Spite and Malice, also known as Cat and Mouse, is a relatively modern American card game for two or more players. It is a reworking of the late 19th century Continental game Crapette, also known as Russian Bank, and is a form of competitive solitaire, with a number of variations that can be played with two or three regular decks of cards.

It had a "well-deserved following" during the 1970s when Bridge expert Easley Blackwood saw it being played on a cruise ship and subsequently published its rules. According to David Parlett, the game is a reworking of an old 19th century patience called Crapette or Russian Bank, but he also identifies 3 early English patiences by Mary Whitmore Jones – Carbouche, Obstruction and Dowager's Patience – which bear a "remarkable similarity" to Spite and Malice.

A commercial variation sold by Hasbro is called Spite and Malice; a variation sold by Mattel is called Skip-Bo.

History
This modern American card game is not recorded until the 1960s, an early reference being seen as a trend-setting game by The Santa Fe Magazine in 1963. The first rules are recorded by Richard L. Frey in 1965, who calls it "a recent husband-and-wife game that in some places rivals Russian Bank in popularity". However, John McLeod points out that the version that appears in card books is "rather different" from those usually played.

Rules

The deck consists of three regular playing card decks with the jokers removed (or jokers may be retained and used as wild), although the United States Playing Card Company's version of the game uses two 52-card decks. The rank of the cards is ace low and proceeding normally up to queen, which is the highest card in the deck. Kings are wild and may substitute for any other card rank except ace. Suits have no bearing on the game.

The game is usually played with 2 to 4 players. The object is to be the first person to move all the cards in your goal pile into the playing piles. Players cut for the deal, with the highest card winning. Dealer deals 26 cards to each player (or 13 cards if a shorter game is desired). The players do not look at these cards but simply collect them into a pile called the goal pile. Once each goal pile is dealt, the top card is turned over by each player and placed face up on the pile. All undealt cards are left face down in a stack placed central to all players called the draw pile.

There are three kinds of piles in Spite and Malice:

Goal piles
Each player tries to play through his goal pile. The one doing so first wins.
If a player cannot play the card in his goal pile, he may attempt to block someone else from playing.
Playing piles
Play piles are community piles used by all players.
There are a maximum of four playing piles open at any one time.
Each playing pile is opened with an ace.
Playing proceeds upward in normal rank all the way to the Queen.
Once a queen is played on a playing pile, that pile is dead and it is removed from the immediate playing area until enough cards are collected to shuffle them and return them to the draw pile.
Discard piles
Discard piles belong only to the player who made them; players may not interfere with or play from one another's discard piles.
Each player has a maximum of four discard piles.
Playing a card into a discard pile ends the player's turn and passes it on to the next player.
The cards played into the discard piles must be played out in reverse order of their being laid down; one must remove cards from the top of discard piles when putting them into the playing piles.
Players often organize their discard piles by being all of the same number or by descending card ranks so that they may be played sequentially.
Players cannot discard an ace.

Play

Play starts with the dealer and goes around the table in a clockwise fashion. Each turn starts with a player drawing from the common draw pile to give themselves a five-card hand. They then make whatever plays they can until they have no more plays that they want to do, and then they discard a card from their hand into their personal discard area, which they must if they have 5 cards in their hand, but if they have 4 or less cards in their hand they don't have to put one out in their personal discard area. If they put all 5 cards out or put the fifth card out on their personal discard area they pick up 5 more cards and continues. They may ONLY put one card out on their personal discard area and may NOT play a buried card in their personal discard area when they are playing. When they put a card out on their personal discard area and have 1 or more cards left in their hand, their turn is over

The best move would be to play the goal card directly on a playing pile (it would have to be an ace at this point, since all four playing piles are empty at this point). If this is not possible, the player may use the cards in their hand to put cards into the playing piles and "play up" to the value of the goal card. If the player cannot do either of these things, the turn might simply consist of making a discard to one of their four discard piles.

However, if all five cards in the hand can be played in the playing piles (for example, if a player drew A, 2, 3, A, 2, they could play ace, two, three on one playing pile and ace and then 2 on a second pile), resulting in running out of cards before making a discard, that player may draw five more playing cards to replenish their hand. It is possible, if not probable, for this to happen more than once, or even a few times in a row, before someone is forced to make a discard because they cannot make any further plays.

Once a discard is made, the turn moves to the next player. That person starts their turn by drawing cards from the draw pile to make their five-card hand. On someone's first turn they will always draw five cards, but on subsequent turns they will draw however many cards are required. For example, suppose they are able to play three cards and then ends their first turn with their discard. On the next turn, they would have one card left in their hand and would then draw four more to reconstitute a five-card hand. If a player's only possible move on their first play is to discard because they have no playable card on the playing piles, they would discard one card, leaving them with four, in which case on their next turn they would simply draw one card to end up with the standard five-card hand. No matter how many cards are able to be played, a turn ends with a player placing a card from their hand into one of their discard piles (unless they play the winning move of putting their last goal card into play, in which case they win and no discard is required).

If everyone has a high goal card at the start of play, there may be many turns where the players draw just one card and then decide which card to add to the discard piles until someone gets a sufficient number of cards saved up in the discard piles of cards to reach their high number. Or one person may end up with a low goal card and, in reaching that one and then ending their turn, they will have unavoidably helped someone else to reach their higher number goal card.

As play continues, many cards can accumulate in the discard piles. In order to make your goal card or prevent your opponent from reaching theirs, you can use cards from both your hand and your discard piles during your turn.

Scoring
After each hand has ended, scoring takes place. Only the player who cleared their goal pile can score: They score five points for clearing the goal pile and one point per card left in their opponents' goal piles. If, in the rare instance that the draw pile is exhausted and there is no possible way to furnish a new one, a drawn hand is declared, and the person closest to a cleared goal pile scores the difference between their opponents' leftover cards and their own. Games are usually played to 25, 50, or 100 points.

Variants
Some rules use unlimited center stacks; they are only removed when the draw stack is depleted. Also, sometimes a rule is employed requiring aces and deuces to be played any time a player is able to do so.

Spite and Malice is similar to a game called Misery. It is played with 2 players. Two decks are used instead of three (unless three people play—then three decks are used) and two (goal) piles of 12 per player and a hand of 6.

Another variation calls for all piles to be built up to the king, with jokers used as wild cards. (Wild represents all cards besides A, 2, 7, and J.)

Yet another variant requires a wild card to be immediately covered by the next card, but also does not allow wild cards to be used in place of 7's (or Queens, because a Queen ends the stack and cannot be covered).

One variation calls for one deck for every player (e.g., 3 players play with 3 decks) with a maximum of four center stacks to be built from ace to queen, with kings as wilds. (Jokers are not used here.)

Another variation requires a natural A and 2 (no wild cards for A or 2) but does permit discarding of pairs of cards (e.g., two queens, two 7's, etc.), but no more than two cards at a time.

Commercial versions

A commercial variation sold by Hasbro is called Spite and Malice; Mattel's version is called Skip-Bo.

William Henry Storey designed a card game Starturn which was published by Chad Valley in 1935, and which had almost the same rules as Spite and Malice.

Two packs, 44 very dark gray and 52 stop sign red, are used in a game primarily for two players although there were versions for three or four players. Black cards are divided equally between the players, placed face down with only the top card visible, as the Stack. Five red cards are dealt to each player, made up to five on each pass, and the rest placed as the draw Pack. The aim is to make up to four Build piles starting at 1 through to 15, using cards from the player's Stack where possible. Each player must discard one card at the end of each pass (except when all cards in the hand have been used on Build piles) on to one of four discard piles in front of each player, from which cards may be used (strictly, top card first) in forming Build piles. Completed Build piles are shuffled into the Pack as soon as completed. The first player to use up all of their Stack cards is the winner.

References

Literature
 _ (1963). The Santa Fe Magazine, Vol. 53.
 Frey, Richard L. (1965). According to Hoyle. Hawthorn Books. 320 pp.

Competitive patience card games
American card games

Spite and Malice


John Greville Agard Pocock, ONZM (* 7. März 1924 in London) ist ein neuseeländischer Historiker und Politologe mit dem Schwerpunkt Ideengeschichte. Hierzu gehört die Erforschung des frühen Republikanismus und der Aufklärung.

Leben
Pocock ist ein Sohn des aus der Kapkolonie stammenden Lewis Greville Pocock (1890–1975) und seiner von den Kanalinseln stammenden Ehefrau. Als sein Vater 1927 auf eine Professur für Klassische Philologie an das Canterbury College in Christchurch (Neuseeland) berufen wurde, zog die Familie mit. Pocock studierte in Neuseeland, wo er zunächst einen Bachelor-Abschluss sowie im Jahr 1946 den Master erlangte.

Es folgte ein Studienaufenthalt an der University of Cambridge und die Promotion beim Historiker Herbert Butterfield. Im Jahr 1959 gründete und leitete er das Department of Political Science an der Universität Canterbury. 1966 wanderte Pocock in die USA aus. Von 1975 bis 1994 lehrte Pocock als Professor an der Johns Hopkins University in Baltimore. 1975 wurde er in die American Academy of Arts and Sciences und 1994 in die American Philosophical Society gewählt. Seit 1990 ist er korrespondierendes Mitglied der British Academy.

Lehre
Pocock gilt als Pionier der politischen Ideengeschichte. Er ist Mitbegründer des Kontextualismus. Dabei handelt es sich um eine Strömung der Ideengeschichte, die historische Quellen vor allem in zeitlichen und geistigem Zusammenhang ihrer Zeit interpretiert. Zusammen mit Quentin Skinner hat er die Grundlage zur Cambridge School gelegt. Zu seiner methodischen Herangehensweise gehört die Analyse der politischen Sprache ihrer Zeit. Darauf aufbauend lassen sich Diskursgruppen und Strömungen erkennen. Er hat maßgeblich die Protagonisten der politischen Theorie der frühen Neuzeit erforscht wie etwa James Harrington, Thomas Hobbes und John Locke.

Veröffentlichungen
 The Ancient Constitution and the Feudal Law. Überarbeitete Fassung der Dissertation. 1957
 Die andere Bürgergesellschaft. Zur Dialektik von Tugend und Korruption. Aus dem Englischen von Klaus Blocher. Campus, Frankfurt am Main 1993, ISBN 3-593-34836-5
 Barbarism and Religion. 5 Bände
 Band 1: The Enlightenments of Edward Gibbon, 1737–1794. Cambridge University Press, Cambridge 1999
 Band 2: Narratives of Civil Government. Cambridge University Press, Cambridge 1999
 Band 3: The First Decline and Fall. Cambridge University Press, Cambridge 2003
 Band 4: Barbarians, Savages and Empires. Cambridge University Press, Cambridge 2005
 Band 5: Religion: the First Triumph. Cambridge University Press, Cambridge 2011

Literatur
 Preston King: Historical Contextualism. The New Historicism?. In: History of European Ideas 21 (1995), Nr. 2, S. 209–233.
 William Walker: J.G.A. Pocock and the History of British Political Thought. Assessing the State of the Art. In: Eighteenth-Century Life 33 (2009), Nr. 1, S. 83–96

Weblinks

Einzelnachweise

Historiker
Politikwissenschaftler
Hochschullehrer (Johns Hopkins University)
Träger des New Zealand Order of Merit
Mitglied der British Academy
Mitglied der American Philosophical Society
Mitglied der American Academy of Arts and Sciences
Neuseeländer
Geboren 1924
Mann

J. G. A. Pocock


Lycodon carianatus යනු ශ්‍රී ලංකාවට ආවේණික වන Colubridae කුලයට් අයත් සර්ප විශේෂයකි. මොවුන් පොදුවේ ඉංග්‍රීසියෙන් Sri Lankan Wolf Snake ලෙස ද, සිංහලෙන් දාර කරවලා හෙවත් දාර රදනකයා ලෙස හඳුන්වනු ලබයි.

විස්තරය
පෘෂ්ඨීය පෙදෙස කළු පැහැ වන අතර, එහි කැපී පෙනෙන සුදු පැහැ වළලු 19ක් ඇත. පරිණත සතුන්ගේ මේවා අඩු හෝ සම්පූර්ණයෙන් නොමැති විය හැක. කළු පැහැ පටි බඳ තෙක් විහිදෙන අතර, ඒවා විසිරී ඇත.

පරිසරය
නිශාචර භෞමික සත්ත්වයෙකි. දිවා කල වනාන්තරවල ගල් කැබලි යට සැඟව සිටියි. ආහාර ලෙස මැඬියන්, හූනන්, හිකනලුන් සහ කුඩා නිර්විෂ සර්පයන්ව ගොදුරු කරගනියි.

ප්‍රජනනය
Lycodon carinatus යනු අණ්ඩජ සර්පයෙකි. වරෙකට බිත්තර 4 සිට 7 දක්වා ප්‍රමාණයක් දමයි.

