Ballet was popular with the public. Both the Moscow-based Bolshoi and the St. Petersburg (then Leningrad)-based Kirov ballet companies were active. Ideological pressure forced the creation of many socialist realist pieces, most of which made little impression on the public and were removed from the repertoire of both companies later.

The art-historical literature on Italian Renaissance courts has traditionally been one of in-depth studies of individual court cities and specific artists. Alison Cole’s lucidly written book summarizes some of this literature for a general audience, focusing on the courts of Naples, Urbino, Ferrara, Mantua, and Milan during the fifteenth century. The work is a revised edition of the author’s 1995 book Virtue and Magnificence: Art of the Italian Renaissance Courts, expanded to reflect recent scholarship. Cole approaches her subject primarily from an art-historical perspective, highlighting the varieties of media, styles, and uses of art at court while presenting a picture of the artists and patrons behind its production. Cole’s writing thus offers the nonspecialist a concise overview of an important and fascinating topic, and an alternative to the many general studies of the artistic centers of Florence, Venice, and Rome. Development of capitalism, banking, merchantilism and accounting: beginning of the European Great Divergence The top dogs included Alfonso V of Aragon and his illegitimate son, Ferrante I of Naples. The Castle dell’Ovo was their initial seat. Then, they moved to Castle Nuovo and built a marble triumphal arch in the center of the facade. Homans, Jennifer (2010). Apollo's angels: a history of ballet (1sted.). New York: Random House. p.65. ISBN 978-1-4000-6060-3. OCLC 515405940. Homans, Jennifer (2010). Apollo's angels: a history of ballet (1sted.). New York: Random House. pp.67–68. ISBN 978-1-4000-6060-3. OCLC 515405940.The Hungarian National Ballet". Hungarian State Opera House . Retrieved March 14, 2012. [ permanent dead link] Increase of papal temporal power leads to the Reformation, the Counter-Reformation and the European wars of religion Many leading European professional ballet companies that survive today were established at new theatres in Europe's capital cities during the mid- to late- 19th century, including the Kyiv Ballet, the Hungarian National Ballet, the National Theatre Ballet (Prague) and the Vienna State Ballet (formerly the Vienna State Opera Ballet). These theatres usually combined large opera, drama and ballet companies under the same roof. Composers, dramatists, and choreographers were then able to create works that took advantage of the ability to collaborate among these performance troupes.

a b c d e f Costonis, Maureen Needham (1992). "Beauchamps [Beauchamp] Pierre" in Sadie (1992) 1: 364.

The ceiling depicts scenes from the Book of Genesis, including the famous Creation of Adam. On the altar wall is one of the first Mannerist masterpieces, The Last judgment. In the 20th century styles of ballet continued to develop and strongly influence broader concert dance, for example, in the United States choreographer George Balanchine developed what is now known as neoclassical ballet, subsequent developments have included contemporary ballet and post-structural ballet, for example seen in the work of William Forsythe in Germany.

Every community on Apartments.com features a rating displayed on a 5-star scale. This rating includes average renter review scores and a building rating to determine an overall blended score for this property. The first important Sforza man was Francesco Sforza. He was the city’s “muscle,” a condottie ri or mercenary who took over the city by force. Francesco married Bianca Maria Visconti, the heir to the previous Visconti rulers.

The Renaissance court of Urbino was led by the powerful Duke Federico da Montefeltro. He was another mercenary general turned politician turned Renaissance scholar and art patron. Cole, Alison, Italian Renaissance Courts: Art, Pleasure and Power Link opens in a new window (London, 2016) [The Introduction, Chapters 1, 2, and 6, and the Epilogue]