I]n the streets of Milan... moved a people as fantastic, changeful, and dreamlike. To Leonardo least of all men could there be anything poisonous in the exotic flowers of sentiment which grew there. It was a life of brilliant sins and exquisite amusements...-from "Leonard Da Vinci"With his thoughtful sensibility and appreciation of the artistic experience, Walter Pater exerted a dramatic influence over the Aesthetics of the mid to late 19th century: a movement of creative intellectuals, from writer Oscar Wilder to painter James McNeill Whistler, who held that art should be sensual and beauty the highest ideal. Pater's "cult of beauty" also profoundly affected 20th-century arts, literary, and cultural criticism.Here, in a series of essays first reprinted in 1873 from the iconoclastic journal Fortnightly Review, Pater embraces and explores the works of Botticelli, Della Robbia, Michelangelo, Da Vinci, and others. This collection, sometimes entitled Studies in the History of the Renaissance, is criticism as beautiful as the art it considers.Also available from Cosimo Classics: Pater's Marius the Epicurean: His Sensations and Ideas.British essayist and critic WALTER HORATIO PATER (1839-94) was educated at Oxford University. He also wrote Imaginary Portraits (1887), Appreciations (1889), and the posthumously published Greek Studies (1895).

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In the past half century scholars have downplayed the significance of Lorenzo de' Medici (1449--1492), called "the Magnificent," as a patron of the arts. Less wealthy than his grandfather Cosimo, the argument goes, Lorenzo was far more interested in collecting ancient objects of art than in commissioning contemporary art or architecture. His earlier reputation as a patron was said to be largely a construct of humanist exaggeration and partisan deference.

Although some recent studies have taken issue with this view, no synthesis of Lorenzo as art patron and art lover has yet emerged. In Lorenzo de' Medici and the Art of Magnificence historian F. W. Kent offers a new look at Lorenzo's relationship to the arts, aesthetics, collecting, and building -- especially in the context of his role as the political boss (maestro della bottega) of republican Florence and a leading player in Renaissance Italian diplomacy. As a result of this approach, which pays careful attention to the events of his short but dramatic life, a radically new chronology of Lorenzo's activities as an art patron emerges, revealing them to have been more extensive and creative than previously thought. Kent's Lorenzo was broadly interested in the arts and supported efforts to beautify Florence and the many Medici lands and palaces. His expertise was well regarded by guildsmen and artists, who often turned to him for advice as well as for patronage. Lorenzo himself was educated in the arts by such men, and Kent explores his aesthetic education and taste, taking into account what is known of Lorenzo's patronage of music and manuscripts, and of his own creative work as a major Quattrocento poet.

Richly illustrated withphotographs of Medici landmarks by Ralph Lieberman, Lorenzo de' Medici and the Art of Magnificence offers a masterful portrait of Lorenzo as a man whose achievements might have rivaled his grandfather's had he not died so young.

Giotto's Harmony explores the philosophical and cultural intersection of musicians, artists, and intellectuals in early Trecento Padua. Padua's unique intellectual fervor, with its prominent university and proximity to Venice, attracted such titan celebrities as Giotto, Dante, Marchetto da Padova, and Pietro d'Abano. The richness of their cross-disciplinary work places Padua at the forefront of pre-humanism. Both Giotto and Marchetto da Padova sought to reproduce natural phenomena as faithfully as possible in their respective metiers. Professor Beck argues that this return to nature is a reflection of the rebirth of the Aristotelian philosophy of nature found in the Physica and Metaphysica, taught at the University of Padua, and expounded in the theories of Pietro d'Abano. Paduan musical pre-humanist contributions are posited to be at the vanguard of musical development in Italy, rather than a footnote to the musical culture of Florence. Indeed, Giotto's Harmony makes the case that the musical Renaissance, which is often believed to have its origins in the much later work of Dunstable and Dufay, has its roots in Padua's pre-humanist tradition, as reflected in the work of Marchetto and contemporary theorists and composers.

