1.
Mannerism
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Mannerism is a style in European art that emerged in the later years of the Italian High Renaissance around 1520, lasting until about 1580 in Italy, when the Baroque style began to replace it. Northern Mannerism continued into the early 17th century, stylistically, Mannerism encompasses a variety of approaches influenced by, and reacting to, the harmonious ideals associated with artists such as Leonardo da Vinci, Raphael, and early Michelangelo. Where High Renaissance art emphasizes proportion, balance, and ideal beauty, Mannerism exaggerates such qualities, Mannerism is notable for its intellectual sophistication as well as its artificial qualities. Mannerism favors compositional tension and instability rather than the balance and clarity of earlier Renaissance painting, Mannerism in literature and music is notable for its highly florid style and intellectual sophistication. The definition of Mannerism and the phases within it continue to be a subject of debate among art historians, for example, some scholars have applied the label to certain early modern forms of literature and music of the 16th and 17th centuries. The term is used to refer to some late Gothic painters working in northern Europe from about 1500 to 1530. Mannerism also has been applied by analogy to the Silver Age of Latin literature, the word mannerism derives from the Italian maniera, meaning style or manner. Like the English word style, maniera can either indicate a type of style or indicate an absolute that needs no qualification. Vasari was also a Mannerist artist, and he described the period in which he worked as la maniera moderna, james V. Mirollo describes how bella maniera poets attempted to surpass in virtuosity the sonnets of Petrarch. This notion of bella maniera suggests that artists thus inspired looked to copying and bettering their predecessors, in essence, bella maniera utilized the best from a number of source materials, synthesizing it into something new. As a stylistic label, Mannerism is not easily defined, “High Renaissance” connoted a period distinguished by harmony, grandeur and the revival of classical antiquity. The term Mannerist was redefined in 1967 by John Shearman following the exhibition of Mannerist paintings organised by Fritz Grossmann at Manchester City Art Gallery in 1965. The label “Mannerism” was used during the 16th century to comment on social behaviour, however, for later writers, such as the 17th-century Gian Pietro Bellori, la maniera was a derogatory term for the perceived decline of art after Raphael, especially in the 1530s and 1540s. From the late 19th century on, art historians have used the term to describe art that follows Renaissance classicism. By the end of the High Renaissance, young artists experienced a crisis, no more difficulties, technical or otherwise, remained to be solved. The young artists needed to find a new goal, and they sought new approaches, at this point Mannerism started to emerge. The new style developed between 1510 and 1520 either in Florence, or in Rome, or in both cities simultaneously and this period has been described as a natural extension of the art of Andrea del Sarto, Michelangelo, and Raphael. Michelangelo from an early age had developed a style of his own, one of the qualities most admired by his contemporaries was his terribilità, a sense of awe-inspiring grandeur, and subsequent artists attempted to imitate it
2.
