Introduction In his famous essay The University of the Middle Ages, the historian Jacques Verger remembers the breaking of the great seal of the University of Paris by the papal legate in 1225 (Verger 1982, p. 66), the event was loaded with a strong symbolic value, because then as now, the seal concepts represented in brief such authority, autonomy or even sovereignty. This high degree of custody of the seal and its use was often described in detail in the statutes of universities, corporations and cities (Baschurch 1956, pp. 51 et seq.).
Nowadays we are surrounded by signs of all kinds: coats of arms of agencies and institutions, logo and trademarks, not to mention the road signs and other figures indicate standard aimed at things and functions. Nevertheless, or perhaps because of this, many of these emblems (with characteristics often similar to those of heraldry) spend more or less consciously overlooked, discounted, apparently superfluous. They do not call for any reflection on their raison d'etre and the thing in some ways, is proof of their communication effectiveness.
Yet all these symbols have their origins, a story that provides the background and cultural senses of what it meant to represent. Their communication effectiveness often depends on their origin from this.
The emblem of the University of Urbino
A glance crest of the University of Urbino a complaint 'sealed source, confirmed by available documentation. It is clipped with the immaculate at the top and bottom in the arms of Urbino, clear version of a heraldic seal the registers. Looking
part of the documentation produced by the University (letterheads, stamps, posters and more) can easily ascertain come il simbolo dell'Università di Urbino sia stato rappresentato in forme diverse, pur mantenendo fermi con sostanziale costanza gli elementi che lo caratterizzano che sono, come vedremo, di tipo sacro e araldico.
A questi due elementi se ne aggiungono altri che hanno contribuito a rendere diversa la rappresentazione grafica in base allo stile dell’epoca, al gusto del committente o dell’artista: scudi più o meno sagomati, elementi vegetali come rami d’ulivo, di quercia o di palma, e ancora corone rappresentate in fogge diverse, senza dimenticare i cartigli sui quali è impresso il nome dell’istituzione.
A glance crest of the University of Urbino a complaint 'sealed source, confirmed by available documentation. It is clipped with the immaculate at the top and bottom in the arms of Urbino, clear version of a heraldic seal the registers. Looking
part of the documentation produced by the University (letterheads, stamps, posters and more) can easily ascertain come il simbolo dell'Università di Urbino sia stato rappresentato in forme diverse, pur mantenendo fermi con sostanziale costanza gli elementi che lo caratterizzano che sono, come vedremo, di tipo sacro e araldico.
A questi due elementi se ne aggiungono altri che hanno contribuito a rendere diversa la rappresentazione grafica in base allo stile dell’epoca, al gusto del committente o dell’artista: scudi più o meno sagomati, elementi vegetali come rami d’ulivo, di quercia o di palma, e ancora corone rappresentate in fogge diverse, senza dimenticare i cartigli sui quali è impresso il nome dell’istituzione.
Elemento sacro: l’Immacolata concezione
The figure of Mary stands has always been paramount, emblems of the college of doctors, those in the Studio and the University, as established in 1506, in 1601 and 1671 ( Marra 1975), regardless of the successive political regimes in the last five hundred years.
In the two oldest known seal (Figs. 1 and 2) it appears seated on a throne, one of them (Fig. 1) is flanked by two kneeling saints. This composition is repeated in the iconography of the doctors of college freshmen (1615, post. 1700 and post. 1766) with a variable number of contour figures of the Virgin, among which recognizes the city's patron saint Creswell (Fig. 3).
E 'should be remembered that Mary, whose devotion dates back to the beginning of the millennial history of universities (Le Goff 1989, pp. 84 et seq.), Is considered based or principle of Divine Wisdom as the mother of Christ. As such there is often emblematic university, not only in Urbino, where the main figure of the seal (Grossi, Giovannini, Dancing 2006, pp. 169, 170 and 171), but for example also in Pisa, Bologna and Padua (Giovannini 2006, pp. 135, 137 and 138).
