Numerous notarial deeds are kept in the State Archive of Mantova, involving some of the most famous comedians of the Seventeenth century. Piermaria Cecchini (Frittellino), Francesco Andreini and his sons Domenico and Giacinto, Giovan Battista (Lelio) with their son Pietro Enrico, Tristano Martinelli and others, used notaries for wills, sales contracts, debt reduction, inventories of assets and dowries. Some of these documents also involve the women of the Andreini family: Lavinia (sister Fulvia), Caterina (perhaps sister Clarastella), Virginia Ramponi Andreini (Florinda). In particular, an emancipation deed (1620) indirectly touched Virginia (Genoa, 1583 -?, Before November 17, 1631), the first wife of Giovan Battista Andreini. On the basis of document analysis, two perspectives are treated: the peculiar contribution of Virginia to the activities of the family also from the economic point of view; the status of women towards the emancipation, legally patriarchal and defensive of property. The document thus becomes an opportunity to reflect, starting from Virginia but pushing the gaze further, on the condition of women active in the theatrical and musical world between jurisprudence, artistic professions, economic heritage and daily life. In conclusion, through some selected examples (the «concerto delle dame» of Ferrara, Adriana Basile, Margherita Salicola, Antonia Merighi), the theme of emancipation is observed throughout the Seventeenth century, when women singers, populated successfully the new operatic market. As the law remained unchanged, they experimented with different strategies to protect their own person and assets.
Nell’archivio di stato di Mantova sono conservati numerosi atti notarili, che coinvolgono alcuni fra i più famosi comici del Seicento. Piermaria Cecchini (Frittellino), Francesco Andreini e i suoi figli Domenico e Giacinto, Giovan Battista (Lelio) con suo figlio Pietro Enrico, Tristano Martinelli e altri, ricorsero ai notai per i loro testamenti, contratti d’acquisto e vendita, liberazione da crediti, inventari di beni e doti. Alcuni di quegli atti, in parte noti, interessano anche i membri femminili della famiglia Andreini: Lavinia (suor Fulvia), Caterina (forse suor Clarastella), Virginia Ramponi Andreini (Florinda). Di peculiare interesse, un atto di emancipazione (1620) toccò indirettamente Virginia (Genova, 1583 – ?, ante 17 novembre 1631), prima moglie di Giovan Battista. Il documento diviene occasione per riflettere, partendo da Virginia stessa ma spingendo poi lo sguardo su tutto il Seicento, sulla condizione delle donne attive nel mondo teatrale e musicale, e sul concetto giuridico di emancipazione femminile fra giurisprudenza, professioni artistiche, patrimoni economici e vita quotidiana.
Storie di emancipazione: Virginia Ramponi Andreini (1583-1631) dal suocero al marito
Besutti P.
2019-01-01
Abstract
Numerous notarial deeds are kept in the State Archive of Mantova, involving some of the most famous comedians of the Seventeenth century. Piermaria Cecchini (Frittellino), Francesco Andreini and his sons Domenico and Giacinto, Giovan Battista (Lelio) with their son Pietro Enrico, Tristano Martinelli and others, used notaries for wills, sales contracts, debt reduction, inventories of assets and dowries. Some of these documents also involve the women of the Andreini family: Lavinia (sister Fulvia), Caterina (perhaps sister Clarastella), Virginia Ramponi Andreini (Florinda). In particular, an emancipation deed (1620) indirectly touched Virginia (Genoa, 1583 -?, Before November 17, 1631), the first wife of Giovan Battista Andreini. On the basis of document analysis, two perspectives are treated: the peculiar contribution of Virginia to the activities of the family also from the economic point of view; the status of women towards the emancipation, legally patriarchal and defensive of property. The document thus becomes an opportunity to reflect, starting from Virginia but pushing the gaze further, on the condition of women active in the theatrical and musical world between jurisprudence, artistic professions, economic heritage and daily life. In conclusion, through some selected examples (the «concerto delle dame» of Ferrara, Adriana Basile, Margherita Salicola, Antonia Merighi), the theme of emancipation is observed throughout the Seventeenth century, when women singers, populated successfully the new operatic market. As the law remained unchanged, they experimented with different strategies to protect their own person and assets.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
