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A reconsideration of the problem of time in the Renaissance, examining the complex and layered temporalities of Renaissance images and artifacts. In this widely anticipated book, two leading contemporary art historians offer a subtle and profound reconsideration of the problem of time in the Renaissance. Alexander Nagel and Christopher Wood examine the meanings, uses, and effects of chronologies, models of temporality, and notions of originality and repetition in Renaissance images and artifacts. Anachronic Renaissance reveals a web of paths traveled by works and artists—a landscape obscured by art history's disciplinary compulsion to anchor its data securely in time. The buildings, paintings, drawings, prints, sculptures, and medals discussed were shaped by concerns about authenticity, about reference to prestigious origins and precedents, and about the implications of transposition from one medium to another. Byzantine icons taken to be Early Christian antiquities, the acheiropoieton (or “image made without hands”), the activities of spoliation and citation, differing approaches to art restoration, legends about movable buildings, and forgeries and pastiches: all of these emerge as basic conceptual structures of Renaissance art. Although a work of art does bear witness to the moment of its fabrication, Nagel and Wood argue that it is equally important to understand its temporal instability: how it points away from that moment, backward to a remote ancestral origin, to a prior artifact or image, even to an origin outside of time, in divinity. This book is not the story about the Renaissance, nor is it just a story. It imagines the infrastructure of many possible stories.
From the fourteenth to the seventeenth century, humanism played a key role in European culture. Beginning as a movement based on the recovery, interpretation and imitation of ancient Greek and Roman texts and the archaeological study of the physical remains of antiquity, humanism turned into a dynamic cultural programme, influencing almost every facet of Renaissance intellectual life. The fourteen essays in this 1996 volume deal with all aspects of the movement, from language learning to the development of science, from the effect of humanism on biblical study to its influence on art, from its Italian origins to its manifestations in the literature of More, Sidney and Shakespeare. A detailed biographical index, and a guide to further reading, are provided. Overall, The Cambridge Companion to Renaissance Humanism provides a comprehensive introduction to a major movement in the culture of early modern Europe.
Out of the diverse traditions of medical humanism, classical philology, and natural philosophy, Renaissance naturalists created a new science devoted to discovering and describing plants and animals. Drawing on published natural histories, manuscript correspondence, garden plans, travelogues, watercolors, and drawings, The Science of Describing reconstructs the evolution of this discipline of description through four generations of naturalists. In the late fifteenth and early sixteenth centuries, naturalists focused on understanding ancient and medieval descriptions of the natural world, but by the mid-sixteenth century naturalists turned toward distinguishing and cataloguing new plant and animal species. To do so, they developed new techniques of observing and recording, created botanical gardens and herbaria, and exchanged correspondence and specimens within an international community. By the early seventeenth century, naturalists began the daunting task of sorting through the wealth of information they had accumulated, putting a new emphasis on taxonomy and classification. Illustrated with woodcuts, engravings, and photographs, The Science of Describing is the first broad interpretation of Renaissance natural history in more than a generation and will appeal widely to an interdisciplinary audience.
A chronicle of the years between 1100 and 1453 describes the Crusades, the Inquisition, the emergence of the Ottomans, the rise of the Mongols, and the invention of new currencies, weapons, and schools of thought.
Authored by some of the most preeminent Renaissance scholars active today, the essays of this volume give fresh and illuminating analyses of important aspects of Renaissance humanism, such as the time and causes of its origin, its connection to the papal court and medieval traditions, its classical learning, its religious and literary dimensions, and its dramatis personae. Their interpretations are varied to the point of being contradictory. The essays bear the imprint of the work of the eminent scholars of the second half of the twentieth century, especially Kristeller’s, and demonstrate an awareness of the various modes of critical inquiry that have prevailed in recent years. As such they are an important exemplar of current scholarship on Renaissance humanism and are, therefore, indispensable to the scholar who wishes to explore this pivotal cultural movement. Contributors include: Robert Black, Alison Brown, Riccardo Fubini, Paul F. Grendler, James Hankins, Eckhard Kessler, Arthur F. Kinney, Angelo Mazzocco, Giuseppe Mazzotta, Massimo Miglio, John Monfasani, Charles G. Nauert, and Ronald G. Witt.
