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In this fascinating study, Alison Cole explores the distinctive uses of art at the five great secular courts of Naples, Urbino, Ferrara, Mantua, and Milan. The princes who ruled these city-states, vying with each other and with the great European courts, relied on artistic patronage to promote their legitimacy and authority. Major artists and architects, from Mantegna and Pisanello to Bramante and Leonardo da Vinci, were commissioned to design, paint, and sculpt, but also to oversee the court's building projects and entertainments. The courtly styles that emerged from this intricate landscape are examined in detail, as are the complex motivations of ruling lords, consorts, nobles, and their artists. Drawing on the most recent scholarship, Cole presents a vivid picture of the art of this extraordinary period.
This book presents a new perspective on the Italian Renaissance court by examining the circulation, collection and exchange of art objects.
A complete overview of the Italian Renaissance courts covering all areas influenced by them: art, music, literature etc.
This comprehensive study of the courts of Renaissance Italy explores every aspect of their diversity and magnificence, from Naples in the south to Monferrato in the north, from the oriental-like splendors presided over by the Swabian emperor Frederick II to the Baroque glories of the Counter-Reformation in Florence. . .Scholarly and well documented, The Courts of the Italian Renaissance vividly evokes the past and is an essential guide for the reader wishing to learn more about one of the most fascinating periods of Italian history. /
The Court Cities of Northern Italy examines painting, sculpture, decorative arts, and architecture produced within the fourteenth, fifteenth, and sixteenth centuries.
"The first comprehensive history of courtliness and chivalry in their literary and cultural contexts."--Robert Grudin, University of Oregon "The first comprehensive history of courtliness and chivalry in their literary and cultural contexts."--Robert Grudin, University of Oregon
Historians of medieval and Renaissance Italy have long held that the Florentine republic fell victim to rule by oligarchy in the early fifteenth century. Now, in the first complete analysis of the criminal law system of Florence during this crucial period, Laura Ikins Stern argues that the vitality of Florentine legal institutions gives evidence of a centralized state bureaucracy strong enough to thwart the early development of a ruling oligarchy. Exploring the changing roles played by judicial officials as well as the evolution of Florentine government, Stern shows how these developments reflected broad-based change in society at large. From such primary documents as legal statutes and actual trial records, she provides a step-by-step explanation of trial procedure to offer a rare glimpse of inquisition methods in the secular world--from public fame initiation, through the weighing of various levels of proof, to the complex process of sentencing. And sheexplores the links between implementation of inquisition procedure, the development of the territorial state, and the struggle between republican institutions and the emerging oligarchy. The Johns Hopkins University Studies in Historical and Political Science.
"This fascinating study considers the poetic and mythological artworks made for elite female monastic communities in Renaissance Italy. Nuns from the patrician class, who often disregarded obligations of austerity and poverty, commissioned sensually appealing, richly made artifacts inspired by contemporary courtly culture. The works of art transformed monastic parlors, abbatial apartments, and nuns' cells into ornate settings, thereby enriching and complicating the opposition of religious and worldly spheres. This unconventional monastic and yet courtly decoration was a new form of art in the way it entangled the sacred and the profane. The artwork was intended to edify both intellectually and spiritually, as well as to delight and seduce the viewer. Based on extensive new research into primary sources, this generously illustrated book introduces a thriving female monastic visual culture that ecclesiastical authorities endeavored to suppress. It shows how this art taught its viewers to use their eyes to gain insights about the secular world beyond the convent walls. "--
Dana E. Katz reveals how Italian Renaissance painting became part of a policy of tolerance that deflected violence from the real world onto a symbolic world. While the rulers upheld toleration legislation governing Christian-Jewish relations, they simultaneously supported artistic commissions that perpetuated violence against Jews.
The Renaissance was not just a rebirth of the mind. It was also a new dawn for the machine. When we celebrate the achievements of the Renaissance, we instinctively refer, above all, to its artistic and literary masterpieces. During the fifteenth and sixteenth centuries, however, the Italian peninsula was the stage of a no-less-impressive revival of technical knowledge and practice. In this rich and lavishly illustrated volume, Paolo Galluzzi guides readers through a singularly inventive period, capturing the fusion of artistry and engineering that spurred some of the Renaissance’s greatest technological breakthroughs. Galluzzi traces the emergence of a new and important historical figure: the artist-engineer. In the medieval world, innovators remained anonymous. By the height of the fifteenth century, artist-engineers like Leonardo da Vinci were sought after by powerful patrons, generously remunerated, and exhibited in royal and noble courts. In an age that witnessed continuous wars, the robust expansion of trade and industry, and intense urbanization, these practitioners—with their multiple skills refined in the laboratory that was the Renaissance workshop—became catalysts for change. Renaissance masters were not only astoundingly creative but also championed a new concept of learning, characterized by observation, technical know-how, growing mathematical competence, and prowess at the draftsman’s table. The Italian Renaissance of Machines enriches our appreciation for Taccola, Giovanni Fontana, and other masters of the quattrocento and reveals how da Vinci’s ambitious achievements paved the way for Galileo’s revolutionary mathematical science of mechanics.