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After briefly sketching the personal and, from a literary point of view, the public story of U.S.-born Marguerite Gibert Chapin (Princess Caetani by marriage), the essay summarizes the characteristics of the multilingual, biannual literary journal she founded and edited: Botteghe Oscure (1948–1960). Even if Caetani was not a writer, nor had she been trained to be a literary editor, the journal's 25 issues became a literary landmark in the 1950's, as it published, alongside established authors, many young and promising writers from all over the world, mostly in their original languages and without translations. In order to have the Italian authors appreciated by the U.S. public, however, Caetani also edited an anthology in English of the Italian poets and fiction writers—previously published in her journal—whom she considered to be the most interesting and innovative. While this anthology received little critical attention, some issues of the journal were favorably reviewed by illustrious U.S. critics (such as Paul Engle, Mark Schorer, J. Donald Adams, and Archibald MacLeish) in important magazines ( The New Yorker, The New York Times Book Review , and The Nation , for instance). Yet, with very few exceptions, the reception of these Italian writers in the United States was limited. It was certainly not comparable to the success that Italian movie directors and Italian fashion designers were enjoying in the U.S. in those same years.

This work mainly aims to give news of a context investigated in 1841 in the Zambra estate, near the Etruscan city of Caere, by Teresa Caetani, Duchess of Semoneta, the documentation of which has recently been found and analyzed. The main peculiarity of the funeral equipment discovered at the time is the presence of some bronze fragments that can probably be interpreted as the remains of a tripod of a particular rare and elitist category, the so-called «rod tripods». The article then discusses the possibility of identifying these fragments with some currently preserved in Copenhagen, to which the descriptions would appear to correspond and which find an exceptional comparison with another specimen found in Falerii. Although they are different from all other currently known tripods, they resemble each other to the point that it is possible to speak of «twin tripods» and the last part of the work focuses on the meaning to be attributed to the bond that is created between these two exceptional objects.

Abstract Leone Caetani's life (1869-1935) was definitely not a common one. Prince of Teano and duke of Sermoneta, he was immersed on the cream of Italian and international aristocracy of his age age of colonialism, age of adventurous travelling. On the tracks of his travels in the Middle East and in the far West, his studies and his personal writings, we tried to sketch this extraordinary figure of Orientalist on the field, of refined and renowned historian of the first period of Islam. A life through the life itself. This - we imagine - may be the right keyword to interpret his natural aptitude for extreme travels from East to West and the back to East - in the Sinai (1888-1889) and Sahara deserts (1890), in the Far West and the Rocky Mountains of Canada (1891), and back in Persia (1894) and India (1899) -, his pulsating interest for the Arabs and their origins, his craving desire to be \"with boots in the mud\" and \"geography in his pocket\". Versed in the languages he used them to get in touch with cultures and peoples almost unknown - such as the Yazidi -, steadily convinced that only a first-hand experience could give back the exact taste of the truth. He was among the first Italians to explore the Sinai and the first Italian traveller ever in the sands of the Algerian Sahara.

The main aims of this study is to analyse the activities of relationship networks with which the Papal Nuncio Antonio Caetani and Spanish envoys Guillen de San Clemente and Baltasar de Zúñiga surrounded themselves at a time of crisis in the Hapsburg Monarchy in the years 1608-1609.

Review of  Letters from D.S. Mirsky and Helen Iswolsky to Marguerite Caetani. Eds. Sophie Levie and Gerald S. Smith. Roma: Edizioni di Storia e Letteratura, 2015.

This article published a set of twenty documents related to the last sickness and death of King Philip II, gathered in two volumes of the Vatican Archives and not published until now. They fill the time-space of some weeks of the month of September of 1598. There documents are the dispatches that the Apostolich Nuncio Camilo Caetani was daily sendign the his superiors in Rome in order to keep informed Pope Clement VIII. He, sometimes, sent two or three reports daily.

Located on the grounds of the historical Pleasant Valley Road home once belonging to an aristocratic Italian family and their renowned artist daughter, Sveva Caetani, the studio will be used to host workshops, presentations by artists and writers, exhibits, music and other cultural activities. We are so pleased to be able to open this space at this time. It is already booked for youth programs, the new Spoke Literary Festival in August, Runaway Moon puppet theatre productions, and workshops by our visiting artists program. It is a new era for the Caetani centre, said board chair Angelika Jaeger. Visual art will include works by photographer Renee Leveillee, painter and ceramic artist Gabrielle Strong, painter Destanne Norris, and metal sculptor Sandra deVries, with a special presentation by Fresh! AiR visiting artist Sandrine de Borman, from Belgium.

The latest MSO offering showcases an accomplished ensemble, whose effortless proficiency all too easily tempts audiences to forget the immense demands of the repertoire: Mahler's titanic 1st Symphony, Brett Dean's intense and forceful Amphitheatre, and the richly- orchestrated Sibelius Violin Concerto. Chief conductor Oleg Caetani consistently brings an unmannered yet expressive technique to the podium. In this concert, he exercised restraint in his direction without allowing the orchestra to stray, combining the graceful gestures of a flamenco dancer with the intense and unrelenting gaze of a matador.

There are those who believe that the ENO, which the Arts Council rescued from near bankruptcy two years ago, would benefit from a full-time musical director steeped in the British repertory and accustomed to the workings of British opera houses, which have less funding than their Continental rivals. Caetani's two previous music directorships were in the German houses of Wiesbaden and Chemnitz. Caetani previously conducted Khovanschchina at the ENO in 2003 and was scheduled to conduct a Vaughan Williams opera in the next season even before talks began over his candidacy for the post.

Some believe that the ENO, which the Arts Council rescued from near bankruptcy two years ago, would benefit from a full-time musical director steeped in the British repertory and accustomed to the workings of British opera houses, which have less funding than their continental rivals. Caetani's two previous music directorships were in the German houses at Wiesbaden and Chemnitz. Caetani previously conducted Khovanschchina at the ENO in 2003 and was scheduled to conduct a Vaughan Williams opera in the next season even before talks began over his candidacy for the post. [Oleg Caetani]: The second foreigner to head the ENO; Alison Roddy and Andrew Shore in the ENO's production of `The Barber of Seville' Robbie Jack