Following the Virgin took on the characteristics of the iconography of the Immaculate Conception. This change occurred after the proclamation of the dogma of 1854 (Martinotti 2010), nor with the reopening in 1826 after the suppression decreed by Pope Leo XII (Ligi 1972, p. XIV) and even with the reopening of the University following the uprisings of 1831 (Palma 1989) . According to the documentation this change probably occurred during the seventeenth century.
"A great sign appeared in heaven: a woman clothed with the sun, the moon under her feet and on her head a crown of twelve stars" (Rev 12:1), this is based on the passage of the which has formalized the image of the Immaculate Conception: Mary standing on the quarter moon in a starry sky, sometimes surrounded by a crown of flames in the form of almonds, the act of crushing a snake or a dragon symbol of sin.
This classic iconographic model, but with mystical connotations, has distinctly natural character. Mary always wears a blue cloak that sometimes covers her head, wearing a long white robe, or red, as in paintings by Barocci (Fig. 4).
A representation of this kind it fits well in the depiction of a seal, because of the characteristics of the composition sfragistica that gives great attention to detail, whether natural (Savorelli 1997 ). From
field of the Immaculate seal was translated in a heraldic shield in order to become a coat of arms (Figs. 5, 6 and 7).
field of the Immaculate seal was translated in a heraldic shield in order to become a coat of arms (Figs. 5, 6 and 7).
The transition took place, most likely, with a view sfragistica not so much to create a weapon itself, but to give the seal as a different kind of heraldry.
Along with the emblem of the immaculate Immaculate Urbino is thus enclosed in a shield and, while under the influence of nineteenth-century and Baroque styles of arms, takes on the characteristics of the heraldic representation of simplicity, abstraction and symmetry (Savorelli 1997).
Registered as some original and Mary's presence, one wonders why an image constituted the sacred emblem of secular institutions such as the College of Doctors, the studio audience and the University which was directly subject only to the Church for thirty years in 'nineteenth century. Considerations apart again for other institutions such as municipalities, about the phenomenon of faith in general and in particular patronage, other than those mentioned above which is related to medieval and Renaissance universities, waiting to be made based studies examination of archival records, we can for now remember some of the factors that bring the Immaculate Conception in Urbino, its institutions and in particular those of an academic.
The main supporters of the Immaculate Conception of Mary was from the thirteenth century the Franciscans (Verger 1982, pp. 158-171) and at Urbino, in their convent, they held classes in theology and then philosophy at the University officially merged in 1647 (Ligi 1972, pp. 86 and 87).
Among the pontiffs who contributed to the spread of the theological concept of the Immaculate Conception made before the promulgation of dogma by Pius IX in 1854, is reminiscent of Sixtus IV and Pope Clement XI: first, a Franciscan and Della Rovere, a fervent supporter of the theory, prohibits disputes on this issue and granted indulgenze per la festa della Concezione (1476), questi fu anche il papa che elevò al titolo ducale Federico da Montefeltro e che concesse la signoria di Senigallia ai Della Rovere (1474); il secondo, un Albani di Urbino, laureato presso lo Studio urbinate nel 1668, estese formalmente la festa della Concezione a tutto il mondo cattolico nel 1708.
Elemento araldico: lo stemma di Urbino
Along with the emblem of the immaculate Immaculate Urbino is thus enclosed in a shield and, while under the influence of nineteenth-century and Baroque styles of arms, takes on the characteristics of the heraldic representation of simplicity, abstraction and symmetry (Savorelli 1997).
Registered as some original and Mary's presence, one wonders why an image constituted the sacred emblem of secular institutions such as the College of Doctors, the studio audience and the University which was directly subject only to the Church for thirty years in 'nineteenth century. Considerations apart again for other institutions such as municipalities, about the phenomenon of faith in general and in particular patronage, other than those mentioned above which is related to medieval and Renaissance universities, waiting to be made based studies examination of archival records, we can for now remember some of the factors that bring the Immaculate Conception in Urbino, its institutions and in particular those of an academic.
