By David Murphy
Initially employed via filthy rich Italian urban states to guard their resources in the course of a time of ceaseless warring, the Condottiere of the Italian peninsula grew to become recognized for his wealth, venality and amorality throughout the 14th century. The Condottieri's pursuit of revenue intended they have been ready to alter aspects for the suitable fee, even in the course of conflict, they usually prospered, changing into either strong and wealthy within the method. Leaders akin to John Hawkwood, along with his recognized 'White Company', grew to become significant political figures. as soon as on the height in their energy, they generally labored jointly to guard their cozy place by means of staging a couple of visually striking yet virtually cold battles, thereby fending off the true factor. It used to be due to this, and their reliance on medieval strategies and weaponry, together with grand armoured knights, that they have been ultimately burnt up or dispersed through the extra glossy armies. Lavishly illustrated with modern depictions and unique paintings, this name examines the complicated army association, recruitment, education and weaponry of the Condottiere. With perception into their origins and motivations, the writer, Dr David Murphy, brings jointly the social, political and armed forces background of those strong and unscrupulous males who controlled to steer Italian society and struggle for over centuries.
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Extra info for Condottiere, 1300-1500: infamous medieval mercenaries
I perhaps had more fortune because I worked in a period of great musical vivacity. I was 20 years old when at the Teatro Bellini in Naples I worked in the famous Piedigrotta of Furio Rendine. During one of the encores of the show, Gennaro and Vincenzo Gardenia participated. Gennaro was the first great Italian-American actor to be engaged in Hollywood. They were taken with my voice and offered me a contract in America. I had already travelled in 1949 with Cafiero-Fumo Company and Luisa Conte; we had been in Brazil for almost 6 months.
36 As far as music is concerned, Tamanini’s statement identifies a clean and very real split in Italian-American culture. On the one side there is the generation of Frank Sinatra and his contemporary performers; this generation responds to the archetypical Italian-American canon mentioned earlier, to the stereotype of the immigrant who has suffered and who, for this reason, is ready to cheat anyone. Spiteful and trigger-happy, this stereotypical immigrant is often deceived by friendship and the spirit of camaraderie because, at the bottom of his heart, he is a good man who loves his mother and his wife, even if he is also a Don Juan.
26 Other than maintaining a program of musical shows and dramas over the course of the month, the theaters were also places for holding so-called “evenings of honor,” for artists who were very popular in the community. These evenings were elegant affairs of musical and dramatic presentations. For example, on March 30, 1922, the noted dialect poet Pasqualotto was honored in Acierno’s Thalia Theater on the Bowery. On that occasion, major artists of the day appeared on stage—Teresa de Matienzo, Griselda Picone, the Amauli couple, the comedian Alfredo Bascetta, the Neapolitan singer Gennaro Quaranta, and the tenor Vittorio Somma.
Condottiere, 1300-1500: infamous medieval mercenaries by David Murphy