Mantua
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Mantua is a city and commune in Lombardy, Italy, and capital of the province of the same name. In 2016, Mantua became Italian Capital of Culture, as chosen by the Italian Government on 27 October 2015, in 2017, Mantua will also be European Capital of Gastronomy, included in the Eastern Lombardy District. In 2007, Mantuas centro storico and Sabbioneta were declared by UNESCO to be a World Heritage Site. Mantuas historic power and influence under the Gonzaga family has made it one of the artistic, cultural, and especially musical hubs of Northern Italy. Mantua is noted for its significant role in the history of opera, the city is known for its architectural treasures and artifacts, elegant palaces. It is the place where the composer Monteverdi premiered his opera LOrfeo and it is the nearest town to the birthplace of the Roman poet Virgil, who was commemorated by a statue at the lakeside park Piazza Virgiliana. Mantua is surrounded on three sides by artificial lakes, created during the 12th century, as the defence system. These lakes receive water from the Mincio River, a tributary of the Po River which descends from Lake Garda, the three lakes are called Lago Superiore, Lago di Mezzo, and Lago Inferiore. A fourth lake, Lake Pajolo, which served as a defensive water ring around the city. These dated, without interruption, from Neolithic times to the Bronze Age and the Gallic phases, and ended with Roman residential settlements, which could be traced to the 3rd century AD. Mantua was a settlement which was first established about the year 2000 BC on the banks of River Mincio. In the 6th century BC, Mantua was an Etruscan village which, the name may derive from the Etruscan god Mantus. This new Roman territory was populated by soldiers of Augustus. Mantuas most famous ancient citizen is the poet Virgil, or Publius Vergilius Maro, after the fall of the western Roman Empire in 476 AD, Mantua was invaded in turn by Goths, Byzantines, Longobards, and Franks. In the 11th century, Mantua became a possession of Boniface of Canossa, the last ruler of that family was the countess Matilda of Canossa, who, according to legend, ordered the construction of the precious Rotonda di San Lorenzo in 1082. The Rotonda still exists today and was renovated in 2013, free Imperial City of Mantua After the death of Matilda of Canossa, Mantua became a free commune and strenuously defended itself from the Holy Roman Empire during the 12th and 13th centuries. In 1198, Alberto Pitentino altered the course of River Mincio, three of these lakes still remains today and the fourth one, which ran through the centre of town, was reclaimed in the 18th century. Podesteria Rule From 1215, the city was ruled under the podesteria of the Gallic-Guelph Rambertino Buvalelli, during the struggle between the Guelphs and the Ghibellines, Pinamonte Bonacolsi took advantage of the chaotic situation to seize power of the podesteria in 1273
3.
Italy
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Italy, officially the Italian Republic, is a unitary parliamentary republic in Europe. Located in the heart of the Mediterranean Sea, Italy shares open land borders with France, Switzerland, Austria, Slovenia, San Marino, Italy covers an area of 301,338 km2 and has a largely temperate seasonal climate and Mediterranean climate. Due to its shape, it is referred to in Italy as lo Stivale. With 61 million inhabitants, it is the fourth most populous EU member state, the Italic tribe known as the Latins formed the Roman Kingdom, which eventually became a republic that conquered and assimilated other nearby civilisations. The legacy of the Roman Empire is widespread and can be observed in the distribution of civilian law, republican governments, Christianity. The Renaissance began in Italy and spread to the rest of Europe, bringing a renewed interest in humanism, science, exploration, Italian culture flourished at this time, producing famous scholars, artists and polymaths such as Leonardo da Vinci, Galileo, Michelangelo and Machiavelli. The weakened sovereigns soon fell victim to conquest by European powers such as France, Spain and Austria. Despite being one of the victors in World War I, Italy entered a period of economic crisis and social turmoil. The subsequent participation in World War II on the Axis side ended in defeat, economic destruction. Today, Italy has the third largest economy in the Eurozone and it has a very high level of human development and is ranked sixth in the world for life expectancy. The country plays a prominent role in regional and global economic, military, cultural and diplomatic affairs, as a reflection of its cultural wealth, Italy is home to 51 World Heritage Sites, the most in the world, and is the fifth most visited country. The assumptions on the etymology of the name Italia are very numerous, according to one of the more common explanations, the term Italia, from Latin, Italia, was borrowed through Greek from the Oscan Víteliú, meaning land of young cattle. The bull was a symbol of the southern Italic tribes and was often depicted goring the Roman wolf as a defiant symbol of free Italy during the Social War. Greek historian Dionysius of Halicarnassus states this account together with the legend that Italy was named after Italus, mentioned also by Aristotle and Thucydides. The name Italia originally applied only to a part of what is now Southern Italy – according to Antiochus of Syracuse, but by his time Oenotria and Italy had become synonymous, and the name also applied to most of Lucania as well. The Greeks gradually came to apply the name Italia to a larger region, excavations throughout Italy revealed a Neanderthal presence dating back to the Palaeolithic period, some 200,000 years ago, modern Humans arrived about 40,000 years ago. Other ancient Italian peoples of undetermined language families but of possible origins include the Rhaetian people and Cammuni. Also the Phoenicians established colonies on the coasts of Sardinia and Sicily, the Roman legacy has deeply influenced the Western civilisation, shaping most of the modern world
4.
