Podcasts about Girolamo

"Cose di Calcio" con Luigi Schiffo. Ospiti: Avv. Vincenzo Greco (Pensieri Bianconeri), Aldo De Girolamo (Youtuber), Filippo Vagli

"Cose di Calcio" con Luigi Schiffo. Ospiti: Avv. Vincenzo Greco (Pensieri Bianconeri), Aldo De Girolamo (Youtuber), Filippo Vagli

"Cose di Calcio" con Luigi Schiffo. Ospiti: Avv. Vincenzo Greco (Pensieri Bianconeri), Aldo De Girolamo (Youtuber), Filippo Vagli

Il 20 luglio la liturgia tradizionale della Chiesa ricorda san Girolamo Emiliani (1486-1537). Nacque a Venezia nel 1486 da una famiglia patrizia. Come molti giovani nobili della Serenissima, ricevette una formazione orientata più alle armi e al governo che agli studi. Il suo ideale era quello del cavaliere cristiano, fedele alla Repubblica e pronto a difenderne i confini. Per questo intraprese presto la carriera militare, militando nella cavalleria veneta. L'episodio decisivo della sua vita avvenne nel 1511. Durante la guerra della Lega di Cambrai fu incaricato della difesa della fortezza di Castelnuovo di Quero, nel Trevigiano. L'assedio delle truppe francesi ebbe un esito disastroso: Girolamo fu catturato, incatenato e rinchiuso in una prigione. Per un uomo abituato agli onori e alle responsabilità fu un'umiliazione profonda.Questo episodio include contenuti generati dall'IA.

Salvatori Ferragamo didn’t make beautiful shoes, he made shoes that work with the human body beautifully. Dave Young: Welcome to the Empire Builders Podcast, teaching business owners the not-so-secret techniques that took famous businesses from mom and pop to major brands. Stephen Semple is a marketing consultant, story collector and storyteller. I’m Stephen’s sidekick and business partner, Dave Young. Before we get into today’s episode, a word from our sponsor, which is, well, it’s us, but we’re highlighting ads we’ve written and produced for our clients. So here’s one of those. [Rocket Cooling Ad] Dave Young: Welcome back to the Empire Builders Podcast. Dave Young here along with Stephen Semple, and we’re talking about businesses and empires and how people grew their business and the decisions they made and all of those things. Hi, Stephen. Stephen Semple: Hey, David. Dave Young: I’m struggling here because you told me we’re going to talk about Ferragamo. Stephen Semple: Yes. Dave Young: And you’re not even going to understand this. I think it’s a clothing thing, a fashion thing. Stephen Semple: Yep. Dave Young: But let me tell you what comes to my mind, my adult 60-plus-year mind. Stephen Semple: Oh, this should be entertaining. Dave Young: I think back in the ’70s, I think, the University of Nebraska Cornhusker football team had a quarterback named Vince Ferragamo. Stephen Semple: Oh, there you go. Dave Young: He’s a pretty good guy. Pretty good quarterback. And that’s what I though of when you said Ferragamo. Stephen Semple: Okay. Not him. Dave Young: Fashion didn’t come into it. So it’s not him. Stephen Semple: Not him. Dave Young: So there’s another Ferragamo somewhere. Stephen Semple: There is, believe it or not. Dave Young: Oh, I’m all ears. Stephen Semple: Well, here’s the thing that’s kind of interesting about Ferragamo. They’re a pretty big player in the luxury brand space. They mainly do shoes, but it’s not as big as Gucci or Hermes or some of those other ones, but they still do like a billion dollars in sales. They’ve got, call it about 3,500 employees worldwide. They have 450 stores. 85% of their sales are shoes and their shoes for the most part run from about $750 US to about three grand. Dave Young: Okay. Are you wearing yours right now? Stephen Semple: I do not have a pair. Dave Young: Okay. Stephen Semple: Do not have a pair. But what’s really interesting, so the company was founded by Salvatore Ferragamo, who was an Italian immigrant. The company was started in 1923 when he opened the Hollywood Boot Shop in California where he became known as the shoemaker to the stars. Dave Young: I was thinking this would be an Italian company, but this is an American immigrant story. Stephen Semple: Well, except in 1927 he returned to Italy and he established the company in Florence. And in 1938, he purchased the historic Palazzo Spini Feroni, which remains the company’s headquarters. And this is kind of where my story starts. Dave, as you know, I was recently in Florence where I spent two weeks just wandering the city and I literally came across the Ferragamo headquarters, which is this stunning old building that’s just right off the banks of the Arno River in the center of the city. It’s this beautiful store that on the ground floor, there’s a store on the ground floor, there’s the offices above. It’s all been beautifully restored and a museum in the basement. Dave Young: Wow. Stephen Semple: So I had to visit the museum. Dave Young: And we missed the opportunity for you to just have me fly over and we’d do this live from the plaza. Stephen Semple: That’s it. We did miss this opportunity, but it’s always an opportunity for an update. So I had to visit the museum and this is where I learned the story of Salvatore Ferragamo, which actually turned out to be really fascinating. He is a very real Renaissance-style man, or he was. Engineer at heart, studied anatomy, had patents for other industrial machines. And this is what really made him different. In the early 1900s, most shoemakers believed their job was to make attractive shoes. That’s kind of how the industry leaned. And Salvatore believed his job was to make shoes that worked with the human body. So he did something different. He studied anatomy. Dave Young: I like this guy already. Stephen Semple: He attended classes… Yeah. He attended classes where he learned how the foot carried weight, how the arch functioned and why fashionable shoes were painful. Then he redesigned the shoes based upon what he discovered. And to me, that’s part of the Ferragamo story that’s worth listening to. It’s not just about the shoes, but it’s the moment where he stopped thinking like a shoemaker and started thinking like a customer. Now, this was in the museum, which is kind of a tribute to the business. So how true is that statement? Dave Young: Yeah. Stephen Semple: So the next day I’m standing in line to climb the 458 stairs to the top of the Duomo in Florence. So while standing in line, often what happens, people get talking about where are you from? How long you’ve been? What have you seen? And the lady in front of me, Susan, asked an interesting question, “Have you seen anything that has surprised you?” And I told her about the Ferragamo Museum. I said, “That surprised me. It was really cool, really, really well done.” And she immediately told me they were her favorite shoes and she had a couple pair. Dave Young: All right. Stephen Semple: I then asked her an important question. I said, “Susan, are they comfortable?” He said, “Surprisingly so.” Dave Young: All right, there you go. Stephen Semple: So I was in that moment sold, need to tell the story. In fact, went back to the museum, took more notes. Dave Young: Gotcha. Stephen Semple: So Salvatore Ferragamo was born in June 5th, 1898 in Bonito, which is just outside [inaudible 00:06:31], he was the 11th of 14 children. Dave Young: Wow. Stephen Semple: His parents were poor farmers with a small piece of land and much of the older children immigrated to the United States. So Salvatore’s sisters were being confirmed and by tradition in confirmation, you’re required to wear white shoes, which the Ferragamo family couldn’t afford. So Salvatore worked basically through the night making shoes for his little sisters. And he was like nine at the time. So basically a shoemaker was born. Dave Young: That’s amazing. Stephen Semple: So when his father died in 1912, the family situation got worse and shortly afterwards, Salvatore went to Naples to learn as much as he could about shoemaking. And when he returned to Bonito, he opened a small shoemaking business with six people, but his aspirations were larger than that. And he decided to do what many Italians at the time did, join his siblings in America. So March 24th, 1915, he basically sailed to New York where he landed at Ellis Island on April 7th. And from New York, Salvatore moved to Boston where he started working for the… God, the name of this company, you’re going to love the name of this company. The Thomas G. Plant Queen Quality Shoemaking Company. Dave Young: Amen. Stephen Semple: But they were doing these machine-made shoes and they didn’t have the same quality as the ones produced by hand. So he wasn’t really loving it, but he learned something. So he moved to Santa Barbara, California, where his brothers Alfonso, Girolamo and Secondino had settled. So in Santa Barbara, he opened his first custom shoe repair shop on 1033 State Street. And he was introduced to the world of cinema by his brother Girolamo, who ironed clothes for the American film company, and his cousin Jerry, who is a character actor in the serial, The Diamond from the Sky. So through his brother, Salvatore got a boot order for early Western movies and this opened the doors to Hollywood. But in 1916, Salvatore attended anatomy classes. We talked about the anatomy classes at the University of Southern California where he discovered the secret of comfortable shoe was supporting the arch of the foot, all about the arch of the foot. Now, life-changing thing happens for him. February 4th, 1920, he’s driving his car and he gets in a serious accident. His brother Alino dies and he actually almost lost his own leg. At Bard Memorial Hospital in Ventura, he decided to apply his learning of anatomy to designing a machine for limb traction to help- Dave Young: Really? Stephen Semple: Yes, to help in his own recovery. And this shapes his thinking. 1923, he transferred his business to Hollywood where he acquired the lease of the Hollywood Boot Shop at 6687 Hollywood Boulevard, just across from the Grauman’s Egyptian Theater. 1923, film director Cecil B. DeMille commissions Ferragamo to make footwear for The Ten Commandments. Other directors start to hire him for doing footwear and he starts collaborating with other directors such as David Wark Griffins, James Cruze, a whole bunch of them. But February 1926, Ferragamo received an American citizenship and a passport. So he’s now an American citizen. And he decides, here’s what he wants to do. He wanted to expand production but maintain quality and style. And he decided he was going to handcraft shoes in Italy and distribute them through the Hollywood store to these American clientele that he was developing, because this also opened up him doing work with the movie stars, right? So in 1926, he sets up Ferragamo Inc. And he leaves the United States and basically takes a liner to Rome and basically settles in Florence. And he gives birth to a company doing like 360 pairs of shoes a day thanks to 750 shoemakers. But here’s what he did. So remember he was working with the place that was manufacturing shoes? Dave Young: Uh-huh. Stay tuned. We’re going to wrap up this story and tell you how to apply this lesson to your business right after this. [Using Stories To Sell] Dave Young: Let’s pick up our story where we left off and trust me, you haven’t missed a thing. Stephen Semple: And he gives birth to a company doing like 360 pairs of shoes a day thanks to 750 shoemakers. But here’s what he did. So remember he was working with the place that was manufacturing shoes? Dave Young: Uh-huh. Stephen Semple: Well, he looked at that manufacturing process and he went, “Well, you could do the same thing but still handcraft them or you break everything into… Dave Young: Into pieces. Stephen Semple: … to pieces. Dave Young: This is the production line story. Stephen Semple: The production line story except applying it to craftsmen. Still a handcrafted, small run of shoes. Dave Young: Yeah, I love it. Stephen Semple: Because when they make their shoes, they don’t make 5,000 pairs. They make a small run of the shoes. But this human chain came from production. So he applied the assembly line approach he learned in America for making machine-made shoes and applied them to handmade shoes. 1920s onward Ferragamo experiments with all sorts of different materials. He was this real artisan who experimented with fish skin and straw and cork. And he patented lots of footwear such as the wedge. All sorts of different designs he comes up with. And in 1938, he rents a few rooms in the building he’s in today, establishes the workshop, and later he’s able to purchase the entire palace, which has been the headquarters ever since. And basically the Salvatore Ferragamo became a symbol of Italy’s reconstruction after the war through design and production. And they did a lot of inventions, the invisible sandal where the upper’s made of nylon thread, which in 1947 he received the Neiman Marcus Award, which is basically one of the Oscars of the fashion industry. And it was the first time it was awarded to an Italian for footwear. They basically did big innovations with stiletto heels, all sorts of things. Now there’s no question there weren’t setbacks along the way. 1929, the market crash hurt the company. ’33, they had to declare bankruptcy, but they came back. And he was a real Renaissance man. Among the patents held by Ferragamo, there’s many that have nothing to do with footwear, such as he has a patent on an offensive and defensive anti-aircraft system. Dave Young: Really? Stephen Semple: And a patent on the construction of Navy forts and a patent on a multiple launch torpedo. Dave Young: Holy cow. That’s amazing. Stephen Semple: Right? But the big thing that he talked about in his memoirs was he loved feet. He had this fascination with feet. He wrote in his memoirs, “I love feet. They talk to me. As I take them in my hands, I feel their strengths, their weaknesses, their vitality, or their failings. A good foot, its muscles firm, it’s arch strong is a delight to touch. A masterpiece of divine workmanship.” He doesn’t sound like an engineer, does he? Dave Young: No, but recognizing that there’s engineering going on, especially in your foot, it’s one of the most complicated parts of your body. Stephen Semple: Another thing he wrote in his memoirs was, “When I began studying human anatomy, I found my first clue to the problem in the distribution of weight of the body over the joints of the foot. I discovered the interesting fact that the weight of our bodies when we are standing erect drops straight down on the arch of the foot.” So when he studied foot mechanics, he was looking at the laws governing the way we walk, the architecture of the skeleton and how muscles function. And what he understood was how important weight distribution is between the center of the plantar arch and the ends of the foot, the heel and the toes, especially in motion, like that the foot provides joints and swivels and does all of this other stuff. So to support this complex structure, Ferragamo created this special steel shank inside of the shoe that allows the foot to move like an inverted pendulum is how he described it. Dave Young: Oh, wow. Stephen Semple: So he looked at how architects and builders of cathedrals use plumb lines to find the medial line and he applied that to the body to create this axis of equilibrium that sits right on the center of the plantar arch. Dave Young: Oh, that’s amazing. Yeah. Stephen Semple: And he had books and books and books on this in terms of how he was studying how the foot moves in standing and walking and things along that line. And his list of innovations went on and on and on and on. It was just really, really crazy. And as I said, when I looked at it, I went, “This guy is… He’s a Renaissance man. He’s an engineer. He’s an artist. He’s a philosopher.” He even had things where he talked about how there was these different personalities of women and how they interacted with their footwear. Dave Young: Sure. Stephen Semple: He created what we would call character diamonds where here’s their strength, here’s their weakness. It was amazing. Dave Young: Oh, he’s the kind of guy that if you walked past him, he could tell you exactly where your foot hurts, where your back hurts. Right? Stephen Semple: Yeah. Dave Young: He can see that anatomy. He can see the forces at work. Stephen Semple: Yes. Dave Young: Those kinds of people are rare and kind of cool to interact with. Stephen Semple: Yeah. And even his early advertising, much more avant-garde art than commercial advertising. He hired this futuristic artist, Lucio Venna, to create his logo and advertising posters. And if you look at them, they were not typical shoe ads. They were artistic and abstract and in some ways you weren’t even sure… They were really beautiful and cool and inspiring. Dave Young: That’s awesome. Stephen Semple: So you can now see why when I visited the museum and I’m reading all of this stuff that I got unbelievably fascinated. And then when I meet the woman who was like, “Oh yeah, no, the shoes are surprisingly comfortable.” I’m like, okay, I need to go back. Dave Young: I think you’d look fine in a nice wedge. Stephen Semple: There you go. There you go. I find the wedges ugly. I was actually disappointed he invented those. And then even afterwards, I went into the store and looked at the shoes and the shoes are absolutely beautiful. Stunning. Dave Young: Very cool. Stephen Semple: So the thing I found that was interesting to me, there was a couple of lessons here. And I find this is a really common reoccurring theme with a lot of the empires, not thinking like somebody from the industry, but thinking like the customer. And he followed his passion, but his passion was to solve a problem. Yes, he wanted to create beautiful shoes, but lots of people were creating beautiful shoes. What he wanted to create were beautiful shoes that were comfortable. And he applied all that engineering knowledge to fashionable shoes. Dave Young: Gotcha. Yeah. Yeah. Stephen Semple: He was thinking like a customer and he changed the way we look at shoes, he changed the way they were engineered. And he also then changed the way handcrafted shoes are made. He looked at that mass manufacturing model, which didn’t appeal to him, but looked at it and said, “I can apply this to handcrafted shoes.” Dave Young: All right. What a great story. What’s really strange, it’s a reverse immigrant story. He immigrated to the US, became a citizen, and then went back to Italy to change the world. Stephen Semple: Yeah. Dave Young: All right. Stephen Semple: Everything about this guy was fascinating. And there was even a thing where they were talking about when he passed away, his personal book collection and how it had philosophy in it and religion in it and engineering in it and books on art in it. Just again, all of this very much Renaissance thinking. If you think about people like Leonardo da Vinci, who’s from Florence, that’s what he was. He was an artist and an engineer. Dave Young: Yeah. Great story. So I’m going to bring this full circle to the Nebraska quarterback, Vince Ferragamo. Stephen Semple: There you go. Okay. Dave Young: I did a quick Google search while you were talking to see if they were related. Stephen Semple: Yes. Dave Young: And I don’t think they are because in 2016, the shoe company sued Vince Ferragamo for a trademark infringement. I don’t know the details. It was behind a paywall, but I got the gist of it from the headline that probably not the same family. Stephen Semple: Or from the branch of the family that everybody was like, “Those guys [inaudible 00:20:28].” Dave Young: Yeah. The black sheep. The ones that stayed in the US. Stephen Semple: Well, we sent them to Nebraska for a reason. They were supposed to just stay there. Dave Young: Well, I don’t know where he’s from. He’s probably recruited to Nebraska. Well, I appreciate the Ferragamo story. Great. Stephen Semple: I knew you would like it because it was just one of those ones where it was like this guy was a really interesting dude. Dave Young: Yeah. We’d loved to have hung out with that guy. Stephen Semple: That’s actually the thing. The more I read about it, this would be one of those people that if he were alive today, I would say I would want to sit down and have an espresso with this guy. Dave Young: Yeah, absolutely. All right. Well, trying to think of a good sign-off for a shoe company. Safe walking out there and we’ll see you next time on another episode of the Empire Builders Podcast. Stephen Semple: All right, thanks, David. Dave Young: Thank you. Thanks for listening to the podcast. Please share us, subscribe on your favorite podcast app and leave us a big, fat, juicy five-star rating and review at Apple Podcasts. And if you’d like to schedule your own 90-minute Empire Building session, you can do it at empirebuildingprogram.com.

