Jul 2022
Venice enjoyed great wealth
Underlying the stability economic power Resiliency
A trading empire base
Eastern Mediterranean,
Stretching into northern Europe and Asia
Wealth encouraged innovation,
cultural diversity nation
The trade of spices and exotic goods
Venice became,
a technology centre for printing fame
Visual arts broadened by publication,
Venetian printers
Also engaged as map-making thinkers
Nautical sea routes and ports
Venetian trade all courts
Fifteenth century,
more books printed in Venice,
than any other European city
Diversity
Contemporary
Venetian life
Mirrors of the printing industry,
Numbers high
Ancient text
Greek history
Jewish history,
and translations Arabic works mystery
Peter Burke noted,
Venice was a centre of information venture,
about the East linked travels,
of merchants and others unrevealed
Simply an expression of economic social,
and a political system
A framework of prosperity
The secret of continuing stability,
was found in critical points,
of flexibility within the hierarchy
Great significance of the arts
Despite political power,
being reserved for the,
hereditary patrician class hour
Citizenship played a powerful role,
in the tower
Civil Service goal
Among institutions scuole-lay,
responsibility way
Deeply religious confraternities
Large cases extremely wealthy places
Providing activities,
what we would think of today,
as Social Services public way
Five important scuole grandi,
hundreds of scuole piccole,
size and influence far from minimal
Linked to trades including painters,
or to foreign groups in the city
without waiters
Commissions for artists,
scuole important role,
maintaining social cohesion,
right up to naval supremacy,
which underwrote,
the power and prosperity vote
Fred Wilson,
African American,
West and Islam mention
Late sixteenth century
Well over a hundred years
Prior to the fall of Constantinople tall
Until the last quarter,
admiration for the Turks,
as the social system,
seemed to grant them,
equal measure of works
Mehmet very much enjoyed readings,
from ancient historians,
such as Laertius, Herodotus,
Livy and Quintus Curtius,
and from chronicles of the popes,
and Lombard kings
Kritovoulos of Imbros quotes
What matters here is less a question,
of the objective truth,
or otherwise of the claim,
than of how Mehmet’s identity,
was being fashioned in the Venice lane
At the time,
Vespasiano da Bisticci wrote of Federigo da Montefeltro, Duke of Urbino
He was ever careful to keep intellect
and virtue to the front
Learning something new every day,
going forward to catalogue,
his patronage of the arts,
architecture and the music lecture
Deep knowledge of classical authors stay
Venice had traded slaves,
since at least tenth century days
Most were Christians,
quite often described as Tartars,
or Circassians from the area,
of the Black Sea
Fall of Constantinople
Decline in the Black Sea slave trade
It did not die out,
they simply worked for the Ottomans bout
Sixteenth century numbers increased
European attitudes turned against slavery
Enslavement of fellow Christian bravery
An increase in Ottoman power,
Late fifteenth century,
one thousand black slaves,
traded annually in Venice days
By 1600 Venetian slavery died out
Demand for Portuguese Spanish Dutch British,
and French colonies,
as well as the Muslim states all rates
Free slaves and they,
could continue to live in Venice,
not having to work as domestic servants,
for perks and observance
Turks and Germans,
promoted the imagery of black people entering, into Venetian popular culture,
and has never really,
left it in paintings or art culture
Fred Wilson mentioned in his chapter,
testifies to this rapture
The representation of the world of Islam,
takes a specific form
Venetian artists,
seem to shield away,
from representing contemporary,
Ottoman society
Ottoman figures are found,
in Venetian art
In the heart of Venice
the lived environment,
no images of the Ottoman world
Plentiful images
of the early Christian world,
of the Holy Land
If only they would paint,
the real heart of grand
Not in the Ottoman Empire land,
but in the empire of the Mamluks,
the other eastern Mediterranean,
Islamic culture land,
based in present-day Syria and Egypt Ptah
Venetian artists,
representing the trials,
and victories of the early Christian Church Imagined them against a partly factual,
and partly made-up preach
A background of architecture,
and non-Christains,
in Mamluk costume
What happened to recognition,
in history before the vacuum