වර්ගීකරණ යාවත්කාලීන කිරීම්
2013 දී (පයිරන් සහ පිරිස) විසින් මුලින් Cercaspis ගණය යටතේ පැවති මෙම විශේෂය Lycodon ගණයට ඇතුළත් කරන ලදී.

ආශ්‍රේයයන්
 http://animaldiversity.ummz.umich.edu/accounts/Cercaspis/classification/
 http://reptile-database.reptarium.cz/species?genus=Lycodon&species=carinatus
 https://www.inaturalist.org/taxa/27353-Cercaspis-carinatus
 http://eol.org/pages/795452/names/synonyms
 http://reptile-database.reptarium.cz/species?genus=Lycodon&species=carinatus

ශ්‍රී ලංකාවේ උරගයින්
carinatus
1820දී විස්තර කළ උරගයින්

Lycodon carinatus


عمر عزوزي من مواليد 15 أكتوبر 1948، ممثل مغربي له عدة أعمال تلفزيونية وسينمائية ومسلسللات عديدة، من بين أبرز أفلامه فيلم الفرح الصغير.

أعماله

أفلام
 طيف نزار
 الفرح الصغير
 عبدو عند الموحدين
 السمفونية المغربية
 عايدة
 كورصة

مراجع

روابط خارجية

ممثلون وممثلات مغاربة
مواليد 1367 هـ

عمر عزوزي


Arnolt Schlick (July 18?, c. 1455–1460 – after 1521) was a German organist, lutenist and composer of the Renaissance. He is grouped among the composers known as the Colorists. He was most probably born in Heidelberg and by 1482 established himself as court organist for the Electorate of the Palatinate. Highly regarded by his superiors and colleagues alike, Schlick played at important historical events, such as the election of Maximilian I as King of the Romans, and was widely sought after as organ consultant throughout his career. The last known references to him are from 1521; the circumstances of his death are unknown.

Schlick was blind for much of his life, possibly from birth. However, that did not stop him from publishing his work. He is best known for Spiegel der Orgelmacher und Organisten (1511), the first German treatise on building and playing organs. This work, highly influential during the 16th century, was republished in 1869 and is regarded today as one of the most important books of its kind. Schlick's surviving compositions include Tabulaturen etlicher lobgesang (1512), a collection of organ and lute music, and a few pieces in manuscript. The lute pieces—mostly settings of popular songs—are among the earliest published; but Schlick's organ music is even more historically important. It features sophisticated cantus firmus techniques, multiple truly independent lines (up to five—and, in one case, ten—voices), and extensive use of imitation. Thus, it predates the advances of Baroque music by about a hundred years, making Schlick one of the most important composers in the history of keyboard music.

Life

Early life
Records of Schlick's early life are sparse: he lived and worked at Heidelberg, which was almost completely destroyed during the War of the Grand Alliance, so almost no records survive from the time Schlick was born. Nevertheless, linguistic analysis of his writings has shown that Schlick was most likely from the area around Heidelberg, and recent research showed that Schlick was most probably born into a family of a Heidelberg butcher, whose family name may have been Slicksupp. If Schlick's parents followed the contemporary German custom to name children after the saint on whose day they were born, Schlick must have been born on July 18, St. Arnold's day. As for the year of birth, since Schlick married in 1482 and described himself as "an old man" by 1520, he was probably born between 1455 and 1460. Schlick was blind for much of his life, and may have been born blind.

No documents survive concerning Schlick's apprenticeship. Johannes von Soest and an otherwise unknown "Petrus Organista de Oppenheim" could be his teachers, as could Conrad Paumann, if only for a brief time when he (possibly) visited Heidelberg in 1472. The earliest mention of Schlick's place of employment is in his marriage contract: in 1482 he married Barbara Struplerin, a servant of Elector Philip's sons, and the contract lists him as a court organist. Schlick and his family lived in a house on the Burgweg, a path that led to the Heidelberg Castle (although by 1482 Schlick had already inherited his father's house in Heidelberg).

Career
Schlick was apparently held in very great regard by his superiors. By 1509 he was the highest-paid musician at the court with a salary almost twice as high as that of the next-best-paid musician, and comparable to the salary of the court treasurer. Evidently, this position was already established by 1486, when Schlick performed at the election of Archduke Maximilian as King of the Romans at Frankfurt, on February 16 of that year (Schlick may also have performed at Maximilian's coronation six weeks later). It was at this election that Schlick must have first met Paul Hofhaimer. In either 1489 or 1490 (the precise year is uncertain), Schlick travelled to the Netherlands: he alludes to the journey in his preface to Tabulaturen etlicher lobgesang, but his reasons remain obscure. Recent scholarship unearthed evidence of payments to other Electorate of the Palatinate musicians, made by Utrecht authorities, and although no mention of the court travelling to Utrecht in 1489–1490 has been found, it is entirely possible that such a journey did happen. An older version of Schlick's motives was that he went to the Low Countries to escape from the plague which was then ravaging the Heidelberg area.

In October 1503 King Philip I of Castile visited Heidelberg, bringing with him a large enoutrage that included the composers Pierre de la Rue and Alexander Agricola, and organist Henry Bredemers. Schlick almost certainly met these musicians, and probably played the organ at the performance of the Mass that took place during Philip's visit. The next known contemporary report that mentions Schlick is from February 23, 1511, when he played at the wedding of Louis V, Elector Palatine and Sibylle of Bavaria. Nothing certain is known about Schlick's other performances. We know that he was present at one of the diets at Worms, either in 1509 or at the famous diet of 1495. The presence of an unnamed Heidelberg court lutenist in Basel in 1509 is documented, and as Schlick was an accomplished lutenist, it might have been him. In 1516, Schlick visited Torgau for unknown reasons; he may have played the organ there, and presumably met Hofaimer again, since the latter was Torgau's court organist at the time.

The year 1511 saw the publication of Schlick's organ treatise, Spiegel der Orgelmacher und Organisten ("Mirror of Organ Builders and Organists"). The book was published in Speyer; it is the first known German treatise on organ building and performance, and was very influential in Germany. Also in 1511, Schlick's son Arnolt the Younger pleaded to his father to publish at least some of his music; the father complied and published Tabulaturen etlicher lobgesang und lidlein uff die orgeln un lauten ("Tablatures of [Several] Canticles and Songs for Organ and Lute") the next year, a collection of organ and lute music. A few of the biographical details are found in the preface to the latter work (which consists of Arnolt the Younger's letter to his father) and Schlick's reply. Schlick writes, for instance, about his journey to the Low Countries, and about the row he had with Sebastian Virdung in either 1495 or 1509. Schlick apparently met Virdung in Worms in 1495 or 1509 and helped him in some way. Some years later, in his treatise Musica getutscht (1511) Virdung ridiculed Schlick's adherence to the view that the black keys should be considered musica ficta, and made rude remarks about the composer's blindness. In the preface to Tabulaturen etlicher lobgesang Schlick retorts with mentions of Virdung's numerous mistakes in the musical examples from Musica getutscht, and condemns Virdung's ingratitude. Schlick also mentions his plans to publish another book of music, but no trace of such a publication is known.

Throughout his life, Schlick was in high demand as an organ consultant. The earliest record of his activity in this field is from 1491, when he inspected the instrument of the Strasbourg Cathedral. Twelve more reports survive about such trips: among others, Schlick passed judgements on organs at St. George's Church, Haguenau, Speyer Cathedral, and the Stiftskirche, Neustadt an der Weinstraße. The last reference to Schlick is from 1521, when he examined an organ at St. George, Haguenau. This job was apparently carried out during December 1520–January 1521, and a letter survives from about the same time, from Schlick to Bernardo Clesio, Bishop of Trent; Schlick sent Clesio two sets of chorale settings. After this, Schlick disappears from history. In 1524 another organist was employed in his place.

Writings

Schlick's treatise on organ building and organ playing, Spiegel der Orgelmacher und Organisten ("Mirror of Organ Builders and Organists"), was published in 1511 in Speyer by Peter Drach. Only two copies survive to this day, but the book has long been recognized as one of the most important of its kind. The Spiegel is the earliest German organ treatise, and also the first book on musical matters to enjoy an imperial privilege (issued by Emperor Maximilian to protect Schlick's rights). It was widely influential in Maximilian's empire, but became obsolete towards the 17th century because of the advances in organ building. After years of oblivion, the Spiegel was republished in 1869, and interest in it has been growing ever since: a summary of its contents in modern language was available in 1870, a complete translation into modern German appeared in 1931, a partial English translation first became available in Organ Institute Quarterly, published between 1957 and 1960, and a complete English translation followed in 1980. Facsimile editions of the treatise appeared as early as 1959.

Schlick's book begins with a preface in three parts: the composer first thanks his patrons, then briefly discusses the nature of music, and finally describes the purpose of the Spiegel: it was not intended for organists and/or organ builders, as it may seem from the title, but for those church and monastery authorities who wanted to buy an organ, or had one entrusted to their care. Schlick's remarks about the nature of music are similar to those in other musical treatises of the time: he quotes, like numerous other authors of the period, the Bible, Aristotle, Boethius, Asclepiades of Bithynia and Guido of Arezzo. Quotations from these sources support Schlick's own views: that music has a profound effect on the listeners, and can heal both the body and the spirit. Schlick also praises the organ as the best musical instrument, his argument being that extensive polyphony with as many as six or seven parts can be executed by a single person on the organ.

The preface is followed by ten chapters which cover practically every aspect of organ-building: tuning, keyboard construction, making of chests, bellows, stops, etc.; even the instrument's position in the church and its decorations are discussed (Schlick's point of view being that excessive decorations are undesirable). Among other things, Schlick describes his "ideal" organ, which is a two-manual instrument with eight to ten stops for the Hauptwerk, four for the Rückpositiv, and four in the pedal:

He emphasizes that each stop should have a distinct sound, easily distinguishable from all others, and that performers should make good use of contrasting registrations. Some of the stops Schlick mentions are difficult to identify precisely, due to the age of the treatise and the changes that took place in organ-building since the 16th century. Perhaps the most mysterious is the hůltze gletcher, a stop with a percussive sound which Schlick admired and compared to "a bowl that idle journeymen hit with spoons." However, Schlick's descriptions of other stops also require interpretation; for example, he describes the Rückpositiv Zimbel with the words "guts reins Zymmelein", "good clean Zimbel" from which later authors infer the lack of Tierce ranks. Schlick's explanations of his "ideal" organ also reveal much about contemporary musical attitudes. For example, he recommends a compass of F-a'' in order to give "a good independent bass line", and he states that the pedal should not consist solely of low sub-octave stops, as this would "invert the harmony", presumably a reference to the increased role of the pedal in playing a cantus firmus melody that was considered to be a tenor line, now freed from its medieval subservience.

The most discussed part of the Spiegel is its second chapter, which concerns organ pitch. To illustrate how an organ should be tuned, Schlick indicates the length of a pipe speaking F, the bottom note of his compass. To this end, a line is printed in the margin, and the length of the pipe is given as being 16 times the length of that line. Numerous estimates have been suggested in the past, and some scholars (most notably Arthur Mendel) actually doubted whether the length of the line in question was rendered correctly during printing. Today, most scholars agree that the pipe would produce a sound slightly more than a whole tone below the present-day F. The temperament Schlick advocates is an irregular one, close to meantone; the major thirds are slightly wider than pure. Schlick rejected keyboards with split accidentals.

Music

Organ music

Schlick's organ music survives in two sources: the printed collection Tabulaturen etlicher lobgesang (1512) and the letter Schlick sent to Bernardo Clesio around 1520–1521. Tabulaturen contains ten compositions for organ: a setting of Salve Regina (five verses), Pete quid vis, Hoe losteleck, Benedictus, Primi toni, Maria zart, Christe, and three settings of Da pacem. Of these, only Salve Regina and the Da pacem settings are fully authentic. Much of the other music is stylistically indistinguishable from contemporary vocal works by other composers; consequently, some of the pieces may be intabulations of other composers' works. However, as of 2009, no models are known for any of the pieces, and so Schlick's authorship remains undisputed.

The Salve Regina setting is among the most important of Schlick's works. Unlike most preceding and contemporary organ composers, Schlick tends to use four voices rather than three, and in the first verse there are instances of two voices in the pedal, a technique unheard of at the time. Schlick's setting also sets itself apart by relying heavily on imitation, sequence and fragmentation of motives, techniques seldom employed so consistently in organ music of the day. The first movement begins with an imitative exposition of an original theme with an unusually wide (for a theme used imitatively) range of a twelfth and proceeds to free counterpoint with instances of fragments of the original theme. Movements 2 and 3 (Ad te clamamus and Eya ergo) begin by treating the cantus firmus imitatively, and the opening of Eya ergo constitutes one of the earliest examples of fore-imitation:

This technique, in which a motif treated imitatively "foreshadows" the entrance of the cantus firmus, later played a major part in the development of the organ chorale. Schlick's methods of creating complementary motives also look towards a much later stage of evolution, namely the techniques employed by Jan Pieterszoon Sweelinck. Early music scholar Willi Apel, who authored the earliest comprehensive analysis of Schlick's keyboard music, writes:
Schlick's Salve is one of the truly great masterpieces of organ art, perhaps the first one to deserve to be so ranked. It still breathes the strict spirit of the Middle Ages, which brought forth so many wonderful works, but new forces are already at work that lend this composition a novel fulness of expression and sound.
Schlick's three Da pacem settings also look to the future, because, although Schlick does not refer to them as a cycle anywhere in the Tabulaturen, the placement of the cantus firmus suggests that the three settings are part of a large plan. The antiphon is in the discantus in the first setting, in the tenor in the second, and in the bass in the third. Similar plans are observed in Sweelinck's and later composers' chorale variations. Technically, Schlick's settings exhibit a contrapuntal technique similar to that of Salve Regina.