Habemus podcast! CCXXXIX puntata di Anima Latina, con il professor Daniele Michienzi (Liceo Classico Tito Livio di Milano) che presenta il suo libro Latin Lover - che con ironia e un pizzico di provocazione mostra come la lingua e la cultura di Roma antica possano offrire ancora oggi strumenti per comprendere il presente - e con don Davide Piras (Ufficio Lettere Latine) che analizza in chiave spirituale l'espressione di san Girolamo nec audio nec tango ("non sento e non tocco"), usata per indicare chi si chiude all'ascolto e rifiuta di confrontarsi con la realtà. Ospiti Don Davide Piras, scriptor dell'Ufficio Lettere Latine della Segreteria di Stato e docente di patristica dell'Arcidiocesi di Cagliari. Prof. Daniele Michienzi, docente di italiano e latino al Liceo Classico Tito Livio di Milano, ideatore e curatore dell'account Instagram @loquendum. È autore del volume Latin Lover (Blackie Edizioni, 2026) Conducono Fabius Colagrande & Maria Milvia Morciano Puoi ascoltare tutti i podcast di Radio Vaticana - Vatican News cliccando qui: vaticannews.va/it/podcast.html

Saints du jour 2026-05-11 Saint François de Girolamo et Saint Ignace de Laconi by Radio Maria France

We got cafe Eevee owner Alessandro on the pod. He makes the best Italian pastries in montreal! Check them out! Great pod!