Giulio Romano
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Giulio Romano, also known as Giulio Pippi, was an Italian painter and architect. A pupil of Raphael, his stylistic deviations from high Renaissance classicism help define the 16th-century style known as Mannerism, Giulio Romano was born in Rome, the Romano refers to this. He also collaborated on the decoration of the ceiling of the Villa Farnesina, increasingly he became the masters right-hand man, despite his relative youth. After the death of Raphael in 1520, he helped complete the Vatican frescoes of the life of Constantine as well as Raphaels Coronation of the Virgin, in Rome, Giulio decorated the Villa Madama for Cardinal Giuliano de Medici, afterwards Clement VII. The crowded Giulio Romano frescoes lack the stately and serene simplicity of his master, from 1522 he was courted by Federico Gonzaga, ruler of Mantua, who wanted him as court artist, apparently especially attracted by his skill as an architect. In late 1524 Giulio agreed to move to Mantua, where he remained for the rest of his life and he thus avoided the disaster of the Sack of Rome in 1527, which hugely disrupted artistic patronage in Rome and dispersed the remains of Raphaels workshop. Vasari tells how Baldassare Castiglione was delegated by Federico Gonzaga to procure Giulio to execute paintings and architectural and his masterpiece of architecture and fresco painting in that city is the suburban Palazzo Te, with its famous illusionistic frescos. He also helped rebuild the palace in Mantua, reconstructed the cathedral. Sections of Mantua that had been flood-prone were refurbished under Giulios direction, and his studio became a popular school of art. In Renaissance tradition, many works of Giulios were only temporary and he traveled to France in the first half of the 16th century and brought concepts of the Italian style to the French court of Francis I. It is rumored that he contributed to the drawings upon which the album I Modi was engraved by Marcantonio Raimondi and he died in Mantua in 1546. According to Giorgio Vasari, his best pupils were Giovanni dal Lione, Raffaellino dal Colle, Benedetto Pagni, Figurino da Faenza, Giovanni Battista Bertani and his brother Rinaldo, Giulio Romano has the distinction of being the only Renaissance artist to be mentioned by William Shakespeare. In Act V, Scene II of The Winters Tale Queen Hermiones statue is by that rare Italian master, Julio Romano, Giulio was on the whole more influential as an architect than as a painter, and his works had an enormous impact on Italian Mannerist architecture. Planned on a scale, it was incomplete by the Sack of Rome. The Villa Lante al Gianicolo was a suburban villa in Rome. Romano made the building suggest lightness and elegance to exploit the ridge-top position. The orders are delicate, with Tuscan or Doric columns and pilasters in pairs on the main floor, alternate loggia openings are heightened by arches above the entablature. Romanos willingness to play with the conventions of the orders is already in evidence
5.
Architecture
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Architecture is both the process and the product of planning, designing, and constructing buildings and other physical structures. Architectural works, in the form of buildings, are often perceived as cultural symbols. Historical civilizations are often identified with their surviving architectural achievements, Architecture can mean, A general term to describe buildings and other physical structures. The art and science of designing buildings and nonbuilding structures, the style of design and method of construction of buildings and other physical structures. A unifying or coherent form or structure Knowledge of art, science, technology, the design activity of the architect, from the macro-level to the micro-level. The practice of the architect, where architecture means offering or rendering services in connection with the design and construction of buildings. The earliest surviving work on the subject of architecture is De architectura. According to Vitruvius, a building should satisfy the three principles of firmitas, utilitas, venustas, commonly known by the original translation – firmness, commodity. An equivalent in modern English would be, Durability – a building should stand up robustly, utility – it should be suitable for the purposes for which it is used. Beauty – it should be aesthetically pleasing, according to Vitruvius, the architect should strive to fulfill each of these three attributes as well as possible. Leon Battista Alberti, who elaborates on the ideas of Vitruvius in his treatise, De Re Aedificatoria, saw beauty primarily as a matter of proportion, for Alberti, the rules of proportion were those that governed the idealised human figure, the Golden mean. The most important aspect of beauty was, therefore, an inherent part of an object, rather than something applied superficially, Gothic architecture, Pugin believed, was the only true Christian form of architecture. The 19th-century English art critic, John Ruskin, in his Seven Lamps of Architecture, Architecture was the art which so disposes and adorns the edifices raised by men. That the sight of them contributes to his health, power. For Ruskin, the aesthetic was of overriding significance and his work goes on to state that a building is not truly a work of architecture unless it is in some way adorned. For Ruskin, a well-constructed, well-proportioned, functional building needed string courses or rustication, but suddenly you touch my heart, you do me good. I am happy and I say, This is beautiful, le Corbusiers contemporary Ludwig Mies van der Rohe said Architecture starts when you carefully put two bricks together. The notable 19th-century architect of skyscrapers, Louis Sullivan, promoted an overriding precept to architectural design, function came to be seen as encompassing all criteria of the use, perception and enjoyment of a building, not only practical but also aesthetic, psychological and cultural
6.