The main supporters of the Immaculate Conception of Mary was from the thirteenth century the Franciscans (Verger 1982, pp. 158-171) and at Urbino, in their convent, they held classes in theology and then philosophy at the University officially merged in 1647 (Ligi 1972, pp. 86 and 87).
Among the pontiffs who contributed to the spread of the theological concept of the Immaculate Conception made before the promulgation of dogma by Pius IX in 1854, is reminiscent of Sixtus IV and Pope Clement XI: first, a Franciscan and Della Rovere, a fervent supporter of the theory, prohibits disputes on this issue and granted indulgenze per la festa della Concezione (1476), questi fu anche il papa che elevò al titolo ducale Federico da Montefeltro e che concesse la signoria di Senigallia ai Della Rovere (1474); il secondo, un Albani di Urbino, laureato presso lo Studio urbinate nel 1668, estese formalmente la festa della Concezione a tutto il mondo cattolico nel 1708.
Elemento araldico: lo stemma di Urbino
Lo stemma comunale si può vedere nel registro inferiore del sigillo del Collegio dei dottori già appeso a un diploma di laurea pergamenaceo del 1588 (fig. 1).
Pur essendo stata l’arma of the counts of Montefeltro and Urbino from the fourteenth century, in the early sixteenth century was now also the weapon of Urbino (Figs. 8 and 9) and as such (contrary to popular opinion) was present in the emblem of College, and University Study.
The time and manner of the passage of the ancient coat of arms of the Counts of Montefeltro at Urbino communities have not yet been identified with certainty, but should lie in the years between the late fifteenth and early sixteenth century, as demonstrated by some examples of heraldry ( Conti 2009, p. 66, note 11).
The presence of the coat of arms is therefore a direct link to the city and the Duke of Montefeltro Guidobaldo through a decree that established the college in 1506. The duke, like his father in 1474, sported a weapon more complex (Fig. 10), the result of an evolution started in the first half of the fifteenth century at least with the Count Oddantonio (Conti 2006, p. 117, note 13).
should be noted in particular that the college was just the College of Doctors of the city of Urbino, for example, as stated clearly in the legend of the seal (Fig. 1).
This also disproves the theory proposed by Baschurch at the suggestion of the rector Carlo Bo, for which the weapon of Urbino was only added to the image of the Immaculate Conception in 1601 when he founded the Studio Audience (Baschurch 1956, pp. 70 and 71).
evolution of the representation of the emblem.
Between the second half of the eighteenth century and the first of the next century, some versions of the emblem shows the mere presence of the University of the Immaculate (Figs. 11 and 12), it is models of art so to speak. In those years continues to be used as a seal with the arms cut off the round Immaculate - weapon Civic (Fig. 5).
the mid-nineteenth century is made the banner of the University, a blue and yellow party banner in the center of which stands the Immaculate in un cielo stellato in forma di mandorla circondato da una cornice fiammeggiante; questa rappresentazione è collocata sopra lo stemma di Urbino, iscritto in uno scudo gotico. Si tratta di una composizione di buon effetto nella quale l’immagine sacra è liberata dalla costrizione dello scudo, pur rimanendo circoscritta da un cartiglio cimato da una corona che funge da contorno come gli scudi barocchi delle epoche precedenti. Tale rappresentazione verrà usata per molti anni. Si rintraccia negli anni ‘30 del Novecento in una versione al tratto di Riccardo Parenti (fig. 13), ampiamente usata successivamente e ancor’oggi, per esempio, nelle copertine della collane di “Studi Urbinati”.
If the eighteenth and nineteenth century some academic representations of the emblem had discarded the weapon civic, some stamps in use in the early decades of the twentieth century points to the contrary, the mere presence of the coat of arms (Figs. 14 and 15).
