By Claire Fontijn
Essentially the most interesting figures of seventeenth-century track, composer and singer Antonia Padoani Bembo (c.1640 - c.1720) used to be lively in either Venice and Paris. Her paintings offers a special cross-cultural window into the wealthy musical cultures of those towns, but as a result of her clandestine life in France, for nearly 3 centuries Bembo's existence used to be shrouded in secret. during this first-ever biography, Clare Fontijn unveils the spell binding and mind-blowing tale of a outstanding lady who moved within the musical, literary, and creative circles of those eu cultural facilities.
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Additional resources for Desperate Measures: The Life and Music of Antonia Padoani Bembo
No. ); she died the following February. Zan Mattio and Lorenzo worked on the divisions of the property at Nanto in the spring before Lorenzo’s wedding (I-Vas, Notarile, Atti, Battista Ernest, b. , ff. v–v). The matter was still not resolved one year later, when Lorenzo named a procurator to try to set things straight between them (on April , I-Vas, Notarile, Atti, Battista Ernest, b. , ff. –v). 53 I-Vas, Avogaria di Comun, Matrimoni, Sposalici, b. , f. . v. For the dowry of said Signora the bride, her father this Most Excellent Signor Giacomo promises to give to this Most Illustrious spouse , ducats in cash .
Giustiniano Martinioni (Venice: Steffano Curti, ; facs. , Venice: Filippi, ), : Terzo Catalogo, –. 7 I-Vnm, Misc. / preserves the original print. See the reference to this booklet in Giovanni Cinelli Calvoli, Biblioteca volante (Venice: Albrizzi, –; facs. , Bologna: Arnaldo Forni, ): “de’ PADOVANI (Giacomo) Oratio Illustriss[imo] & Excellentiss[imo] viro Aloysio Valaresso Equiti, cum Praefectura Patavii summa cum laude & applausu administrata abiret dicta a Jacobo de Patavinis Vicentino anno reparatae salutis .
Fear of God” by threatening to give as their inheritance just a pair of devotional paintings: I leave to Illustrious Signor Lorenzo Bembo, my son-in-law, for now and forever, my Redentore, a copy of one by Titian, kept in the Fontego dei Tedeschi. Likewise I leave to Antonia, my only daughter, a painting of Saint Anthony of Padua made in the house of Joseph Heinz, painter at San Polo, and this is all I can leave for now. . I cannot leave anything else, neither to one nor to the other, due to the little respect and lack of kindness that both have shown me and my wife as compensation for all of my poor wife’s labors in raising my aforementioned daughter and in getting her taught, and I, for having guided her way and (one would almost say) nourished her soul, in order to make her succeed in ‘virtù,” to the astonishment of the world, and to accompany her as I did, having given her the dowry that neither paternal obligation nor the powers of my meagre fortune permitted me, beyond the large expenditures that I bore after having paid the dowry; for which I deserve to be excused by God, by the law, and by the world, and so by them.
Desperate Measures: The Life and Music of Antonia Padoani Bembo by Claire Fontijn