In Episode 449 of the Immigration Lawyers Toolbox® Podcast, John Q. Khosravi, Esq. welcomes back Gianfranco De Girolamo, Esq. to discuss how AI, automation, and human-centered service are reshaping immigration law practice. They cover AI tools for admin and marketing, data centralization, prompt engineering, social media strategy, live video, and why human connection—not machines—will define successful firms in the years ahead. A must-listen for lawyers building future-ready practices. Spotify | iTunes | YouTube Music | YouTube Learn more about Gianfranco's marketing support service: https://nextlevellawyer.com/ Timestamps: 00:00 – Opening 00:33 – Introduction 02:00 – Will AI Replace Immigration Lawyers? 05:01 – The Right Way to Use AI 06:20 – AI for Managers & Leadership 07:36 – Understanding the Nature of AI 09:00 – Does AI Make You Less Intelligent? 10:44 – AI as a Single Source of Truth (Mistake to Avoid) 12:09 – Implementing AI Agents in Your Business 12:42 – The Master Prompt: How to Guide AI Effectively 13:53 – Mid-Episode Break 14:54 – Using AI for Social Media Scriptwriting 16:10 – How AI Multiplies Creativity 17:11 – How Social Media Algorithms Are Changing 18:34 – Why Going Live Still Matters 21:39 – The Impact & Advantages of Going Live 26:48 – AI's Global Impact: A World Wide Open 28:05 – Outro 28:18 – Final Closing Live Consular Processing training for lawyers Dec 18, 10:00–11:45 a.m. PT - NVC packets & DS-260 - Interview prep & follow-up - Timelines, fees, and real-world workflows Register here! Follow eimmigration by Cerenade: Facebook | Instagram | LinkedIn Start your Business Immigration Practice! (US LAWYERS ONLY - SCREENING REQUIRED): E-2 Course EB-1A Course Get the Toolbox Magazine!  Join our community (Lawyers Only) Get Started in Immigration Law! The Marriage/Family-Based Green Card course is for you Our Website: ImmigrationLawyersToolbox.com Not legal advice. Consult with an Attorney. Attorney Advertisement. #podcaster #Lawyer #ImmigrationLawyer #Interview #Immigration #ImmigrationAttorney #USImmigration #ImmigrationLaw #ImmigrationLawyersToolbox

“La Juve del Lunedì” con Luigi Schiffo. Ospiti: Aldo De Girolamo, Vincenzo Greco.

“La Juve del Lunedì” con Luigi Schiffo. Ospiti: Aldo De Girolamo, Vincenzo Greco.

Girolamo De Michele, in dialogo con Wu Ming 1 e con interventi del filosofo Stefano Bonaga, presenta il suo libro Il profeta insistente. Raphael Lemkin, l'uomo che inventò la parola genocidio (Neri Pozza, 2025). Modo Infoshop, Bologna, 1 dicembre 2025.

After some downtime Stewart, Rastislav and Ken make their return for Off The Record number 6 of 2025. Kens feature pick is Rampage from 1987 Directed by William Friedkin and starring Michael Biehn. A mostly sombre film about the vampire killer Richard Chase and what the experience was like in the courtroom for the jurors. Even though this was a serious film, Ken recounts a few memorable and funny moments and is on his recommended list.Stewart's greater pick Friendship from 2024 is a story about two neighbours who become great friends, but through the struggles of everyday life have a falling out because the main character is a bit of a born loser. Andrew DeYoung take this classic tale and puts a modern twist on it. The main character played by Tim Robinson is very good in his role. Rasto decides to go the documentary route this time with his 2022 pick called Louis Armstrong's Black & Blues, which explores the life and times of this pioneer of jazz. Directed by Sacha Jenkens using actual footage of Louis Armstrong. Rasto was very pleased with this film and the controversy surrounding Louis Armstrong at the time.We slide back to Ken for another semi-court room drama called Juror No. 2 directed by Clint Eastwood in 2024. Ken was somewhat impressed but also let down at a key moment in the film. Nicholas Hoult stars in the film, And Ken decides this film is worth a better score than our recent review of Cry Macho.After all these serious picks, Stewart from out in left field brings us his tale of the Toxic Avenger from 1984, which in all manor of speaking is a B Movie done so wrong, that it turns out alright! Tons of gore, red ketchup and brutal scenes, not for the faint of heart. Directed by Michael Herz starring Mitch Cohen. This bad boy falls under the classic Troma over the top film. As the name says a nerdy janitor turns into a toxic vigilante after falling into some toxic waste. You can watch the kill count on Youtube if you are brave enough.Rasto brings us back to reality with Three Pines from 2022 which he still gave a half descent score. Created by Emilia di Girolamo and starring Alfred Molina. This is a Canadian Film, from Montreal that explores the life of a small towns sins and how the residents navigate each others crimes while still trying to remain neighbours. There is one other ‘Meh' film that Rasto brought to our attention and that is sleeping Dogs starring Russell Crowe from 2024 which was in his opinion just meh.... This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit unsungcinematics.substack.com

GIROLAMO DE MICHELE - IL PROFETA INSISTENTE - presentato da Michele Migone

José, Girolamo y Julio se reúnen con para hablar sobre la falta de goles en el Milan. También estarán haciendo la previa de lo que será el partido contra la Atalanta. Todo eso y mucho más, aquí, en tu Voz Rossonera.

Il cigno è un uccello acquatico grande eaggraziato con un collo ricurvo lungo e snello. Alcuni cigni possono pesarefino a 18 kg e possono avere un'apertura alare di circa 2,5 m.Il nome ebraico (tinshèth) derivada una radice che significa “ansimare”. Descrive il forte sibolo del cigno, cheemette quando è eccitato o arrabbiato. Ancora oggi, è chiamato tinshèthinvece che cigno. Tinshèth fu abitualmente utilizzato nell'antichità,fino all'epoca di Girolamo che, nella Vulgata latina, la suatraduzione della Bibbia, utilizzò il termine latino cycnus (cigno).Nel greco antico troviamo altri termini: porfirìon (“folaga purpurea”), ovverogallinella porpora (Porphyrio porphyrio), e “ibis”.Alcuni traduttori affermano che tinshèthindicherebbe la “gallina d'acqua”, la “civetta”, l'“ibis” o altri uccellicarnivori o spazzini, perché oggi è raro trovare in palestina dei cigni. Tuttavia,non va dimenticato che la rarità odierna dei cigni in Palestina non è una provache fossero rari anche nell'antichità. Oltre alla sua solita dieta a base disemi, radici di piante acquatiche e vermi, il cigno è noto per nutrirsi dicrostacei.

Dal Vangelo secondo LucaMentre stavano compiendosi i giorni in cui sarebbe stato elevato in alto, Gesù prese la ferma decisione di mettersi in cammino verso Gerusalemme e mandò messaggeri davanti a sé.Questi si incamminarono ed entrarono in un villaggio di Samaritani per preparargli l'ingresso. Ma essi non vollero riceverlo, perché era chiaramente in cammino verso Gerusalemme.Quando videro ciò, i discepoli Giacomo e Giovanni dissero: «Signore, vuoi che diciamo che scenda un fuoco dal cielo e li consumi?». Si voltò e li rimproverò. E si misero in cammino verso un altro villaggio.

Mentre stavano compiendosi i giorni in cui sarebbe stato elevato in alto, Gesù prese la ferma decisione di mettersi in cammino verso Gerusalemme e mandò messaggeri davanti a sé. Questi si incamminarono ed entrarono in un villaggio di Samaritani per preparargli l'ingresso. Ma essi non vollero riceverlo, perché era chiaramente in cammino verso Gerusalemme. Quando videro ciò, i discepoli Giacomo e Giovanni dissero: «Signore, vuoi che diciamo che scenda un fuoco dal cielo e li consumi?». Si voltò e li rimproverò. E si misero in cammino verso un altro villaggio.

- Premere il tasto PLAY per ascoltare la catechesi del giorno -Riflessione su San GirolamoParola del Signore.

Episode 396 of the Immigration Lawyers Toolbox Podcast features a special interview with Gianfranco De Girolamo, Esq., an accomplished immigration attorney and law firm strategist. In this episode, we explore law firm growth, AI in immigration practice, and business strategies for attorneys:

In response to the Lutheran Formula of Concord, representatives of Reformed churches commissioned Girolamo Zanchi to draft a confession of faith acceptable to all Reformed churches. Zanchi patterned his Confession of the Christian Religion after the Apostles' Creed, giving it a broadly Trinitarian and redemptive-historical structure that emphasizes God's saving work for His people in His incarnate Son. It is a synthesis of his exegetical, doctrinal, and pastoral interests and stands out among his numerous publications as a useful and accessible overview of the entire Reformed theological system of doctrine. Although the project never attained confessional status at the ecclesiastical level as was planned, Zanchi's Confession proved influential in both the Reformed theological tradition generally and the development of Reformed dogmatics in particular. Patrick J. O'Banion (PhD, Saint Louis University) is a historian, translator, and author of several books, most recently Girolamo Zanchi's The Spiritual Marriage between Christ and His Church and Every One of the Faithful (Reformation Heritage Books, 2021). He teaches with Training Leaders International. Crawford Gribben is a professor of history at Queen's University Belfast. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

In response to the Lutheran Formula of Concord, representatives of Reformed churches commissioned Girolamo Zanchi to draft a confession of faith acceptable to all Reformed churches. Zanchi patterned his Confession of the Christian Religion after the Apostles' Creed, giving it a broadly Trinitarian and redemptive-historical structure that emphasizes God's saving work for His people in His incarnate Son. It is a synthesis of his exegetical, doctrinal, and pastoral interests and stands out among his numerous publications as a useful and accessible overview of the entire Reformed theological system of doctrine. Although the project never attained confessional status at the ecclesiastical level as was planned, Zanchi's Confession proved influential in both the Reformed theological tradition generally and the development of Reformed dogmatics in particular. Patrick J. O'Banion (PhD, Saint Louis University) is a historian, translator, and author of several books, most recently Girolamo Zanchi's The Spiritual Marriage between Christ and His Church and Every One of the Faithful (Reformation Heritage Books, 2021). He teaches with Training Leaders International. Crawford Gribben is a professor of history at Queen's University Belfast. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/biblical-studies

In response to the Lutheran Formula of Concord, representatives of Reformed churches commissioned Girolamo Zanchi to draft a confession of faith acceptable to all Reformed churches. Zanchi patterned his Confession of the Christian Religion after the Apostles' Creed, giving it a broadly Trinitarian and redemptive-historical structure that emphasizes God's saving work for His people in His incarnate Son. It is a synthesis of his exegetical, doctrinal, and pastoral interests and stands out among his numerous publications as a useful and accessible overview of the entire Reformed theological system of doctrine. Although the project never attained confessional status at the ecclesiastical level as was planned, Zanchi's Confession proved influential in both the Reformed theological tradition generally and the development of Reformed dogmatics in particular. Patrick J. O'Banion (PhD, Saint Louis University) is a historian, translator, and author of several books, most recently Girolamo Zanchi's The Spiritual Marriage between Christ and His Church and Every One of the Faithful (Reformation Heritage Books, 2021). He teaches with Training Leaders International. Crawford Gribben is a professor of history at Queen's University Belfast. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/christian-studies