The absence of the Immaculate Conception is not due to the influence of a policy of mold law or a phenomenon of anti-clericalism, as the absence of the weapon in some civic emblems above do not achieved depended on the primacy of the Church on the University di Urbino dal 1826 al 1860.
Sempre in quegli anni un altro timbro (fig. 16) ripropone, rivisitato nello stile del disegno, lo schema classico dell’antico sigillo circolare del XVII secolo che peraltro continuava ad essere usato come tipario ufficiale (fig. 5).
Occorre ricordare a questo punto che l’Università fece uso anche degli emblemi dello Stato (pontificio e sabaudo), nonché di quello della Provincia di Pesaro e Urbino cui fu sottoposta dal 1860 al 1923.
Negli anni del fascismo, salvo il caso della biblioteca universitaria di cui si dirà fra breve, e salvo l’uso dell’emblema dello Stato, non si sono riscontrati mutamenti nell’emblematica universitaria ad Urbino che fossero in linea con le direttive del regime in ordine all’introduzione degli emblemi fascisti negli stemmi degli enti, diversamente da quanto avvenne già nel 1933 in non meno di sei atenei su venticinque: Ferrara, Macerata, Palermo, Firenze, Perugia e Venezia (Fascist university groups, 1934).
Esiste tuttavia nell’Archivio di deposito dell’Ateneo, un bozzetto con l’immagine dell’emblema rappresentato sul gonfalone nel quale, sotto la corona, è inserito un fascio littorio tra due serti (fig. 17). Si tratta evidentemente del maldestro tentativo d’inserire di una sorta di “capo del littorio”.
A stamp printed in a document dated 1941 (Fig. 18), which reproduces in full the seal historic (though modernized in design), ensures that the emblematic official University were never introduced the symbols of the fascist regime. Please note that this stamp is still used in official acts of the University.
During the Second World War also returns the reason of the Immaculate without the coat banded in the letterhead of the Director of Administration in 1950 (Fig. 19). The latter reason has recently been taken up as a model for the metal plate at the entrance of the headquarters of the University in via Saffi 2, built in the late twentieth century (Fig. 20).
Also in the fifties the letterhead of the rector was decorated with a different emblem apparently unprecedented: an open book on which it is placed with a sword cartouche ut dabitur Ocasio (Fig. 21).
In reality this unique emblem appeared already in the stamp of the university library at least in the early twentieth century, but the prof. Philip Marra assures me that there was already a very old college degree in the College of Doctors of Urbino, which reserves the publication.
In the second half of the twentieth century, in addition to the above mentioned, there was a frequent use of two of the oldest symbols (Figs. 5 and 7) in publications, posters, letterhead and books in college.
In the second half of the twentieth century, in addition to the above mentioned, there was a frequent use of two of the oldest symbols (Figs. 5 and 7) in publications, posters, letterhead and books in college.
Between the end of the twentieth century and early twenty-first century there is an upgraded design (Fig. 22) the oldest coat of arms oval (Fig. 7) and also a color version for the training of year of graduation fifth centenary of the University (Fig. 23).
To celebrate this important anniversary logo was created by a study which incorporated the graphic Kaleidon Almond flames to make the range in which converged the letters U and V together with dates MDVI and 2006 (Fig. 24).
The adoption of modern and ancient characters in Roman numerals and Arabic expression intended to emphasize the history of the university and its continuity. The result was published, the writer, very modest. Last
graphical representation of the emblem of the University Urbino is a logo Designed by Eikon and the Department of Communication Science of the University (Fig. 25).
It is, as has been officially confirmed by the Rector January 25, 2010 for a logo that does not replace the historic landmark protected by art. 46 of the Statute of the University. We could then compare versions "art" of the University coat of arms which we have already described (figs. 11, 12, 14, 15, 19 and 20). However, those versions were mutatis mutandis something less demanding of the Eikon logo. This, in fact, was presented as a true "change of layout" of the University, not an impromptu performance.
