associated with the regime to profit, and who, on the contrary, had suffered for political oppression and the economic exploitation of fascist dictatorship. Niccoli said: We have to investigate if there were positive aspects of fascism in our region. The more we will be objective, the more we will be faithful not only to our duty of historians, but also to the democrats and antifascists. He added that if the conference did not come to immediate results, the study setting, the research suggestions formulated in [...] two days of work would be important in the name of a rigorous and objective scientific criterion Other Conferences: In addition to the above-mentioned conference, the Institute organized, in the autumn of 1963, the Congress on "Resistance and Allies in Tuscany" and, subsequently, "Tuscany in World War II". The liberation of Florence: The documentation useful for writing the book The liberation of Florence was made available by the Historical Institute of Resistance in Tuscany thanks to the collaboration of Giovanni Verni who evaluated and coordinated the material used. For the cover of the volume, the Historical Institute of Resistance in Tuscany granted the historical photo of Florence. In fact, Giovanni Verni did not evaluate and coordinate a good deal, but merely encouraged the research of the author of the book, Giovanni Frullini, pointing to , as it was used to do with all those who addressed him, publications and documents in the Institute concerning the subject of research.

#Italy

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