Giacomo Ceccarelli"Cornacchie"Feltrinelli Editorewww.feltrinellieditore.itNella foresta di Bowland, l'ornitologa Olga Leffman assiste a un evento straordinario: un gruppo di cornacchie accende un fuoco. Olga le riprende e il suo video diventa virale.Il filmato si insinua persino tra le pareti invalicabili del Grande Fratello, sconvolgendo gli addetti ai lavori del noto reality ma soprattutto il concorrente Pepo Dj che, dalla finta gabbia di popolarità in cui si è relegato, ammira l'incredibile guizzo evolutivo di quegli uccelli.Anche una colf di nome Jasmine assiste al miracolo delle cornacchie, ormai trasmesso a reti unificate, e decide d'impulso di liberare uno dei pappagalli dei signori per cui lavora. Girolamo, parrocchetto rosso rubino, si unirà a uno stormo di cornacchie in un viaggio che lo condurrà fino a Capraia, la cornacchia che conosce il segreto del fuoco.C'è poi Luca, ragazzo i cui sogni ricorrenti sono già da tempo popolati da pennuti con il dono delle fiamme; e il suo amico Enzo, che invece crede di vivere un incubo a occhi aperti e dal suo balcone comincia a fare strage di cornacchie al grido di “il fuoco è nostro”.Giacomo Ceccarelli firma al suo esordio un romanzo spiazzante e quasi post-umano, che si legge tutto d'un fiato e ha il potere – sempre più raro in letteratura – di sbalordire. Cornacchie parla del desiderio di libertà  e del terrore di perderla, ma soprattutto parla di gabbie, quelle in cui ciascuno di noi (anche se inconsciamente) è rinchiuso e da cui lottando con la vita cerca di evadere.Quaranta centimetri di fiamma. Neanche. Si dispongono in cerchio. Un cerchio di piume nere. Se avessero le mani, se le starebbero stringendo.L'autore di “Cornacchie” (Feltrinelli editore) si chiama Giacomo Ceccarelli, ha 38 anni, è giornalista pubblicista, romano, lavora in un'azienda di make up a Milano, “ex pugile dilettante per la Boxe Trastevere”, come si descrive nella seconda di copertina.IL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.itDiventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.

Paypal: https://www.paypal.com/paypalme/editorialtpv El día de hoy hablaremos sobre el reformador Girolamo Zanchi (1516-1590); de acuerdo al ensayo de Christopher J. Burchill, Girolamo Zanchi: Portrait of a Reformed Theologian and His Work. Ver aquí: https://www.jstor.org/stable/2541437 . El programa de hoy se trata de un estudio biográfico y bibliográfico detallado de Girolamo Zanchi, un importante teólogo reformado. Explora la vida de Zanchi, centrándose en su carrera académica y sus controversias teológicas, en particular sus disputas con los teólogos luteranos de Estrasburgo. El programa también examina la historia de la publicación de las numerosas obras de Zanchi, destacando los retos a los que se enfrentó para difundir sus ideas y el éxito final de sus principales tratados teológicos. Se analizan sus contribuciones a la escolástica reformada y la influencia duradera de sus escritos.  Siguenos: - Web: https://teologiaparavivir.com/ - Blog: https://semperreformandaperu.org/ - Facebook: https://www.facebook.com/teologiaparavivir/ - Instagram: https://www.instagram.com/teologiaparavivir/ - Youtube: https://www.instagram.com/teologiaparavivir/

“This day shall be a memorial feast for you, which all your generations shall celebrate with pilgrimage to the LORD, as a perpetual institution.” Exodus 12:11The holy Triduum begins. Today we fulfill this Old Testament passage, revealing that the Passover would become “a perpetual institution.” This passage concludes our First Reading instruction from the LORD given to Moses and Aaron on how to prepare for the Israelites' liberation from Egypt. Plague after plague had been inflicted upon the Egyptians, and none of them resulted in the Israelites being set free. Therefore, the LORD instructed the Israelites to celebrate the first Passover by killing a year-old lamb, sprinkling its blood on their doorposts, and feasting on the flesh in preparation for the journey to the Promised Land. Today, we continue this Passover celebration as we share in the Sacrifice of the Lamb of God, Whose Blood has been shed, Whose flesh we consume, and Who leads us through the desert of life to the new and eternal Promised Land of Heaven.Just as the first Passover was a prefiguration of the Sacrifice of the Lamb of God, so also the plagues that led up to the Passover present us with much meaning. At first, all the water in Egypt turned to blood. Then frogs, gnats, flies and pestilence covered the land. Boils covered the skin of humans and animals. Hail rained down, locusts covered the land, and finally darkness covered the land for three days. None of these plagues was ultimately successful in convincing Pharaoh to let God's people go; therefore, the final plague to be inflicted was the death of the firstborn. It was the blood of the paschal lamb, sprinkled on the doorposts of the Israelites' houses that signaled to the angels to pass over their homes.The plagues inflicted on Pharaoh and the Egyptians were severe. But because of their obstinacy, God continued until they changed. Recall, also, that even after the Israelites were set free, Pharaoh changed his mind and pursued them into the Red Sea where his army perished.Though these prefiguring events might not be that pleasant to consider, they must be reflected upon. We must see in them God's tireless and relentless efforts to set us free from sin. The obstinacy and oppression of Pharaoh are clear signs of the oppressive evil within our world today, and within our own souls. When we seek to embrace the freedom to which we are called, we will be met with much temptation and oppression from the evil one, as well as from our own fallen human nature. But if we trust in God, as Moses did, then we will be given all we need to begin the journey to freedom. Most specifically, the Flesh and Blood of the Son of Man is our Paschal Lamb. The Eucharist, which was instituted on Holy Thursday, protects us from the final death. Consuming the Body of Christ also strengthens us for our spiritual journeys. Without it, we have no protection from the evil one and lack the strength we need to be faithful on our journey.Reflect, today, upon God's incredible commitment to set you free. He came to earth, took on human form, offered His life in sacrifice, and now feeds you with His sacred flesh. Without the Eucharist as your spiritual food and His Sacred Blood covering you, you will not survive. We all need the Eucharist. We need the Bread of Heaven. We need the Body and Blood, Soul and Divinity of the Savior of the World. God went to the greatest length to save you. Accept His Gift that we especially commemorate and participate in today.My Sacrificial Lamb, You came to earth to set us free from the oppression of the evil one and from the disorders of our fallen human nature. Please feed me today and always with Your Sacred Body and Precious Blood. By the strength of this Food from Heaven, continue to lead me to the Promised Land of Heaven. Jesus, I trust in You. Source of content: catholic-daily-reflections.comCopyright © 2024 My Catholic Life! Inc. All rights reserved. Used with permission via RSS feed.Featured images above: Venice - Last supper of Christ by Girolamo da Santacroce By Renáta Sedmáková, via Adobe

The following episode is also available on YouTube: https://youtu.be/U4rQb2ug058 This week we take ideas and insights from Roberta De Girolamo, Director of Sales at Dropbox about change management.   Change is going to happen, that's inevitable. But it's critically important to set your expectations along the way.  We take a look at the role of the change champion, the value of pilots and hypotheses in implementing change, as well as the need to understand individual motivations and team culture. What you'll learn: Why the majority of people do not like change. Why intentional communication about a change's positives and negatives will benefit your team. What are the different groups of people, and how do they each react differently to change. How a pilot failure might not be a failure at all.   -=+=--=+=--=+=--=+=--=+=--=+=--=+=--=+=--=+=--=+=--=+=--=+=--=+=- AI is here.  Is your sales team ready? Technology is changing the way buyers and sellers interact. Clear, concise communication is more important than ever and personalizing that communication will be the difference between winning and losing deals. Download this guide to learn how to use technology as a weapon. Not only the words and topics of conversations, but the nuance of how to tailor communications, both written and spoken to match the desires of the buyer. This guide will discuss: Using AI to Profile the buyer Identify Behavioral Data Target Buyers and Influencers Get your free whitepaper at Fullfunnelfreedom.com/ai -=+=--=+=--=+=--=+=--=+=--=+=--=+=--=+=--=+=--=+=--=+=--=+=--=+=- Resources: Radical Candor: Be a Kick-Ass Boss Without Losing Your Humanity - by Kim Scott Let's Get Real or Let's Not Play: Transforming the Buyer/Seller Relationship - by Mahan Khalsa, Randy Illig, Stephen R. Covey, et all. The Dip - By Seth Godin Change: The Sandler Way - By Hamish Knox Roberta De Girolamo on LinkedIn Full Funnel Freedom https://fullfunnelfreedom.com Sandler on Instagram https://www.instagram.com/sandler_yyc/  Sandler in Calgary - www.hamish.sandler.com/howtosandler Connect with Hamish Knox on LinkedIn https://www.linkedin.com/in/hamishknox/ Sponsorship or guest inquiries - podcast@fullfunnelfreedom.com

Im zweiten Teil zum Thema ADHS haben sich Sinja und Boris eine Expertin mit ins Boot geholt. Christiane Altemöller ist ADHS-Coach für Erwachsene und lebt selbst mit der Diagnose ADHS. Sie berichtet von ihren Erfahrungen aus ihrem eigenen Leben und aus ihrem Coaching. Außerdem ergründen die drei, wie ADHS behandelt werden kann und welche Rolle Achtsamkeit dabei spielen kann. Wie gefällt dir Verstehen, fühlen, glücklich sein? Erzähle es uns hier.Hintergründe und Studien:Mehr zu Christiane AltemöllerZur Website Coaching – ADHS ADULT im DIALOGZu Christiane: Linkedin, InstagramCrescenzo, F., Cortese, S., Adamo, N., & Janiri, L. (2016). Pharmacological and non-pharmacological treatment of adults with ADHD: a meta-review. Evidence-Based Mental Health, 20, 11 - 4. Link zur StudieSonuga-Barke, E., Brandeis, D., Cortese, S., Daley, D., Ferrín, M., Holtmann, M., Stevenson, J., Danckaerts, M., Oord, S., Döpfner, M., Dittmann, R., Simonoff, E., Zuddas, A., Banaschewski, T., Buitelaar, J., Coghill, D., Hollis, C., Konofal, E., Lecendreux, M., Wong, I., & Sergeant, J. (2013). Nonpharmacological interventions for ADHD: systematic review and meta-analyses of randomized controlled trials of dietary and psychological treatments.. The American journal of psychiatry, 170 3, 275-89 . Link zur StudieLambez, B., Harwood-Gross, A., Golumbic, E., & Rassovsky, Y. (2020). Non-pharmacological interventions for cognitive difficulties in ADHD: A systematic review and meta-analysis.. Journal of psychiatric research, 120, 40-55. Link zur StudieXie, Y., Gao, X., Song, Y., Zhu, X., Chen, M., Yang, L., & Ren, Y. (2021). Effectiveness of physical activity intervention on ADHD symptoms: a systematic review and meta-analysis. Frontiers in psychiatry, 12, 706625. Link zur StudieTürk, S., Korfmacher, A. K., Gerger, H., Van der Oord, S., & Christiansen, H. (2023). Interventions for ADHD in childhood and adolescence: A systematic umbrella review and meta-meta-analysis. Clinical Psychology Review, 102271. Link zur StudieChimiklis, A. L., Dahl, V., Spears, A. P., Goss, K., Fogarty, K., & Chacko, A. (2018). Yoga, mindfulness, and meditation interventions for youth with ADHD: Systematic review and meta-analysis. Journal of Child and Family Studies, 27, 3155-3168. Link zur StudieXue, J., Zhang, Y., & Huang, Y. (2019). A meta-analytic investigation of the impact of mindfulness-based interventions on ADHD symptoms. Medicine, 98(23). Link zur StudieOliva, F., Malandrone, F., di Girolamo, G., Mirabella, S., Colombi, N., Carletto, S., & Ostacoli, L. (2021). The efficacy of mindfulness-based interventions in attention-deficit/hyperactivity disorder beyond core symptoms: A systematic review, meta-analysis, and meta-regression. Journal of affective disorders, 292, 475-486. Link zur StudieUnsere allgemeinen Datenschutzrichtlinien finden Sie unter https://art19.com/privacy. Die Datenschutzrichtlinien für Kalifornien sind unter https://art19.com/privacy#do-not-sell-my-info abrufbar.

