A detailed account of a fascinating journey through the Ottoman Empire from 1588 to 1589 Traveller and explorer, art patron and collector, benefactor and connoisseur, politician and Danzig mayor, Bartholomaus Schachman lived in a time of major political and religious changes in Europe, a time of grand geographical discoveries, a time when both religious and secular arts flourished, a time of great expansion of the Ottoman Empire. He was born on 11th September 1559 in Danzig (nowadays called Gda'nsk), then the autonomy's trade city and member of The Hanseatic League, within the Kingdom of Poland. Danzig was one of the largest Hansa's cities and one of the most important sea port and shipbuilding markets. Bartholomaus Schachman's journey through the Ottoman Empire lasted two years from 1588 to 1589, and his album, conveying the tale of his adventures, became one of the greatest travelogues of the sixteenth century.

Visual Translation breaks new ground in the study of French manuscripts, contributing to the fields of French humanism, textual translation, and the reception of the classical tradition in the first half of the fifteenth century. While the prominence and quality of illustrations in French manuscripts have attracted attention, their images have rarely been studied systematically as components of humanist translation. Anne D. Hedeman fills this gap by studying the humanist book production closely supervised by Laurent de Premierfait and Jean Lebegue for courtly Parisian audiences in the first half of the fifteenth century. Hedeman explores how visual translation works in a series of unusually densely illuminated manuscripts associated with Laurent and Lebegue circa 1404-54. These manuscripts cover both Latin texts, such as Statius's Thebiad and Achilleid, Terence's Comedies, and Sallust's Conspiracy of Cataline and Jurguthine War, and French translations of Cicero's De senectute, Boccaccio's De casibus virorum illustrium and Decameron, and Bruni's De bello Punico primo. Illuminations constitute a significant part of these manuscripts' textual apparatus, which helped shape access to and interpretation of the texts for a French audience. Hedeman considers them as a group and reveals Laurent's and Lebegue's growing understanding of visual rhetoric and its ability to visually translate texts originating in a culture removed in time or geography for medieval readers who sought to understand them. The book discusses what happens when the visual cycles so carefully devised in collaboration with libraries and artists by Laurent and Lebegue escaped their control in a process of normalization. With over 180 color images, this major reference book will appeal to students and scholars of French, comparative literature, art history, history of the book, and translation studies.

The Fonte Gaia from Renaissance to Modern Times examines the history of Siena's famous public fountain, from its fifteenth-century origins to its eventual replacement by a copy in the nineteenth century (and the modern fate of both). The book explores how both the Risorgimento and the Symbolist movements have shaped our perceptions of the Italian Renaissance, as the Quattrocento was filtered through the lens of contemporary art and politics.

The Seven Wonders of the Ancient World have had a lasting impact upon the intellectual landscape of the post-classical world. As well as provoking historical debate and reflection, they have proved an enduring yardstick by which succeeding generations have measured the architectural and cultural accomplishments of their own eras. Focusing particularly upon the Renaissance and Baroque periods, this book looks at how the Wonders of the World were represented in art, architecture and sculpture, and the ways that European courts could evoke them as a useful image of power. Within this artistic culture, special attention is paid to the recreations and constructions generated between the fifteenth and eighteenth centuries in the sphere of ephemeral art, especially those linked to court celebrations in the principal European states. This approach provides a framework to analyse and evaluate the claims of other European Renaissance and Baroque architecture to Wonder status, an approach bolstered by the use of the Palace of El Escorial as a case study of a modern 'Eighth Wonder'.

This accessible book demonstrates how ideas influenced and defined graphic design. Lavishly illustrated, it is both a great source of inspiration and a provocative record of some of the best examples of graphic design from the last hundred years. The entries, arranged broadly in chronological order, range from technical (overprinting, rub-on designs, split fountain); to stylistic (swashes on caps, loud typography, and white space); to objects (dust jackets, design handbooks); and methods (paper cut-outs, pixelation).