Giorgio Vasari
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Vasari was born in Arezzo, Tuscany. Recommended at an age by his cousin Luca Signorelli, he became a pupil of Guglielmo da Marsiglia. He was befriended by Michelangelo whose painting style would influence his own, in 1529, he visited Rome where he studied the works of Raphael and other artists of the Roman High Renaissance. Vasaris own Mannerist paintings were admired in his lifetime than afterwards. In 1547 he completed the hall of the chancery in Palazzo della Cancelleria in Rome with frescoes that received the name Sala dei Cento Giorni and he was consistently employed by members of the Medici family in Florence and Rome, and worked in Naples, Arezzo and other places. He also helped to organize the decoration of the Studiolo, now reassembled in the Palazzo Vecchio, aside from his career as a painter, Vasari was also successful as an architect. In Florence, Vasari also built the long passage, now called Vasari Corridor, the enclosed corridor passes alongside the River Arno on an arcade, crosses the Ponte Vecchio and winds around the exterior of several buildings. He also renovated the medieval churches of Santa Maria Novella and Santa Croce, at both he removed the original rood screen and loft, and remodelled the retro-choirs in the Mannerist taste of his time. In Santa Croce, he was responsible for the painting of The Adoration of the Magi which was commissioned by Pope Pius V in 1566 and it was recently restored, before being put on exhibition in 2011 in Rome and in Naples. Eventually it is planned to return it to the church of Santa Croce in Bosco Marengo, in 1562 Vasari built the octagonal dome on the Basilica of Our Lady of Humility in Pistoia, an important example of high Renaissance architecture. In Rome, Vasari worked with Giacomo Barozzi da Vignola and Bartolomeo Ammanati at Pope Julius IIIs Villa Giulia, the Lives also included a novel treatise on the technical methods employed in the arts. The book was rewritten and enlarged in 1568, with the addition of woodcut portraits of artists. The work has a consistent and notorious bias in favour of Florentines, and tends to attribute to them all the developments in Renaissance art – for example, Venetian art in particular, is systematically ignored in the first edition. Between the first and second editions, Vasari visited Venice and while the edition gave more attention to Venetian art. Vasaris biographies are interspersed with amusing gossip, with a few exceptions, however, Vasaris aesthetic judgement was acute and unbiased. He did not research archives for exact dates, as art historians do, and naturally his biographies are most dependable for the painters of his own generation. Modern criticism – with new materials opened up by research – has corrected many of his traditional dates and attributions. Vasari includes a sketch of his own biography at the end of the Lives, according to the historian Richard Goldthwaite, Vasari was one of the earliest authors to use the term competition in its economic sense
7.
