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The tradition of villeggiatura, or withdrawal to a country residence, was a central feature of Italian life in the fifteenth and sixteenth centuries after urban centers had risen to political prominence, fostering the development of a leisured class. Tracing the history of the Roman villa during this time, the author, presents an extensively illustrated text.
From the middle of the fifteenth century a distinctively Roman Renaissance occurred. A shared outlook, a persistent set of intellectual concerns, similar cultural assumptions and a commitment to common ideological aims bound Roman humanists and artists to a uniquely Roman world, different from Florence, Venice, and other Italian and European centers.This book provides the first comprehensive portrait of the Roman Renaissance world. Charles Stinger probes the basic attitudes, the underlying values and the core convictions that Rome's intellectuals and artists experienced, lived for, and believed in from Pope Eugenius IV's reign to the Eternal City in 1443 to the sacking of 1527. He demonstrates that the Roman Renaissance was not the creation of one towering intellectual leader, or of a single identifiable group; rather, it embodied the aspirations of dozens of figures, active over an eighty-year period.Stinger illuminates the general aims and character of the Roman Renaissance. Remaining mindful of the economic, social, and political context--Rome's retarded economic growth, the papacy's increasing entanglement in Italian politics, papal preoccupation with the crusade against the Ottomans, and the effects of papal fiscal and administrative practices--Stinger nevertheless maintains that these developments recede in importance before the cultural history of the period. Only in the context of the ideological and cultural commitments of Roman humanists, artists, and architects can one fully understand the motivation for papal policies. Reality for Renaissance Romans was intricately bound up with the notion of Rome's mythic destiny.The Renaissance in Rome is cultural history at its best. It evokes the moods, myths, images, and symbols of the Eternal City, as they are manifested in the Liturgy, ceremony, festivals, oratory, art, and architecture of Renaissance Rome. Throughout, Stinger focuses on a persistent constellation of fundamental themes: the image of the city of Rome, the restoration of the Roman Church, the renewal of the Roman Empire, and the fullness of time. He describes and analyzes the content, meaning, origin, and implications of these central ideas of Roman Renaissance.This book will prove interesting to both Renaissance and Reformation scholars, as well as to general readers, who may have visited (or plan to visit) Rome and have become fascinated and affected by this extraordinary city. "There is no other book like it in any language," says Renaissance historian John O'Malley. "It presents a coherent view of Roman culture....collects and presents a vast amount of information never before housed under one roof. Anyone who teaches the Italian Renaissance," O'Malley stresses, "will have to know this book."
Winner of the 2020 Bainton Prize for Reference Works This volume, edited by Pamela M. Jones, Barbara Wisch, and Simon Ditchfield, focuses on Rome from 1492-1692, an era of striking renewal: demographic, architectural, intellectual, and artistic. Rome’s most distinctive aspects--including its twin governments (civic and papal), unique role as the seat of global Catholicism, disproportionately male population, and status as artistic capital of Europe--are examined from numerous perspectives. This book of 30 chapters, intended for scholars and students across the academy, fills a noteworthy gap in the literature. It is the only multidisciplinary study of 16th- and 17th-century Rome that synthesizes and critiques past and recent scholarship while offering innovative analyses of a wide range of topics and identifying new avenues for research. Committee's statement "The volume includes a multidisciplinary study of early modern Rome by focusing on the 16th and 17th centuries by re-examining traditional topics anew. This volume will be of tremendous use to scholars and students because its focus is very well conceptualized and organized, while still covering a breadth of topics. The authors celebrate Rome’s diversity by exploring its role not only as the seat of the Catholic church, but also as home to large communities of diplomats, printers, and working artisans, all of whom contributed to the city’s visual, material, and musical cultures". Roland H.Bainton Prizes Contributors are: Renata Ago, Elisa Andretta, Katherine Aron-Beller, Lisa Beaven, Eleonora Canepari, Christopher Carlsmith, Patrizia Cavazzini, Elizabeth S. Cohen, Thomas V. Cohen, Jeffrey Collins, Simon Ditchfield, Anna Esposito, Federica Favino, Daniele V. Filippi, Irene Fosi, Kenneth Gouwens, Giuseppe Antonio Guazzelli, John M. Hunt, Pamela M. Jones, Carla Keyvanian, Margaret A. Kuntz, Stephanie C. Leone, Evelyn Lincoln, Jessica Maier, Laurie Nussdorfer, Toby Osborne, Miles Pattenden, Denis Ribouillault, Katherine W. Rinne, Minou Schraven, John Beldon Scott, Barbara Wisch, Arnold A. Witte.
