Author: Jan L. de Jong
Publisher: BRILL
ISBN: 9004526935
Category : Architecture
Languages : en
Pages : 421
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Book Description
Jan L. de Jong studies how tombs in Early Modern Rome (1400-1600) did not just function as a place to bury the dead, but as monuments of mourning, memory, and meditation on life, death and the hereafter.
Author: Jan L. de Jong
Publisher: Brill's Studies on Art, Art Hi
ISBN: 9789004179363
Category : Architecture
Languages : en
Pages : 0
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Book Description
Jan L. de Jong studies how tombs in Early Modern Rome (1400-1600) did not just function as a place to bury the dead, but as monuments of mourning, memory, and meditation on life, death and the hereafter.
Author: Malcolm Quainton
Publisher: Routledge
ISBN: 1351954946
Category : Literary Criticism
Languages : en
Pages : 244
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Book Description
In recent years, literary scholars have come increasingly to acknowledge that an adequate understanding of texts requires the study of books, the material objects through which the meanings of texts are constructed. Focusing on French poetry in the period 1400-1600, contributors to this volume analyze layout, illustration, graphology, paratext, typography, anthologization, and other such elements in works by a variety of writers, among them Charles d'Orléans, Jean Bouchet, Pierre de Ronsard and Louise Labé. They demonstrate how those elements play a crucial role in shaping the relationships between authors, texts, contexts, and readers, and how these relationships change as the nature of the book evolves. An introduction to the volume outlines the methodological implications of studying the materiality of literature in this period; situates the various papers in relation to each other and to the field as a whole; and indicates possible future directions of research in the field. By engaging with issues of major current methodological concern, this volume appeals to all scholars interested in the materiality of the literary text, including the burgeoning field of text-image studies, not only in French but also in other national literatures. In addition, it enables fruitful connections to be made between late-medieval and Renaissance literature, areas still often studied in isolation from each other.
Author: Erin J. Campbell
Publisher: Routledge
ISBN: 1317034902
Category : Art
Languages : en
Pages : 288
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Book Description
Emphasizing on the one hand the reconstruction of the material culture of specific residences, and on the other, the way in which particular domestic objects reflect, shape, and mediate family values and relationships within the home, this volume offers a distinct contribution to research on the early modern Italian domestic interior. Though the essays mainly take an art historical approach, the book is interdisciplinary in that it considers the social implications of domestic objects for family members of different genders, age, and rank, as well as for visitors to the home. By adopting a broad chronological framework that encompasses both Renaissance and Baroque Italy, and by expanding the regional scope beyond Florence and Venice to include domestic interiors from less studied centers such as Urbino, Ferrara, and Bologna, this collection offers genuinely new perspectives on the home in early modern Italy.
Author:
Publisher: BRILL
ISBN: 9004379592
Category : Art
Languages : en
Pages : 541
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Book Description
A team of 16 experts underline the binds and exchanges between different contexts and artistic techniques that copies established in the Renaissance, and how the history of taste is sophisticated and complex.
Author: David Ryley Marshall
Publisher: L'Erma Di Bretschneider
ISBN: 9788891306661
Category : Architecture
Languages : en
Pages : 0
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Book Description
Chapter 1 Julie Rowe Rome''s Medieval Fish Market at S. Angelo in Pescheria Rome''s main fish market was firmly established at the church of S. Angelo ''in Pescheria'' (''in the fish market'') by 1192. Fish was sold there in both wholesale and retail quantities. It was a good location close to the Tiber River and other city markets, and fish could be delivered there from Rome''s port in Trastevere and from the Campagna by way of the Tiber Island bridges. The site also connected directly to a major city thoroughfare for distribution purposes. A clear picture of how fish were sourced and how the market was organised and operated emerges from archival records. Key players were the canons of S. Angelo (in the retail market), the fishmongers'' guild (in the wholesale market) and the fishmongers (pescivendoli) whose involvement was spread across all facets of the market operations Chapter 2 Joan Barclay Lloyd Memory, Myth and Meaning in the Via Appia from Piazza di Porta Capena to Porta S. Sebastiano This is a topographical and art historical study of the urban section of the Via Appia, which ran from the Servian to the Aurelian Walls, from modern Piazza di Porta Capena to the Porta S. Sebastiano (Porta Appia). Historical records, inscriptions, place names, monuments, ruins, churches and monasteries reflect the rich heritage of this part of Rome, from antiquity to the present. In the late nineteenth and early twentieth centuries this area became part of a vast archaeological park, which here focused on the ancient consular road and a series of ancient Roman buildings, such as the Baths of Caracalla. In the Middle Ages churches and convents, like the Dominican nunnery of S. Sisto, were built in this region on the edge of the city, where the population had gradually dwindled. Renaissance remodelling of churches along the Via Appia culminated in the Counter-Reformation renovation of SS. Nereo ed Achilleo and S. Cesareo by Cardinal Cesare Baronio and Pope Clement VIII (1592-1605). These churches contain medieval mosaics, re-used liturgical furniture, and