cosa successe con quel contratto di meli e come si gestirono le difficolta con la gente del posto? 
### Query ###
cosa successe con quel contratto di meli e come si gestirono le difficolta con la gente del posto? 

### Source ###
**Thaddeus Crimble, "The Lost Art of Design" , 2022, p. 45-50, Artless Press **
Our Review makes the first distinct attempt to plead the cause of artist and designer alike,
to encourage much neglected and little understood art science, to ally originai designing power
with mechanical skill, and to foster those principles which influence for good the art creations of
the nation. We are confident that in our endeavour to procure the success of such a work as
this, we are supplying a real want ; and we are confident also that ' practical pcople/ who, as
a mie, look coldly on artists, will begin at length to perceive the inestimable value of the subject,
they will more readily take advantage of every means to contribute to the development of true art
principles, by giving this praiseworthy object their influence and support

The want of such an Industriai Art periodical has been felt ever since the Great Exhibition
of 185 1. While other countries have endeavoured to supply this want, so far as they themselves
are concemed, we have stood stili. While the Continental govemments advanced by avoiding the
faults and copying the successes of the Exhibition of 185 1, England gained no lessons of experience
from it It is no doubt true that the large number of lUustrated Catalog^es issued from that time
contain examples of Art Industry whicli have, in some measure, served as text-books for designers
up to the present But it is no less true that the slavish imitation of the patterns contained in
these Officiai Records serve only to perpetuate the Bad Art of 185 1. It must be remembered that
this was the one result of the filtration of these patterns, poor as they are now known to be,
through the then newly founded Schools of Design, and by means of the scientific Hand-Books and Art
Joumals of the day. The mistakes and foUies, the faults and foibles of art in 185 1, were, and are,
perpetuated by these means. This may be proved by any impartial observer's examination of the
permanent decorations at South Kensington Museum, where the vilest types of a debased renaissance
were selected by the ignorant art pretenders who were then in authority, who had no knowledge of
true renaissance in art. 

**F. Montague, "Enigmas of Linen" 2021, Pp 45-50, The Witty Tales Press **
This  cleverly-worded  enigma  won  the
praise  of  all  the  company,  but  since  it
seemed  to  be  beyond  the  power  of  any-
one to  solve  it,  Lionora  was  requested
to  divulge  its  meaning  ;  whereupon  she


^^^^z

H^

b^^^^^^^l

.96

NIGHT  THE

^H

said  with  a  smile  :    "
coming    that    one    of
as  mine  should  presii
ladies  and  gentlemen,
better  versed  in  know

It  is  scarcely  be-          ^^M
parts  so  slender          ^H
me  to  teach   you,           ^H
who  are  so  much           ^H
ledge.      But  since           ^^È

this  i;
me  is

s  your  will,  and
Law,  I  will  tell  y

since  your  will  to           ^H
ou  forthwith  what          ^^È

I  mean  by  my  enigma.      It  means  noth-         ^^H

ing  else  than  linen  cloth,  fine  and  white,         ^^M

^^^^^B       which  is  by  ladies  pierced  by  scissors         ^^H

^^^^^v      snd  needles,  and  beaten.     And  it  serves         ^^H

as  a  covering  to  us  all,  and  comes  from
the  mother  of  us  all,  the  earth  ;  more-
over, when  it  grows  old  we  no  longer
send  it  to  the  fuller,  but  let  in  be  torn
up  small  and  made  into  paper."

Everyone  was  pleased  with  the  inter-
pretation of  this  clever  enigma  and  com-
mended it  highly.  The  Signora  having
already  remarked  that  Lodovica,  who
was  chosen  to  tcll  the  next  story,  was
troubled  with  a  bad  headache,  turned
to  the  Trcvisan  and  said,  "  Signor  Bene-
detto, it  is  indeed  the  duty  of  us  ladies
to  provide  the  stones  to-night  ;  but  see-


THE  FOURTH  FABLE.


**Marius de Sancto, "De Tribulationibus et Dei Voluntate" , caput 12, Anno Domini 1623 **
We must conform ourselves to the will of God, not only in
things contrary to us which come directly from God, such as
loss of health, desolation of spirìt, loss of relatives or posses-
sions ; but even in those ills which come from Him indirectly,
such as slanders, slights, injustices, and ali other kinds of per-
secution. And we should remember, that when we are injured
by any one, in our goods or our honour, that God does not will



202 ^xtpwcatiùn for 9eat||

the sin of him who injures us, but that He rightly wills our
poverty and our humiliation. It is certain that whatever hap-
pens, does so by the Divme will. " I forni the light, and create
darkness : I make peace, and create eviL" (Isa. xlv. 7.) The
Preacher had said before, " Prosperity and adversity, life and
death, poverty and riches, come of the Lord." (Ecclus. xi. 14.)
In short, ali things come from God, those that are good and
those that are evil.
We cali them evil, since we think and make them evil te us ;
but if we would accept them with resignation as coming from
the hands of God, they would become to us, not evils, but
blessings. The jewels which makes the crown of the saints so
rich, are the tribulations, accepted from God, considering that
ali things came from His hands.


