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This book offers an account of neo-Renaissance taste and style in Italy during the second half of the nineteenth century. By the time Italy had developed its obsession with the neo-Renaissance in the 1870s, collectors and scholars in the rest of Europe had been excited by Renaissance taste and style for several decades. In Italy the Renaissance was promptly reconceptualised, in a forced alignment with the accepted historical version of its birth and development, and its help enlisted in the search for an Italian national identity. But what represented this neo-Renaissance in Italy, and what aided its diffusion? In an attempt to answer these questions this book explores the many areas marked by neo-Renaissance taste. It traces its diffusion and development from the institutions which instructed its chief exponents, to architecture and exhibitions and the publications which disseminated neo-Renaissance designs so effectively.
In 1420, after more than one hundred years of the Avignon Exile and the Western Schism, the papal court returned to Rome, which had become depopulated, dangerous, and impoverished in the papacy's absence. Reviving the Eternal City examines the culture of Rome and the papal court during the first half of the fifteenth century. As Elizabeth McCahill explains, during these decades Rome and the Curia were caught between conflicting realities--between the Middle Ages and the Renaissance, between conciliarism and papalism, between an image of Rome as a restored republic and a dream of the city as a papal capital. Through the testimony of humanists' rhetorical texts and surviving archival materials, McCahill reconstructs the niche that scholars carved for themselves as they penned vivid descriptions of Rome and offered remedies for contemporary social, economic, religious, and political problems. In addition to analyzing the humanists' intellectual and professional program, McCahill investigates the different agendas that popes Martin V (1417-1431) and Eugenius IV (1431-1447) and their cardinals had for the post-Schism pontificate. Reviving the Eternal City illuminates an urban environment in transition and explores the ways in which curialists collaborated and competed to develop Rome's ancient legacy into a potent cultural myth.
Why were so many late-nineteenth-century homosexuals passionate about the Italian Renaissance? This book answers that question by showing how the Victorian coupling of criminality with self-fashioning under the sign of the Renaissance provided queer intellectuals with an enduring model of ruthlessly permissive individualism.
The figure of the putto (often portrayed as a mischievous baby) made frequent appearances in the art and literature of Renaissance Italy. Commonly called spiritelli, or sprites, putti embodied a minor species of demon, in their nature neither good
Who during the Renaissance could have dissented from the values of reason and restraint, patience and humility, rejection of the worldly and the physical? These widely articulated values were part of the inherited Christian tradition and were reinforced by key elements in the Renaissance, especially the revival of Stoicism and Platonism. This book is devoted to those who did dissent from them. Richard Strier reveals that many long-recognized major texts did question the most traditional values and uncovers a Renaissance far more bumptious and affirmative than much recent scholarship has allowed.The Unrepentant Renaissance counters the prevalent view of the period as dominated by the regulation of bodies and passions, aiming to reclaim the Renaissance as an era happily churning with surprising, worldly, and self-assertive energies. Reviving the perspective of Jacob Burckhardt and Nietzsche, Strier provides fresh and uninhibited readings of texts by Petrarch, More, Shakespeare, Ignatius Loyola, Montaigne, Descartes, and Milton. Strier’s lively argument will stir debate throughout the field of Renaissance studies.
Revive your love of mosaics! Inside Mosaic Renaissance discover a treasure trove of rich, inspiring patterns and intriguing mosaic projects that incorporate handcrafted Italian glass known as millefiori. After learning essential mosaic techniques—like cutting tiles and mixing a batch of grout—get inspired by a collection of beautiful millefiori patterns you can use in your own mosaic art. Then try ten illustrated mosaic projects ranging from the practical (a basic trivet, a simple box) to the peculiar (a blushing bride skull) plus pretty projects sure to please. Mosaic Renaissance will renew your love of mosaics with: An introduction to tiling tools and techniques 60+ sample patterns, from simple to complex 10 mosaic projects complete with step-by-step instruction A gallery of 40 mosaic pieces from artists around the world With inspiration for all skill levels, Mosaic Renaissance is a visual feast of ideas for reviving your mosaic art.
Milton's Great Poems--Paradise Lost, Paradise Regained, and Samson Agonistes--are here examined in the light of his lifelong commitment to the English revolutionary cause. The poems, Joan Bennett shows, reflect the issues Milton had dealt with in theological and public policy debate, foreign diplomacy, and propaganda; moreover, they work innovatively with these issues, reaching in epic and tragedy answers that his pamphlets and tracts of the past twenty years had only partially achieved. The central issue is the nature and possibility of human freedom, or "Christian liberty." Related questions are the nature of human rationality, the meaning of law, of history, of individuality, of society, and--everywhere--the problem of evil. The book offers a revisionist position in the history of ideas, arguing that Renaissance Christian humanism in England descended not from Tudor to Stuart Anglicanism but from Tudor Anglicanism to revolutionary Puritanism. Close readings are offered of texts by Richard Hooker, Milton, and a range of writers before and during the revolutionary period. Not only theological and political positions but also political actions taken by the authors are compared. Milton's poems are studied in the light of these analyses. The concept of "radical Christian humanism" moves current Milton criticism beyond the competing conceptions of Milton as the poet of democratic liberalism and the prophet of revolutionary absolutism. Milton's radical Christian humanism was built upon pre-modern conceptions and experiences of reason that are not alien to our time. It stemmed from, and resulted in, a religious commitment to political process which his poems embody and illuminate.
Rereading the Renaissance - a study of Petrarch's uses of Augustine - uses methods drawn from history and literary criticism to establish a framework for exploring Petrarch's humanism. Carol Everhart Quillen argues that the essential role of Augustine's words and authority in the expression of Petrarch's humanism is best grasped through a study of the complex textual practices exemplified in the writings of both men. She also maintains that Petrarch's appropriation of Augustine's words is only intelligible in light of his struggle to legitimate his cultural ideals in the face of compelling opposition. Finally, Quillen shows how Petrarch's uses of Augustine can simultaneously uphold his humanist ideals and challenge the legitimacy of the assumptions on which those ideals were founded.
A luxurious and definitive exploration of how and why the Renaissance flourished in Italy for two centuries. The idea of “renaissance,” or rebirth, arose in Italy as a way of reviving the art, science, and scholarship of the Classical era. It was also powered by a quest to document artistic “reality” according to newly discovered scientific and mathematical principles. By the late 15th century, Italy had become the recognized European leader in the fields of painting, architecture, and sculpture. But why was Florence the center of this burgeoning creativity, and how did it spread to other Italian cities? Brimming with vivid reproductions of works by Leonardo, Michelangelo, Botticelli, Raphael, Titian, and others, this book showcases the creative achievements that traveled from Florence to Rome to Venice. Art historian Norbert Wolf explores the influence of secular and religious patronage on artistic development; how the urban structure and way of life allowed for such a rich exchange of ideas; and how ideas of humanism informed artists reaching toward the future while clinging to the ideals of the past. Insightful, accessible, and fascinating, this thoroughly researched book highlights the connections and mutual influences of Florence, Rome, and Venice as well as their intriguing rivalries and interdependencies.
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.