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Venice's reputation for political stability and a strong, balanced republican government holds a prominent place in European political theory. Edward Muir traces the origins and development of this reputation, paying particular attention to the sixteenth century, when civic ritual in Venice reached its peak. He shows how the ritualization of society and politics was an important reason for Venice's stability. Influenced in part by cultural anthropology, he establishes and applies to Venice a new methodology for the historical study of civic ritual.
Public life - Humanism - Civic humanism - Friendship - Ritual - Alberti - Women in Florence - Family - Everyday life in Florence.
Tracing the history of St. Antoninus' cult and burial from the time of his death in 1459 until his remains were moved to their final resting place in 1589, this interdisciplinary study demonstrates that the saint's relic cult was a key element of Florence's sacred cityscape. The works of art created in his honor, as well as the rituals practiced at his fifteenth- and sixteenth-century places of burial, advertised Antoninus' saintly power and persona to the people who depended upon his intercessory abilities to negotiate life's challenges. Drawing on a rich variety of contemporary visual, literary, and archival sources, this volume explores the ways in which shifting political, familial, and ecclesiastical aims and agendas shaped the ways in which St. Antoninus' holiness was broadcast to those who visited his burial church. Author Sally Cornelison foregrounds the visual splendor of the St. Antoninus Chapel, which was designed, built, and decorated by Medici court artist Giambologna and his collaborators between 1579 and 1591. Her research sheds new light on the artist, whose secular and mythological sculptures have received far more scholarly attention than his religious works. Cornelison draws on social and religious history, patronage and gender studies, and art historical and anthropological inquiries into the functions and meanings of images, relics, and ritual performance, to interpret how they activated St. Antoninus' burial sites and defined them in ways that held multivalent meanings for a broad audience of viewers and devotees. Among the objects for which she provides visual and contextual analyses are a banner from the saint's first tomb, early printed and painted images, and the sculptures, frescoes, panel paintings, and embroidered textiles made for the present St. Antoninus Chapel.
This book examines the social history of Florence from the fourteenth through to sixteenth centuries.
By the early fourteenth century, the city of Florence had emerged as an economic power in Tuscany, surpassing even Siena, which had previously been the banking center of the region. In the space of fifty years, during the lifetime of Dante Alighieri, 1265-1321, Florence had transformed itself from a political and economic backwater—scarcely keeping pace with its Tuscan neighbors—to one of the richest and most influential places on the continent. While many historians have focused on the role of the city's bankers and merchants in achieving these rapid transformations, in Florence and Its Church in the Age of Dante, George W. Dameron emphasizes the place of ecclesiastical institutions, communities, and religious traditions. While by no means the only factors to explain Florentine ascension, no account of this period is complete without considering the contributions of the institutional church. In Florence, economic realities and spiritual yearnings intersected in mysterious ways. A busy grain market on a site where a church once stood, for instance, remained a sacred place where many gathered to sing and pray before a painted image of the Virgin Mary, as well as to conduct business. At the same time, religious communities contributed directly to the economic development of the diocese in the areas of food production, fiscal affairs, and urban development, while they also provided institutional leadership and spiritual guidance during a time of profound uncertainty. Addressing such issues as systems of patronage and jurisdictional rights, Dameron portrays the working of the rural and urban church in all of its complexity. Florence and Its Church in the Age of Dante fills a major gap in scholarship and will be of particular interest to medievalists, church historians, and Italianists.
Dana E. Katz reveals how Italian Renaissance painting became part of a policy of tolerance that deflected violence from the real world onto a symbolic world. While the rulers upheld toleration legislation governing Christian-Jewish relations, they simultaneously supported artistic commissions that perpetuated violence against Jews.
Proposing an original and important re-conceptualization of Italian Renaissance drama, Kristin Phillips-Court here explores how the intertextuality of major works of Italian dramatic literature is not only poetic but also figurative. She argues that not only did the painterly gaze, so prevalent in fifteenth- and sixteenth-century devotional art, portraiture, and visual allegory, inform humanistic theories, practices and themes, it also led prominent Italian intellectuals to write visually evocative works of dramatic literature whose topical plots and structures provide only a fraction of their cultural significance. Through a combination of interpretive literary criticism, art historical analysis and cultural and intellectual historiography, Phillips-Court offers detailed readings of individual plays juxtaposed with specific developments and achievements in the realm of painting. Revealing more than historical connections between artists and poets such as Tasso and Giorgione, Mantegna and Trissino, Michelangelo and Caro, or Bruno and Caravaggio, the author locates the history of Renaissance art and drama securely within the history of ideas. She provides us with a story about the emergence and eventual disintegration of Italian Renaissance drama as a rigorously philosophical and empirical form. Considering rhetorical, philosophical, ethical, religious, political-ideological, and aesthetic dimensions of each of the plays she treats, Kristin Phillips-Court draws our attention to the intermedial conversation between the theater and painting in a culture famously dominated by art. Her integrated analysis of visual and dramatic works brings to light how the lines and verses of the text reveal an ongoing dialogue with visual art that was far richer and more intellectually engaged than we might reconstruct from stage diagrams and painted backdrops.
"This is a superb work of scholarship, impossible to overpraise.... It marks a milestone in the 20-year rise of gay and lesbian studies."--Martin Duberman, The Advocate The men of Renaissance Florence were so renowned for sodomy that "Florenzer" in German meant "sodomite." In the late fifteenth century, as many as one in two Florentine men had come to the attention of the authorities for sodomy by the time they were thirty. In 1432 The Office of the Night was created specifically to police sodomy in Florence. Indeed, nearly all Florentine males probably had some kind of same-sex experience as a part of their "normal" sexual life. Seventy years of denunciations, interrogations, and sentencings left an extraordinarily detailed record, which author Michael Rocke has used in his vivid depiction of this vibrant sexual culture in a world where these same-sex acts were not the deviant transgressions of a small minority, but an integral part of a normal masculine identity. Rocke roots this sexual activity in the broader context of Renaissance Florence, with its social networks of families, juvenile gangs, neighbors, patronage, workshops, and confraternities, and its busy political life from the early years of the Republic through the period of Lorenzo de' Medici, Savonarola, and the beginning of Medici princely rule. His richly detailed book paints a fascinating picture of Renaissance Florence and calls into question our modern conceptions of gender and sexual identity.