© 2022 Carol Natasha Diviney
Underlying the stability economic power Resiliency
A trading empire base
Eastern Mediterranean,
Stretching into northern Europe and Asia
Wealth encouraged innovation,
cultural diversity nation
The trade of spices and exotic goods
Venice became,
a technology centre for printing fame
Visual arts broadened by publication,
Venetian printers
Also engaged as map-making thinkers
Nautical sea routes and ports
Venetian trade all courts
Fifteenth century,
more books printed in Venice,
than any other European city
Diversity
Contemporary
Venetian life
Mirrors of the printing industry,
Numbers high
Ancient text
Greek history
Jewish history,
and translations Arabic works mystery
Peter Burke noted,
Venice was a centre of information venture,
about the East linked travels,
of merchants and others unrevealed
Simply an expression of economic social,
and a political system
A framework of prosperity
The secret of continuing stability,
was found in critical points,
of flexibility within the hierarchy
Great significance of the arts
Despite political power,
being reserved for the,
hereditary patrician class hour
Citizenship played a powerful role,
in the tower
Civil Service goal
Among institutions scuole-lay,
responsibility way
Deeply religious confraternities
Large cases extremely wealthy places
Providing activities,
what we would think of today,
as Social Services public way
Five important scuole grandi,
hundreds of scuole piccole,
size and influence far from minimal
Linked to trades including painters,
or to foreign groups in the city
without waiters
Commissions for artists,
scuole important role,
maintaining social cohesion,
right up to naval supremacy,
which underwrote,
the power and prosperity vote
Fred Wilson,
African American,
West and Islam mention
Late sixteenth century
Well over a hundred years
Prior to the fall of Constantinople tall
Until the last quarter,
admiration for the Turks,
as the social system,
seemed to grant them,
equal measure of works
Mehmet very much enjoyed readings,
from ancient historians,
such as Laertius, Herodotus,
Livy and Quintus Curtius,
and from chronicles of the popes,
and Lombard kings
Kritovoulos of Imbros quotes
What matters here is less a question,
of the objective truth,
or otherwise of the claim,
than of how Mehmet’s identity,
was being fashioned in the Venice lane
At the time,
Vespasiano da Bisticci wrote of Federigo da Montefeltro, Duke of Urbino
He was ever careful to keep intellect
and virtue to the front
Learning something new every day,
going forward to catalogue,
his patronage of the arts,
architecture and the music lecture
Deep knowledge of classical authors stay
Venice had traded slaves,
since at least tenth century days
Most were Christians,
quite often described as Tartars,
or Circassians from the area,
of the Black Sea
Fall of Constantinople
Decline in the Black Sea slave trade
It did not die out,
they simply worked for the Ottomans bout
Sixteenth century numbers increased
European attitudes turned against slavery
Enslavement of fellow Christian bravery
An increase in Ottoman power,
Late fifteenth century,
one thousand black slaves,
traded annually in Venice days
By 1600 Venetian slavery died out
Demand for Portuguese Spanish Dutch British,
and French colonies,
as well as the Muslim states all rates
Free slaves and they,
could continue to live in Venice,
not having to work as domestic servants,
for perks and observance
Turks and Germans,
promoted the imagery of black people entering, into Venetian popular culture,
and has never really,
left it in paintings or art culture
Fred Wilson mentioned in his chapter,
testifies to this rapture
The representation of the world of Islam,
takes a specific form
Venetian artists,
seem to shield away,
from representing contemporary,
Ottoman society
Ottoman figures are found,
in Venetian art
In the heart of Venice
the lived environment,
no images of the Ottoman world
Plentiful images
of the early Christian world,
of the Holy Land
If only they would paint,
the real heart of grand
Not in the Ottoman Empire land,
but in the empire of the Mamluks,
the other eastern Mediterranean,
Islamic culture land,
based in present-day Syria and Egypt Ptah
Venetian artists,
representing the trials,
and victories of the early Christian Church Imagined them against a partly factual,
and partly made-up preach
A background of architecture,
and non-Christains,
in Mamluk costume
What happened to recognition,
in history before the vacuum
© 2022 Carol Natasha Diviney