Girolamo Savonarola was a late 15th century Dominican friar who rose to become a preacher, prophet, and politician. He took on the corruption of the Roman Catholic Church and despotic rulers including the powerful Medicis. He was both progressive - helping to lay the foundations of the Reformation and the Enlightenment - but also fundamentalist and deeply unsettling. In this episode, Professor Suzannah Lipscomb talks to award-winning author Denise Mina, whose novel Three Fires tells the story of Savonarola and his role in the bonfire of the vanities - the burning of objects considered sinful, such as cosmetics, mirrors, books, and art.This episode was produced by Rob Weinberg.Discover the past with exclusive history documentaries and ad-free podcasts presented by world-renowned historians from History Hit. Watch them on your smart TV or on the go with your mobile device. Get 50% off your first 3 months with code TUDORS. Sign up now for your 14-day free trial here >You can take part in our listener survey here >

Savonarola and his companions are brought before a tribunal and sentenced to death. Despite being formally condemned as a heretic, the friar's legacy would continue to cast a long shadow over Florentine politics in the years to come. Email me Follow me on Twitter Like the show on Facebook Watch the show on YouTube Visit the eBay store Bibliography: Bartlett, Kenneth. Florence in the Age of the Medici and Savonarola, 1464-1498: A Short History with Documents. Hackett Publishing, 2018. Landucci, Luca. A Florentine Diary from 1450 to 1516. Columbia University Press, 1927.  Martines, Lauro. Fire in the City: Savonarola and the Struggle for the Soul of Renaissance Florence. Oxford University Press, 2005.  Savonarola, Girolamo. A Guide to Righteous Living and Other Works. Toronto Center for Reformation and Renaissance Studies, 2003. Strathern, Paul. Death in Florence: The Medici, Savonarola, and the Battle for the Soul of a Renaissance City. Pegasus Books, 2016. Villari, Pasquale. Life and Times of Girolamo Savonarola. University of the Pacific Press, 2004. Weinstein, Donald. Savonarola: The Rise and Fall of a Renaissance Prophet. Yale University Press, 2011. Cover Image: Portrait of a Dominican, presumed to be Girolamo Savonarola, c. 1524 Opening Theme: Symphony No. 9 in E minor, "From the New World", Op. 95, B. 178 by Antonín Dvořák Closing Theme: "Dies Irae" performed by the Monastic Choir of the Grimbergen Abbey

Shannon is an American professional boxer, wrestler, bodybuilder, martial artist and actress. She was the first ever ToughWoman Champion. She was a professional boxer in the IFBA. She has competed on ESPN, starred in 2 pay per views and was featured in Sports Illustrated,Muscle & Fitness and USA Today. She was also a fitness competitor, ... Shannon Hall-Girolamo – American Gladiators – Ep139

As Savonarola languishes in his prison cell, his faith is tested. Reckoning with his inner battle between hope and despair, Savonarola would then write a series of religious tracts that have since taken on great theological significance. Email me Follow me on Twitter Like the show on Facebook Watch the show on YouTube Visit the eBay store Bibliography: Bartlett, Kenneth. Florence in the Age of the Medici and Savonarola, 1464-1498: A Short History with Documents. Hackett Publishing, 2018. Landucci, Luca. A Florentine Diary from 1450 to 1516. Columbia University Press, 1927.  Martines, Lauro. Fire in the City: Savonarola and the Struggle for the Soul of Renaissance Florence. Oxford University Press, 2005.  Savonarola, Girolamo. A Guide to Righteous Living and Other Works. Toronto Center for Reformation and Renaissance Studies, 2003. Strathern, Paul. Death in Florence: The Medici, Savonarola, and the Battle for the Soul of a Renaissance City. Pegasus Books, 2016. Villari, Pasquale. Life and Times of Girolamo Savonarola. University of the Pacific Press, 2004. Weinstein, Donald. Savonarola: The Rise and Fall of a Renaissance Prophet. Yale University Press, 2011. Cover Image: Portrait of a Dominican, presumed to be Girolamo Savonarola, c. 1524 Opening Theme: Symphony No. 9 in E minor, "From the New World", Op. 95, B. 178 by Antonín Dvořák Closing Theme: "Dies Irae" performed by the Monastic Choir of the Grimbergen Abbey

Girolamo II Amati was the last of the Amati family of violin makers in Cremona. He worked along side Antonio Stradivari and the Guarneri family in an intense moment of violin making and musical discovery at the time. Listen to how he fits into the story of the violin and turns out to be more that what he is (or not) remembered for.

Political tensions in Florence reach a climax, and Savonarola is challenged to undergo a trial by fire. When the results of the trial turn public opinion decisively against him, he and his fellow monks are forced to make a desperate last stand in the monastery of San Marco. Email me Follow me on Twitter Like the show on Facebook Watch the show on YouTube Visit the eBay store Bibliography: Bartlett, Kenneth. Florence in the Age of the Medici and Savonarola, 1464-1498: A Short History with Documents. Hackett Publishing, 2018. Landucci, Luca. A Florentine Diary from 1450 to 1516. Columbia University Press, 1927.  Martines, Lauro. Fire in the City: Savonarola and the Struggle for the Soul of Renaissance Florence. Oxford University Press, 2005.  Savonarola, Girolamo. A Guide to Righteous Living and Other Works. Toronto Center for Reformation and Renaissance Studies, 2003. Strathern, Paul. Death in Florence: The Medici, Savonarola, and the Battle for the Soul of a Renaissance City. Pegasus Books, 2016. Villari, Pasquale. Life and Times of Girolamo Savonarola. University of the Pacific Press, 2004. Weinstein, Donald. Savonarola: The Rise and Fall of a Renaissance Prophet. Yale University Press, 2011. Cover Image: Portrait of a Dominican, presumed to be Girolamo Savonarola, c. 1524 Opening Theme: Symphony No. 9 in E minor, "From the New World", Op. 95, B. 178 by Antonín Dvořák Closing Theme: "Dies Irae" performed by the Monastic Choir of the Grimbergen Abbey

Savonarola creates a spectacular demonstration of public virtue in the hopes of turning Florence's fortunes around. Meanwhile, Pope Alexander VI has the monk excommunicated- a decision Savonarola was determined to fight against to his last breath. Email me Follow me on Twitter Like the show on Facebook Watch the show on YouTube Visit the eBay store Bibliography: Bartlett, Kenneth. Florence in the Age of the Medici and Savonarola, 1464-1498: A Short History with Documents. Hackett Publishing, 2018. Landucci, Luca. A Florentine Diary from 1450 to 1516. Columbia University Press, 1927.  Martines, Lauro. Fire in the City: Savonarola and the Struggle for the Soul of Renaissance Florence. Oxford University Press, 2005.  Savonarola, Girolamo. A Guide to Righteous Living and Other Works. Toronto Center for Reformation and Renaissance Studies, 2003. Strathern, Paul. Death in Florence: The Medici, Savonarola, and the Battle for the Soul of a Renaissance City. Pegasus Books, 2016. Villari, Pasquale. Life and Times of Girolamo Savonarola. University of the Pacific Press, 2004. Weinstein, Donald. Savonarola: The Rise and Fall of a Renaissance Prophet. Yale University Press, 2011. Cover Image: Portrait of a Dominican, presumed to be Girolamo Savonarola, c. 1524 Opening Theme: Symphony No. 9 in E minor, "From the New World", Op. 95, B. 178 by Antonín Dvořák Closing Theme: "Dies Irae" performed by the Monastic Choir of the Grimbergen Abbey

Savonarola engages in a new campaign to combat vice in the city of Florence. Meanwhile, Pope Alexander VI continues to utilize every possible strategy to silence the renegade friar. Email me Follow me on Twitter Like the show on Facebook Watch the show on YouTube Visit the eBay store Support the show on Patreon Bibliography: Bartlett, Kenneth. Florence in the Age of the Medici and Savonarola, 1464-1498: A Short History with Documents. Hackett Publishing, 2018. Landucci, Luca. A Florentine Diary from 1450 to 1516. Columbia University Press, 1927.  Martines, Lauro. Fire in the City: Savonarola and the Struggle for the Soul of Renaissance Florence. Oxford University Press, 2005.  Savonarola, Girolamo. A Guide to Righteous Living and Other Works. Toronto Center for Reformation and Renaissance Studies, 2003. Strathern, Paul. Death in Florence: The Medici, Savonarola, and the Battle for the Soul of a Renaissance City. Pegasus Books, 2016. Villari, Pasquale. Life and Times of Girolamo Savonarola. University of the Pacific Press, 2004. Weinstein, Donald. Savonarola: The Rise and Fall of a Renaissance Prophet. Yale University Press, 2011. Cover Image: Portrait of a Dominican, presumed to be Girolamo Savonarola, c. 1524 Opening Theme: Symphony No. 9 in E minor, "From the New World", Op. 95, B. 178 by Antonín Dvořák Closing Theme: "Dies Irae" performed by the Monastic Choir of the Grimbergen Abbey