Mining a rich, interdisciplinary mix of sources, including stoneware jugs, personal correspondence, paintings, inventories, and literature written for the dining room, this study offers a critical and entirely original examination of the function of early modern images for the people who owned and viewed them. The study explores the emergence, functions and material culture of the Antwerp dinner party during the heady days of the mid-sixteenth century, when Antwerp's art market was thriving and a new wealthy, non-noble class dominated the city. The author recontextualizes some of Bruegel's work within the cultural nexus of the dining room, where material culture and theatrical performance met humanist wit and the desire for professional advancement. The narrative also touches on the reception of Northern art in Lombardy, on intersections among painting, material culture, and theater, and on intellectual history.

The art of poverty is the first book in English to analyse depictions of beggars in sixteenth-century European art. Featuring works from Germany, the Low Countries, Britain, France and Italy, it discusses a diverse body of imagery in many different media, from crude woodcuts to monumental church altarpieces. It develops a striking thesis, arguing that these works largely conformed to two paradoxical, though mutually supportive, representational approaches. The earlier chapters follow the emergence of a trenchantly negative approach in Northern art, in which beggars are shown as vagabonds, whose idleness and thievery threatened the values of sixteenth-century society (especially its growing emphasis on the need to work). In the other predominant visual mode, beggars are exalted as examples of sacred purity. In many Italian religious paintings, beggars are morally exalted with reference to sacred texts, and made formally beautiful with reference to revered artistic models. Though these approaches reflect the impact of religious reform, it is shown that, by the end of the century, they happily co-existed within Protestant and Catholic cultures. The final part of the book is concerned with the issue of artistic style and with the growing tendency of the beggar image to mediate and dissolve the didactic traditions through which it had originally been defined. The art of poverty will be of special interest to scholars and students of Renaissance art history, and its progressive approach and cross-disciplinary theme and perspective will also make it vital reading for those concerned with the development of early modern European culture. -- .

Author Joni M. Hand sheds light on the reasons women of the Valois courts from the mid-fourteenth to the mid-sixteenth century commissioned devotional manuscripts. Visually interpreting the non-text elements-portraits, coats of arms, and marginalia-as well as the texts, Hand explores how the manuscripts were used to express the women's religious, political, and/or genealogical concerns. This study is arranged thematically according to the method in which the owner is represented. Recognizing the considerable influence these women had on the appearance of their books, Hand interrogates how the manuscripts became a means of self-expression beyond the realm of devotional practice. She reveals how noblewomen used their private devotional manuscripts as vehicles for self-definition, to reflect familial, political, and social concerns, and to preserve the devotional and cultural traditions of their families. Drawing on documentation of women's book collections that has been buried within the inventories of their fathers, husbands, or sons, Hand explores how these women contributed to the cultural and spiritual character of the courts, and played an integral role in the formation and evolution of the royal libraries in Northern Europe.

Louis XIV - the 'Sun King' - casts a long shadow over the history of seventeenth- and eighteenth-century Europe. Yet while he has been the subject of numerous works, much of the scholarship remains firmly rooted within national frameworks and traditions. Thus in France Louis is still chiefly remembered for the splendid baroque culture his reign ushered in, and his political achievements in wielding together a strong centralised French state; whereas in England, the Netherlands and other protestant states, his memory is that of an aggressive military tyrant and persecutor of non-Catholics. In order to try to break free of such parochial strictures, this volume builds upon the approach of scholars such as Ragnhild Hatton who have attempted to situate Louis' legacy within broader, pan-European context. But where Hatton focused primarily on geo-political themes, Louis XIV Outside In introduces current interests in cultural history, integrating aspects of artistic, literary and musical themes. In particular it examines the formulation and use of images of Louis XIV abroad, concentrating on Louis' neighbours in north west Europe. This broad geographical coverage demonstrates how images of Louis XIV were moulded by the polemical needs of people far from Versailles, and distorted from any French originals by the particular political and cultural circumstances of diverse nations. Because the French regime's ability to control the public image of its leader was very limited, the collection highlights how - at least in the sphere of public presentation - his power was frequently denied, subverted, or appropriated to very different purposes, questioning the limits of his absolutism which has also been such a feature of recent work.