In this lavishly illustrated study, Belting deals with the double history of perspective, as a visual theory based on geometrical abstraction (in the Middle East) and as pictorial theory (in Europe). Florence and Baghdad addresses a provocative question that reaches beyond the realm of aesthetics and mathematics: What happens when Muslims and Christians look upon each other and find their way of viewing the world transformed as a result?
Representing an extraordinary lifetime of scholarship, Renaissance Thought and Its Sources offers a systematic account of major themes in Renaissance philosophy, science, and literature. Here, in some of Paul Oskar Kristeller's most comprehensive and ambitious writings, is an exploration of the distinctive trends and concepts of the Renaissance, grounded in detailed historical investigation.
Leonardo Bruni (1370Ð1444) is widely recognized as the most important humanist historian of the early Renaissance. But why this recognition came aboutÑand what it has meant for the field of historiographyÑhas long been a matter of confusion and controversy. Writing History in Renaissance Italy offers a fresh approach to the subject by undertaking a systematic, work-by-work investigation that encompasses for the first time the full range of BruniÕs output in history and biography. The study is the first to assess in detail the impact of the classical Greek historians on the development of humanist methods of historical writing. It highlights in particular the importance of Thucydides and PolybiusÑauthors Bruni was among the first in the West to read, and whose analytical approach to politics led him in new directions. Yet the revolution in history that unfolds across the four decades covered in this study is no mere revival of classical models: Ianziti constantly monitors BruniÕs position within the shifting hierarchies of power in Florence, drawing connections between his various historical works and the political uses they were meant to serve. The result is a clearer picture of what Bruni hoped to achieve, and a more precise analysis of the dynamics driving his new approach to the past. Bruni himself emerges as a protagonist of the first order, a figure whose location at the center of power was a decisive factor shaping his innovations in historical writing.
Erwin Panofsky’s Perspective as Symbolic Form is one of the great works of modern intellectual history, the legendary text that has dominated all art-historical and philosophical discussions on the topic of perspective in this century. Finally available in English, this unrivaled example of Panofsky’s early method places him within broader developments in theories of knowledge and cultural change. Here, drawing on a massive body of learning that ranges over ancient philosophy, theology, science, and optics as well as the history of art, Panofsky produces a type of “archaeology” of Western representation that far surpasses the usual scope of art historical studies. Perspective in Panofsky’s hands becomes a central component of a Western “will to form,” the expression of a schema linking the social, cognitive, psychological, and especially technical practices of a given culture into harmonious and integrated wholes. He demonstrates how the perceptual schema of each historical culture or epoch is unique and how each gives rise to a different but equally full vision of the world. Panofsky articulates these distinct spatial systems, explicating their particular coherence and compatibility with the modes of knowledge, belief, and exchange that characterized the cultures in which they arose. Our own modernity, Panofsky shows, is inseparable from its peculiarly mathematical expression of the concept of the infinite, within a space that is both continuous and homogenous.
Christopher Celenza is one of the foremost contemporary scholars of the Renaissance. His ambitious new book focuses on the body of knowledge which we now call the humanities, charting its roots in the Italian Renaissance and exploring its development up to the Enlightenment. Beginning in the fifteenth century, the author shows how thinkers like Lorenzo Valla and Angelo Poliziano developed innovative ways to read texts closely, paying attention to historical context, developing methods to determine a text's authenticity, and taking the humanities seriously as a means of bettering human life. Alongside such novel reading practices, technology – the invention of printing with moveable type – fundamentally changed perceptions of truth. Celenza also reveals how luminaries like Descartes, Diderot, and D'Alembert – as well as many lesser-known scholars – challenged traditional ways of thinking. Celenza's authoritative narrative demonstrates above all how the work of the early modern humanist philosophers had a profound impact on the general quest for human wisdom. His magisterial volume will be essential reading for all those who value the humanities and their fascinating history.