For Italian city builders more than a thousand years ago, the urban realm was the great theater where their best aspirations were played out, the place where society said the most substantial things about who they were and what they longed for. In this masterful blend of art and cultural history, architect David Mayernik reveals how the very different cities of Venice, Rome, Florence, Siena, and Pienza were all literally designed to be both models of the mind and images of heaven. Mayernik takes the reader on a journey into the past in Timeless Cities, but he also explains why these city-building ideas remain relevant today. For those traveling on vacation or appreciating the art and architecture of Italy from home, Mayernik helps bring the wonder and beauty of the Renaissance mind a little closer.

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The art of Renaissance Siena is usually viewed in the light of developments and accomplishments achieved elsewhere, but Sienese artists were part of a dynamic dialogue that was shaped by their city's internal political turmoil, diplomatic relationships with its neighbours, internal social hierarchies, and struggle for self-definition. These essays lead scholars in a new and exciting direction in the study of the art of Renaissance Siena, exploring the cultural dynamics of the city, and its art in a specifically Sienese context. This volume shapes a new understanding of Sienese culture in the early modern period, and defines the questions scholars will continue to ask for years to come. What emerges is a picture of Renaissance Siena as a city focused on meeting the challenges of the time, while formulating changes to shape its future. Central to these changes are the city's efforts to fashion a civic identity through the visual arts.

At the turn of the 16th century, Italy was a turbulent territory made up of independent states, each at war with or intriguing against its neighbor. There were the proud, cultivated, and degenerate Sforzas in Milan, and in Rome, the corrupt Spanish family of the Borgia whose head, Rodrigo, ascended to St Peter's throne as Pope Alexander VI. In Florence, a golden age of culture and sophistication ended with the death of the greatest of the Medici family, Lorenzo the Magnificent, giving way to an era of uncertainty, cruelty, and religious fundamentalism.
In the midst of this turmoil, there existed the greatest concentration of artists that Europe has ever known. Influenced by the rediscovery of the ancient cultures of Greece and Rome, artists and thinkers such as Botticelli and da Vinci threw off the shackles of the Middle Ages to produce one of the most creative periods in history - the Renaissance.
This is the story of twelve years when war, plague, famine, and chaos made their mark on a volatile Italy, and when a young, erratic genius, Michelangelo Buonarroti, made his first great statue - the David. It was to become a symbol not only of the independence and defiance of the city of Florence but also of the tortured soul who created it. This is a wonderful history of the artist, his times, and one of his most magnificent works.

Ferdinand Columbus, son of Christopher Columbus and author of the first published account of a voyage to the New World, was also the owner of one of the largest private libraries assembled during the Renaissance and the most important early collection of prints. Although the collection has vanished, about half of it has been reconstructed by Mark McDonald from information found in a detailed inventory that survives in Seville. This beautifully produced book catalogues 110 of the most significant prints in Columbus's collection. The introductory chapters discuss Columbus's life and work and show how the reconstruction of his collection has radically transformed our understanding of the print industry in Renaissance Europe.

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A pioneer of Italian Renaissance architecture, Filippo Brunelleschi is most famous for his daring and original ideas, among them the magnificent dome of Florence's famed Santa Maria del Fiore cathedral. This comprehensive book describes how he created the structure, construction concepts, and other inventions. 28 halftones, 18 line illustrations.

Understanding late medieval pictorial representations of violence. Destroyed faces, dissolved human shapes, invisible enemies: violence and anonymity go hand in hand. The visual representation of extreme physical violence makes real people nameless exemplars of horror-formless, hideous, defaced. In Defaced, Valentin Groebner explores the roots of the visual culture of violence in medieval and Renaissance Europe and shows how contemporary visual culture has been shaped by late medieval images and narratives of violence. For late medieval audiences, as with modern media consumers, horror lies less in the "indescribable" and "alien" than in the familiar and commonplace. From the fourteenth century onward, pictorial representations became increasingly violent, whether in depictions of the Passion, or in vivid and precise images of torture, execution, and war. But not every spectator witnessed the same thing when confronted with terrifying images of a crucified man, misshapen faces, allegedly bloodthirsty conspirators on nocturnal streets, or barbarian fiends on distant battlefields. The profusion of violent imagery provoked a question: how to distinguish the illegitimate violence that threatened and reversed the social order from the proper, "just," and sanctioned use of force? Groebner constructs a persuasive answer to this question by investigating how uncannily familiar medieval dystopias were constructed and deconstructed. Showing how extreme violence threatens to disorient, and how the effect of horror resides in the depiction of minute details, Groebner offers an original model for understanding how descriptions of atrocities and of outrageous cruelty depended, in medieval times, on the variation of familiar narrative motifs.