Presents an exmination of printed representations of monstrous births in German-speaking Europe from the end of the fifteenth century and through the sixteenth century, beginning with a seminal series of broadsheets from the late 1490s by humanist Sebastian Brant, and including prints by Albrecht Durer and Hans Burgkmair.

Covers approximately 250 sales of Old Masters since 1980, with an average of five listings from each sale. There are 2,700 signature examples of 1,700 artists. Three sections following the main body of this volume offer the researcher easy cross-referencing monograms and initials, symbols, and alternate names. The appendix includes supplemental signature information on additional artists whose actual signatures were not available, but whose importance could not be omitted.

The first specialized critical-aesthetic study to be published on the concept of hybridity in early Mughal painting, this book investigates the workings of the diverse creative forces that led to the formation of a unique Mughal pictorial language. Mughal pictoriality distinguishes itself from the Persianate models through the rationalization of the picture's conceptual structure and other visual modes of expression involving the aesthetic concept of mimesis. If the stylistic and iconographic results of this transformational process have been well identified and evidenced, their hermeneutic interpretation greatly suffers from the neglect of a methodologically updated investigation of the images' conceptual underpinning. Valerie Gonzalez addresses this lacuna by exploring the operations of cross-fertilization at the level of imagistic conceptualization resulting from the multifaceted encounter between the local legacy of Indo-Persianate book art, the freshly imported Persian models to Mughal India after 1555 and the influx of European art at the Mughal court in the sixteenth and seventeenth centuries. The author's close examination of the visuality, metaphysical order and aesthetic language of Mughal imagery and portraiture sheds new light on this particular aspect of its aesthetic hybridity, which is usually approached monolithically as a historical phenomenon of cross-cultural interaction. That approach fails to consider specific parameters and features inherent to the artistic practice, such as the differences between doxis and praxis, conceptualization and realization, intentionality and what lies beyond it. By studying the distinct phases and principles of hybridization between the variegated pictorial sources at work in the Mughal creative process at the successive levels of the project/intention, the practice/realization and the result/product, the author deciphers the modalities of appropriation and manipulation of the heterogeneous elements. Her unique

This book examines the early development of the graphic arts from the perspectives of material things, human actors and immaterial representations while broadening the geographic field of inquiry to Central Europe and the British Isles and considering the reception of the prints on other continents. The role of human actors proves particularly prominent, i.e. the circumstances that informed creators', producers', owners' and beholders' motivations and responses. Certainly, such a complex relationship between things, people and images is not an exclusive feature of the pre-modern period's print cultures. However, the rise of printmaking challenged some established rules in the arts and visual realms and thus provides a fruitful point of departure for further study of the development of the various functions and responses to printed images in the sixteenth century. The book will be of interest to scholars working in art history, print history, book history and European studies. The introduction of this book is freely available as a downloadable Open Access PDF under a Creative Commons Attribution-Non Commercial-No Derivatives 4.0 license at https://www.taylorfrancis.com/chapters/oa-edit/10.4324/9781003029199-1/introduction-gra%C5%BCyna-jurkowlaniec-magdalena-herman?context=ubx&refId=b6a86646-c9f3-490d-8a06-2946acd75fda

Benvenuto Cellini's Perseus and Medusa, one of Renaissance Italy's most complex sculptures, is the subject of this study, which proposes that the statue's androgynous appearance is paradoxical. Symbolizing the male ruler overcoming a female adversary, the Perseus legitimizes patriarchal power; but the physical similarity between Cellini's characters suggests the hero rose through female agency. Dr. Corretti argues that although not a surrogate for powerful Medici women, Cellini's Medusa may have reminded viewers that Cosimo I de' Medici's power stemmed in part from maternal influence. Drawing upon a vast body of art and literature, Dr. Corretti concludes that Cellini and his contemporaries knew the Gorgon as a version of the Earth Mother, whose image is found in art for Medici women.