Palace
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A palace is a grand residence, especially a royal residence, or the home of a head of state or some other high-ranking dignitary, such as a bishop or archbishop. The word is derived from the Latin name Palātium, for Palatine Hill in Rome which housed the Imperial residences, in many parts of Europe, the term is also applied to ambitious private mansions of the aristocracy. Many historic palaces are now put to uses such as parliaments, museums, hotels. The word is sometimes used to describe a lavishly ornate building used for public entertainment or exhibitions. The word palace comes from Old French palais, from Latin Palātium, the original palaces on the Palatine Hill were the seat of the imperial power while the capitol on the Capitoline Hill was the religious nucleus of Rome. Long after the city grew to the seven hills the Palatine remained a residential area. Emperor Caesar Augustus lived there in a purposely modest house only set apart from his neighbours by the two trees planted to flank the front door as a sign of triumph granted by the Senate. His descendants, especially Nero, with his Golden House, enlarged the house, the word Palātium came to mean the residence of the emperor rather than the neighbourhood on top of the hill. Palace meaning government can be recognized in a remark of Paul the Deacon, AD790 and describing events of the 660s, When Grimuald set out for Beneventum, he entrusted his palace to Lupus. At the same time, Charlemagne was consciously reviving the Roman expression in his palace at Aachen, in the 9th century, the palace indicated the housing of the government too, and the constantly travelling Charlemagne built fourteen. In the Holy Roman Empire the powerful independent Electors came to be housed in palaces and this has been used as evidence that power was widely distributed in the Empire, as in more centralized monarchies, only the monarchs residence would be a palace. In modern times, the term has been applied by archaeologists and historians to large structures that housed combined ruler, court, in informal usage, a palace can be extended to a grand residence of any kind. The earliest known palaces were the residences of the Egyptian Pharaohs at Thebes, featuring an outer wall enclosing labyrinthine buildings. Other ancient palaces include the Assyrian palaces at Nimrud and Nineveh, the Minoan palace at Knossos, the Brazilian new capital, Brasília, hosts modern palaces, most designed by the citys architect Oscar Niemeyer. The Alvorada Palace is the residence of the Brazils president. The Planalto Palace is the official workplace, the Jaburu Palace is the official residence of Brazils vice-president. In Canada, Government House is a given to the official residences of the Canadian monarchy. The use of the term Government House is a custom from the British Empire
8.
Marsh
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A marsh is a wetland that is dominated by herbaceous rather than woody plant species. Marshes can often be found at the edges of lakes and streams and they are often dominated by grasses, rushes or reeds. If woody plants are present they tend to be low-growing shrubs, Marshes provide a habitat for many species of plants, animals, and insects that have adapted to living in flooded conditions. The plants must be able to survive in wet mud with low oxygen levels, many of these plants therefore have aerenchyma, channels within the stem that allow air to move from the leaves into the rooting zone. Marsh plants also tend to have rhizomes for underground storage and reproduction, familiar examples include cattails, sedges, papyrus and sawgrass. Aquatic animals, from fish to salamanders, are able to live with a low amount of oxygen in the water. Some can obtain oxygen from the air instead, while others can live indefinitely in conditions of low oxygen, Marshes provide habitats for many kinds of invertebrates, fish, amphibians, waterfowl and aquatic mammals. Marshes have extremely high levels of production, some of the highest in the world. Marshes also improve water quality by acting as a sink to filter pollutants, Marshes are able to absorb water during periods of heavy rainfall and slowly release it into waterways and therefore reduce the magnitude of flooding. The pH in marshes tends to be neutral to alkaline, as opposed to bogs, Marshes differ depending mainly on their location and salinity. Both of these factors influence the range and scope of animal and plant life that can survive. The three main types of marsh are salt marshes, freshwater marshes, and freshwater marshes. These three can be found worldwide and each contains a different set of organisms, saltwater marshes are found around the world in mid to high latitudes, wherever there are sections of protected coastline. They are located close enough to the shoreline that the motion of the tides affects them and they flourish where the rate of sediment buildup is greater than the rate at which the land level is sinking. Salt marshes are dominated by specially adapted rooted vegetation, primarily salt-tolerant grasses, salt marshes are most commonly found in lagoons, estuaries, and on the sheltered side of shingle or sandspit. The currents there carry the fine particles around to the side of the spit. These locations allow the marshes to absorb the nutrients from the water running through them before they reach the oceans. Coastal development and urban sprawl has caused significant loss of these essential habitats, although considered a freshwater marsh, this form of marsh is affected by the ocean tides
9.