sixteenth-century paintings of the early Christian martyrs. This paper recalls the historical significance of this place, as reflected in the art and architecture of the monuments along the road. Chapter 3 Louis Cellauro Roma Antiqva Restored: The Renaissance Archaeological Plan Images of ancient Rome, published from the mid sixteenth century onwards, constituted an important antiquarian phenomenon, which was representative of the general concern with ancient architecture and topography among architects, antiquarians, and humanist-scholars. This chapter investigates Bartolomeo Marliani''s topographical map of 1544, the two maps of ancient Rome of the Neapolitan painter, architect, and antiquarian Pirro Ligorio (1553 and 1561), the map of the historian and antiquarian Onofrio Panvinio (1565), the small archaeological plan and the large bird''s-eye view of the French architect and antiquarian Etienne Duperac (1573 and 1574), the map made by the engraver, draughtsman, and dealer in prints Mario Cartaro (1579), and the two images designed by the Milanese printmaker, painter, and poet Ambrogio Brambilla (1582 and 1589/90). These maps are of two different types, which correspond to two different approaches to the imaging of the ancient city. The first is the small archaeological plan representing such features as the seven hills, the geographic boundaries of the fourteen Augustan regions, and a few major ancient monuments. The second type was the large-scale panoramic bird''s-eye view of the fully reconstructed ancient city. Antiquarians, including Ligorio, Duperac and Brambilla, often produced both types of maps, the first of which emphasised ancient topography, while the second presented an imaginative interpretation designed to stress the magnificence of the long-vanished Imperial capital and visualise its splendour and monumentality. Scholars have tended to conflate these two traditions of the representation of Roma Antica, and this chapter draws out the their differences in format and content. Chapter 4 Donato Esposito The Virtual Rome of Sir Joshua Reynolds Sir Joshua Reynolds (1723-1792) was in Rome from 15 April 1750 to 3 May 1752. He was there to form, in his own words, ''an idea of what is to be seen here, the remains of antiquity, the sculpture, paintings, architecture etc.''. In due course Reynolds assembled a large collection of works of art-paintings, prints and drawings-associated with Rome, its ancient history, numerous landmarks and decorative schemes. Reynolds'' many Roman artworks both serve as ''virtual'' surrogates of the city and as ''souvenirs'' of his Italian sojourn, which was the foundation of the young artist''s future success. Chapter 5 Lisa Beaven Claude Lorrain and La Crescenza: the Tiber Valley in the Seventeenth Century Claude Lorrain''s paintings have been associated more with pastoral poetry and literary texts than with the topography of the Campagna, partly because of their idealisation. Yet he spent much time in the Campagna and the Tiber Valley, where he made hundreds of drawings (especially during the 1640s). This chapter examines Claude''s depictions of the Tiber Valley from the Porta del Popolo in Rome north to La Crescenza, a fortified casale (farmhouse), in relation to the social and climatic conditions of the seventeenth-century Campagna. Claude was drawing the banks of the Tiber at a critical time for the river and the surrounding landscape, when the environment was unhealthy and the ecology precarious. Chapter 6 David R. Marshall The Campo Vaccino: Order and the Fragment from Palladio to Piranesi This chapter explores the relationship between the authority of the Cinquecento treatises on the orders (especially Vignola and Palladio) and the representation of Roman ruins in architectural painting and engraving from Viviano Codazzi (c.1604-1670) to Piranesi (1720-1778), by way of Niccolo Codazzi (1642-1693), the Monogrammist GAE, Giovanni Ghisolfi (1623-1683), Alberto Carlieri (1672-after 1720) and Giovanni Paolo Panini (1691-1765). It is argued that the conceptual foundations of architectural painting lay in the five orders, but these were undermined by a combination of naturalistic observation of actual ruins, especially the ruins of the Forum Romanum (then known as the Campo Vaccino) and scene-painters'' tricks designed to give the effect of ruinousness. Piranesi, it is argued, represents the point at which the naturalism of ruin-representation peaks, in parallel with a collapse of faith in the orders, causing Piranesi to seek new ways of composing the ruinous fragment. Chapter 7 Arno Witte Architecture and Bureaucracy: The Quirinal as an Expression of Papal Absolutism The Quirinal Palace, nowadays mostly regarded as the seat of Italy''s republican government, was built between the late sixteenth and late eighteenth century as the new seat of papal power. It started out as a summer retreat, but soon was provided with all the necessary spaces for official receptions, state meetings and ministerial offices. This continuing architectural expansion shows how a unified court located at the periphery of Rome, on the Vatican Hill, was transformed into an absolutist state apparatus situated in the centre of the expanding city, in a new and predominantly secular residence. The Quirinal palace therefore shows us how the papal government was in certain respects ahead of other European states in the innovation of political and bureaucratic structures, not lagging behind in comparison with France and other countries, as often has been suggested in historical studies. Chapter 8 Tommaso Manfredi Arcadia at Trinita dei Monti. The Urban Theatre of Maria Casimira and Alexander Sobieski in Rome On 9 August 1703 the serenade Dialogo tra Amor Divino e la Fede, dedicated by Cardinal Pietro Ottoboni to Maria Casimira, the widow of John III Sobieski, King of Poland, was performed in the piazza between the church of Trinita dei Monti and the Palazzo Zuccari above the slope where the Spanish Steps would be built in 1727-38. This chapter explores the way this area served as an ''urban theatre'' that was subject to transformations