A beautiful book that argues artists were fascinated by still life painting considerably earlier than previously thought This eloquent and generously illustrated book asserts that artists were fascinated by and extremely skilled at still life significantly earlier than previously thought. Instead of the genre beginning in the early 17th century, noted scholar David Ekserdjian explores its origins in classical antiquity and the gradual re-emergence of still life in Renaissance painting. The author presents a visual anthology of finely executed flowers, fruit, food, household objects, and furnishings seen in the background of paintings. Paintings are reproduced in full and paired with detailed close-ups of still-life elements within the work. Ekserdjian further examines both the artistic and symbolic significance of a chosen detail, as well as information about each artist's career. Featured works include radiant paintings from Renaissance greats such as Da Vinci, Durer, Holbein, Michelangelo, Raphael, and Van Eyck, as well as the work of less-celebrated masters Barthelemy d'Eyck and Ortolano.

This book is a collection of specially-commissioned art-historical essays on the theme of manuscript studies by some of the world's leading art historians and curators of manuscripts. It is expected to be even more successful and well-received than the comparable volume from University of Exeter Press, The Art of the Book: Its Place in Medieval Worship, edited by Margaret M. Manion and Bernard J. Muir. The contributors are writing on their particular area of manuscript study, with the Wharncliffe Hours and the Book of Kells among the important manuscripts discussed. Their essays are written in honor of Margaret M. Manion, Professor Emeritus, Department of Fine Arts, University of Melbourne. Margaret Manion has an international reputation for her work in the field of art history. Her many publications include a facsimile edition of The Wharncliffe Hours (Thames & Hudson) and Medieval and Renaissance Illuminated Manuscripts in Australian Collections (with Vera F. Vines, Thames & Hudson).

Sifting the available evidence, Carlo Ginzburg builds up a vivid portrait of Piero della Francesca's patrons and convincingly explains the contemporary intrigues resonant in his painting. This new edition, extensively illustrated, includes additional material by Ginzburg dealing with the work of Roberto Longhi, the dating of the Arezzo Cycle, and the rediscovery of della Francesca in the twentieth century.

Rubens' interest in history, particularly ancient history, was intense, as is evident in the paintings and drawings grouped together in this volume, part 13(1) in the series "Corpus Rubenianum Ludwig Burchard".;In Rubens' day, history was principally valued for the lessons it taught, and the historical scenes most commonly depicted in Renaissance art are exemplary themes, above all illustrations of the virtuous deeds of the heroes and heroines of classical antiquity. Rubens painted a number of these - "The Continence of Scipio", for example, "The Justice of Cambyses", "The Devotion of Ertemisia" and "The Courage of Cloelia" - bringing to them his characteristic wit, originality and artistic force.;He also illustrated quite novel subjects, some of them rarely discussed by modern scholars and often even misidentified, from "Pythagoras advocating Vegetarianism" and "Alcibiades interrupting the Symposium" to the famous "Death of Seneca", the medieval story of "The Piety of Rudolf of Habsburg" and the vividly evocative "Battle of Tunis".;The present volume focuses particularly on Rubens' ingenuity in the invention of subjects for a variety of contexts - occasionally simply for his own pleasure. An introduction considers the artist's relationship to the tradition of depicting history, the books read and the easy familiarity with ancient literature which is reflected in his paintings, where striking images from Ovid and other classical poets often helped to inspire his most remarkable creations.;This is followed by the Catalogue Raisonne, which deals with 60 different compositions. Included is a discussion of a projected tapestry series on the life of Romulus. Rubens' other designs for tapestry cycles on themes from ancient history are treated in a separate volume, but some consideration is given to them here, in the introduction. As with other volumes of the Corpus, all relevant paintings, including sketches and drawings, or copies of lost works, are illustrated and discussed.