The outcome of this work was annotated by myself with a blog post "Heraldry" (Conti 2010), then taken from "Il Resto del Carlino" (Conti 2010 a) and Francesco Martinotti on "new friend" (Martinotti 2010). Carry my speech posted on the blog (Conti 2010) as an attachment below. It contains the comments that I felt obliged to make the choice of the University.
Appendix
Emblems of the university library.
La biblioteca universitaria si è distinta in alcuni periodi, per un uso di emblemi non coincidente con quelli contemporaneamente usati dall’Ateneo.
Almeno dai primi anni del Novecento, essa ha in dotazione l’emblema col libro aperto, la spada e il cartiglio con la dicitura ut dabitur ocasio (fig. 26), già decritto in precedenza.
Nella metà degli anni Trenta del Novecento, in pieno consenso del fascismo, quando il regime cominciò ad imporre agli enti l’emblema del partito unico divenuto emblema di stato dal 1926, col R.D. 12 ottobre 1933, n. 1440, l’università non si adeguò, ma nel timbro e nella carta intestata Urbino crest of the library appeared flanked by two fasces (Fig. 27).
Obviously, this emblem disappeared with the release in August 1944.
Bibliography
Baschurch, Baschurch GC
1956, Italian university Seals, extracted from studies in honor of Monsignor Angelo Mercati, Giuffrè Editore, Milan, 1956.
Clough, Conti, 2006
CH Clough, A. Conti, Guidobaldo da Montefeltro, Duke of Urbino was never standard-bearer of Sancta Romana Ecclesia?, In "Studies Montefeltrani, 1006, No 27.
Conti, A. 2009
Conti, comments on the historical and heraldic coat of arms of Montefeltro at Palazzo Bonaventura, in "Raphael Academy. Acts and Studies, 2009, n. 1.
Conti, A. 2009
Conti, http://araldica.blogspot.com/2010/03/iorripilante-nuovo-logo-delluniversita.html, online by March 28, 2010.
2010 in Balances
A. Accounts, the new logo of is rejected in full, in "Il Resto del Carlino", Urbino, April 2, 2010, p. 24.
Giovannini C. 2005
Giovannini, A hundred degrees from the fifteenth to the twentieth century from the collection Nucci, in F. Farina (ed.), Honor & Meritus, Panozzo Editore, Rimini, 2005.
Grossi, Giovannini, Dancing, 2005
M. Grossi, C. Giovannini, L. Dancing, degrees of Studio Urbino, in F. Farina (ed.), Honor & Meritus, Panozzo Editore, Rimini, 2005.
J. Le Goff 1989 Le Goff, Intellectuals in the Middle Ages, Mondadori, Milano, 1989.
Ligi 1972
B. Ligi 1972, the monastery and the church of the Minor Conventual and the Free University of Urbino, STIBU, Urbania, 1972.
F. Marra 1975 Marra, Chartularium For a history of the University of Urbino, 1563-1799, Argalia, Urbino 1975.
Martinotti 2010
F. Martinotti, Postmodern Paradoxes, in "new friend", April 18, 2010, p.
F. Palma 1989 Palma, Urbino and its university, Lucarini, Rome, 1989.
Savorelli 1997
A. Savorelli 1997, "Dignum unsorted signum ...." 'Style of arms' and 'style sfragistico' in the arms of the medieval city, in "Archivium héraldiques suisses" cxiii, II, pp. 91-113.
1934
Fascist Fascist groups university university groups, The universities of Italy, 1934.
References
images - All images of seals, badges, emblems and logos belong to the University of Urbino University of Urbino "Carlo Bo", played by the author.
- Images of the ducal coins are taken from R. Repos The mint of Gubbio and de geste 'accounts, and the Dukes of Urbino, t. I, 1772.
- The image of the shield is taken from the map of Urbino Urbino, T. Lucci, 1689.Le images are reproduced here solely for the purpose of illustration and criticism, according to law. All rights belong to the owners.
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