For more than 100 years, the brick power plant at Zuni Street and West 14th Avenue generated electricity for Denver using steam. But now that the plant has been retired, it presents a conundrum: Should the crusty old building and its two smokestacks be demolished? Or somehow redeveloped into an asset for the Sun Valley neighborhood? Host Bree Davies and producer Paul Karolyi visit the defunct Zuni Generating Station with Denver's first-ever chief urban designer Eugenia di Girolamo to talk about how the building known to some as “The Devil's Castle” could become Denver's next iconic landmark.  The Denver Post has more on the old Xcel Generating Station, and the Colorado Encyclopedia has more on the Denver Tramway Powerhouse (Aka, the REI building). Bree talked about the latest development in DPS's “seclusion room” controversy and flu season.  What non-residential building would you most want to live in? Residential conversions are all the rage, but is everyone thinking way too small! Of all the non-residential buildings in Denver, which would you most want to move into? Text or leave us a voicemail with your name and neighborhood, and you might hear your pick on the show: (720) 500-5418‬ For even more news from around the city, subscribe to our morning newsletter Hey Denver at denver.citycast.fm. Follow us on Instagram: @citycastdenver Chat with other listeners on reddit: r/CityCastDenver Learn more about the sponsors of this episode: Denver Center for the Performing Arts Looking to advertise on City Cast Denver? Check out our options for podcast and newsletter ads at citycast.fm/advertise Learn more about your ad choices. Visit megaphone.fm/adchoices

En este episodio, se habla del encuentro con el cine a través de la actuación. Mariana Di Girolamo es una de las actrices chilenas más reconocidas hoy en día. Tras una exitosa trayectoria en televisión, debutó en el cine en 2019 como protagonista del octavo largometraje de Pablo Larraín, Ema, estrenado en la Competencia Oficial de Venecia. Sus interpretaciones se han caracterizado por un singular acercamiento dramático al trabajo físico y corporal, y por representar personajes femeninos complejos e impredecibles. También ha colaborado en películas del director Leonardo Medel, con quien ha explorado formatos narrativos poco usuales, como la videodanza y la realidad virtual, y originales puestas en escena como en La Verónica, estrenada en San Sebastián. Por otro lado, Peter Lanzani es un actor argentino que desde muy pequeño participó en producciones televisivas muy populares tanto en su país como en América Latina. En 2015, debutó en el cine como protagonista de El clan, noveno largometraje de Pablo Trapero estrenado en la Competencia Oficial de Venecia. Desde entonces ha interpretado alternadamente papeles luminosos y de una oscuridad abrumadora en series y películas dirigidas por Marcelo Piñeyro, Bruno Stagnaro, Luis Ortega y Mario Cohn. Recientemente, regresó a la Competencia Oficial de Venecia por su importante rol en Argentina 1985, de Santiago Mitre, película nominada al Óscar como Mejor Película Extranjera en 2023. Además de sus primeras experiencias en el cine como protagonistas, Peter y Mariana hablan de la exigencia de los roles que han interpretado y de un significativo intercambio con generaciones anteriores de realizadores y actores. Hosted on Acast. See acast.com/privacy for more information.

Voces destacadas del cine y la cultura en Latinoamérica se reúnen en este espacio para pensar sus propios métodos y procesos para abordar el oficio, hablar sobre sus experiencias personales e íntimas y reflexionar sobre películas y cineastas que han influenciado o inspirado su trabajo.La cuarta temporada de Encuentros se compone de diálogos informales en episodios de aproximadamente 1 hora de duración; conversaciones profundas entre colegas en un espacio donde se habla con total libertad. En esta temporada podrás escuchar a Ilse Salas, Guillermo Calderón, Julieta Zylberberg, Rodrigo Sepúlveda, Celina Murga, Marina de Tavira, Mariana di Girolamo, Peter Lanzani, Michelle Garza Cervera, Mónica Ojeda, Catalina Saavedra y Sebastián Silva.El podcast es la invitación a ser parte de un encuentro entre dos personas que comparten su amor por el cine. Hosted on Acast. See acast.com/privacy for more information.

Arrivata in Australia quasi per caso subito dopo la laurea, la musicista Giorgia Di Girolamo ha visto il suo talento riconosciuto in Australia e all'estero, riuscendo ad ottenere il Global Talent Visa che l'ha portata direttamente alla residenza permanente.

When Savonarola's influence prevents Florence from joining an anti-French coalition made up of the other Italian states, he raises the ire of Pope Alexander VI, sparking a deadly rivalry that would last for the next three years.   Email me Follow me on Twitter Like the show on Facebook Watch the show on YouTube Visit the eBay store Support the show on Patreon Bibliography: Bartlett, Kenneth. Florence in the Age of the Medici and Savonarola, 1464-1498: A Short History with Documents. Hackett Publishing, 2018. Landucci, Luca. A Florentine Diary from 1450 to 1516. Columbia University Press, 1927.  Martines, Lauro. Fire in the City: Savonarola and the Struggle for the Soul of Renaissance Florence. Oxford University Press, 2005.  Savonarola, Girolamo. A Guide to Righteous Living and Other Works. Toronto Center for Reformation and Renaissance Studies, 2003. Strathern, Paul. Death in Florence: The Medici, Savonarola, and the Battle for the Soul of a Renaissance City. Pegasus Books, 2016. Villari, Pasquale. Life and Times of Girolamo Savonarola. University of the Pacific Press, 2004. Weinstein, Donald. Savonarola: The Rise and Fall of a Renaissance Prophet. Yale University Press, 2011. Cover Image: Portrait of a Dominican, presumed to be Girolamo Savonarola, c. 1524 Opening Theme: Symphony No. 9 in E minor, "From the New World", Op. 95, B. 178 by Antonín Dvořák Closing Theme: "Dies Irae" performed by the Monastic Choir of the Grimbergen Abbey

In this episode of our series on Savonarola, we follow events in Florence following the flight of the Medici and the French occupation of the city. As the citizens of Florence begin the process of forming a new republican government, they seek guidance from Savonarola, who aspired to turn the city into a "New Jerusalem." Email me Follow me on Twitter Like the show on Facebook Watch the show on YouTube Visit the eBay store Support the show on Patreon Works Cited: Bartlett, Kenneth. Florence in the Age of the Medici and Savonarola, 1464-1498: A Short History with Documents. Hackett Publishing, 2018. Landucci, Luca. A Florentine Diary from 1450 to 1516. Columbia University Press, 1927.  Martines, Lauro. Fire in the City: Savonarola and the Struggle for the Soul of Renaissance Florence. Oxford University Press, 2005.  Savonarola, Girolamo. A Guide to Righteous Living and Other Works. Toronto Center for Reformation and Renaissance Studies, 2003. Strathern, Paul. Death in Florence: The Medici, Savonarola, and the Battle for the Soul of a Renaissance City. Pegasus Books, 2016. Villari, Pasquale. Life and Times of Girolamo Savonarola. University of the Pacific Press, 2004. Weinstein, Donald. Savonarola: The Rise and Fall of a Renaissance Prophet. Yale University Press, 2011. Cover Image: Portrait of a Dominican, presumed to be Girolamo Savonarola, c. 1524 Opening Theme: Symphony No. 9 in E minor, "From the New World", Op. 95, B. 178 by Antonín Dvořák Closing Theme: "Dies Irae" performed by the Monastic Choir of the Grimbergen Abbey

In this episode of our series on the life and times of Savonarola, we observe the fallout from the French invasion of Italy in 1494. As the power of the Medici reaches its breaking point and King Charles VIII of France threatens the city with destruction, the people of Florence turn to Savonarola to deliver them from peril. Email me Follow me on Twitter Like the show on Facebook Watch the show on YouTube Visit the eBay store Support the show on Patreon Works Cited: Bartlett, Kenneth. Florence in the Age of the Medici and Savonarola, 1464-1498: A Short History with Documents. Hackett Publishing, 2018. Landucci, Luca. A Florentine Diary from 1450 to 1516. Columbia University Press, 1927.  Martines, Lauro. Fire in the City: Savonarola and the Struggle for the Soul of Renaissance Florence. Oxford University Press, 2005.  Savonarola, Girolamo. A Guide to Righteous Living and Other Works. Toronto Center for Reformation and Renaissance Studies, 2003. Strathern, Paul. Death in Florence: The Medici, Savonarola, and the Battle for the Soul of a Renaissance City. Pegasus Books, 2016. Villari, Pasquale. Life and Times of Girolamo Savonarola. University of the Pacific Press, 2004. Weinstein, Donald. Savonarola: The Rise and Fall of a Renaissance Prophet. Yale University Press, 2011. Cover Image: Portrait of a Dominican, presumed to be Girolamo Savonarola, c. 1524 Opening Theme: Symphony No. 9 in E minor, "From the New World", Op. 95, B. 178 by Antonín Dvořák Closing Theme: "Dies Irae" performed by the Monastic Choir of the Grimbergen Abbey

In this episode of our series on Savonarola, we follow events in Florence following the untimely death of Lorenzo the Magnificent. In this time of uncertainty, Savonarola's apocalyptic predictions grew increasingly bolder. As the friar sought to assert his independence from the Medici family, developments to the north threatened to turn his prophecies into reality. Email me Follow me on Twitter Like the show on Facebook Watch the show on YouTube Visit the eBay store Works Cited: Bartlett, Kenneth. Florence in the Age of the Medici and Savonarola, 1464-1498: A Short History with Documents. Hackett Publishing, 2018. Landucci, Luca. A Florentine Diary from 1450 to 1516. Columbia University Press, 1927.  Martines, Lauro. Fire in the City: Savonarola and the Struggle for the Soul of Renaissance Florence. Oxford University Press, 2005.  Savonarola, Girolamo. A Guide to Righteous Living and Other Works. Toronto Center for Reformation and Renaissance Studies, 2003. Strathern, Paul. Death in Florence: The Medici, Savonarola, and the Battle for the Soul of a Renaissance City. Pegasus Books, 2016. Villari, Pasquale. Life and Times of Girolamo Savonarola. University of the Pacific Press, 2004. Weinstein, Donald. Savonarola: The Rise and Fall of a Renaissance Prophet. Yale University Press, 2011. Cover Image: Portrait of a Dominican, presumed to be Girolamo Savonarola, c. 1524 Opening Theme: Symphony No. 9 in E minor, "From the New World", Op. 95, B. 178 by Antonín Dvořák Closing Theme: "Dies Irae" performed by the Monastic Choir of the Grimbergen Abbey