Schlick's Benedictus and Christe are three-voice settings of mass movements. The former has been called "the first organ ricercar" because of its use of imitation in a truly fugal manner, but it remains unclear whether the composition is an original piece by Schlick or an intabulation of a vocal work by another composer. The piece is in three sections, the first of which begins with a fugal exposition, and the second is a canon between the outer voices. Schlick's Christe is more loosely constructed: although imitation is used throughout, there are no fugal expositions or canonic techniques employed. The piece begins with a long two-voice section. Other organ pieces in the Tabulaturen employ a variety of methods, most relying on imitation (with the notable exception of Primi toni, which is also unusual for its title, which merely indicates the tone, but not the cantus firmus). For example, Schlick's setting of Maria zart (a German song famously used by Jacob Obrecht for Missa Maria zart, one of the longest polyphonic settings of the Mass Ordinary ever written) splits the melody into thirteen fragments, treated imitatively one by one. A similar procedure, only with longer fragments of the melody used, is employed in Hoe losteleck, a piece based on a song which may have had secular character. Pete quid vis, a piece of unknown origins and function, consists of a large variety of different treatments of a single theme, either treated imitatively itself, or accompanied by independently conceived imitative passages.

Schlick's letter to Bernardo Clesio contains his only known late works: a set of eight settings of the sequence verse Gaude Dei genitrix (from the Christmas sequence Natus ante saecula) and a set of two settings of the Ascension antiphon Ascendo ad Patrem meum. Both sets have didactic purposes. Gaude Dei genitrix settings establish various ways of reinforcing a two-voice setting, in which the chant is accompanied by moderately ornamented counterpoint, by duplicating both lines in parallel thirds, fourths, or sixths. The pieces, which may have been intended for voices rather than the organ, range from three- to five-voice settings. Schlick himself noted the didactic aspect, writing that he "found and made a separate rule for each setting, which are so clear that it will be easy to set all chants in the same manner." His Ascendo ad Patrem meum settings serve a different purpose, but also are a miniature encyclopaedia: the first setting is in two voices (and so the most basic of all possible settings), whereas the second is in ten voices (and so the most advanced of all possible settings). The ten-voice work is unique in organ repertoire, both for the polyphonic scope and the pedal technique.

Lute settings

The Tabulaturen etlicher lobgesang is the earliest extensive source of German lute music and also one of the earliest published collections of lute music known. There are fifteen lute pieces, twelve of which are duets for voice and lute. The pieces are organized by difficulty, which reflects the didactic aspect of the Tabulaturen. Curiously, Schlick does not include performing instructions, which are commonplace in most later German publications, and furthermore, no texts are included, although most can be found in contemporary sources—there are just three songs unique to the Tabulaturen (Mein lieb ist weg, Philips zwolffpot and All Ding mit radt). Almost all the songs are settings of German polyphonic Lieder on secular texts. There are two exceptions. The first, Metzkin Isaack, may be of Netherlandish origin, and there is a possibility that Schlick learned the piece from Petrucci's Harmonice Musices Odhecaton. This would imply that Schlick borrowed the idea to apply for an imperial privilege for Spiegel and Tabulaturen from Petrucci. The second exception is All Ding mit radt, which is different from every other piece in the Tabulaturen: it relies not on the phrase structure of the song, like other settings, but rather on motivic and harmonic principles. Also, unlike other lute settings, it does not use bar form.

In most settings Schlick uses mixed notation: the upper part is notated mensurally, while the lower parts are given in tablature. The practice was rarely used in Germany at the time, but it appears in many contemporary French and Italian sources, such as collections of frottolas by Franciscus Bossinensis (1509–1511) or Marchetto Cara (c. 1520), and Pierre Attaingnant's publications (late 1520s). Another important deviation from the German norm is Schlick's tendency to put the cantus firmus in the highest part, the discantus, whereas the norm for German Lieder was cantus firmus in the tenor.

As is usual for lute intabulations, none of Schlick's settings are completely faithful to their models. The changes range from addition of modest ornaments, as in Nach lust or Vil hinderlist, to insertions of new material, as in Mein M. ich hab and Weg wart dein art. One particularly important change occurs in Schlick's intabulation of Hertzliebstels pild, in which Schlick attempts a type of word painting: the words "mit reichem Schall" ("with rich sound/splendor") are illustrated by an increase in rhythmic activity. The three solo lute settings are all in three voices, and present three distinct ways of three-voice intabulation. All Ding mit radt contains numerous passages in two voices, and so serves as an introduction to playing three-voice music. Wer gnad durch klaff is one of Schlick's most straightforward intabulations, using most of the original material unchanged. Finally, Weg wart dein art is a free intabulation, with numerous ornaments, figuration and other embellishments. The vast majority of Schlick's lute pieces are not exceptionally virtuosic, and are somewhat easier to perform than near-contemporary lute music by Hans Neusidler and Hans Judenkönig; however, the works in the Tabulaturen cannot be used as a basis to judge Schlick's technique, since the book had a didactic aspect, and Schlick planned a second volume with more complex and difficult music.

Influence
Schlick was of the utmost importance in the early history of organ music in Germany. He was a much sought-after organ consultant, and while his blindness prevented him from doing much of the construction he was closely associated with organ-builders as an advisor; he tested new organs, performed widely, and was a strong influence among other composers at the time. His method of weaving contrapuntal lines around a cantus firmus, derived from a chorale tune, can be seen as foreshadowing the development of the chorale prelude in a later age. Schlick can be seen as the first figure in a long line of development which culminated in the music of J.S. Bach more than two hundred years later.

List of works

Music

 Tabulaturen etlicher lobgesang und lidlein uff die orgeln un lauten ("Tablatures of Several Canticles and Songs for the Organ and Lute", Mainz, 1512):
 Organ works: Salve Regina, Ad te clamamus, Eya ergo advocata, O pia, O dulcis Maria, Pete quid vis, Hoe losteleck, Benedictus, Primi toni, Maria zart, Christe, Da pacem (1), Da pacem (2), Da pacem (3).
 Works for lute: Mein M. ich hab, Cupido hat, Hertzliebstes pild, Nach lust hab ich, Vil hinderlist, Möcht es gesein, Mein lieb ist weg, Ich schrei und rüeff, Metzkin Isaack, Philips zwölffpot, Nun hab ich all mein tag gehört, Maria zart, All Ding mit radt, Wer gnad durch klaff, Weg wart dein art.
 Letter to Bernardo Clesio (late 1520–early 1521):
 Ascendo ad Patrem meum a 2, for organ
 Ascendo ad Patrem meum a 10, for organ
 Gaude Dei genitrix, 8 settings a 3–5, for organ
 2 songs, 4vv
 Mi-mi, fragment, possibly from a lost mass setting (only soprano and bass parts survive from a 3- (or more) voice setting)

Writings
 Spiegel der Orgelmacher und Organisten ("Mirror of Organ Makers and Organ Players", Speyer, 1511)

Notes, citations and references

Cited sources and other sources
Apel, Willi. 1972. The History of Keyboard Music to 1700. Translated by Hans Tischler. Indiana University Press. . Originally published as Geschichte der Orgel- und Klaviermusik bis 1700 by Bärenreiter-Verlag, Kassel.
Keyl, Stephen Mark. 1989. Arnolt Schlick and Instrumental Music circa 1500. Diss. Duke University.
Lenneberg, Hans. 1957. The Critic Criticized: Sebastian Virdung and his Controversy with Arnold Schlick, JAMS, x, pp. 1–6.
Lindley, Mark. 1974. Early 16th-Century Keyboard Temperaments, MD 28, pp. 129–139.
Marx, Hans Joachim. 1980. Arnolt Schlick, in The New Grove Dictionary of Music and Musicians, ed. Stanley Sadie. 20 vol. London, Macmillan Publishers Ltd.
Owen, Barbara. 1999. The Registration of Baroque Organ Music. Indiana University Press.

Pietzsch, Gerhard. 1963. Quellen und Forschungen zur Geschichte der Musik am kurpfälzischen Hof zu Heidelberg bis 1622. Akademie der Wissenschaften und der Literatur, Abhandlungen der geistes- und sozialwissenschaftlichen Klasse, Jahrgang 1963, Nr. 6. Mainz: Verlag der Akademie der Wissenschaften und der Literatur in Mainz.
Reese, Gustave. 1954. Music in the Renaissance. New York, W.W. Norton & Co.

External links

15th-century births
1520s deaths
Renaissance composers
German classical composers
Composers for lute
Composers for pipe organ
Blind classical musicians
Musicians from Heidelberg
German male classical composers

Arnolt Schlick


Vivah (en ) est un film indien , de 2019. Il s'agit d'un drame romantique en langue bhodjpouri écrit et réalisé par Manjul Thakur et produit conjointement par Pradeep Singh, Nishant Ujjwal et Pratik Singh. Il met en vedette  alias Chintu, Sanchita Benarjee et Akanksha Awasthi dans les rôles principaux, tandis qu', Sanjay Mahanand, Ritu Pandey, Lalit Upadhyay, Anita Rawat, Maya Yadav, Shweta Verma, Arbind Tiwari jouent des rôles secondaires. Pakkhi Hegde et  font une apparition spéciale dans les chansons.

Fiche technique
 Titre : Vivah
 Réalisation : Manjul Thakur
 Scénario : Manjul Thakur, Arbind Tiwari, Niraj Randhir
 Musique : Aslam Surty, Chhote Baba, Madhukar Anand
 Société de production :     Prashant Nishant Motion Pictures, Worldwide Film Production
 Pays :
 Genre : Drame romantique
 Durée : 151 minutes
 Dates de sortie :

Distribution

Notes et références

Liens externes

Film indien sorti en 2019
Film dramatique indien

Vivah (film, 2019)


Louis the Blind ( – 5 June 928) was the king of Provence from 11 January 887, King of Italy from 12 October 900, and briefly Holy Roman Emperor, as Louis III, between 901 and 905. His father was a Bosonid and his mother was a Carolingian. He was blinded after a failed invasion of Italy in 905.

Early reign
Born c. 880, Louis was the son of Boso, the usurper king of Provence, and Ermengard, a daughter of Emperor Louis II. As a boy of seven, Louis succeeded to the throne of his father Boso as King of Provence upon Boso's death on 11 January 887. The kingdom Louis inherited was much smaller than his father's, as it did not include Upper Burgundy (lost to Rudolph I of Burgundy), nor any of French Burgundy, absorbed by Richard the Justiciar, Duke of Burgundy.  This meant that the kingdom of Provence was restricted to the environs of Vienne. The Provençal barons elected Ermengard to act as his regent, with the support of Louis's uncle, Richard the Justiciar.

In May, Ermengard traveled with Louis to the court of her relative, the emperor Charles the Fat, and received his recognition of the young Louis as king. Charles adopted Louis as his son and put both mother and son under his protection.  In May 889, she traveled to the court of Charles' successor, Arnulf, to make a new submission, while at the same time seeking the blessing of Pope Stephen V. The short work, Visio Karoli Grossi, may have been written shortly after Charles' death to support Louis's claim. If so, Louis must have had the support of Fulk the Venerable, Archbishop of Reims. On the other hand, the Visio may have been written later, circa 901, to celebrate (and support) Louis's imperial coronation.

In August 890, at the Diet of Valence, a council of bishops and feudatories of the realm, after hearing the recommendation of the pope, and receiving notification of Charles the Fat's previous agreement to the proposition, proclaimed Louis as King of Arles, Provence, and Cisjurane Burgundy.  In 894, Louis himself did homage to Arnulf.

In 896, Louis waged war on the Saracens. Throughout his reign he fought with these Saracen pirates, who had established a base at Fraxinet in 889 and had been raiding the coast of Provence, alarming the local nobility.