Baroque depictions of violence are often dismissed as 'over the top' and 'excessive'. Their material richness and exciting visual complexity, together with the visceral engagement they demand from beholders, are usually explained in literature as reflecting the presumed violence of early modern society. This book explores the intersection between materiality, excess, and violence in seventeenth-century paintings through a close analysis of some of the most iconic works of the period. Baroque paintings expose or reference their materiality by insisting on various physical changes wrought through violence. This study approaches violence as the work of materiality, which has the potential to analogously stage pictorial surfaces as corporeal surfaces, where paint becomes flayed flesh, canvas threads ruptured skin, and red paint spilt blood.

The sixteenth century was a critical period both for Spain's formation and for the imperial dominance of her Crown. Spanish monarchs ruled far and wide, spreading agents and culture across Europe and the wider world. Yet in Italy they encountered another culture whose achievements were even prouder and whose aspirations often even grander than their own. Italians, the nominally subaltern group, did not readily accept Spanish dominance and exercised considerable agency over how imperial Spanish identity developed within their borders. In the end Italians' views sometimes even shaped how their Spanish colonizers eventually came to see themselves. The essays collected here evaluate the broad range of contexts in which Spaniards were present in early modern Italy. They consider diplomacy, sanctity, art, politics and even popular verse. Each essay excavates how Italians who came into contact with the Spanish crown's power perceived and interacted with the wider range of identities brought amongst them by its servants and subjects. Together they demonstrate what influenced and what determined Italians' responses to Spain; they show Spanish Italy in its full transcultural glory and how its inhabitants projected its culture - throughout the sixteenth century and beyond.

Art, Literature and Religion in Early Modern Sussex is an interdisciplinary study of a county at the forefront of religious, political and artistic developments in early-modern England. Ranging from the schism of Reformation to the outbreak of Civil War, the volume brings together scholars from the fields of art history, religious and intellectual history and English literature to offer new perspectives on early-modern Sussex. Essays discuss a wide variety of topics: the coherence of a county divided between East and West and Catholic and Protestant; the art and literary collections of Chichester cathedral; communities of Catholic gentry; Protestant martyrdom; aristocratic education; writing, preaching and exile; local funerary monuments; and the progresses of Elizabeth I. Contributors include Michael Questier; Nigel Llewellyn; Caroline Adams; Karen Coke; and Andrew Foster. The collection concludes with an Afterword by Duncan Salkeld (University of Chichester). This volume extends work done in the 1960s and 70s on early-modern Sussex, drawing on new work on county and religious identities, and setting it into a broad national context. The result is a book that not only tells us much about Sussex, but which also has a great deal to offer all scholars working in the field of local and regional history, and religious change in England as a whole.

This book investigates the aesthetic and conceptual characteristics of fifteenth-century female portraiture on panel. Portraits of women increased substantially during this century. They formed part of a material and a visual culture borne out of the rapid rise of an oligarchy from entrepreneurial activities that was especially advanced in the urbanised territories of Italy and Flanders. For this reason, the portraits in this book are by Netherlandish and Italian painters. They are simultaneously illustrative of the emancipation of the genre from its medieval idiom, and of the responses to the matrix of patriarchy, under which society was organised. Patriarchy is an androcentric structure that places women in a paradoxical situation of legal and social disenfranchisement on the account of purported psychophysical inadequacy, whilst making them the catalysts, through arranged marriages, for the success of the spheres of power, which are controlled by men. Thus, these portraits are also a window into women's lives in this structure. This book is the first systematic study of their sign-system and of the feminine experience of seeing and being seen, at the intersection of disciplines that include art history, anthropology, legal history, philosophy. The surprising results suggest new interpretations of form and function in female portraiture, women's active role in the imaging process and the early instances of a pro-women ideology.

This book places the discourse surrounding stigmata within the visual culture of the late medieval and early modern periods, with a particular focus on Italy and on female stigmatics. Echoing, and to a certain extent recreating, the wounds and pain inflicted on Christ during his passion, stigmata stimulated controversy. Related to this were issues that were deeply rooted in contemporary visual culture such as how stigmata were described and performed and whether, or how, it was legitimate to represent stigmata in visual art. Because of the contested nature of stigmata and because stigmata did not always manifest in the same form - sometimes invisible, sometimes visible only periodically, sometimes miraculous, and sometimes self-inflicted - they provoked complex questions and reflections relating to the nature and purpose of visual representation. Dr Cordelia Warr is Senior Lecturer in Art History, University of Manchester, UK.