Raphael
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Raffaello Sanzio da Urbino, known as Raphael, was an Italian painter and architect of the High Renaissance. His work is admired for its clarity of form, ease of composition, together with Michelangelo and Leonardo da Vinci, he forms the traditional trinity of great masters of that period. Raphael was enormously productive, running a large workshop and, despite his death at 37. Many of his works are found in the Vatican Palace, where the frescoed Raphael Rooms were the central, the best known work is The School of Athens in the Vatican Stanza della Segnatura. After his early years in Rome much of his work was executed by his workshop from his drawings and he was extremely influential in his lifetime, though outside Rome his work was mostly known from his collaborative printmaking. Raphael was born in the small but artistically significant central Italian city of Urbino in the Marche region and his poem to Federico shows him as keen to show awareness of the most advanced North Italian painters, and Early Netherlandish artists as well. In the very court of Urbino he was probably more integrated into the central circle of the ruling family than most court painters. Under them, the court continued as a centre for literary culture, growing up in the circle of this small court gave Raphael the excellent manners and social skills stressed by Vasari. Castiglione moved to Urbino in 1504, when Raphael was no longer based there but frequently visited, Raphael mixed easily in the highest circles throughout his life, one of the factors that tended to give a misleading impression of effortlessness to his career. He did not receive a humanistic education however, it is unclear how easily he read Latin. His mother Màgia died in 1491 when Raphael was eight, followed on August 1,1494 by his father, Raphael was thus orphaned at eleven, his formal guardian became his only paternal uncle Bartolomeo, a priest, who subsequently engaged in litigation with his stepmother. He probably continued to live with his stepmother when not staying as an apprentice with a master and he had already shown talent, according to Vasari, who says that Raphael had been a great help to his father. A self-portrait drawing from his teenage years shows his precocity and his fathers workshop continued and, probably together with his stepmother, Raphael evidently played a part in managing it from a very early age. In Urbino, he came into contact with the works of Paolo Uccello, previously the court painter, and Luca Signorelli, according to Vasari, his father placed him in the workshop of the Umbrian master Pietro Perugino as an apprentice despite the tears of his mother. The evidence of an apprenticeship comes only from Vasari and another source, an alternative theory is that he received at least some training from Timoteo Viti, who acted as court painter in Urbino from 1495. An excess of resin in the varnish often causes cracking of areas of paint in the works of both masters, the Perugino workshop was active in both Perugia and Florence, perhaps maintaining two permanent branches. Raphael is described as a master, that is to say fully trained and his first documented work was the Baronci altarpiece for the church of Saint Nicholas of Tolentino in Città di Castello, a town halfway between Perugia and Urbino. Evangelista da Pian di Meleto, who had worked for his father, was named in the commission
10.