Conflict with Berengar
In 900, Louis, as the grandson and heir of the Emperor Louis II, was invited into Italy by various lords, including Adalbert II, Margrave of Tuscany, who were suffering under the ravages of the Magyars and the incompetent rule of Berengar I.  Louis thus marched his army across the Alps and defeated Berengar, chasing him from Pavia, the old Lombard capital, where, in the church of San Michele, he was crowned with the Iron Crown of Lombardy on 12 October 900.  He travelled onwards to Rome, where, in 901, he was crowned Emperor by Pope Benedict IV.  However, his inability to stem the Magyar incursions and impose any meaningful control over northern Italy saw the Italian nobles quickly abandon his cause and once again align themselves with Berengar.  In 902, Berengar defeated Louis's armies and forced him to flee to Provence and promise never to return.

In 905, Louis, after again listening to the Italian nobles who were tired of Berengar's rule, this time led by Adalbert I of Ivrea, launched another attempt to invade Italy.  Once again throwing Berengar out of Pavia, he marched and also succeeded in taking Verona with only a small following, after receiving the promise of support from the bishop, Adalard. Partisans of Berengar in the town soon got word to Berengar of Louis's exposed position at Verona and his limited support. Berengar returned, accompanied by Bavarian troops, and entered Verona in the dead of night. Louis sought sanctuary at the church of St Peter, but he was captured. On 21 July 905, Louis had his eyes put out (for breaking his oath) and was forced to relinquish his royal Italian and imperial crowns. Later, Berengar became Emperor. After this last attempt to restore Carolingian power over Italy, Louis continued to rule Provence for over twenty years, though his cousin Hugh, Count of Arles, was the dominant figure in the territory.

Louis returned to Vienne, his capital, and by 911, he had put most of the royal powers in the hands of Hugh. Hugh was made Margrave of Provence and Marquis of Vienne and moved the capital to Arles. As regent, Hugh married Louis's sister Willa. Louis lived out his days until his death in obscurity, and through his life he continued to style himself as Roman Emperor.  He was succeeded by his brother-in-law in 928.

Marriages and heirs
In 899, Louis III was betrothed to Anna of Constantinople, the daughter of Byzantine Emperor Leo VI the Wise and his second wife, Zoe Zaoutzaina.  The evidence for this is a letter by Patriarch Nicholas Mystikos in which he testifies that Leo VI had united his daughter to a Frank prince, a cousin of Bertha, to whom came later a great misfortune.<ref>The third marriage, I have said to the Emperor, was already unworthy of your majesty, but there was an excuse with the agreement that you had concluded with the Frank. Since it was conveined that you destined him as his spouse your only daughter. It was the cousin of Berta, to whom had arrived the misfortune that is known.</ref>  That unfortunate prince could only be Louis III, whose mother Irmingardis was a first cousin of Bertha and who was blinded on 21 July 905.  This betrothal occurred shortly before the fall of Taormina to the Arabs, and was part of extended diplomatic activities meant to strengthen Byzantine alliances with the western powers to preserve Byzantine territory in southern Italy.

The question of whether the betrothal was ever followed up by an actual marriage is still a matter of some controversy.  Louis fathered a son called Charles-Constantine, who would become Count of Vienne. Charles' mother is not named in any sources. There has been modern speculation, proposed by Previté-Orton and championed by Christian Settipani, that she was Anna,C. W. Previté Orton, "Charles Constantine of Vienne", English Historical Review, 29(1914):703–709. the daughter of Leo VI and Zoe Zaoutzaina, based both upon the documented betrothal, as well on the onomastic evidence, stating that Charles-Constantine's name points to a Byzantine mother. Shaun Tougher doubts they were ever married.

Detractors of the theory point out that when Anna was born, however, she was the daughter of a concubine who later became empress. Her father, at the time of Charles' birth, was the reigning emperor, therefore the silence of primary sources works against this theory. In addition, Liutprand of Cremona makes no mention of this, and it would have been very interesting to him, given that he was a thorough gossip, had been ambassador to Constantinople and devoted several chapters to the misadventures of Louis in Italy with no mention of these Byzantine connections. René Poupardin believed that Constantine was not a baptismal name, but Settipani disagrees. Richer specifically stated that Charles' ancestry was tainted with illegitimacy and mentioned nothing of his mother's supposed illustrious Byzantine parentage.

Christian Settipani challenges that theory by stating that the only reason why René Poupardin made him a bastard of Louis III was a passage by Richerius claiming that "Charles Constantine (...) was from a royal race, but which nobility had been vilified by a bastard ancestry remounting to his great-great-grandfather", proving nothing about Charles-Constantine's mother. Such a union would also account for the mention of Greek merchants in Louis' privilege of 921.

In 914, Louis entered a second union, which would then be either his first or second marriage, by marrying Adelaide, daughter of Rudolph I of Upper Burgundy, likely mother of Rudolph, the other documented son of Louis the Blind.

In December 915, his daughter, Anna of Provence, married Berengar. It has been suggested, largely for onomastic reasons, that Anna was a daughter of Louis III and his wife Anna, daughter of Leo VI the Wise. In that case, she would have been betrothed to Berengar while still a child and only become his consors and imperatrix in 923.

Notes

References
 Comyn, Robert. History of the Western Empire, from its Restoration by Charlemagne to the Accession of Charles V, Vol. I. 1851

 Duckett, Eleanor (1968). Death and Life in the Tenth Century. Ann Arbor: University of Michigan Press.
 Previté-Orton, C. W. "Italy and Provence, 900–950." The English Historical Review'', Vol. 32, No. 127. (Jul. 1917), pp. 335–347.

880s births
928 deaths
Year of birth uncertain
10th-century Holy Roman Emperors
9th-century kings of Italy
10th-century kings of Italy
Bosonids
Frankish warriors
Blind royalty and nobility
Medieval child monarchs
Kings of Lower Burgundy

Louis the Blind


15. etape af Tour de France 2018 gik fra Millau til Carcassonne 22. juli 2018.

Magnus Cort vandt etapen, mens Geraint Thomas forsvarede den gule førertrøje.

Etaperesultater

Samlet efter etapen

Samlede stilling

Pointkonkurrencen

Bjergkonkurrencen

Ungdomskonkurrencen

Holdkonkurrencen

Referencer

Eksterne henvisninger

15

15. etape af Tour de France 2018


Mucizija (lat. Mutisia), rod glavočika iz potporodice  Mutisioideae, dio tribusa Mutisieae. Postoji preko 60 vrsta koje rastu po Južnoj Americi.

Vrste

 Mutisia acerosa Poepp. ex Less.
 Mutisia acuminata Ruiz & Pav.
 Mutisia alata Hieron.
 Mutisia anderssonii Sodiro ex Hieron.
 Mutisia araucana Phil.
 Mutisia arequipensis Cabrera
 Mutisia brachyantha Phil.
 Mutisia burkartii Cabrera
 Mutisia campanulata Less.
 Mutisia cana Poepp. & Endl.
 Mutisia castellanosii Cabrera
 Mutisia clematis L.f.
 Mutisia coccinea A.St.-Hil.
 Mutisia cochabambensis Hieron.
 Mutisia comptoniifolia Rusby
 Mutisia decurrens Cav.
 Mutisia discoidea Harling
 Mutisia friesiana Cabrera
 Mutisia glabrata Cuatrec.
 Mutisia grandiflora Bonpl.
 Mutisia hamata Reiche
 Mutisia hastata Cav.
 Mutisia hieronymi Sodiro ex Cabrera
 Mutisia homoeantha Wedd.
 Mutisia ilicifolia Cav.
 Mutisia intermedia Hieron.
 Mutisia involucrata Phil.
 Mutisia kurtzii R.E.Fr.
 Mutisia lanata Ruiz & Pav.
 Mutisia lanigera Wedd.
 Mutisia latifolia D.Don
 Mutisia ledifolia Decne. ex Wedd.
 Mutisia lehmannii Hieron.
 Mutisia linearifolia Cav.
 Mutisia linifolia Hook.
 Mutisia lutzii G.M.Barroso
 Mutisia macrophylla Phil.
 Mutisia magnifica C.Ulloa & P.Jørg.
 Mutisia mandoniana Wedd. ex Cabrera
 Mutisia mathewsii Hook. & Arn.
 Mutisia microcephala Sodiro ex Cabrera
 Mutisia microneura Cuatrec.
 Mutisia microphylla Willd. ex DC.
 Mutisia ochroleuca Cuatrec.
 Mutisia oligodon Poepp. & Endl.
 Mutisia orbignyana Wedd.
 Mutisia pulcherrima Muschl.
 Mutisia rauhii Ferreyra
 Mutisia retrorsa Cav.
 Mutisia rimbachii Sodiro ex S.K.Harris
 Mutisia rosea Poepp. ex Less.
 Mutisia saltensis Cabrera
 Mutisia sinuata Cav.
 Mutisia sodiroi Hieron.
 Mutisia speciosa Aiton ex Hook.
 Mutisia spectabilis Phil.
 Mutisia spinosa Ruiz & Pav.
 Mutisia splendens Renjifo
 Mutisia stuebelii Hieron.
 Mutisia subspinosa Cav.
 Mutisia subulata Ruiz & Pav.
 Mutisia tridens Poepp. ex Less.
 Mutisia venusta S.F.Blake
 Mutisia vicia J.Kost.
 Mutisia wurdackii Cabrera

Izvori

Vanjske poveznice

Mutisioideae

Mucizija


Chocolate a la española es una obra de teatro de Julia Maura, estrenada en 1953.

Argumento
Purita es una joven soltera de edad madura que convive con sus dos hermanas (Flora y Soledad, también solteras) y con su sobrina Clara en una provincia pequeña donde todos se conocen. Purita vive con la idea fija del matrimonio, sobre todo al haber sido plantada años atrás por su novio poco antes de la boda, pero a pesar de esto, ella es una mujer alegre y jovial que debe soportar las habladurías y las críticas del cura del pueblo, de doña Angustias, la beata del pueblo e incluso de sus propias hermanas. Su única solución es comprometerse con Sabino (actor de una compañía de revistas que visita el pueblo) a pesar de que no lo ama. Solo así podrá por un lado tener alguien a su lado pero sobre todo la posibilidad de poder escapar y encontrar la libertad en otro lugar ajeno en donde no haya que soportar más habladurías ni críticas.

Estreno
 Teatro Cómico, Madrid, 25 de junio de 1953.
 Dirección: .
 Distribuccion: Tres actos, el segundo dividido en dos cuadros.
 Intérpretes: Jorge Vico, Carmen Carbonell , Berta Riaza, José Vivó , Maruja Carrasco , Lolita Gálvez, Pilar Bienert, Joaquín Puyol.

Referencias

Bibliografía

Obras de teatro de Julia Maura
Obras de teatro de 1953
Obras de teatro en español

Chocolate a la española


Reginaldo o Renaud de Maubernard (? - Roma, 1361) fue un eclesiástico francés.

Tesorero del papa Inocencio VI, en 1353 fue nombrado obispo de Palencia, y en 1356 de Lisboa, aunque nunca residió en ninguna de ambas diócesis, rigiéndolas mediante vicarios.
En 1358 recibió el obispado de Autun, que mantuvo hasta su muerte, ocurrida en 1361.

Referencias

Obispos de Palencia
Obispos de Lisboa
Obispos de Autun
Obispos de España del siglo XIV
Obispos de Portugal del siglo XIV
Obispos de Francia del siglo XIV
Nacidos en año desconocido
Fallecidos en 1361

Reginaldo de Maubernard


Swarthmoor is a small village near Ulverston, in Cumbria, England. Located on the Furness peninsula, it was historically part of Lancashire.

Etymology
Swarthmoor Village was named after its location on the Swarth Moor, which was formerly a marsh-covered moorland. The Swarth Moor's name was derived from the word sweart, meaning black.

History
Before 1850 there were just a few farmsteads on Swarth Moor, and Swarthmoor Hall, which is located to the east of today's village. George Fox (1624–1691), a founder of the Quakers, came to the area in 1652 and was later allowed by Judge Thomas Fell (1598–1658) to use Swarthmoor Hall as a meeting place. Fox later purchased land from the Swarthmoor Estate to build Swarthmoor Friends' Meeting House. The modern village of Swarthmoor grew in the mid-19th century, with houses built to accommodate the workers from nearby iron ore mines, particularly the Lindal Moor Mines. Some of the houses in Fox Street were built by John Bolton ('Old Daddy Bolton'), who was a surveyor and geologist. As the village grew in size it joined with the hamlets of Cross-a-Moor and Trinkeld. In 1883 a reading room on Fox Street was opened by Lord Muncaster, as a place for local miners to read newspapers – the Reading Rooms building is now used by village organisations, its upper floor is the church of St Leonard.

Swarthmoor Hall
Situated on the outskirts of the village is Swarthmoor Hall, where in 1652 George Fox founded the Quaker movement.

Facilities in Swarthmoor
Swarthmoor is home to Swarthmoor Social Football Club Founded in 1946, the club has two adult teams who play in the Furness Premier League. The Junior set-up was re-formed in 2005 and has over 200 children playing ranging from 4 to 16 years old.

There is a public house in the village – The Miners Arms.