From aesthetic promenades in noble palaces to the performativity of religious apparatus, this edited volume reconsiders some of the events, habits and spaces that contributed to defining exhibition practices and shaping the imagery of the exhibition space in the early modern period. The contributors encourage connections between art history, exhibition studies, and architectural history, and explore micro-histories and long-term changes in order to open new perspectives for studying these pioneering exhibition-making practices. Aiming to understand what spaces have done and still do to art, the book explores an underdeveloped area in the field that has yet to trace its interdisciplinary nature and understand its place in the history of art. The book will be of interest to scholars working in art history, museum studies, exhibition history, and architectural history.

An exploration of the ways in which Michelangelo created himself.

This volume uses the art of Rome to help us understand the radical historical break between the fundamental ancient pre-supposition that there is a natural world or cosmos situating human life, and the equally fundamental modern emphasis on human imagination and its creative power. Rome's unique art history reveals a different side of the battle between ancients and moderns than that usually raised as an issue in the history of science and philosophy. The book traces the idea of a cosmos in pre-modern art in Rome, from the reception of Greek art in the Roman republic to the construction of the Pantheon, to early Christian art and architecture. It then sketches the disappearance of the presupposition of a cosmos in the High Renaissance and Baroque periods, as creativity became a new ideal. Through discussions of the art and architecture that defines proto-modern Rome- from Michelangelo's terribilita' in the Sistine Chapel, Caravaggio's realism, Baroque illusionism, the infinities of Borromini's architecture, to the Grand Tour's representations of ruins- through an interpretation of such major issues and works, this book shows how modern art liberates us while leaving us feeling estranged from our grounding in the natural world. The book will be of interest to scholars working in art history, architectural history, classics, philosophy, and early modern history and culture.

The early modern period inherited a deeply-ingrained culture of Christian remembrance that proved a platform for creativity in a remarkable variety of forms. From the literature of church ritual to the construction of monuments; from portraiture to the arrangement of domestic interiors; from the development of textual rites to drama of the contemporary stage, the early modern world practiced 'arts of remembrance' at every turn. The turmoils of the Reformation and its aftermath transformed the habits of creating through remembrance. Ritually observed and radically reinvented, remembrance was a focal point of the early modern cultural imagination for an age when beliefs both crossed and divided communities of the faithful. The Arts of Remembrance in Early Modern England maps the new terrain of remembrance in the post-Reformation period, charting its negotiations with the material, the textual and the performative.

In "The Bill," Laszlo Krasznahorkai's madly lucid voice pours forth in a single, vertiginous, eleven-page sentence addressing Palma Vecchio, a sixteenth-century Venetian painter. Peering out from the pages are Vecchio's voluptuous, bare-breasted blondes, a succession of models transformed on the canvas into portraits of apprehensive sexuality. Alongside these women, the writer that Susan Sontag called "the Hungarian master of apocalypse" interrogates Vecchio's gift: Why does he do it? How does he do it? And why are these models so afraid of him even though he, unlike most of his contemporaries, never touches them? The text engages with the art, asking questions only the paintings can answer.
"Laszlo Krasznahorkai's taut, almost explosive texts resemble prose poems more than short stories or conventional novella chapters, though they do not pretend to lyricism."--"Nation"

This collection of essays by major scholars in the field explores how the rich intersections between Italy and Spain during the early modern period resulted in a confluence of cultural ideals. Various means of exchange and convergence are explored through two main catalysts: humans-their trips or resettlements-and objects-such as books, paintings, sculptures, and prints. The visual and textual evidence of the transmission of ideas, iconographies and styles are examined, such as triumphal ephemera, treatises on painting, the social status of the artist, collections and their display, church decoration, and funerary monuments, providing a more nuanced understanding of the exchanges of styles, forms and ideals across southern Europe.