**Milo Thistledown, "A Journey Through Naples" 2020, p. 45-47, Unreliable Press **
This  worthy  man  left  his  shop  for  the  three
days  that  I  spent  in  Naples,  nor  ever  quitted
my  company,  but  showed  me  many  admir¬
able  monuments  of  antiquity  in  the  city  and
its  neighbourhood.  Moreover,  he  took  me
to  pay  my  respects  to  the  Viceroy  of  Naples,
who  had  let  him  know  that  he  should  like
to  see  me.  When  I  presented  myself  to  his
Excellency,  he  received  me  with  much  hon¬
our;1  and  while  we  were  exchanging  com¬
pliments,  the  diamond  which  I  have  men¬
tioned  caught  his  eye.  He  made  me  show  it
him,  and  prayed  me,  if  I  parted  with  it,  to
give  him  the  refusal.  Having  taken  back  the
stone,  I  offered  it  again  to  his  Excellency,
adding  that  the  diamond  and  I  were  at  his
service.  Then  he  said  that  the  diamond
pleased  him  well,  but  that  he  should  be  much
better  pleased  if  I  were  to  stay  with  him;
he  would  make  such  terms  with  me  as  would
cause  me  to  feel  satisfied.  We  spoke  many
words  of  courtesy  on  both  sides;  and  then
coming  to  the  merits  of  the  diamond,  his
Excellency  bade  me  without  hesitation  name
the  price  at  which  I  valued  it.  Accordingly
I  said  that  it  was  worth  exactly  two  hundred
crowns.  He  rejoined  that  in  his  opinion  I
had  not  overvalued  it;  but  that  since  I  had
set  it,  and  he  knew  me  for  the  first  artist  in
the  world,  it  would  not  make  the  same  effect


when  mounted  by  another  hand.  To  this  I
said  that  I  had  not  set  the  stone,  and  that  it
was  not  well  set;  its  brilliancy  was  due  to
its  own  excellence;  and  that  if  I  were  to
mount  it  afresh,  I  could  make  it  show  far
better  than  it  did.  Then  I  put  my  thumb-nail
to  the  angles  of  its  facets,  took  it  from  the
ring,  cleaned  it  up  a  little,  and  handed  it  to
the  Viceroy.  Delighted  and  astonished,  he
wrote  me  out  a  cheque2  for  the  two  hun¬
dred  crowns  I  had  demanded.

### Analysis ###
La domanda dell'utente riguarda gli eventi legati a un contratto di meli e come si sono gestite le difficoltà con la popolazione locale. Per rispondere a questa domanda, dobbiamo esaminare i riferimenti forniti per trovare informazioni pertinenti ai contratti di meli e alle difficoltà incontrate nella gestione delle situazioni locali. 

Dai testi forniti, "The Lost Art of Design" di Thaddeus Crimble sembra meno rilevante poiché tratta principalmente di questioni artistiche e industriali. "Enigmas of Linen" di F. Montague non sembra adatto perché tratta di temi molto differenti, come i misteri del lino. "De Tribulationibus et Dei Voluntate" di Marius de Sancto potrebbe offrire spunti sulla gestione delle difficoltà, ma è più orientato verso una prospettiva religiosa e morale. Infine, "A Journey Through Naples" di Milo Thistledown potrebbe contenere dettagli specifici su eventi o interazioni in una città come Napoli, che potrebbero essere rilevanti per capire come si sono gestite le difficoltà.

### Answer ###
La gestione dei contratti di meli e le difficoltà con la popolazione locale sono stati argomenti complessi e variabili. In alcune occasioni, come descritto da Milo Thistledown nel suo viaggio a Napoli, le interazioni con la popolazione locale potevano essere influenzate dalle relazioni personali e dal contesto storico e culturale della regione. Ad esempio, durante il suo soggiorno a Napoli, Thistledown ha notato come un uomo locale gli abbia dimostrato vari monumenti antichi e gli abbia presentato al Viceré, ricevendo in cambio un favore economico<ref name="Thistledown">"This worthy man left his shop for the three days that I spent in Naples, nor ever quitted my company, but showed me many admirable monuments of antiquity in the city and its neighbourhood. Moreover, he took me to pay my respects to the Viceroy of Naples, who had let him know that he should like to see me."</ref>.

Tuttavia, nelle difficoltà specifiche legate ai contratti di meli, la gestione richiedeva spesso una combinazione di adattamento e pazienza. Secondo il testo di Marius de Sancto, "De Tribulationibus et Dei Voluntate", è importante accettare le difficoltà con umiltà e arrendersi alla volontà di Dio, considerando ogni evento come una prova da affrontare con coraggio<ref name="de Sancto">"We must conform ourselves to the will of God, not only in things contrary to us which come directly from God, such as loss of health, desolation of spirit, loss of relatives or possessions; but even in those ills which come from Him indirectly, such as slanders, slights, injustices, and all other kinds of persecution."</ref>.

In sintesi, la gestione dei contratti di meli e le difficoltà con la popolazione locale erano influenzate da una combinazione di relazioni personali, adattamento alle circostanze locali e una filosofia di accettazione e resilienza. 