A leading art historian's plea for a more engaged reading of Italian Renaissance art Only Connect constructs a history of Renaissance paintings and sculptures that are by design completed outside themselves by the spectator, that draw the spectator into their narrative plot or aesthetic functioning, and that reposition the spectator imaginatively or in time and space. John Shearman's concern is mostly with anterior relationships with the viewer-that is, relationships conceived and constructed as part of a work's design, making, and positioning. He proposes unconventional ways in which works of art may be distinguished one from another, and in which spectators may be distinguished as well, and enlarges the accepted field of artistic invention. Only Connect challenges us to recognize the presuppositions of Renaissance artists about their viewers, shining a light on the process of discovery by some of the most inventive and visually intellectual artists of the period.

An original and breathtakingly beautiful perspective on how art developed through the ages, this book reveals how new materials and techniques inspired artists to create their greatest works. The Story of Painting will completely transform your understanding and enjoyment of art. Covering a comprehensive array of topics, from the first pigments and frescos to linear perspective in Renaissance paintings, the influence of photography, Impressionism, and the birth of modern art, it follows each step in the evolution of painting over the last 25,000 years, from the first cave paintings to the abstract works of the last 100 years. Packed with lavish colour reproductions of paintings and photographs of artists at work and the materials they used, it delves into the key paintings from each period to analyse the techniques and secrets of the great masters in detail. Immerse yourself in the pages of this stunning book and find yourself dazzled by new colours; marvel at the magic of perspective; wonder at glowing depictions of fabric and flesh; understand cubism; and embrace abstraction. You will look at paintings in a whole new light.

Although Saint Cecilia is venerated throughout the Western world as the patron saint of music and Raphael's famous painting The Ecstasy of Saint Cecilia is filled with musical iconography, the ancient origins of Cecilia's association with music have long been shrouded in mystery. This book, a masterful investigation of the Cecilian cult from its beginnings in Christian antiquity down to the Renaissance, explains how Cecilia came to be linked with music and offers a new interpretation of Raphael's painting. Thomas Connolly finds the key to the mystery in a theme he identifies as "mourning-into-joy." This theme, rooted in the Bible and in Aristotle's doctrine of the passions of the soul, became prominent in the visual and literary arts as well as in theology and spirituality and expressed the soul's passages between vice and virtue as a conversion of sadness into joy. According to Connolly, this idea strongly influenced the legend and worship of Saint Cecilia, a model for all who sought spiritual transformation. Connolly argues that the medieval mystical mind saw music as an intimate expression of the experiences of conversion and spiritual growth and that the conjunction of spirit and music became crystallized in the figure of the saint. His explanation not only provides a better understanding of Raphael's work and other Renaissance and Baroque art but also clarifies puzzling literary questions concerning Saint Cecilia, such as Chaucer's treatment of her in "The Second Nun's Tale."

Part of the Norton Critical Studies in Art History, this text examines Michelangelo's work on the Sistine Chapel ceiling. The book includes: an illustration section depicting the entire work as well as in detail; documents and literary sources; and critical essays from history of art literature.

Jacob Burckhardt was a scholar who had the gift of being able to combine vast knowledge with a vivid imagination and lively creativity. This book, his contribution to cultural history, was first published in 1860, and has long been recognized as a great work of literature as well as history; its range, powerful style, and breadth of vision make it a classic introduction to the study of the Renaissance, and one that is still a source of inspiration. My starting point has to be a vision, ' Burckhardt wrote to a friend, otherwise I cannot do anything. Vision I call not only optical, but also spiritual realization; for instance, historical vision issuing from the old sources.

In this second volume of his classic essays on the Renaissance, E H Gombrich focuses on a theme of central importance: visual symbolism. He opens with a searching introduction ('The Aims and Limits of Iconology'), and follows with detailed studies of Botticelli, Mantegna, Raphael, Poussin and others. The volume concludes with an extended study of the philosophies of symbolism, demonstrating that the ideas which preoccupied the philosophers of the Renaissance are still very much alive today. Like its predecessor, Norm and Form, this volume is indispensable for all students of Renaissance art and thought as a work that has itself helped to shape the evolving discipline of art history. Reflecting the author's abiding concern with standards, values and problems of method, it also has a wider interest as an introduction to the fundamental questions involved in the interpretation of images.