By David Nicolle
Mercenaries have been a typical characteristic all through so much of Europe within the 14th and fifteenth centuries, and were identified some distance past. yet nowhere did one of these subtle approach of hiring, check and enterprise of mercenaries enhance because it did in Italy. The condottiere – whose identify got here from the condotta or agreement among himself and his business enterprise – used to be the end result. no matter if commander or humble trooper, the condottiere was once an entire expert. His ability hasn't ever been doubted, yet his loyalty and commitment to a specific reason frequently has. David Nicolle offers a desirable exploration of the condottiere; his roles, palms and gear.
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Extra info for Italian Medieval Armies 1300 - 1500
6 per cent of the vote in the 1953 election). In the world of industrial design, the socialist and communist influence surfaced in the VIII Triennale di Milano, for example, which was instantly dubbed the ‘proletarian Triennale’. If the left-wing parties had succeeded in gaining government influence, the development of Italian design might have taken a different path. Instead, the Italian nation and the history of Italian design alike were formed under the rule of the DC. Another prominent feature of the Italian state was the enti pubblici—government special agencies, of which there were 841 national examples in 1947.
This relative youth is significant for the understanding of Italian design as distinct for several reasons. 25 These local town, city and regional contexts and networks, further entrenched by the centrality of family within this Catholic culture, mean that a designer might identify as Neapolitan rather than Italian in the first instance and might favour local methods, personnel and manufacturers for the realisation of her or his work. 26 The centrality of local culture is exemplified beyond design in the development, for example, of the Cittaslow movement (1999–)27 and its culinary corollary, the Slow Food movement; Italian cuisine is distinctly regional.
Should the continued writing of national histories be confined to those countries that have to date been neglected in the English-language literature of design history? Are national histories to be justified only by the extent to which they address nations and regions previously unfamiliar to an international readership? Clearly, those nations that have received disproportionate design historical attention may also warrant new national histories in order to reflect novel approaches and innovative scholarship.