References

External links
 Cumbria County History Trust: Pennington (nb: provisional research only – see Talk page)
Swarthmoor Hall Website

Villages in Cumbria
Furness

Swarthmoor


Le dème de Pétra, en  / Dímos Pétras, est un ancien dème du district régional de Piérie, en Macédoine-Centrale, Grèce. Depuis 2010, il est fusionné au sein du dème de Kateríni.

Selon le recensement de 2011, la population du dème compte .

Notes et références

Voir aussi

Liens externes

Ancien dème en Grèce

Dème de Pétra (Piérie)


İran ve Orta Asya'nın birçok yerinde kullanılan Dutar; Fars, Uygur, Özbek ve Türkmen halklarıyla adeta özdeşleşmiştir. Adı, "iki tel" anlamına gelen دو تار dotār (دو Do "iki", تار tar "tel"),  Farsça kelimeye dayanmaktadır. Dutar'ın gövde ve sap uzunluğu.100–120 cm kadardır. Dombra gibi asıl gövde armudi biçimde ağaç oyma veya yapıştırma olabilir.

Anadolu 'da buna benzer ikitelli adında bir saz vardır. Yine Anadolu'da ırızva, ruzba veya dede sazı adı verilen ve iki grup telle çalınan sazlarla Dutar'ın tarihi bağlantısının olduğu ortadadır. Arnavutluk'ta çiftelia adıyla bilinen bu çalgının çalım tekniği de Anadoludakiler ile hemen hemen aynıdır.

Çeşitleri

Uygur Dutarı
Parmakla çalınan Uygur dutarı, iki telli olup telleri ipekten yapılmaktadır. Dut ağacından yapraklar halinde imal edilen armudi biçimli bir teknesi ve yine dut ağacından kapağı vardır. Genellikle dörtlü veya beşli akortlanır. Oktav ve ünison akortlandığı da görülür. Sesi yüksek değildir. Perdeler kromatik sıra ile yerleşmiştir. Teller tek tek çalınamayacağı için iki sesli çalışı mecbur kılar.

Türkmen Dutarı
İki Telli Türkmen halk çalgısıdır. Özbek ve Uygur dutarlarından daha küçüktür. Telleri metal olmakla birlikte, ibrişim olanlarına da rastlanmaktadır. Boyu yaklaşık 80–90 cm'dir. Dut ağacından armudi bir teknesi ve yine duttan göğsü bulunur. Sapı, erik ağacından yapılır ve silindirik şekillidir. Perdeler metaldir. İki tele birlikte vurularak parmakla çalınır. Akordu, dörtlü ya da beşlidir. Nadiren ünison ya da oktav akortlanır. İran, Horasan ve Afganistan'da yaşayan Türkmenler tarafından da kullanılmaktadır.

Telli çalgılar
Orta Asya müziği
Türkmen müzik aletleri
Uygur müzik aletleri

Dutar


El I Campeonato Mundial de Halterofilia se celebró en Londres (Reino Unido) el 28 de marzo de 1891 bajo la organización de la Federación Internacional de Halterofilia (IWF) y la Federación Británica de Halterofilia.

En el evento participaron 7 halterófilos de 6 federaciones nacionales afiliadas a la IWF.

Medallistas

Medallero

Enlaces externos
Base de datos sport24.ee .

1891
Deporte en 1891

Campeonato Mundial de Halterofilia de 1891


Everyday is the fourth studio album by Dave Matthews Band. It was released on February 27, 2001 through RCA Records. It is the band's first album to be produced by Glen Ballard, who also co-wrote all twelve of the album's songs with guitarist and vocalist Dave Matthews. The album marked a shift in the band's sound, prominently featuring electric guitar and concise pop arrangements.

Everyday was a commercial success, becoming the band's second number one album in the US. Three singles were released ("I Did It", "The Space Between", and "Everyday"), with "The Space Between" becoming the band's first top 40 hit in the US. Reviews were mixed to positive; some critics disliked the band's change in sound while others welcomed the more accessible material.

Background

In the summer of 2000, the band began sessions with longtime producer Steve Lillywhite for a new album. However, the dark nature of the recordings combined with a feeling of stagnation by the band members led to the sessions being abandoned. Matthews instead flew to Los Angeles to meet with Ballard with the intention of finishing the new material. Instead, Matthews and Ballard began a productive writing partnership that resulted in an album's worth of new songs in less than two weeks. This material ended up being included on Everyday instead, while most of the songs originally recorded with Lillywhite were re-recorded for Busted Stuff in 2002.

Critical reception

Initial critical response to Everyday was generally mixed to positive. At Metacritic, which assigns a normalized rating out of 100 to reviews from mainstream critics, the album has received an average score of 67, based on 16 reviews.

Commercial performance

Everyday became the band's second album in a row to top the Billboard 200. The album has since been certified 3x platinum by the Recording Industry Association of America for sales exceeding 3,000,000 copies. It also became the band's first number one album in Canada.

"I Did It", the album's lead single, peaked at number 71 on the Billboard Hot 100. The song was more successful on the Adult Alternative Airplay chart, where it peaked at number one for a week. The album's second single, "The Space Between", became the band's first top 40 hit in the United States, peaking at number 22. Like its predecessor, it also topped the Triple A chart for a week. The title track was released as the album's final single; despite failing to chart on the Hot 100, it topped the Triple A chart for eight weeks, the band's longest stay at the top of the chart until it was surpassed by "Funny the Way It Is" in 2009.

Track listing
All songs by David J. Matthews and Glen Ballard.

Personnel
Dave Matthews Band
Carter Beauford – bongos, conga, drums, background vocals, vibraphone
Stefan Lessard – bass guitar
Dave Matthews – acoustic guitar, electric guitar, vocals, baritone guitar
LeRoi Moore – flute, contrabass clarinet, alto saxophone, tenor saxophone, background vocals
Boyd Tinsley – violin, background vocals

Additional personnel
Glen Ballard – keyboards, piano
Carlos Santana – electric guitar on "Mother Father"
Karl Perrazo – percussion on "Mother Father"
Vusi Mahlasela – background vocals on "Everyday"

Technical
Glen Ballard – producer
Karl Derfler – recording engineer, digital editing
Scott Campbell – digital editing, additional engineering
John Nelson – assistant engineer
Chris Lord-Alge – mixing engineer
Matt Silva – mixing assistant
Bob Ludwig – mastering engineer
Jolie Levine-Aller – production coordinator
Rachel Cleverley – production assistant
Thane Kerner – art direction, design
Catherine Dee – design assistant
Danny Clinch – cover photography
Dan Winters – interior photography

Charts

Weekly charts

Year-end charts

Decade-end charts

Certifications

References

2001 albums
Dave Matthews Band albums
RCA Records albums
Albums produced by Glen Ballard

Everyday (Dave Matthews Band album)


El orangután de Borneo nororiental (Pongo pygmaeus morio) es una de las tres subespecies que existen del orangután de Borneo. Su población principal se establece principalmente por el noroeste de la isla de Borneo, dentro de Indonesia y en la provincia malaya de Sabah.
Warren et al. (2001) utilizó el control de la región del ADN mitocondrial en seis poblaciones de orangután de Borneo diferentes e identificado cuatro distintas subpoblaciones con diversidad regional y la agrupación geográfica particular:

 Kalimantan Meridional y Kalimantan Central
 Kalimantan Occidental y Sarawak
 Sabah
 Kalimantan Oriental

Pongo pygmaeus morio se encuentra en los grupos (3) y (4).

Referencias

Pongo
pygmaeus Pongo morio

Pongo pygmaeus morio


نيكولاي ميخائيلوفتش كرامزين ؛ 12 ديسمبر 1766 - 3 يونيو 1826 مؤرخ وروائي روسي.

كتب رسائل رحالة روسي 1792، سجل فيها انطباعاته في أثناء رحلته إلى غرب أوروبا وإنجلترا وأدخل بذلك الوعي العالمي في الأدب الروسي. كذلك تبين روايته المغرقة في العاطفة ليزا المسكينة 1792 بداية حركة ما قبل الرومانسية في الأدب الروسي.

سيرة الحياة
ولد نيقولاي كارامزين في 12 ديسمبر عام 1766 في قرية ميخايلوفكا بمحافظة سيمبيرسك في أسرة مالك عقارات متوسط الحال. وتلقى تعليمه الابتدائي في البيت كعادة أهل زمانه ثم التحق بمدرسة داخلية في سيبميرسك وبعد ذلك سافر إلى موسكو. وخدم في الجيش في كتيبة بريابروجينسكي الذائعة الصيت في عام 1781 وهناك جرت أولى محاولاته في الكتابة الأدبية ومارس الترجمة من اللغة الألمانية. وترك الخدمة في عام 1784 بعد وفاة والده.

في الأعوام التالية اقترب كارامزين مع أفراد المحفل الماسوني في سيمبيرسك ليس بسبب الإيمان بالغيبيات بل انطلاقا من وجهة النظر التنويرية، ولكنه سرعان ما تركهم. وفي فترة 1787-1789 شارك في إصدار أول مجلة للأطفال في روسيا بعنوان «مجلة المطالعة للقلب والعقل»، وفي الفترة اللاحقة قام بجولة أوروبية استغرقت عامين زار خلالها ألمانيا وسويسرا وفرنسا وبريطانيا حيث تعرف على متاحفها ومسارحها ومؤسساتها العلمية.

بعد عودته إلى موسكو أصدر مجلة «موسكوفسكي جورنال» التي نشر فيها روايته «ليزا المسكينة»(1792) التي حازت على إعجاب القراء، ثم نشر «رسائل مسافر روسي»(1791-1792) وحاز على الشهرة في الأوساط الأدبية الروسية. وفي فترة 1802-1803 أصدر مجلة «فيستنيك يفروبي» التي كانت تنشر المواضيع التاريخية بصورة رئيسية.

وفي أكتوبر/تشرين الأول عام 1803 أصدر القيصر ألكسندر الأول مرسوما بتعيين كارامزين في منصب باحث متخصص في دراسة الوثائق التأريخية براتب سنوي قدره 2000 روبل من أجل تدوين وقائع التأريخ الروسي. وفتحت أمامه المكتبات والأرشيفات. وقد واصل كارامزين حتى آخر يوم من حياته كتابة«تأريخ الدولة الروسية». وبدأ بحثه من الأزمنة القديمة وأول المصادر حول القبائل السلافية وأفلح في إيصال «التاريخ» إلى الفترة المظلمة (فترة الفتن). وأنجز عملا ضخما أسفر عن إصدار 12 مجلدا تضمنت تحليلا للمصادر التأريخية وأعمال المؤلفين الأوروبيين والروس بإسلوب أدبي رفيع.

أهم مؤلفاته
تاريخ الدولة الروسية في أحد عشرا مجلدا، وتتضح فيه الإمكانات الأدبية للغة الروسية، مما مهد الطريق أمام بوشكين وكبار الأدباء في القرن التاسع عشر.

مراجع

وصلات خارجية

 http://images.google.es/imgres?imgurl=http://www.xenophon-mil.org/ruscity/volga/xenog205.jpg&imgrefurl=http://www.xenophon-mil.org/ruscity/volga/river/volga.htm&usg=__x7MOUAIF9L-R5bynVdGXeDLht2U=&h=145&w=576&sz=35&hl=es&start=15&um=1&tbnid=31PgXt6rY5GDNM:&tbnh=34&tbnw=134&prev=/images?q=Karamzin+Simbirsk&ndsp=20&um=1&hl=es&sa=N
 http://www.freewebs.com/karamzine/
  Karamzin's History of the Russian State
  Karamzin. Poem
 Vestnik Evropy online

أدباء الإمبراطورية الروسية
أشخاص من أوليانوفسك
أعضاء شرفيون في أكاديمية سانت بطرسبرغ للعلوم
أنصار الملكية الروسية
اتجاه محافظ في روسيا
تتار
روائيون روس في القرن 19
روس من أصل تتاري
شعراء روس
شعراء روس في القرن 18
شعراء روس في القرن 19
كتاب روس
كتاب روس في القرن 18
كتاب في القرن 18
مترجمون روس
مترجمون من الفرنسية إلى الروسية
مدفونون في مقبرة تيخفين
مواليد 1766
مؤرخو القرن 19
مؤرخون روس
مؤرخون روس في القرن 19
نبالة روسية
نبلاء روس
وفيات 1826
وفيات في سانت بطرسبرغ

نيكولاي ميخائيلوفتش كرامزين


An Syngonanthus decorus in uska species han Liliopsida nga ginhulagway ni Harold Norman Moldenke. An Syngonanthus decorus in nahilalakip ha genus nga Syngonanthus, ngan familia nga Eriocaulaceae. Waray hini subspecies nga nakalista.

Mga kasarigan

Syngonanthus

Syngonanthus decorus


"Drømmeland" er en dansk sang fra Apollorevyen 1937 sunget af Marguerite Viby og Hans W. Petersen. Sangen er desuden med i Cocktail, der senere på året blev udsendt med højdepunkter fra årets sommerrevyer. Sangen har tekst af Aage Steffensen og musik af Kai Normann Andersen.

