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Some of the world's foremost historians of ideas consider Machiavelli's political thought in the larger context of the republican tradition.
A collection of the best recent research on the Republic of Florence in Tuscany during the Renaissance.
No enquiry into the making of the modern European state can ignore the part played by law. This comprehensive scholarly volume examines in detail how states availed themselves of juridicial techniques in order to mould their institutions, to take control over their territory, and to exercisepower over their subjects. The contributors are leading scholars in the field, who explore the administration of justice and the promulgation of legislation across Europe over a period of several centuries, in order to uncover the role of the law in the birth and development of the European state. The Origins of the Modern State in Europe series arises from an important international research programme sponsored by the European Science foundation. the aim of the series, which comprises seven volumes, is to bring together specialists from different countries, who reinterpret from acomparative European perspective different aspects of the formation of the state over the long period from the beginning of the thirteenth to the end of the eighteenth century. One of the main achievments of the research programme has been to overcome the long-established historiographical tendencyto regard states mainly from the viewpoint of their twentieth-century borders.
Richard Paul Roe spent more than twenty years traveling the length and breadth of Italy on a literary quest of unparalleled significance. Using the text from Shakespeare’s ten “Italian Plays” as his only compass, Roe determined the exact locations of nearly every scene in Romeo and Juliet, The Two Gentlemen of Verona, The Merchant of Venice, Much Ado about Nothing, The Tempest, and the remaining dramas set in Italy. His chronicle of travel, analysis, and discovery paints with unprecedented clarity a picture of what the Bard must have experienced before penning his plays. Equal parts literary detective story and vivid travelogue—containing copious annotations and more than 150 maps, photographs, and paintings—The Shakespeare Guide to Italy is a unique, compelling, and deeply provocative journey that will forever change our understanding of how to read the Bard . . . and irrevocably alter our vision of who William Shakespeare really was.
In the choir of the Basilica of San Lorenzo, a truly sacred temple of the Medici dynasty, Pontormo painted a grandiose cycle of frescos between 1545 and 1556, which were then unfortunately destroyed in the mid-18th century. Far earlier, Giorgio Vasari issued a severe judgment on them that lasted into the modern day. His was a dismissal motivated formally by artistic reasons, but it concealed other, more insidious, ideological and religious motivations. On the basis of drawings, copies, paintings and literary sources, this study reconstructs the design and arrangement of the frescoes, revealing them to have been inspired by a contemporary heterodox text, one that was included in the Index in 1549. From a dense web of Florentine religious, cultural and political life and its shifts in the middle decades of the century, the political motivations underlying Vasari's commitment to transforming the doctrinal heresy from which those grandiose paintings had drawn inspiration into an artistic heresy emerge. It was a commitment that, after the conclusion of the Council of Trent, risked reflecting upon the new Counter-Reformist structure of Medici power.