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This synthesis of Europe's Renaissance and Reformation periods thematically traces the transition from the medieval to the modern. The major themes of the book include technological breakthroughs and their social and economic consequences, the connections between the discovery of new lands and the recovery of ancient learning, Europe's economic expansion, humanist culture, the formation of the early modern state, and reform and revolution in the Church.
In Antisemitic Conspiracy Theories in the Early Modern Iberian World: Narratives of Fear and Hatred, François Soyer offers the first detailed historical analysis of antisemitic conspiracy theories in Spain, Portugal and their overseas colonies between 1450 and 1750. These conspiracy theories accused Jews and conversos, the descendants of medieval Jewish converts to Christianity, of deadly plots and blamed them for a range of social, religious, military and economic problems. Ultimately, many Iberian antisemitic conspiracy theorists aimed to create a ‘moral panic’ about the converso presence in Iberian society, thereby justifying the legitimacy of ethnic discrimination within the Church and society. Moreover, they were also exploited by some churchmen seeking to impose an idealized sense of communal identity upon the lay faithful.
This award-winning book traces Saint Jerome's changing images and fortunes from 1300 to 1600 and charts how culture has celebrated his life.
Girolamo Cardano was an Italian doctor, natural philosopher, and mathematician who became a best-selling author in Renaissance Europe. He was also a leading astrologer of his day, whose predictions won him access to some of the most powerful people in sixteenth-century Europe. In Cardano's Cosmos, Anthony Grafton invites readers to follow this astrologer's extraordinary career and explore the art and discipline of astrology in the hands of a brilliant practitioner.Renaissance astrologers predicted everything from the course of the future of humankind to the risks of a single investment, or even the weather. They analyzed the bodies and characters of countless clients, from rulers to criminals, and enjoyed widespread respect and patronage. This book traces Cardano's contentious career from his first astrological pamphlet through his rise to high-level consulting and his remarkable autobiographical works. Delving into astrological principles and practices, Grafton shows how Cardano and his contemporaries adapted the ancient art for publication and marketing in a new era of print media and changing science. He maps the context of market and human forces that shaped Cardano's practicesâe"and the maneuvering that kept him at the top of a world rife with patronage, politics, and vengeful rivals.Cardano's astrology, argues Grafton, was a profoundly empirical and highly influential art, one that was integral to the attempts of sixteenth-century scholars to understand their universe and themselves.
The one hundred years that preceded the French Revolution witnessed the rise of kings to unmatched power and influence in European affairs.
Today we associate the Renaissance with painting, sculpture, and architecture—the “major” arts. Yet contemporaries often held the “minor” arts—gem-studded goldwork, richly embellished armor, splendid tapestries and embroideries, music, and ephemeral multi-media spectacles—in much higher esteem. Isabella d’Este, Marchesa of Mantua, was typical of the Italian nobility: she bequeathed to her children precious stone vases mounted in gold, engraved gems, ivories, and antique bronzes and marbles; her favorite ladies-in-waiting, by contrast, received mere paintings. Renaissance patrons and observers extolled finely wrought luxury artifacts for their exquisite craftsmanship and the symbolic capital of their components; paintings and sculptures in modest materials, although discussed by some literati, were of lesser consequence. This book endeavors to return to the mainstream material long marginalized as a result of historical and ideological biases of the intervening centuries. The author analyzes how luxury arts went from being lofty markers of ascendancy and discernment in the Renaissance to being dismissed as “decorative” or “minor” arts—extravagant trinkets of the rich unworthy of the status of Art. Then, by re-examining the objects themselves and their uses in their day, she shows how sumptuous creations constructed the world and taste of Renaissance women and men.