WORD OF THE DAY
martini
s There is no authentic history for the intervening period; the famous " pergamene d'Arborea," published by P. Martini in 1863 at Cagliari, have been shown to be modern forgeries.
the Pugio Fidei of Raymond Martini (c. 1 280), 1 While these writings are of great historical value, they do not, of course, represent the Christian argument as conceived to-day.
The Romanesque cathedral contains some interesting examples of native art (by Giovanni Martini da Udine, a pupil of Raphael, and others).
Among the older works are: Bosio, Roma sotterranea, Severano's edition (1632), and Aringhi's edition (1651); Boldetti, Osservazioni sopra i Cmiteri dei santi martini (Rome, 1720); Bottari, Sculture e pitture sagre, &c. (Rome, 1 7371 754); Seroux d'Agincourt, Histoire de l'art par les monuments (Paris, 1823; German ed., 1840); G.
in the Campo Santo of Pisa; Agostino and Agnolo, who in 1330 carved the fine tomb of Bishop Guido Tarlati in the cathedral of Arezzo; Lando di Pietro (14th century), architect, entrusted by the Sienese commune with the proposed enlargement of the cathedral (1339), and perhaps author of the famous Gothic reliquary containing the head of S Galgano in the Chiesa del Santuccio, which, however, is more usually attributed to Ugolino di Vieri, author of the tabernacle in the cathedral at Orvieto; Giacopo (or Jacopo) della Quercia, whose lovely fountain, the Fonte Gaia, in the Piazza del Campo has been recently restored; Lorenzo di Pietro (Il Vecchietta), a pupil of Della Quercia and an excellent artist in marble and bronze; Francesco d'Antonio, a skilful goldsmith of the 1 6th century; Francesco di Giorgio Martini (1439-1502), painter, sculptor, military engineer and writer on art; Giacomo Cozzarelli (15th century); and Lorenzo Mariano, surnamed 11 Marrina (16th century).
6 The best edition is Guidi's La Lettera di Simeone Vescovo di Beth-Arsam sopra i martini omeriti (Rome, 1881).
Maria del Calcinaio, a fine early Renaissance building by Francesco di Giorgio Martini of Siena, with fine stained glass windows.
To obtain privacy for the maintenance of his personal religion, he established the monastery of Marmoutier-les-Tours (Martini monasterium) on the banks of the Loire.
GIOVANNI BATTISTA MARTINI (1706-1784), Italian musician, was born at Bologna on the 24th of April 1706.
Padre Martini was a zealous collector of musical literature, and possessed an extensive musical library.
Burney estimated it at 17,000 volumes; after Martini's death a portion of it passed to the Imperial library at Vienna, the rest remaining in Bologna, now in the Liceo Rossini.
Most contemporary musicians speak of Martini with admiration, and Mozart's father consulted him with regard to the talents of his son.
Martini's most important works are his Storia della musica (Bologna, 1757-1781) and his Saggio di contrapunto (Bologna, 1 7741 775).
Besides being the author of several controversial works, Martini drew up a Dictionary of Ancient Musical Terms, which appeared in the second volume of G.