Sangteksten

Sangen er en duet på formen A-A-B-C-B, hvor A-stykket er på fire små linjer (sunget af henholdsvis Viby og Petersen), B-stykket har form af omkvæd, hvor begge sangere stemmer i (dog med forskellig tekst i de to omgange), mens C-delen er en kort bro til at komme tilbage til B-delens begyndelse igen. B-delen afsluttes begge gange med gentagelsen af ordet "drømmeland" tre gange på en måde, der bringer mindelser om børnesangen "Jeg gik mig over sø og land".

Indholdet beskriver sangernes jublende lykke over tilværelsen, der er så perfekt, som levede de i et drømmeland.

Melodi
Kai Normann Andersens melodi er en munter, jazzet vise i en firdelt takt. I forbindelse med omkvædet har Andersen indlagt – i tråd med teksten – en lille antydning af "Jeg gik mig over sø og land", men kun et par takter, inden hans egen melodi fortsætter.

Indspilningen af sangen er i høj grad præget af Teddy Petersens orkester, der får rig lejlighed til at brillere i for-, mellem- og efterspil på nummeret med den ret korte tekst.

Melodien til "Drømmeland" er en af de 12 Andersen-sange, der kom med i kulturkanonen.

Referencer

Sange fra Danmark
Sange af Kai Normann Andersen
Kulturkanonen

Drømmeland


Gl. Skejby Station, med undertitlen Agro Food Park, er en letbanestation i Aarhus beliggende i forstaden Skejby. Stationen ligger ved Herredsvej, umiddelbart syd for krydset med Skejbybakkevej. Stationen består af to spor med hver sin sideliggende perron. Den ligger i den vestlige udkant af Skejby, lidt sydvest for den gamle bydel. Området syd for stationen er udlagt som byudviklingsområde.

Strækningen mellem Universitetshospitalet og Lisbjerg, hvor stationen ligger, var forventet åbnet i december 2017. På grund af manglende sikkerhedsgodkendelse blev åbningen imidlertid udskudt på ubestemt tid. I stedet åbnede strækningen for driften 25. august 2018, efter at de nødvendige godkendelser forelå.

Noter

Stationer på Aarhus Letbane
Etableret i 2017

Gl. Skejby Station


Caramelito es el título del penúltimo álbum de estudio grabado por la artista española Rocío Dúrcal, Fue lanzado al mercado bajo el sello discográfico BMG U.S. Latin el . El álbum fue realizado y dirigido por el productor colombo-estadounidense Kike Santander, co-producido por José Gaviria, Milton Salcedo, Bernardo Ossa y Daniel Betancourt.

Con este disco, la intérprete española entra con nuevos géneros musicales, como el primer sencillo que lleva el mismo título del álbum: Caramelito, un tema bailable. Además tiene una composición de José Alfredo Jiménez titulada Un pedazo de luna y la colaboración del cantautor mexicano Raúl Ornelas en este disco con los temas Estrellita de la mañana y Por amarme tanto. También incluye el primer sencillo de su anterior álbum Hasta que vuelvas pero con una nueva versión.

Este disco fue uno de los últimos trabajos musicales de la cantante y los últimos géneros de balada romántica y bolero. El álbum fue nominado al Premio Grammy Latino al Mejor Álbum Vocal Pop Femenino en la 5°. edición anual de los Premios Grammy Latinos celebrada el miércoles , pero finalmente perdió contra De mil colores de Rosario Flores.

Lista de canciones

Logros y certificaciones obtenidas por el álbum

 Premios Grammy Latinos

 Certificaciones

Músicos
 Rocío Dúrcal (Voz).
 Kike Santander  (Letra y Música).
 Milton Salcedo (Piano, Teclados, Programación).
 Bernardo Ossa (Teclados, Programación).
 Salvador Cuevas (Baby Bass, Bajo 5º).
 Richard Bravo (Guitarra acústica y Requinto).
 Manny López (Bajo sexto).
 José Hernández (Vihuela y Trompeta).
 José Gaviria, Milton Salcedo, Bernardo Ossa y Daniel Betancourt (Teclados, Programación).
 Tedoy Mullet (Percusión).
 Alfredo Oliva (Concertino).

Notas del álbum
 Productor: Kike Santander.
 Coproducido: José Gaviria.
 Letra y música de los temas: Kike Santander (Excepto los mencionados).
 Arreglista: Milton Salcedo, Bernardo Ossa y Daniel Betancourt.
 Arreglos de Cuerdas: Milton Salcedo
 Ingenieros: Esteban Aristizabal, Vicky Echeverri, Claudia García, Juan Cristóbal Losada, Boris Milán, Catalina Rodríguez.
 Ingeniero, arreglo de producción y programación: José Gaviria.
 Dirección Musical: Antonio Morales.
 Colaboradores: Alberto Carballo Cabiedes, Sergio Minski.
 Acuerdo de programación y producción: Milton Salcedo Cuerda.
 Director ejecutivo y coordinación de producción: Andrés Felipe Silva.
 Grabado en los estudios: Mas Music, D.B. Music Productions Studios, Estudio G, Miami, Mas Studios, Santander Studios, The Gallery Recording Studios y Ultrasound Recording Studios.
 Fotógrafo: Adolfo Pérez Butrón.
 Discográfica: BMG Music, Ariola Records, RCA Records.
 Distribuido por: RCA International y Ariola International.

© MMIII. BMG Entertainment México, S.A. de C.V.

Referencias

Álbumes de 2003
Álbumes de España de 2003
Álbumes de Rocío Dúrcal
Álbumes de RCA Records
Álbumes de Ariola Records
Álbumes en español
Álbumes de balada romántica
Álbumes producidos por Kike Santander

Caramelito


Hrvatsko-mletački ratovi, višestoljetni niz periodičnih oružanih sukoba, koji su se na sjeveroistočnoj obali Jadranskog mora s duljim ili kraćim prekidima i s različitim intenzitetom vodili između Primorske Hrvatske (do 10. stoljeća), Hrvatskog Kraljevstva (do 12. stoljeća samostalnog, a nakon toga u personalnoj uniji s Ugarskom) i Mletačke Republike. U te su sukobe na protumletačkoj strani bili uključeni i pripadnici hrvatskog naroda izvan teritorija kojeg je obuhvaćalo Hrvatsko Kraljevstvo, i to na području samostalnih Neretvanske Kneževine i Humske Zemlje na jugu, te na sjeveru, u Istri, koja je tada bila u sklopu njemačko-austrijskih državnih tvorevina (Pazinska knežija, odnosno šire, Istarska marka).

I hrvatska i mletačka povijest općenito su zapravo velikim dijelom obilježene ratovanjima. Međusobni hrvatsko-mletački sukobi javljaju se već od uspostave država tih dvaju naroda (7. i 8. stoljeće), pojačavaju u 9., znatno smanjuju u 10., pa opet počinju jače u 11. stoljeću, i s različitom silinom (uz povremena zatišja ili primirja) traju sve do 1358. godine kada dolazi do sklapanja Zadarskog mira. Tada započinje nešto mirnije razdoblje, ali već početkom 15. stoljeća, uz drukčije odnose snaga i u drukčijim uvjetima, vojni se sukobi Hrvata i Mlečana nastavljaju sve do ukinuća Mletačke Republike.

Uzroci hrvatsko-mletačkih ratova leže u težnji obiju strana da ovladaju dalmatinskim gradovima u kojima je bilo pretežno romansko žiteljstvo i koji su, kao bizantska Tema Dalmacija, bili dio Bizantskog Carstva. Mlečani su uz to imali niz drugih motiva, od uspostave slobodne plovidbe Jadranskim morem (bez plaćanja danka hrvatskim vladarima), do korištenja mnogih resursa koji su im bili potrebni, a nalazili su se na hrvatskoj obali, kao što su sirovine (npr. šume bogate drvom), radna snaga i tržište za prodaju njihovih proizvoda.

Nakon prvih pokušaja Mletačke Republike da preuzme kontrolu nad sjeveroistočnom stranom Jadrana, prekretnica je bio poraz njezinih pomorskih snaga u bitki kod Makarske 18. rujna 887. godine u kojoj je poginuo dužd Petar I. Kandijan. Sukobi su odonda smanjeni ili su prestali, jer je Republika svetog Marka od tada (ili pak nešto kasnije) počela plaćati godišnji danak za slobodan prolaz Jadranskim morem, i to je trajalo skoro do samog kraja 10. stoljeća. Slijedila su burnija razdoblja u kojima su Mlečani na kraća ili dulja razdoblja ovladali većim ili manjim brojem hrvatskih priobalnih gradova, te obalom i otocima. Najprije je dužd Petar II. Orseolo oko 1000. g., prestavši plaćati danak, svojom ratnom mornaricom zauzeo mnoge dalmatinske gradove (među kojima Rab, Zadar, Biograd, Trogir, Split, Vis, Korčulu, Lastovo i Dubrovnik) od kojih se zatim većina uskoro oslobodila mletačke vlasti. U prvoj polovici i sredinom 11. stoljeća oslobađali su ih hrvatski kraljevi Stjepan I. i njegov sin Petar Krešimir IV., pa je Dalmacija u vrijeme potonjeg bila pod hrvatskom krunom.

U 12. stoljeću Mlečani su ponovno zavladali dijelom hrvatske obale, ali su je hrvatsko-ugarski kraljevi (npr. Koloman, Bela I. (II.)) uspijevali povremeno vratiti pod svoju vlast. Nestabilno stanje, ratne operacije i prelaženje hrvatskog obalnog teritorija iz ruke u ruku nastavilo se kroz 12., 13. i 14. stoljeće. Pritom je protiv Mlečana posebno mnogo ratovao grad Zadar, pa su se najintenzivniji zadarsko-mletački ratovi vodili u razdobljima 1115-1118., 1159-1180., 1181-1202., 1242-1247., 1311-1313. i 1345-1346. godine. Kada je kralj postao Ljudevit (Ludovik) Anžuvinski, odlučio je Mlečane u potpunosti izbaciti iz svog kraljevstva. Nakon prvih neuspješnjih ratnih pohoda, skupio je dovoljno vojne moći da ih u ratu 1356-1358. g. pobijedi i Zadarskim mirom pripoji hrvatsku stranu Jadrana Hrvatsko-Ugarskom Kraljevstvu 1358. g., te osigura 50-godišnje mirnije razdoblje s Mlečanima.

Kupnjom Dalmacije od kralja Ladislava Napuljskog 1409. godine Mletačka je Republika, od 1420. g. pa nadalje, ponovno uspostavila kontrolu nad najvećim dijelom hrvatske obale Jadranskog mora, ali ni tada ratovanja Hrvata i Mlečana ne prestaju, nego postaju sve više dio širih vojno-političkih previranja i sukoba, ulaskom novih velikih sila na područje šire južnoeuropske regije: Habsburške Monarhije i Turskog Carstva. Počinje razdoblje Mletačko-osmanskih i Habsburško-mletačkih ratova (u potonje su uključeni npr. Rat Svete lige i Uskočki rat). U tim su ratovima sudjelovali, ponekad i na suprotnim stranama, dijelovi hrvatske feudalne vojske, odnosno pojedine hrvatske postrojbe.

Padom Mletačke Republike 1797. godine hrvatske vojne snage sudjeluju u sklopu vojske Habsburške Monarhije u ratovima protiv država sljednica propale republike – Napoleonove revolucionarne Francuske i Talijanskog Kraljevstva.

Uzroci

Već na samom početku postojanja država koje su formirali Hrvati, odnosno Mlečani, nalazimo na stanje koje je prouzročilo njihove međusobne ratove. Stvaranje i razvoj primorske hrvatske države (najprije kneževine, a onda i kraljevine) i početci Mletačke Republike odvijali su se otprilike u isto vrijeme. Isto se zbilo i sa susjednim samostalnim državama naseljenim Hrvatima. Tako se dolazak Hrvata sa sjevera i postupno stvaranje, najprije vazalne, a zatim i nezavisne države na jadranskoj obali i u njenom zaleđu zbio u 7. stoljeću, a godina kada se spominje prvi mletački dužd je 697.

U to je vrijeme, nakon raspada Zapadnorimskog Carstva, na sjeveroistočnoj obali Jadranskog mora bilo mnogo gradova Pula, Krk, Osor, Rab, Zadar, Biograd, Trogir, Split, Vis, Korčula, Lastovo, Dubrovnik, Kotor itd. u kojima je živjelo pretežno romansko pučanstvo, koje je priznavalo vrhovnu vlast Bizantskog Carstva. Hrvati su, izbivši seobom na morsku obalu, htjeli sebi podvrgnuti i te gradove, ali je taj proces bio vrlo dug i polagan. Razmjerno sporo je tekao proces naseljavanja hrvatskog žiteljstva u gradove, pa tako i njegovo miješanje sa starosjediocima. Pojedinim hrvatskim vladarima uspjelo je ponekad spletom okolnosti dobiti odobrenje bizantskog cara za preuzimanje vlasti u tim gradovima, koji su bili u sastavu bizantske Teme Dalmacije.

