AIN 1.55 Definitely Glad (IRE) ..............STR 2.10 Diamondsinthesky (IRE) ......WOL 6.15 Disclosure .............................DON 4.25 Doc Hay (USA).......................DON 3.15 Doctor Harper (IRE)................STR 5.05
Dogaressa (IRE).....................NBU 1.15 Doing Fine (IRE) ....................
Frank's "A Face in the Crowd: Identifying the
Dogaressa at the Ospedale dei Crociferi" addresses issues of "historical multivalence" in Venetian art, here understood as the potential for topical allusion in pictorial representations of historical events.
Wilson draws both on the Battle of Lepanto in 1571 and the ritual ceremonies involved in the 1597 coronation of the
Dogaressa Morosina Morosini Grimani.
The author almost re-creates the actual event of the coronation of the
dogaressa in 1597.
(26) Hoffmann's tale 'Doge and
Dogaressa', on the other hand, tells the same story, but has elements of Gothic horror and fairy-tale mingled into its historical frame.
Malpezzi Price's articulation of social structures in sixteenth-century Venice includes the analysis of women's place in political life through the description of the role assigned to the Doge's wife, the
Dogaressa, and the investigation of emerging organizations aimed at protecting or welcoming women unable to enter the increasingly deteriorating marriage market.
His
Dogaressa was portrayed by the young Spanish soprano Angeles Blancas with a strong, penetrating sound, marked by a singular emotive quality, appropriate for the part.
In a very different context, Holly Hurlburt examines the entrance procession of the Venetian
dogaressa. This was one of the few occasions during which enclosed Venetian women appeared in public, without their husbands or other chaperones.
Hurlburt, "Individual Fame and Family Honor: The Tomb of
Dogaressa Agnese da Mosto Venier"; Laura D.
"'il bel sesso, e l' austero Senato': The Coronation of
Dogaressa Morosina Morosini Grimani." Renaissance Quarterly 52: 73-139.
That the coronation in 1597 of
Dogaressa Morosina Morosini Grimani signaled the intact Virgin's final victory over sexually active Venus, as Sperling claims at the end of this chapter, remains unpersuasive, for she has constructed a "battle" that never actually took place.