that were both real and ephemeral, and which were dense with political and diplomatic implications. In particular, this chapter examines the way the upper part of this area was reconfigured by the restoration of the Villa Torres and the Palazzo Zuccari by Maria Casimira, which included the construction of a bridge across the modern Via Sistina and the loggia of Palazzo Zuccari that faces the piazza in front of the church of Trinita dei Monti. Chapter 9 John Weretka The ''Non-aedicular Style'' and the Roman Church Facade of the Early Eighteenth Century Architectural historical criticism has characterised the early eighteenth century as torn between the works and styles of the borroministi and the berninisti. These style-historical terms have been often been used in a simplistic way, utilising ''Morellian'' characteristics such as the forms of mouldings and applied ornament as synecdoches for the style as a whole. Furthermore, the use of these terms has obscured the rich give-and-take that took place between these supposedly opposed stylistic positions. Through an analysis of six church facades erected in the city of Rome between 1721 and 1741, this chapter moves beyond the ''brute facts'' presented by these facades towards hypotheses concerning their ''institutional facts'', and shows that buildings of this period can be read as providing a lively commentary on one of the most persistent norms of architectural organisation in the Baroque church facade, the aedicule. The liberation from the aedicule present in some of these buildings forms the operating rationale for a distinct style of architectural conception typical in Rome at the start of the eighteenth century.
Author: Sandra Sider
Publisher: Infobase Publishing
ISBN: 0816074860
Category : History
Languages : en
Pages : 401
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Book Description
Examines architecture and design, dance, fashion, literature, music, philosophy, religion, theater and visual arts in Europe between 1300 and 1600.
Author: Loren Partridge
Publisher: Univ of California Press
ISBN: 0520281799
Category : Art
Languages : en
Pages : 372
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Book Description
"A comprehensive and richly illustrated survey of Venetian Renaissance architecture, sculpture, and painting created between 1400 and 1600 addressed to students, travellers, and the general public. The works of art are analysed within Venice's cultural circumstances--political, economic, intellectual, and religious--and in terms of function, style, iconography, patronage, classical sources, gender, art theories, and artist's innovations, rivalries, and social status. The text has been divided into two parts--the fifteenth century and the sixteenth century--each part preceded by an introduction that recounts the history of Venice to 1500 and to 1600 respectively, including the city's founding, ideology, territorial expansion, social classes, governmental structure, economy, and religion. The twenty-six chapters have been organized to lead readers systematically through the major artistic developments within the three principal categories of art--governmental, ecclesiastic, and domestic--and have been arranged sequentially as follows: civic architecture and urbanism, churches, church decoration (ducal tombs and altarpieces), refectories and refectory decoration (section two only), confraternities (architecture and decoration), palaces, palace decoration (devotional works, portraits, secular painting, and halls of state), villas, and villa decoration. The conclusion offers an overview of the major types of Venetian art and architectural patronage and their funding sources"--Provided by publisher.
Author: Thomas Brady
Publisher: BRILL
ISBN: 9004391657
Category : History
Languages : en
Pages : 735
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Book Description
The Handbook of European History 1400-1600 brings together the best scholarship into an array of topical chapters that present current knowledge and thinking in ways useful to the specialist and accessible to students and to the educated non-specialist. Forty-one leading scholars in this field of history present the state of knowledge about the grand themes, main controversies and fruitful directions for research of European history in this era. Volume 1 (Structures and Assertions) described the people, lands, religions and political structures which define the setting for this historical period. Volume 2 (Visions, Programs, Outcomes) covers the early stages of the process by which newly established confessional structures began to work their way among the populace.
Author: Yuen-Gen Liang
Publisher: Taylor & Francis
ISBN: 1317177010
Category : History
Languages : en
Pages : 254
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Book Description
Bringing together distinguished scholars in honor of Professor Teofilo F. Ruiz, this volume presents original and innovative research on the critical and uneasy relationship between authority and spectacle in the period from the twelfth to the sixteenth centuries, focusing on Spain, the Mediterranean and Latin America. Cultural scholars such as Professor Ruiz and his colleagues have challenged the notion that authority is elided with high politics, an approach that tends to be monolithic and disregards the uneven application and experience of power by elite and non-elite groups in society by highlighting the significance of spectacle. Taking such forms as ceremonies, rituals, festivals, and customs, spectacle is a medium to project and render visible power, yet it is also an ambiguous and contested setting, where participants exercise the roles of both actor and audience. Chapters in this collection consider topics such as monarchy, wealth and poverty, medieval cuisine and diet and textual and visual sources. The individual contributions in this volume collectively represent a timely re-examination of authority that brings in the insights of cultural theory, ultimately highlighting the importance of representation and projection, negotiation and ambivalence.