Uz to, Hrvati dolaskom na Jadran nisu htjeli dopustiti da galije drugih država slobodno plove uz njihovu obalu, a oni da od toga nemaju nikakve koristi, pa su stoga poduzimali gusarske napade na njih, otimajući im robu koju su prevozile.

Na suprotnoj strani mora mletačka je država dugo priznavala vrhovnu vlast bizantskog cara, ali je vodila prilično samostalnu politiku. Glavnu riječ pritom je imala pomorsko-trgovačka građanska oligarhija, koja je svoju perspektivu vidjela u stjecanju bogatstva trgovinom po Sredozemlju. Zato je u prvom redu trebala nesmetan prolaz Jadranom za svoje galije, čemu su na putu stajala hrvatska plemena, čiji su brodovi napadali mletačke.

Mlečani su, međutim, imali i druge motive. Hrvatska obala imala je mnoge resurse i potencijale potrebne Veneciji, od sirovina (npr. šume bogate drvom za mletačku brodogradnju), preko radne snage (npr. pomorci i zanatlije), do tržišta na kojem bi prodavali svoje proizvode (žitarice, ribu, sol, vino, začine, drvo i dr.).

Povijesni slijed po razdobljima

Do 887. godine

Sukobi Hrvata i Mlečana javljaju se vrlo rano, već nakon uspostave njihovih država, što seže u 7. i 8. stoljeće. U 9. stoljeću zabilježeno je da je mletački dužd Ivan I. Particijak, nakon što se sukobio s Neretvanima, godine 830. sklopio mir s njima, koji je trajao nekoliko godina. Zatim je slijedilo par ratnih godina, da bi novi sporazum o nenapadanju bio sklopljen 839. g. između mletačkog dužda Petra Tradenika, hrvatskog kneza Mislava i neretvanskog kneza Družaka. Ubrzo je, međutim, opet došlo do sukoba, u kojima su Mlečanima plijenjeni brodovi, i to je na taj način trajalo dulje vrijeme.

Značajni sukob Hrvata i Mlečana bio je na pomolu u doba početka vladavine kneza Domagoja (vladao Hrvatskom 864-876.). Budući da je Domagoj svrgnuo Trpimiroviće s vlasti, što nije bilo po volji Bizanta, Mlečani su, kao bizantski vazali, u vrijeme dužda Ursa Particijaka 865. godine svojom ratnom mornaricom napali Hrvatsku. Nije, međutim došlo do izravne pomorske bitke, jer ju je Domagoj izbjegao, a na kraju je stvar riješena sporazumno, i to tako da su Hrvati prihvatili da, kao i u vrijeme kneza Mislava, ne napadaju mletačke trgovačke brodove koji plove sjeveroistočnom obalom Jadrana.

To, međutim, nije dugo trajalo, jer su Neretvani uskoro opet počeli presretati mletačke galije. Istodobno se situacija u Sredozemlju dodatno usložnila osvajanjima Arapa, koji su svojim brodovljem ulazili i u Jadransko more. Spletom okolnosti to je 872. g. prouzročilo prestanak dogovorenog primirja između Mlečana i Hrvata (uključujući Neretvane), odnosno opet dovelo do njihovog pomorsko-trgovačkog rata, koji se najviše manifestirao gusarskim napadima. Intervenirao je 874. godine čak i papa Ivan VIII., tražeći od Domagoja da utječe na gusare kako bi njihovi napadi prestali. Oni jesu najprije smanjeni, ali 875. g. ponovno intenzivirani, pa je mletački kroničar Ivan Đakon nazvao Domagoja najgorim knezom Slavena (Hrvata).

Sukobi su se nastavili i poslije Domagojeve smrti, ali uglavnom između Mlečana i Neretvana, ali i Domagojevih sinova, koji su pustošili istarskim gradovima. Slično je bilo i kad je 879. g. na hrvatsko prijestolje stupio knez Branimir.

Presudna bitka u ovom razdoblju odigrala se kod Makarske 18. rujna 887. godine kada su Neretvani pobijedili Mlečane na čelu kojih je bio sam dužd Petar I. Kandijan, koji je to prigodom i poginuo. Neretvani su čak sakrili njegovo mrtvo tijelo, pa su ga Mlečani praktički ukrali da bi ga pokopali na svoj način. Postoje tumačenja da je Mletačka Republika već od tada plaćala Hrvatskoj i Neretvanskoj Kneževini danak za slobodnu plovidbu morem, dok druga govore da je to bilo tek kasnije, u 10. stoljeću (vjerojatno nakon 948. godine).

Od 887. do 1000. g.

Poslije presudnog mletačkog poraza kod Makarske, nastupilo je razmjerno mirno razdoblje koje je potrajalo skoro do 1000. godine, i u kojem su veće ratne operacije izostale, premda da je manjih pomorskih sukoba bilo, osobito između Mlečana i Neretvana. Zabilježeno je da se 948. godine mletački dužd Petar III. Kandijan, unuk dužda poginulog u bitki kod Makarske, sukobio s Neretvanima negdje na njihovu teritoriju (između Omiša i ušća Neretve), i da je izvukao kraći kraj, te se morao povući.

Nakon tog sukoba Mlečani redovno plaćaju danak Neretvanima za prolaz kroz njihov teritorij skoro sve do samog kraja stoljeća (996. ili 997. godine), kada je dužd Petar II. Orseolo odlučio prestati plaćati i poduzeo vojni pohod na hrvatsko jadransko priobalje.

Od 1000. do 1085. g.

Na duždevsko prijestolje Petar II. Orseolo stupio je godine 991. i vladao do 1008. Bio je čvrste ruke i odlučio je da, nakon što je umro hrvatski kralj Stjepan Držislav (oko 997.), zauzme hrvatske krajeve uz more. Skupio je veliku ratnu flotu, te ju poveo prema jugu. Otoke Vis, Hvar i Korčulu zauzeo je uz negdje veći, a negdje manji otpor, dok se neka druga područja nisu opirala.

U to se vrijeme događala i dinastička kriza za hrvatsko prijestolje, jer su dva mlađa sina kralja Držislava, Krešimir i Gojslav, osporili najstarijemu Svetoslavu pravo na krunu. Dužd Orseolo iskoristio je povoljnu priliku i sve više zaposjedao hrvatsku obalu, uključujući gradove i otoke. Prema dostupnim podacima, najveći otpor pružali su Lastovčani, pa je bitka za njihov otok, koja se odvijala 1000. godine, bila najkrvavija. Na kraju je Orseolo zauzeo velik dio gradova na otocima i obali, od Raba do Dubrovnika.

Vlast Mlečana na Jadranu nastavila se i za Petrova sina Otona Orseola, koji je 1018. g. poduzeo vojni pohod svoje mornarice i u najsjeverniji dio Jadrana. Zbog sve većeg otpora vladavini mlađeg Orseola u samoj Veneciji, nisu se nastavili njegovi ratni pohodi, nego je, dapače, 1026. g. zbačen s vlasti. Jednu godinu kasnije uspio je hrvatski kralj Stjepan I., koristeći mletačke probleme te smrt bizantskog cara Bazilija II., osloboditi grad Zadar mletačke vlasti. Taj je grad ponovno tek nešto kasnije ponovno potpao pod Mletačku Republiku, kada ga je zauzeo dužd Dominik I. Kontaren, ali opet ne zadugo.

Stjepanov sin Petar Krešimir IV. (vladao 1058-1074.) nosio je naslov "kralja Hrvatske i Dalmacije", što uključuje da je vladao hrvatskom obalom Jadrana. On je imao vrlo dobre odnose s gradom Zadrom, pa čak i rodbinske veze s tamošnjom vodećom patricijskom obitelji Madi. U njegovo vrijeme došlo je do sukoba s Normanima (pri čemu je hrvatski kralj najvjerojatnije poginuo), ali nema podataka o većim bitkama s Mlečanima, kao ni u vrijeme vladavine njegova nasljednika Dmitra Zvonimira, najvjerojatnije stoga što su se protiv Normana borili na istoj strani i Hrvati i Mlečani.

Od 1085. do 1202. g.

Bizantsko je Carstvo 1085. godine Mletačkoj Republici prepustilo nominalno vrhovništvo nad Istrom i Dalmacijom, što je postupno prouzročilo nove napetosti i sukobe na hrvatskoj obali. Vremenski se to skoro poklopilo s izumiranjem dugogodišnje hrvatske kraljevske dinastije Trpimirovića (smrću kralja Stjepana II. 1091. godine), te porazom hrvatske vojske predvođene kraljem Petrom Svačićem (Snačićem) u bitki na Gvozdu 1097. g., što je imalo za posljedicu dolazak ugarskih kraljeva na Jadran.

Koloman Arpadović je 1105. g. svojim vojnim pohodom protiv Mlečana, uz suglasnost Bizanta, vratio u okvir Hrvatsko-Ugarskog Kraljevstva onaj dio obale i otoka koji su do tada bili pod mletačkom vlašću.

Deset godina kasnije, 1115. g. dužd Ordelaf Falier (ili Faledro) poduzeo je novu široku pomorsku operaciju svoje ratne mornarice u hrvatskim vodama. Bez borbe je zauzeo otok Rab, a zatim je došlo do bitke za Zadar u kojoj je duždeva vojska osvojila veći dio grada, osim zadarske tvrđave. Potom su Mlečani krenuli prema Biogradu te osvojili i njega, da bi se poslije toga vratili u Veneciju. Ponovno su došli 1117. g. pod zidine zadarske tvrđave, u kojoj je bila hrvatsko-ugarska vojska na čelu s banom Kledinom. Zametnuta je bitka u kojoj je poginuo i sam dužd Faledro. Nešto kasnije sklopljeno je primirje, prema kojem je Zadar pripao Mlečanima, ostavši u njihovoj vlasti do 1180. g. Hrvatskoj pak su pripali gradovi Biograd, Šibenik, Trogir i Split.

Takvo stanje nije trajalo dugo, jer 1125. godine dužd Dominik Michiel sa svojom flotom osvojio Split i Trogir, a Biograd razorio. Promjena je stigla 1133. g. kada je hrvatsko-ugarska vojska kralja Bele I. (II.) /Bela I. kao hrvatski, a Bela II. kao ugarski kralj/ vraća Split i Trogir pod svoju vlast. Mlečanima su ostali gradovi Zadar, Osor, Krk i Rab, koje su zauzeli ranije (1117. i 1118. g.). Zadrani su zatim ratovali protiv Mlečana u razdoblju između godine 1159. i 1180. godine.

U sukobe oko Dalmacije upleo se u to vrijeme i Bizant osvojivši 1167. g. teritorij između Krke i Neretve. To je trajalo do 1180. g., kada kralj Bela II. (III.) uspostavlja svoju vlast na tom području. Uz njegovu pomoć, Zadrani se oslobađaju mletačkog jarma i ostaju bez njega sve do 1202. g., bez obzira na to što je Mletačka Republika tada započela novi rat protiv Zadra, koji je trajao dvadesetak godina (1181-1202.) i u kojem je više puta pokušala osvojiti grad (1181., 1187., 1188., 1190. i 1194. g.), ali nije uspjela. Tek uz pomoć križarske vojske, Mlečani nakon opsade 1202. g. preuzimaju vlast u Zadru u svoje ruke.

Od 1202. do 1358. g.

Nedugo poslije zauzeća Zadra, mletački su se vlastodršci okomili na Dubrovnik, u kojem je dužnost kneza 1205. godine obavljao plemić Damjan Juda, koji im se odlučno usprotivio. Oni su ga na prijevaru uhvatili i prisilili na samoubojstvo, a zatim postavili svoga čovjeka za kneza. Tako je dubrovačka komuna bez velikog oružanog otpora potpala pod vlast Republike svetog Marka, od koje se oslobodila tek 1358. g.

Vlast te republike protezala se tijekom 13. stoljeća nad pretežnim dijelom sjeveroistočne obale Jadrana, od zapadne Istre do Dubrovnika, pa i dalje prema Albaniji. U zapadnoj Istri Mlečani su se već ranije nametnuli kao "zaštitnici" pojedinih gradskih komuna (npr. Pula i Koper) i u tom smislu adekvatno vojno intervenirali, što je često značilo pljačku i razaranje. Upravo u 13. stoljeću ratovali su s istarskim markgrofovima (koji su bili njemačkog podrijetla) i stekli pravo, slijedom mirovnih ugovora s njima (jednim sklopljenim 1291. g., a drugim 1307. g.), na osvojene gradove, uz plaćanje godišnje odštete bivšim gospodarima. Šireći se zapadnom Istrom, Mlečani su uspjeli 1331. g. podjarmiti i Pulu, protjeravši njenu najmoćniju patricijsku obitelj Castropola. Središnja i istočna Istra ostale su do daljnjega pod njemačko-austrijskom vlašću. I dok je središnja Istra bila nekoć dijelom Franačke države (od 788. g.), istočni dio poluotoka, sjeveroistočno od rijeke Raše, pripadao je Hrvatskom Kraljevstvu do potkraj 11. stoljeća.