The sons of Andrea , "The Amati Brothers" took violas, violins and cellos to new heights with their incredible skill and innovation. Meet Antonio and Girolamo before things get complicated in this first episode. This is the story of the Amati brothers, Antonio, and Girolamo. Join me as we explore the remarkable craftsmanship, profound influence, and indelible mark left by these legendary violin makers.  Discover the distinctive characteristics of their creations, renowned for their elegance, exquisite sound, and unparalleled craftsmanship.  Delve into the secrets of the Amati brothers' workshop, uncovering their innovative techniques, meticulous attention to detail, and the artistry that made their instruments treasures coveted by musicians and collectors worldwide. In this episode I speak to Cellist James Beck and Violin maker and Expert Carlo Chiesa.    Transcript of Episode  Welcome back to Cremona, a city where you can find almost anything your everyday Renaissance citizen could desire.  Located on a bend of the impressively long Po River, bursting with artisans and commerce, we find ourselves in the mid-1500s, and more precisely in the home of Girolamo Amati and Antonio Amati, otherwise known as the Amati brothers or the brothers Amati. In these episodes, I'll be talking about Andrea Amati's two sons, Antonio Amati and Girolamo Amati. Sometimes Girolamo Amati is also referred to as Hieronymus, the Latin version of his name.  Because I'm doing these podcasts chronologically, we heard about the early childhood of the brothers, in the Andrea Amati episodes. As we heard in the previous episode, Antonio Amati, the elder brother, by quite some years, perhaps even 14 years older than Girolamo Amati, inherited his father's workshop with his little bro when their father died.  They grew up in Cremona during the mid-1500s, in a time that was relatively more peaceful than their father's childhood and would have attended the local school. The local school was attended mainly by children of merchants and nobles. They would learn, in addition to the traditional subjects of geometry, arithmetic, and even astrology, subjects such as geography, architecture, algebra, and mechanics, both theoretical and applied. This created quite a well-educated middle class that the brothers would have been part of. Like their father, they would go on to be quite successful in their business, adapting their products to the demands of the time. The brothers were growing up in post Reformation Cremona, and the instrumental music was bounding forward. Renaissance composers were fitting words and music together in an increasingly dramatic fashion. Humanists were studying the ancient Greek treaties on music and the relationships between music and poetry and how it could.  This was displayed in Madrigals and later in opera and all the while the Amati workshop along with other instrument makers of course were toiling away making instruments so that all this could happen. Now the eldest brother Antonio Amati never appears to marry or have a family but the younger brother Girolamo Amati apparently a ladies man, does and as you would have heard in the previous episodes, when he was 23, he married Lucrencia Cronetti, a local girl, and she comes to live in the Amati house, handing over her dowry to her new husband (Girolamo Amati) and father in law (Andrea Amati). A few years later, Girolamo Amati's father saved up enough money to buy the family home so that when he passes away in 1576. Girolamo Amati is in his mid-twenties and his older brother (Antonio Amati) is probably around his late thirties. They inherited a wealthy business, a house, and a workshop.  So here we find the Amati brothers living and working together in the house and workshop in San Faustino (Cremona). Antonio Amati, the head of the household and Girolamo Amati with his young bride. Business is looking good, and life looks promising. Antonio and Girolamo may have been some of the only violin makers in Cremona, but they were by far not lone artisans in the city. They were surrounded by merchants and tradespeople busy in industry. There were belt makers, embroiderers, blacksmiths, carpenters, boat builders, masons, terracotta artisans, weavers, textile merchants, and printers, just to name a few of the 400 trades listed in the city at this period. Business was going well for our violin makers. There was a boom in the city. Many noble houses were being built amongst which the grand residences of merchants stood out, sanctioning their social ascent.  Charitable houses, monasteries and convents were popping up like mushrooms around town.  Ever since the Counter Reformation, the local impetus to help the poor and unfortunate had flourished. Wondering what the Counter Reformation is? Then go back and listen to episode two of the Andrea Amati series. Where we talk about what the Reformation was, what the Counter Reformation was, and what its effects were on artisans in Cremona.  But nowhere said organized religion like the Cathedral. And entering the vast, echoey structure was something to behold, with its mysterious, awe-inspiring grandeur, the towering heights of the ceilings inspiring a sense of reverence and humility. The vaulted arches and frescoed domes drawing the eye upwards, the kaleidoscope of colors entering the windows, and the glittering of precious metals illuminated by flickering candles, ornate furnishings, intricate artworks, sculptures, and base reliefs with depictions of saints, biblical stories, and the scenes from the life of Christ covering the walls, all created an otherworldly feeling and a sense of the divine.  And what would the Cathedral be without music? The glittering of gold, the fragrant smell of incense, and the heavenly sounds of music were an all-in-one package for the regular church attender in the Amati Brothers Day. The Chapel House School of the Cathedral produced many talented composers, yet the church would only sponsor and permit sacred music. And even then, this music had to be in full compliance with the Council of Trent. This meant following a whole bunch of rules in composition. Wing clipping of aspiring young composers led to many of them moving away to other courts and cities who were looking for fresh, raw talent. This may or may not have been the case for a musician and composer called Claudio Monteverdi. But what we do know is that he left Cremona to join the employ of the Mantuan court at the age of 23.  I spoke to cellist James Beck about Monteverdi, who was a Cremonese composer who left the city to work at the Gonzaga court during the Amati brother's lifetime. And so Monteverdi, for example, to take him as an example, he was employed in the court, in the Manchurian court, and he was just one of many musicians and  composers. And also I'm wondering about just, the everyday life, would they also,  were musicians expected to, to wear certain.  Clothes, like they were just told, look, this is what you're wearing. James Beck Livery is the term for the, the uniform of the house. And we know about that kind of stuff from, you know, Downton Abbey and all that kind of stuff so musicians were very much part of the servant class, a very intellectual servant class and a very trusted servant class, but Monteverdi arrived at that Gonzaga court in Mantua as a string instrument player of some kind. We don't really know if it was a gamba, you know, between the legs or brachio held like a violin. He was at the court for about, I think, 10 or 15 years as a string player before he became The Maestro de Capelle and of course that was a very trusted employee because he accompanied his employer, the Duke, on various war campaigns or social outings to other countries, as a musician and maybe as some kind of trusted part of the entourage. So, Monteverdi was picking up lots of ideas about things that could go on in music because he was witnessing different practices, he was in Flanders. He was in Hungary. He was in other parts of Italy seeing how they did music over there on the other side of the fence and I think that is what can never be underestimated, that communication was haphazard and accidental in previous times and there was no such thing as uniformity. So, to go to another country and to go to another court and to see musicians who had different training or had come into different spheres of influence to yourself would have been hugely, hugely exciting and influential and we think that Monteverdi picked up some of the ideas of what might be opera from these kind of trips. Linda Lespets It makes me think of when I was a student and I would do work experience in different workshops and they would, I had been taught in French school, it was a very specific way of doing things and I'd go to another workshop and I'd just be like, wow, it's like, what are you, what are you doing? How could this possibly work? And it does. And you're like, oh, and now I feel like I, the way I work, it's a mixture of all these different techniques. What works best for me. And it must've been magnified so much, to such a greater level for in that period for music and competition. Because of the, because of the social isolation and the geographic isolation of previous times. James Beck And I mean, just if we just talk about pitch, whole idea of what is An A was different in each town, and it might have sounded better on some instruments than not so good on others, and those instruments would have been, you know, crafted to sound good at those different pitches. And now we all play the same pitch, and we want every instrument to be the same. What were some of the, if you could generalize, what were some of the differences for you? In the different Lutherie schools. Linda Lespets  So, in the French method, you basically hold everything in your hands or it's like wedged between you and the workbench and you don't use really, uh, vices. And I have quite small hands and  I did one work experience and the guy was like, just put it in a vice. And I was like,  Ohhh, and I was getting a lot of RSI  and sore wrists and it kind of just, it was sort of practical as well. James Beck Wow. And is that for crafting? Individual elements or is that for working on complete instruments?  Linda Lespets Like in general, like you just, you can make a violin without using a vice and they, they won't use sandpaper or it's all done with, scrapers. So it's good. I know all the different techniques and I can, when there is a blackout or an electricity failure, we can just keep on going. Like, we can keep rolling, it doesn't stop us.  There was a thing with Monteverdi that, that you seem to know about how madrigals. James Beck I know about madrigals. I hope I do. Linda Lespets  In Mantua and the, this kind of trapezoidal room. James Beck  There's a very special room in the ducal court.  Ducal castle or Ducal palace in Mantua, and they call it the wedding room and it's a room that was, had existed for some time. I mean, it's a huge, huge palace, I think it's the sixth largest palace in Europe. So, it's 34, 000 square meters, 500 rooms.  And this is not, I mean, Mantua was not a big state.  You never know when you need 500 rooms.  It wasn't a big state, but it was a very aspirational state. And they really wanted to kind of prove themselves amongst these, the cultural elite of Northern Italy, because there were extraordinary things going on in Florence and Venice. So, you know, they were really, the Gonzaga's were really trying to hold their own. So, they had one of these 500 rooms slightly remodelled. So it was of cube proportions.  Right. So, you walk into a cube. You walk into a cube and then, they commissioned, a very, uh, distinguished painter to cover, everything within that room in very realistic, uh, lifelike portraits of, of the Gonzaga's going about their life. And this was the highest status room in the palace, and it was used for various purposes to impress. So, it could be used for ceremonies, or it could be used for, as a bedchamber for the Duke if he wanted to receive a guest of high status, and show that guest that he slept in this incredible room. Linda Lespets Slightly creepy.  All these people looking at you. James Beck  I know, and they're really, there's a lot of eyeballing in those portraits.  So it's like, you're outnumbered. Like when you go in there, like you're surrounded by people. You're surrounded by the Gonzaga's. We're here. That was not a very, uh, fertile or, healthy line. So, they were dying out fast, but there were lots of them painted on the walls. Linda Lespets Wasn't there one with mirrors? James Beck There was a hidden room, that they discovered in, I think 1998. ., which had mirrors. Linda Lespets  and I was wondering what the,  maybe it was polished metal, the mirrors. James Beck I'm not sure where they would, where they would sing madrigals. Well, they think it was specifically for, for performances of Monteverde, but I don't know. . Why a hidden room is needed. Yes. And how, how do you hide a room for 500, or, sorry, for 200 years, maybe it was walled up. Linda Lespets Well, I mean, if you're in a palace with 500 rooms, you might miss one, you know, if it's walled up. James Beck  And also there was a big, there were quite a lot of, traumatic experiences in the Mantuan court. Not long after Monteverde left there, there was a siege and a war and then a lot of plague. So you can see how knowledge could dissipate and everyone could die that knew about it , exactly absolutely.  When the Gonzagas were running out of heirs, their neighbours and, and particularly the Hapsburgs, were like, Hmm, we might take that little gem of a dutchie. So they, they laid siege to it for two summers. War was a summer sport at those days. 'cause you know, no one wanted to do it in winter 'cause it was just too much. And Mantua is at that stage was completely surrounded by water. It was very cleverly conceived and beautifully conceived too because the water reflects the beautiful buildings. And so they, the Mantuan's stockpiled food and drew up the bridges. And, and for two years they were, no one came in or out of the city whilst the Habsburgs laid siege. And actually the Habsburgs didn't really get through those defences, but at the, in the second summer, in the second siege, a cannonball did get through and then the whole, the cannonball made some rats got through and those dirty soldiers who'd been on campaign for two summers were riddled with plague and the plague got into the town and that was actually undoing of the Gonzaga dynasty. Linda Lespets A rat brought them down. James Beck A rat brought them down. And so, the plague weakened the city. The city fell. And then that plague was taken by those refugees from Antwerp down into Venice. And Venice was absolutely devastated by plague for something like 10 years. And the city's population plummeted to its lowest in 150 years. Linda Lespets Wow. . And it's true that war was like a summer sport. And I'm wondering if nowadays, we, you know... That's, we play sport instead. Well, I hope, I think that's why we do play organized sport. I think that's, you know, it's... Take the World Cup or something.  Well although that's, not... To get that aggression, to get all that aggression out of our system in a nicely controlled manner. James Beck It is like countries like against each other. Totally is. Linda Lespets The Cremona City Municipality had at its disposal a group of wind players, mostly made up of brass instruments, trombones, bombards, bagpipes, and sometimes a cornet. This ensemble was particularly suited for outdoor performances.  Or at least I hope it was. I don't know if you've ever heard a bombard being played inside. I have.  Anyway, the viola da braccia players and viola or violin players were also employed by the town hall and given a uniform made of red and white cloth.  This was the instrumental group in the church, and it doubled up for civic occasions as well.  I speak to Carlo Chiesa, violin maker and expert in Milan. Carlo Chiesa And the other way by which Cremonese makers got their success is musicians, because in the 16th century, there are a few important Cremonese musicians moving from Cremona and going to northern cities to play for the emperor, for the king, or to Venice. I think the most important supplier of instruments at some point out of Cremona was the Monteverdi Circle.   Linda Lespets This orchestra employed by the city of Cremona played both for the council and in the church on all public holidays and in processions.  One of their members, a cornet player called Ariodante Radiani,  who was paid the considerable sum of 100 lira. When the maestro di cappella was paid 124 lira, ended up having to be let go. It turned out he was a little bit laissez faire with his responsibilities as a musician, and a lawsuit was brought against him for neglecting his duties as a musician. To add to this, he was also found guilty of murder.  So, in the end, their homicidal cornet player was replaced.  Linda Lespets  You know, you've got the scientists and human thought and philosophy and looking back to Greek and Roman antiquity. So, I feel like that's, that's like the idea in art, in literature. And what do you, how do you see that happening?  in music. James Beck We as musicians had really practical roles to fulfill as well and sometimes that was expressing the will of the church through music and of course you know that's kind of self-explanatory and then we've got this really practical role to entertain and how we go about doing that with the materials we have. So the renaissance as an idealistic expression, I think, you know, as a practical musician, we were always doing others bidding out unless we were church musicians, we were there to entertain and to, excite and to distract and act as an instrument of sometimes of state policy or, or, you know, kind of  showing off the power or opulence of a state.  Maybe it was through, opera. Where are you?  You're getting like human emotion. Yes, absolutely, absolutely. But also, the subject of all those early operas is usually, ancient material from ancient Greece or Rome, so, you know, clearly Renaissance in its ideals of looking back. Othello.  Of course. Poppea, Ulysses. I mean, the operas were definitely, drawing into ancient literature and myth, which was bypassing Christianity in many ways.  Linda Lespets  It's strange because it was an era where it didn't really contradict the other. People were cool with it. Like they were very devoted churchgoers and at the same time they were very into all this Greek and Roman mythology. It was interesting. And then all this humanist thinking and invention I mean, Monteverde was a priest as well, right? James Beck  Towards the end of his life. Linda Lespets Instruments are starting to play a bigger role in the music, in the church in Cremona. In 1573, the Maestro de Capella, the Chapel Master at the cathedral, wrote a piece of music for five voices, consorted with all sorts of musical instruments.  The words and text are completely clear in accordance with the Council of Trent, he points out. The Amati brothers' father, Andrea Amati, would have witnessed this musical tradition in his lifetime as he attended church, where the music sung would have gone from something that had been unrecognizable in, or in any case very difficult to understand, to music that had identifiable text that could possibly be understood and sung with. They were not hymns like the Lutherans were singing in a congregational style, but there was a marked change in the music being played in the churches. And these were the effects of the counter reformation trickling into everyday life of the people.  The workshop continued to be a success. Both the brothers Amati were able to earn a living and to provide a generous dowry for their sister, who had just recently married a man from Casal Maggiore. In town, the cathedral looked like it was finally going to have the interior finished. This had been going on ever since their father was a little boy. And now it looked like all the frescoes and paintings were to be completed. And most amazing of all was an enormous astronomical clock that was being mounted on the terrazzo, the giant bell tower next to the cathedral. Sadly, Girolamo Amati's pregnant wife would never see the clock that would amaze the citizens of Cremona, as shortly after giving birth to their daughter, Elizabeth, Lucrenzia ( Girolamo Amati's wife) died. The fragility of life and uncertainty that Girolamo Amati had to deal with is quite removed from our lives today, and a man in his situation would certainly be looking to marry again, if for nothing else than to have a mother for his young daughter. And as he was contemplating remarrying, finding a new wife and mother for his child, over in Paris, one of the biggest celebrity weddings of the decade was taking place. And the music for the closing spectacle was being played in part on the instruments his father (Andrea Amati) and brother (Antonio Amati) had made for the Valois royal family all those years ago.