Comprising ten papers which critically examine the field of garden history, presented at the twenty-first Dumbarton Oaks Colloquium on the History of Landscape Architecture. Topics include changes in approaches to garden history and architectural studies over time and new historical investigations and discoveries in Italian and Mughal gardens. Good
This volume offers a comprehensive survey of Roman villas in Italy and the Mediterranean provinces of the Roman Empire, from their origins to the collapse of the Empire. The architecture of villas could be humble or grand, and sometimes luxurious. Villas were most often farms where wine, olive oil, cereals, and manufactured goods, among other products, were produced. They were also venues for hospitality, conversation, and thinking on pagan, and ultimately Christian, themes. Villas spread as the Empire grew. Like towns and cities, they became the means of power and assimilation, just as infrastructure, such as aqueducts and bridges, was transforming the Mediterranean into a Roman sea. The distinctive Roman/Italian villa type was transferred to the provinces, resulting in Mediterranean-wide culture of rural dwelling and work that further unified the Empire.
Published in 1559 and appearing here for the first time in English, La Villa is a rare source of Renaissance landscape theory. Written by Bartolomeo Taegio, a Milanese jurist and man of letters, after his banishment (possibly for murder, Thomas E. Beck speculates), the text takes the form of a dialogue between two gentlemen, one a proponent of the country, the other of the city. While it is not a gardening treatise, La Villa reflects an aesthetic appreciation of the land in the Renaissance, reveals the symbolic and metaphorical significance of sixteenth-century gardens for their owners, and articulates a specific philosophy about the interaction of nature and culture in the garden. This edition of the original Italian text and Beck's English translation is augmented with notes in which Beck identifies numerous references to literary sources in La Villa and more than 280 people and places mentioned in the dialogue. The introduction illuminates Taegio's life and intellectual activity, his obligations to his sources, the cultural context, and the place of La Villa in Renaissance villa literature. It also demonstrates the enduring relevance of La Villa for architecture and landscape architecture. La Villa makes a valuable contribution to the body of literature about place-making, precisely because it treats the villa as an idea and not as a building type.
One of the most important series of drawings in late-sixteenth-century Italian art--the twenty large sheets by Federico Zuccaro (ca. 1541-1609) showing the early life of his older brother, Taddeo (1529-1566)--was acquired by the J. Paul Getty Museum in 1999. Never fully published, the series shows Taddeo's trials and tribulations as a young artist trying to achieve success in Renaissance Rome, and his eventual triumph. The drawings contain charming details of the life of a struggling artist and reveal much about the younger brother, Federico, a successful artist in his own right. This volume--published to coincide with an exhibition at the J. Paul Getty Museum to be held from October 1, 2007, to January 6, 2008--presents Federico Zuccaro's twenty drawings and accompanying poems in their historical and artistic context and will be of interest to art historians and general readers alike. Of particular importance is its examination of the role of the copying of masterworks in the training of young Renaissance artists.
A radical new perspective on the dynamics of urban life in Renaissance Italy The cities of Renaissance Italy comprised a network of forces shaping both the urban landscape and those who inhabited it. In this illuminating study, those complex relations are laid bare and explored through the lens of contemporary urban theory, providing new insights into the various urban centers of Italy’s transition toward modernity. The book underscores how the design and structure of public space during this transformative period were intended to exercise a certain measure of authority over its citizens, citing the impact of architecture and street layout on everyday social practices. The ensuing chapters demonstrate how the character of public space became increasingly determined by the habits of its residents, for whom the streets served as the backdrop of their daily activities. Highlighting major hubs such as Rome, Florence, and Bologna, as well as other lesser-known settings, Street Life in Renaissance Italy offers a new look at this remarkable era.
"Drawn from five large volumes published between 1825 and 1882, this student's edition showcases the architectural splendor of Renaissance Rome for a new generation. Paul Letarouilly's original work constitutes the standard reference, presenting the mostcomplete collection of plans, elevations, and details of great buildings and monuments designed by Michelangelo, Peruzzi, Vignola, Bernini, and many others. "--
Villa Madama, Raphael's late masterwork of architecture, landscape, and decoration for the Medici popes, is a paradigm of the Renaissance villa. The creation of this important, unfinished complex provides a remarkable case study for the nature of architectural invention. Drawing on little known poetry describing the villa while it was on the drawing board, as well as ground plans, letters, and antiquities once installed there, Yvonne Elet reveals the design process to have been a dynamic, collaborative effort involving humanists as well as architects. She explores design as a self-reflexive process, and the dialectic of text and architectural form, illuminating the relation of word and image in Renaissance architectural practice. Her revisionist account of architectural design as a process engaging different systems of knowledge, visual and verbal, has important implications for the relation of architecture and language, meaning in architecture, and the translation of idea into form.