U doba širenja Mletačke Republike (13. i 14. stoljeće), nikako joj nije uspijevalo trajno držati pod apsolutnom kontrolom neke gradove Hrvatskog primorja i Dalmacije. To se prije svega odnosi na Krk i Zadar. Povremeno se, naime, događalo da su ti gradovi (kod Krka i cijeli otok) imali određeni vid autonomije i donosili odluke koje nisu bile po volji njihovog principala – Venecije. To je često dovelo do otvorenog rata između odmetnutog grada i mletačke vojske.

Krkom su od 12. stoljeća kao mletački vazali upravljali Frankopani, koji su taktičkim nadmudrivanjem s Mlečanima ostvarili relativnu autonomiju cijelog otoka Krka, a istodobno se dodvoravali hrvatsko-ugarskim kraljevima, vršeći im usluge (vojni angažman, posudba novca i sl.) za koje su dobivali posjede na kopnu, u unutrašnjosti Hrvatske. Takvo se stanje održalo čak do 1480. g., kada su Mlečani iskoristili nemilost u kojoj se kod kralja Matijaša Korvina našao krčki knez Ivan VII. Frankopan te ga vještim manevrom uspjeli primorati da im preda otok. Opkolivši otok svojim ratnim galijama, Mlečani su spriječili hrvatsko-ugarsku vojsku da vrati otok pod kraljevu vlast. Oni su uspostavili izravnu vlast Republike nad otokom, Frankopana odveli u Veneciju, a lokalno stanovništvo pridobiti obećanjima i povlasticama, kako se ne bi pobunilo.

Zadarska komuna nije bila naklonjena Mlečanima i često se i ranije bunila protiv njihove vlasti, nalazeći podršku u tome kod hrvatsko-ugarskih kraljeva, pa je Mletačka Republika ponekad morala vojno intervenirati. Jedna od većih pobuna Zadrana u 13. stoljeću zbila se u vrijeme mongolske najezde 1242. g., kada se kralj Bela III. (IV.) sklonio u Dalmaciju, i tu su pobunu Mlečani vojno ugušili, ali tek 1247. g. Slično se nastavilo i u 14. stoljeću.

Godine 1342. došao je na hrvatsko-ugarsko prijestolje mladi kralj Ljudevit (Ludovik) Anžuvinac, koji je odlučio protjerati Mlečane iz svog kraljevstva. U tome su građani Zadra ponovno vidjeli svoju šansu za osamostaljenje i 1344. g. proglasili autonomiju, što je ponovno dovelo do zadarsko-mletačkog rata. Zadrani su pozvali kralja da s vojskom dođe u njihov grad, ali on, premda je iste godine krenuo iz Ugarske prema jugu, nije dospio dalje od hrvatskog kraljevskog grada Bihaća, nego se nakon boravka u njemu vratio u Ugarsku. Slično se dogodilo s kraljevskom vojskom sredinom 1345. g. Uvidjevši ogromnu opasnost, mletački je dužd poslao prema jugu veliku flotu, koja je s kopnenim snagama brojila 20.000-25.000 ljudi, i koja je opsjela Zadar 12. kolovoza 1345. g. Zadrani su dugo odolijevali snažnim mletačkim napadima, a onda je u proljeće 1346. g. napokon nadomak Zadra stigao kralj Ljudevit na čelu svoje vojske, koja je imala, ovisno o izvorima podataka, između 20.000 i 100.000 ljudi. Napao je veliko mletačko uporište iz kojeg su potonji s kopnene strane opsjedali Zadar, ali nije ga ni nakon dužeg vremena, zbog nepovoljnog položaja, uspio osvojiti. Početkom srpnja 1346. g. odustao je i povukao svoje snage prema sjeveru, ostavivši Zadrane da se brane sami. Opsada Zadra završila je 21. prosinca iste godine pobjedonosnim ulaskom mletačkih trupa u grad na poluotoku.

Ambiciozni hrvatsko-ugarski kralj, međutim, nije definitivno odustao od svojih nakana, nego je započeo novi veliki rat s Mlečanima 1356. godine, koji je završio uspješno za njega, jer je na temelju Zadarskog mira, sklopljenog 18. veljače 1358. g., vratio praktički cijelu hrvatsku obalu pod svoje okrilje, a vlastodršcima grada na laguni blizu ušća rijeke Po ostali su samo zapadni dijelovi Istre. To je bilo posljednji put da je hrvatski teritorij u okviru Hrvatsko-Ugarskog Kraljevstva sljedećih pedesetak godina bio cjelovit kao u doba osnivanja države prije više stoljeća.

Poslije 1358. g.

Mirnodopsko razdoblje u Dalmaciji i Hrvatskom primorju potrajalo je, što se tiče opasnosti od Mlečana, sve do početka 15. stoljeća. U Istri pak je Serenissima Repubblica u vremenu 1378-1381. g. vodila rat protiv udruženih Genove, istarskih markgrofova i hrvatsko-ugarskog kralja, u kojem je pobijedila, a najveći jadranski poluotok pritom je teško stradao.  Mlečani su nakon toga pokušali iskoristiti borbe za hrvatsko-ugarsko prijestolje između Žigmunda Luksemburškog i Ladislava Napuljskog, što im je i uspjelo 1409. godine. Potonji im je tada, nalazeći se u izgubljenom položaju, za 100.000 dukata prodao svoja prava na Dalmaciju. Mletačka je Republika tako na miran način dobila ono što je izgubila u ratu 1356-1358. g. Tijekom sljedećih desetak godina ona je operativno realizirala to pravo i oko 1420. g. preuzela vlast nad teritorijem kojeg je imala prije Zadarskog mira, osim Dubrovačke komune (kasnije republike), koja je u međuvremenu dovoljno ojačala da održi svoju autonomiju, a prizna samo vrhovnu vlast hrvatsko-ugarskoga kralja.

Hrvatskoj je na jadranskoj obali poslije 1420. godine preostao još samo teritorij Hrvatskog primorja, od rijeke Rječine preko Senja do podvelebitskog područja, uključujući frankopanski otok Krk, te dijelovi Dalmacije koji nisu bili pod Mletcima (npr. Benkovac, Klis, Omiš). Kasnije su neki od tih gradova ili područja pripali Mlečanima, a neke su osvojili Turci. Godine 1480. i Krk je potpao pod Mletke, ali je Senj i dalje ostao neosvojiv, posebno kad su se u 16. stoljeću u njega doselili uskoci, te ga branili, ali ujedno i napadali Mlečane, koji su željeli i dalje osvajati.

Protiv Mlečana je sredinom 15. stoljeća ratovao hrvatski ban Petar Talovac (banovao 1438-1453), član moćne velikaške obitelji, i to u vrijeme dok je Hrvatskoj prijetila sve veća opasnost, kako od Mletačke Republike, tako i od  Turskog Carstva, koji su malo po malo otkidali dijelove hrvatskog teritorija i pripajali ih k sebi. Na području koje je Mletačka Republika imala pod svojom ingerencijom, Hrvati su povremeno dizali bune i ustanke protiv vlasti, koji su u pojedinim slučajevima pretvoreni u prave ratove. Primjer toga je Buna hvarskih pučana pod vodstvom Matije Ivanića koja je trajala od 1510. do 1514. godine.

Ono što je slijedilo u hrvatskom priobalju od 15. stoljeća nadalje bio je dolazak i sve veći utjecaj dviju tada rastućih velesila, moćne Habsburške Monarhije i nezadrživog, već spomenutog, Turskog Carstva, tako da su Hrvatsko-mletački ratovi poprimili sasvim drugu dimenziju: prerasli su u Habsburško-mletačke i Mletačko-osmanske ratove.

Habsburgovci su spretnim političkim igrama i nasljedstvom već godine 1374. postali gospodari Pazinske, odnosno Istarske knežije, i preuzeli teret kontinuiranih ratova s Mlečanima, koji su pak štitili svoje interese u Istri. Habsburško-mletački ratovi vodili su se na mnogo širem području, nego je to Istra, i obuhvaćali veliki prostor dijela sjeverne Italije, te priobalnu Hrvatsku. Neki od tih ratova, kao npr. Rat Svete lige (1508-1516.) ili Uskočki rat (1615-1618.) nisu završili povoljno za Habsburšku Monarhiju.

Godine 1527. Habsburgovci su postali i hrvatsko-ugarski kraljevi pa su hrvatske vojne postrojbe, osim u bitkama protiv Mlečana, sudjelovale i u drugim habsburškim ratnim operacijama izvan Hrvatske, u Srednjoj i Zapadnoj Europi.

Na drugoj strani, na istočne hrvatske granice u 15. stoljeću došli su osvajački raspoloženi Turci. Oni su ubrzo prodrli do Jadranskog mora i sukobili se s mletačkim trupama u Dalmaciji. Osmansko-mletački ratovi (npr. Kandijski rat i Morejski rat) vodili su se sljedećih stoljeća, osim na hrvatskom teritoriju, i duž cijele obale Jadranskog, Jonskog i Sredozemnog mora. Kao mletački podanici u Dalmaciji, Hrvati su sada ratovali protiv zajedničkog neprijatelja, osvajača muslimanske vjere i istočnjačkog svjetonazora, silom prilika se našavši u situaciji izbora manjeg zla, jer Hrvatska na svojem jugu praktički nije postojala, nego je bila podijeljena na mletačku Dalmaciju i osmanski Bosanski pašaluk.

Takvo stanje na hrvatskom jugu (Dalmacija) i zapadu (Istra) – čas ratno, čas mirnodopsko – potrajalo je sve do prestanka postojanja Mletačke Republike 1797. godine, pa i dalje, prenijeto na države–njezine sljednice.

Vidi još

 Hrvatske zemlje pod mletačkom vlašću
 Mletačka Republika
 Bitka kod Makarske 18. rujna 887.
 Lastovska bitka
 Hrvatsko-mletački rat za Zadar 1181. – 1202.
 Križarska opsada Zadra
 Zadarski mir
 Hvarski ustanak
 Uskočki rat
 Povijest Hrvatske ratne mornarice

Vanjske poveznice

 Ekspanzija Mletačke Republike od Istarskog poluotoka prema jugu
 Knez Domagoj zbog ratnih sukoba bio za Mlečane "najgori knez Slavena (Hrvata)"
 Dužd Petar II. Orseolo u svojim vojnim pohodima osvojio niz dalmatinskih gradova i otoka
 Mlečani poharali Vis 998., a Lastovo 1000. godine
 Kralj Stjepan I. Trpimirović oslobodio Zadar mletačke vlasti godine 1025.
 Bizant godine 1085. Veneciji prepustio nominalno vrhovništvo nad Dalmacijom i Istrom, što je dovelo do stalnih novih borbi za hrvatski obalu
 Grad Zadar dugo odolijevao mletačkim osvajanjima i puno puta se u njemu smjenjivala hrvatska vlast s mletačkom
 Frankopani kao mletački vazali držali otok Krk sve do 1480. godine, kada su ga zauzeli Mlečani
 Petar Krešimir IV. bio kralj Hrvatske i Dalmacije, što znači da je hrvatsko priobalje bilo oslobođeno od Mlečana
 Mlečani neke dalmatinske gradove osvojili vojnom opsadom
 Grad Osor godine 1118. zauzeli Mlečani i pripojili ga svojoj prekojadranskoj pokrajini Dalmaciji
 Protiv Mlečana u Istri mnogo ratovali hrvatsko-ugarski kraljevi Ludovik I. Anžuvinac i Sigismund Luksemburški, te Maksimilijan Habsburški
 Mletački duždevi dobili od bizantskog cara pravo na Temu Dalmaciju
 Ekspanzija Venecije na dalmatinskoj obali u Srednjem vijeku
 Mletački ratni pohodi na srednjodalmatinske otoke
 Borbe Mlečana s omiškim i neretvanskim gusarima
 Hrvatski ban Petar Talovac ratovao protiv Mlečana sredinom 15. stoljeća
 U Ratu Svete lige (Cambraiske lige) Pazinska knežija teško stradala, ali nije potpala pod mletačku vlast

Ratovi
Hrvatsko-mletački ratovi
Mletačko-hrvatski ratovi
Mletačko-hrvatski ratovi
Mletačko-hrvatski ratovi
Mletačko-hrvatski ratovi
Mletačko-hrvatski ratovi
Mletačko-hrvatski ratovi
Mletačko-hrvatski ratovi

Hrvatsko-mletački ratovi