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Florentine New Towns is an original and comprehensive study of an important episode in late Medieval urbanism.
This book offers a comprehensive approach to the study of the political history of the Renaissance: its analysis of government is embedded in the context of geography and social conflict. Instead of the usual institutional history, it examines the Florentine state from the mountainous periphery - a periphery both of geography and class - where Florence met its most strenuous opposition to territorial incorporation. Yet, far from being acted upon, Florence's highlanders were instrumental in changing the attitudes of the Florentine ruling class: the city began to see its own self-interest as intertwined with that of its region and the welfare of its rural subjects at the beginning of the fifteenth century. Contemporaries either remained silent or purposely obscured the reasons for this change, which rested on widespread and successful peasant uprisings across the mountainous periphery of the Florentine state, hitherto unrecorded by historians.
Florence in the Early Modern World offers new perspectives on this important city by exploring the broader global context of the fifteenth and sixteenth centuries, within which the experience of Florence remains unique. By exploring the city’s relationship to its close and distant neighbours, this collection of interdisciplinary essays reveals the transnational history of Florence. The chapters orient the lenses of the most recent historiographical turns perfected in studies on Venice, Rome, Bologna, Naples, and elsewhere towards Florence. New techniques, such as digital mapping, alongside new comparisons of architectural theory and merchants in Eurasia, provide the latest perspectives about Florence’s cultural and political importance before, during, and after the Renaissance. From Florentine merchants in Egypt and India, through actual and idealized military ambitions in the sixteenth-century Mediterranean, to Tuscan humanists in late medieval England, the contributors to this interdisciplinary volume reveal the connections Florence held to early modern cities across the globe. This book steers away from the historical narrative of an insular Renaissance Europe and instead identifies the significance of other global influences. By using Florence as a case study to trace these connections, this volume of essays provides essential reading for students and scholars of early modern cities and the Renaissance.
For over a century, the Touring Club of Italy has been publishing the country's most authoritative guidebooks and maps. The Heritage Series is the expert's guide to travel and sightseeing in Italy. Each volume includes museums, town histories, churches, landmarks, and archaeological sites. There are dozens of maps that give an overview of each city, plus detailed neighborhood plans. Listings of accommodations and restaurants are complete with addresses, price ranges, hours, and phone and fax numbers.
A collection of the best recent research on the Republic of Florence in Tuscany during the Renaissance.
From the strictly regimented church bells to the freewheeling chatter of civic life, Renaissance Florence was a city built not just of stone but of sound as well. An evocative alternative to the dominant visual understanding of urban spaces, The Noisy Renaissance examines the premodern city as an acoustic phenomenon in which citizens used sound to navigate space and society. Analyzing a range of documentary and literary evidence, art and architectural historian Niall Atkinson creates an “acoustic topography” of Florence. The dissemination of official messages, the rhythm of prayer, and the murmur of rumor and gossip combined to form a soundscape that became a foundation in the creation and maintenance of the urban community just as much as the city’s physical buildings. Sound in this space triggered a wide variety of social behaviors and spatial relations: hierarchical, personal, communal, political, domestic, sexual, spiritual, and religious. By exploring these rarely studied soundscapes, Atkinson shows Florence to be both an exceptional and an exemplary case study of urban conditions in the early modern period.
This work springs from the idea that human aspirations for the city tend to overstate the role of rationality in public life. The author explores the part serendipity plays in urban experience.
In this book, which was originally published in 2005, Amanda Lillie challenges the urban bias in Renaissance art and architectural history by investigating the architecture and patronage strategies, particularly those of the Strozzi and the Sassetti clans, in the Florentine countryside during the fifteenth century. Based entirely on archival material that remained unpublished at the time of publication, her book examines a number of villas from this period and reconstructs the value systems that emerge from these sources, which defy the traditional, idealized interpretation of the 'renaissance villa'. Here, the house is studied in relation to the families who lived in them and to the land that surrounded them. The villa emerges as a functional, utilitarian farming unit upon whose success families depended, and where dynastic and patrimonial values could be nurtured.
The description for this book, Florentine Histories, will be forthcoming.
The text presented here, Francesco Bocchi's Le Bellezze della citta di Fiorenza (The Beauties of the City of Florence), originally published in 1591, is one of the most remarkable of Renaissance writings on art and thus an especially valuable document of the culture within which and for which Renaissance art was made. It is not exactly the first guidebook, nor is it entirely an art guidebook in the modern sense of the word, but it marks an important step in the history of guidebook literature, perhaps the definitive step in the formation of the modern genre. It seeks to direct people's attention to outstanding objects, but also to offer instruction in how to look, what to think, and what to say. Scholars find it useful for purely archaeological reasons, as a record of numerous minor works of art and their locations, for instance, but its deepest source of interest is the lively discursive engagement with art to which it attests, and the passionate and eloquent way in which it makes the case that such engagement is a matter of the greatest urgency and importance. For this reason, the book has much to offer the non-specialist - anyone who visits Florence and gives any thought at all to what it means to look at art - and the desire to reach this kind of reader has been the real motivation behind the preparation of this translation. Enough of the city remains as Bocchi saw it to permit the book still to be used as a guide, held in the hand as one walks from place to place and read before the objects described. The notes and illustrations provided here are designed to facilitate that process. What Bocchi emphasises and what he ignores will sometimes surprise the modern reader, and what he says about individual works may occasionally prompt bewilderment or disagreement. His values and habits of thought are close enough to ours to seem familiar yet are not exactly our own; his way of looking, of thinking, and of speaking are foreign enough to remind us of the distance that separates us from the Renaissance, of the singularity of historical moments and individual points of view. In reading Bocchi, one begins to understand something of how his contemporaries thought about what they saw; one learns to see the works differently and, as a result, to develop a sharper sense of the presuppositions we bring to our encounters with art, to see our own way of looking and thinking more objectively. This translation is thus an invitation to enter into a dialogue with history; its deeper purpose is to stimulate modern visitors to Florence to objectify their own processes of looking, thinking, and speaking, and in so doing to develop a new degree of self-consciousness, a new, historical perspective on themselves. Thomas Frangenberg's main research interests concern European Art and Architecture (1500-1770), Italian Art Theory 1400-1800, the history of linear perspective and its relation to the theory of optics. He teaches at the University of Leicester. Robert Williams is a specialist in Italian sixteenth-century aesthetic theory. He is Professor of History of Art and Architecture at the University of California, Santa Barbara.