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Winner, 2010 Phyllis Goodhart Gordan Book Prize, the Renaissance Society of America2009 Outstanding Academic Title, ChoiceHonorable Mention, Economics, 2009 PROSE Awards, Professional and Scholarly Publishing division of the Association of American Publishers Richard A. Goldthwaite, a leading economic historian of the Italian Renaissance, has spent his career studying the Florentine economy. In this magisterial work, Goldthwaite brings together a lifetime of research and insight on the subject, clarifying and explaining the complex workings of Florence’s commercial, banking, and artisan sectors. Florence was one of the most industrialized cities in medieval Europe, thanks to its thriving textile industries. The importation of raw materials and the exportation of finished cloth necessitated the creation of commercial and banking practices that extended far beyond Florence’s boundaries. Part I situates Florence within this wider international context and describes the commercial and banking networks through which the city's merchant-bankers operated. Part II focuses on the urban economy of Florence itself, including various industries, merchants, artisans, and investors. It also evaluates the role of government in the economy, the relationship of the urban economy to the region, and the distribution of wealth throughout the society. While political, social, and cultural histories of Florence abound, none focuses solely on the economic history of the city. The Economy of Renaissance Florence offers both a systematic description of the city's major economic activities and a comprehensive overview of its economic development from the late Middle Ages through the Renaissance to 1600.
"Rich and engaging. This account of Florentine art tells the story of who commissioned these works, who made them, where they were seen, and how they were experienced and understood by their viewers. Includes a useful timeline, glossary, and series of artists' biographies."--Patricia L. Reilly, Swarthmore College "An extraordinarily useful book, not only for teachers, but also for historically minded travelers interested in an illustrated guide to the art of Renaissance Florence."--Evelyn Lincoln, Brown University "Clear and compelling. The well-chosen illustrations include ground plans and diagrams of key architectural monuments and sculpture. The updated, judicious bibliography is a resource for anyone tackling the vast scholarship on the art of Renaissance Florence."--Cristelle Baskins, editor of The Triumph of Marriage: Painted Cassoni of the Renaissance
Franklin's unprecedented examination of Vasari's work as a painter in relation to his vastly better-known writings fully illuminates these dual strands in Florentine art and offers us a clearer understanding of sixteenth-century painting in Florence than ever before." "The volume focuses on twelve painters: Perugino, Leonardo de Vinci, Piero di Cosimo, Michelangelo, Fra Bartolomeo, Ridolfo Ghirlandaio, Andrea del Sarto, Franciabigio, Rosso Fiorentino, Jacopo da Pontormo, Francesco Salviati and Giorgio Vasari."--BOOK JACKET.
Essays illustrate the ways Renaissance Florentines expressed or shaped their identities as they interacted with their society.
For courses in Renaissance Art. This text offers an incisive and original account of fourteenth- and fifteenth-century Florentine art in its social, cultural, political, geographic, economic and religious settings. Ranging in scope from monumental and public artworks to the intimacy of the domestic interior, it explores artistic patronage and the working conditions of artists in a way that is fully accessible to the inexperienced reader.
Florence in the fifteenth century was the undisputed centre of the Italian Renaissance. Its legacy is apparent today in every aspect of human endeavour. Our art and science, our learning and literature, our Christianity and our civic liberties, even our conception of what constitutes a gentleman, have all been shaped by Florentine thought and deed. In this brilliant and absorbing book Vincent Cronin brings vividly to life the people and myriad achievements of this astonishingly fruitful epoch in human history.
This lovely book provides an introduction to the activities of the leading artists active in Florence during one decade of the quattrocento. It illustrates their special contributions and highlights their differences, common sources and ambitions, and responses to each other. It also explain how their art was made within the framework established by the religious, political, and social needs of powerful Florentine families. This was an era when Lorenzo de'Medici and his allies were working to consolidate their dominance in Florence, and cultivation of the visual arts were an essential part of the way in which they asserted their influence. Competition and collaboration was encouraged between artists, as was innovation in subject and technique. The book concentrates on the art of Andrea Verrocchio, Antonio and Piero Pollaiuolo, Sandro Botticelli and Filippino Lippi. Their paintings are presented within the context of the other arts practiced in the same or in neighboring workshops, and a number of works in other media are included: sculpture and objects in marble, bronze, and clay; manuscript illumination; medals; engravings and drawings. Among the drawings discussed are some by the young Leonardo, who worked with Verrocchio and was responsive to the art of the Pollaiuolo brothers during this period.
This book examines the social history of Florence from the fourteenth through to sixteenth centuries.
The service books of the Florentine Duomo of Santa Maria del Fiore were, like the church itself, a cultural reflection of the city's position of power and prestige. Largely unexplored by modern scholars, these manuscripts provided the texts and, sometimes, the music necessary for the celebration of the liturgical services. Marica S. Tacconi offers the first comprehensive investigation of the sixty-five extant liturgical manuscripts produced between 1150 and 1526 for both Santa Maria del Fiore and its predecessor, the early cathedral of Santa Reparata. She employs a multidisciplinary approach that recognizes the books as codicological, liturgical, musical, and artistic products. Their cultural contexts, and their civic and propagandistic uses, are uncovered through the analysis of extensive archival material, much of which is presented here for the first time. This important and fascinating study provides new insights into late medieval and Renaissance Florentine ritual and culture.