Welcome to The Saint of the Day Podcast, a service of Good Catholic and The Catholic Company. Today's featured saint is St. Francis of Girolamo. If you like what you heard, share this podcast with someone you know, and make sure to subscribe!

In this episode of our series on Girolamo Savonarola, we follow the monk as he is reassigned from Florence after failing to make inroads with the people of the city. He spends the next few years wandering northern Italy, honing his preaching skills and earning a powerful reputation for himself until he is invited to return to Florence by the city's ruler- Lorenzo de Medici. Email me Follow me on Twitter Like the show on Facebook Watch the show on YouTube Visit the eBay store Works Cited: Bartlett, Kenneth. Florence in the Age of the Medici and Savonarola, 1464-1498: A Short History with Documents. Hackett Publishing, 2018. Landucci, Luca. A Florentine Diary from 1450 to 1516. Columbia University Press, 1927.  Martines, Lauro. Fire in the City: Savonarola and the Struggle for the Soul of Renaissance Florence. Oxford University Press, 2005.  Savonarola, Girolamo. A Guide to Righteous Living and Other Works. Toronto Center for Reformation and Renaissance Studies, 2003. Strathern, Paul. Death in Florence: The Medici, Savonarola, and the Battle for the Soul of a Renaissance City. Pegasus Books, 2016. Villari, Pasquale. Life and Times of Girolamo Savonarola. University of the Pacific Press, 2004. Weinstein, Donald. Savonarola: The Rise and Fall of a Renaissance Prophet. Yale University Press, 2011. Cover Image: Portrait of a Dominican, presumed to be Girolamo Savonarola, c. 1524 Opening Theme: Symphony No. 9 in E minor, "From the New World", Op. 95, B. 178 by Antonín Dvořák Closing Theme: "Dies Irae" performed by the Monastic Choir of the Grimbergen Abbey

In this first episode of our series on Girolamo Savonarola, we cover Savonarola's early years in an effort to understand the philosophy that undergirded his life. Afterward, we follow Savonarola as he strikes out from his home to join the order of the Dominicans and to find his destiny.  Works Cited: Bartlett, Kenneth. Florence in the Age of the Medici and Savonarola, 1464-1498: A Short History with Documents. Hackett Publishing, 2018. Landucci, Luca. A Florentine Diary from 1450 to 1516. Columbia University Press, 1927.  Martines, Lauro. Fire in the City: Savonarola and the Struggle for the Soul of Renaissance Florence. Oxford University Press, 2005.  Savonarola, Girolamo. A Guide to Righteous Living and Other Works. Toronto Center for Reformation and Renaissance Studies, 2003. Strathern, Paul. Death in Florence: The Medici, Savonarola, and the Battle for the Soul of a Renaissance City. Pegasus Books, 2016. Villari, Pasquale. Life and Times of Girolamo Savonarola. University of the Pacific Press, 2004. Weinstein, Donald. Savonarola: The Rise and Fall of a Renaissance Prophet. Yale University Press, 2011. Cover Image: Portrait of a Dominican, presumed to be Girolamo Savonarola, c. 1524 Opening Theme: Symphony No. 9 in E minor, "From the New World", Op. 95, B. 178 by Antonín Dvořák Closing Theme: "Dies Irae" performed by the Monastic Choir of the Grimbergen Abbey

Today Im sitting down with Teresa Girolamo, Ph.D., she is an autistic language in autism researcher and assistant professor in Speech, Language, and Hearing Sciences at San Diego State University. As director of the Brain, Environment, and Language Lab, she works with racially and ethnically minoritized autistic individuals with language impairment. This population is underserved in research, hindering our ability to develop supports to meet their needs. Current projects include how social determinants of health plus language ability shape life outcomes and how to better understand strengths in language ability in this population. The long-term goal of this work is to translate this knowledge into community-based supports for individuals to meet their self-identified goals.