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Even after the arrival of printing in the fifteenth century, texts continued to be circulated within Italian society by means of manuscript. Scribal culture offered rapidity, flexibility and a sense of private, privileged communication. This book is a detailed treatment of the continuing use of scribal transmission in Renaissance Italy. Brian Richardson explores the uses of scribal culture within specific literary genres, its methods and its audiences. He also places it within the wider system of textual communication and of self-presentation, examining the relationships between manuscript and print and between manuscript and the spoken or sung performance of verse. An important contribution to a lively area of the history of the book, this study will be of interest both for the abundance of new material on the circulation of texts in Italy and as a model for how to study the cultures of manuscript and print in early modern Europe.
The emergence of print in late fifteenth-century Italy gave a crucial new importance to the editors of texts, who determined the form in which texts from the Middle Ages would be read, and who could strongly influence the interpretation and status of texts by adding introductory material or commentary. Brian Richardson here examines the Renaissance circulation and reception of works by earlier writers including Dante, Petrarch, Boccaccio and Ariosto, as well as popular contemporary works of entertainment. In so doing he sheds light on the impact of the new printing and editing methods on Renaissance culture, including the standardisation of vernacular Italian and its spread to new readers and writers, the establishment of new standards in textual criticism, and the increasing rivalry between the two cities on which this study is chiefly focused, Venice and Florence.
The spread of printing to Renaissance Italy had a dramatic impact on all users of books. As works came to be diffused more widely and cheaply, so authors had to adapt their writing and their methods of publishing to the demands and opportunities of the new medium, and reading became a more frequent and user-friendly activity. Printing, Writers and Readers in Renaissance Italy focuses on this interaction between the book industry and written culture. After describing the new technology and the contexts of publishing and bookselling, it examines the continuities and changes faced by writers in the shift from manuscript to print, the extent to which they benefited from print in their careers, and the greater accessibility of books to a broader spectrum of readers, including women and the less well educated. This is the first integrated study of a topic of central importance in Italian and European culture.
The first comprehensive guide to women's promotion and use of textual culture, in manuscript and print, in Renaissance Italy.
"The essays in this volume examine the impact of printing on the expression, representation, and reproduction of sanctity on the Italian peninsula between 1400 and 1600 and how the imperatives of cult were expressed in various media, both old and new. In so doing, they advance a fuller and more nuanced understanding of both cult and media, and mark the nexus of cult and media as a site of cultural production and innovation. They are thus initial steps in a new area and an invitation to further study of saints of all sorts--canonized, popularly recognized, or self-proclaimed--in the fluid media environment of early modernity."--
"Hand-painted illumination enlivened the burgeoning culture of the book in the Italian Renaissance, spanning the momentous shift from manuscript production to print. J. J. G. Alexander describes key illuminated manuscripts and printed books from the period and explores the social and material worlds in which they were produced. Renaissance humanism encouraged wealthy members of the laity to join the clergy as readers and book collectors. Illuminators responded to patrons' developing interest in classical motifs, and celebrated artists such as Mantegna and Perugino occasionally worked as illuminators. Italian illuminated books found patronage across Europe, their dispersion hastened by the French invasion of Italy at the end of the 15th century.--
Leading scholars from Italy and the United States offer a fresh and nuanced image of the religious reform movements on the Italian peninsula in the sixteenth and seventeenth centuries. United in their conviction that religious ideas can only be fully understood in relation to the particular social, cultural, and political contexts in which they develop, these scholars explore a wide range of protagonists from popes, bishops, and inquisitors to humanists and merchants, to artists, jewelers, and nuns. What emerges is a story of negotiations, mediations, compromises, and of shifting boundaries between heresy and orthodoxy. This book is essential reading for all students of the history of Christianity in early modern Europe.
With the advent of the printing press throughout Europe in the last quarter of the fifteenth century, the key Latin texts of Italian humanism began to be published outside Italy, most of them by a small group of printers who, in most cases, worked in close collaboration with lecturers and teachers. This study provides the first comprehensive account of the dissemination of this important literary corpus in Spain, France, the Low Countries and the German-speaking world between ca. 1470 and ca. 1540. By combining an examination of book production and consumption with attention to the educational system of Renaissance Europe, this book highlights both the historical significance of the Latin literature of Italian humanism within the school and university curriculum of the time, and the impact of such a body of texts on the rising national literary traditions, in Latin and in the vernacular, of the period. Printing and Reading Italian Latin Humanism in Renaissance Europe will appeal to scholars of classical and Renaissance literature, and to anyone interested in intellectual history and in the history of education in the Renaissance. It will be of particular interest to scholars in Hispanic studies.
This volume celebrates John M. Najemy and his contributions to the study of Florentine and Italian Renaissance history. Over the last three decades, his books and articles on Florentine politics and political thought have substantially revised the narratives and contours of these fields. They have also provided a framework into which he has woven innovative new threads that have emerged in Renaissance social and cultural history. Presented by his many students and friends, the essays aim to highlight his varied interests and to suggest where they may point for future studies of Florence and, indeed, beyond. -- Amazon.com.
To whom should we ascribe the great flowering of the arts in Renaissance Italy? Artists like Botticelli and Michelangelo? Or wealthy, discerning patrons like Cosimo de' Medici? In recent years, scholars have attributed great importance to the role played by patrons, arguing that some should even be regarded as artists in their own right. This approach receives sharp challenge in Jill Burke's Changing Patrons, a book that draws heavily upon the author's discoveries in Florentine archives, tracing the many profound transformations in patrons' relations to the visual world of fifteenth-century Florence. Looking closely at two of the city's upwardly mobile families, Burke demonstrates that they approached the visual arts from within a grid of social, political, and religious concerns. Art for them often served as a mediator of social difference and a potent means of signifying status and identity. Changing Patrons combines visual analysis with history and anthropology to propose new interpretations of the art created by, among others, Botticelli, Filippino Lippi, and Raphael. Genuinely interdisciplinary, the book also casts light on broad issues of identity, power relations, and the visual arts in Florence, the cradle of the Renaissance.