Exedra
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In architecture, an exedra is a semicircular recess or plinth, often crowned by a semi-dome, which is sometimes set into a buildings façade or is free-standing. The original Greek sense was applied to a room that opened onto a stoa, ringed with curved high-backed stone benches, an exedra may also be expressed by a curved break in a colonnade, perhaps with a semicircular seat. The exedra would typically have a podium that supported the stone running bench. Monument architects have used this free-standing style in modern times. The exedra achieved particular popularity in Roman architecture during the Roman Empire, an exedra was normally a public feature, when rhetoricians and philosophers disputed in a Roman gymnasium it was in an exedra opening into the peristyle that they gathered. A basilica featured a large exedra at the far end from its entrance and this was called a tribuna in Latin, and tribune is used for an area of raised floor backing onto a wall, often in an exedra. Following precedents from Rome, exedrae continued to be in widespread use architecturally after the fall of Rome, in Byzantine architecture and Romanesque architecture, this familiar feature developed into the apse and is fully treated there. A famous use of the exedra is in Donato Bramantes Cortile del Belvedere extension of the Vatican Palace, in Muslim architecture, the exedra becomes a mihrab and invariably retains religious associations, wherever it is seen, even on the smallest scale, as a prayer niche. Both Baroque and Neoclassical architecture used exedrae, Baroque architects, used them to enrich the play of light and shade and give rein to expressive volumes, Neoclassical architects, to articulate the rhythmic pacing of a wall elevation. The interior exedra was richly exploited by Scottish neoclassical architect Robert Adam, a classic example of a Baroque exedra on a reduced scale within its context, is the central niche of the Trevi Fountain in Rome, sheltering a statue of Neptune. Many classicizing bandshells in public parks are exedrae, for the shape, with its half-dome heading, the Hollywood Bowls shell takes the form of the head of a gargantuan exedra, stripped of classicizing details. During the 18th century, a became an popular garden feature or folly. Examples can be found at Belton House and West Wycombe Park, an exedra can be used in landscape design to visually terminate a garden axis. They can incorporate seating, a fountain, tile-work, and landscape lighting, in traditional or contemporary styles
11.
Holy Roman Empire
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The Holy Roman Empire was a multi-ethnic complex of territories in central Europe that developed during the Early Middle Ages and continued until its dissolution in 1806. On 25 December 800, Pope Leo III crowned the Frankish king Charlemagne as Emperor, reviving the title in Western Europe, more than three centuries after the fall of the Western Roman Empire. The title was revived in 962 when Otto I was crowned emperor, fashioning himself as the successor of Charlemagne, some historians refer to the coronation of Charlemagne as the origin of the empire, while others prefer the coronation of Otto I as its beginning. Scholars generally concur, however, in relating an evolution of the institutions and principles constituting the empire, the office of Holy Roman Emperor was traditionally elective, although frequently controlled by dynasties. Emperor Francis II dissolved the empire on 6 August 1806, after the creation of the Confederation of the Rhine by Napoleon, before 1157, the realm was merely referred to as the Roman Empire. In a decree following the 1512 Diet of Cologne, the name was changed to Holy Roman Empire of the German Nation, by the end of the 18th century, the term Holy Roman Empire of the German Nation had fallen out of official use. As Roman power in Gaul declined during the 5th century, local Germanic tribes assumed control, by the middle of the 8th century, however, the Merovingians had been reduced to figureheads, and the Carolingians, led by Charles Martel, had become the de facto rulers. In 751, Martel’s son Pepin became King of the Franks, the Carolingians would maintain a close alliance with the Papacy. In 768 Pepin’s son Charlemagne became King of the Franks and began an expansion of the realm. He eventually incorporated the territories of present-day France, Germany, northern Italy, on Christmas Day of 800, Pope Leo III crowned Charlemagne emperor, restoring the title in the west for the first time in over three centuries. After the death of Charles the Fat in 888, however, the Carolingian Empire broke apart, according to Regino of Prüm, the parts of the realm spewed forth kinglets, and each part elected a kinglet from its own bowels. After the death of Charles the Fat, those crowned emperor by the pope controlled only territories in Italy, the last such emperor was Berengar I of Italy, who died in 924. Around 900, autonomous stem duchies reemerged in East Francia, on his deathbed, Conrad yielded the crown to his main rival, Henry the Fowler of Saxony, who was elected king at the Diet of Fritzlar in 919. Henry reached a truce with the raiding Magyars, and in 933 he won a first victory against them in the Battle of Riade, Henry died in 936, but his descendants, the Liudolfing dynasty, would continue to rule the Eastern kingdom for roughly a century. Upon Henry the Fowlers death, Otto, his son and designated successor, was elected King in Aachen in 936 and he overcame a series of revolts from an elder brother and from several dukes. After that, the managed to control the appointment of dukes. In 951, Otto came to the aid of Adelaide, the queen of Italy, defeating her enemies, marrying her. In 955, Otto won a victory over the Magyars in the Battle of Lechfeld
