Notwithstanding the wealth of material published about St Clare of Assisi (1193-1253) in the context of medieval scholarship, and the wealth of visual material regarding her, there is a dearth of published scholarship concerning her cult in the early modern period. This work examines the representations of St Clare in the Italian visual tradition from the thirteenth century on, but especially between the fifteenth and the mid-seventeenth centuries, in the context of mendicant activity. Through an examination of such diverse visual images as prints, drawings, panels, sculptures, minor arts, and frescoes in relation to sermons of Franciscan preachers, starting in the thirteenth century but focusing primarily on the later tradition of early modernity, the book highlights the cult of women saints and its role in the reform movements of the Osservanza and the Catholic Reformation and in the face of Muslim-Christian encounter of the early modern era. Debby's analyses of the preaching of the times and iconographic examination of neglected artistic sources makes the book a significant contribution to research in art history, sermon studies, gender studies, and theology.

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.

In 1428, a devastating fire destroyed a schoolhouse in the northern Italian city of Forli, leaving only a woodcut of the Madonna and Child that had been tacked to the classroom wall. The people of Forli carried that print - now known as the Madonna of the Fire - into their cathedral, where two centuries later a new chapel was built to enshrine it. In this book, Lisa Pon considers a cascade of moments in the Madonna of the Fire's cultural biography: when ink was impressed onto paper at a now-unknown date; when that sheet was recognized by Forli's people as miraculous; when it was enshrined in various tabernacles and chapels in the cathedral; when it or one of its copies was - and still is - carried in procession. In doing so, Pon offers an experiment in art historical inquiry that spans more than three centuries of making, remaking, and renewal.

Focusing on the ways his art and persona were valued and criticized by writers, collectors, and artists subsequent to his death, this book examines the reception of the works of Albrecht Durer. Andrea Bubenik's analysis highlights the intensive and international interest in Durer's art and personality, and his developing role as a paragon in art historiography, in conjunction with the proliferation of portraits after his likeness. The author traces carefully how Durer's paintings, prints, drawings and theoretical writings traveled widely, and were appropriated into new contexts and charged with different meanings. Drawing on inventories and correspondences and taking collecting practices into account, Bubenik establishes who owned what by Durer in the 16th and 17th centuries, and characterizes the key locations where interest in Durer peaked (especially the courts of Maximilian I in Munich, and Rudolf II in Prague). Bubenik treats the emergent artistic appropriations of Durer-borrowings from or transformations of his originals-in conjunction with contemporary sources on art theory. The volume includes illustrations of numerous imitative works after Durer. As well as being the first book to fully address the early reception of the most important of German Renaissance artists, Reframing Albrecht Durer shows how appropriation is a crucial concept for understanding artistic practice during the early modern period.

Tracing the history of St. Antoninus' cult and burial from the time of his death in 1459 until his remains were moved to their final resting place in 1589, this interdisciplinary study demonstrates that the saint's relic cult was a key element of Florence's sacred cityscape. The works of art created in his honor, as well as the rituals practiced at his fifteenth- and sixteenth-century places of burial, advertised Antoninus' saintly power and persona to the people who depended upon his intercessory abilities to negotiate life's challenges. Drawing on a rich variety of contemporary visual, literary, and archival sources, this volume explores the ways in which shifting political, familial, and ecclesiastical aims and agendas shaped the ways in which St. Antoninus' holiness was broadcast to those who visited his burial church. Author Sally Cornelison foregrounds the visual splendor of the St. Antoninus Chapel, which was designed, built, and decorated by Medici court artist Giambologna and his collaborators between 1579 and 1591. Her research sheds new light on the artist, whose secular and mythological sculptures have received far more scholarly attention than his religious works. Cornelison draws on social and religious history, patronage and gender studies, and art historical and anthropological inquiries into the functions and meanings of images, relics, and ritual performance, to interpret how they activated St. Antoninus' burial sites and defined them in ways that held multivalent meanings for a broad audience of viewers and devotees. Among the objects for which she provides visual and contextual analyses are a banner from the saint's first tomb, early printed and painted images, and the sculptures, frescoes, panel paintings, and embroidered textiles made for the present St. Antoninus Chapel.

Employing a wide range of approaches from various disciplines, contributors to this volume explore the diverse ways in which European art and cultural practice from the fourteenth through the seventeenth centuries confronted, interpreted, represented and evoked the realm of the sensual. Sense and the Senses in Early Modern Art and Cultural Practice investigates how the faculties of sight, hearing, touch, taste and smell were made to perform in a range of guises in early modern cultural practice: as agents of indulgence and pleasure, as bearers of information on material reality, as mediators between the mind and the outer world, and even as intercessors between humans and the divine. The volume examines not only aspects of the arts of painting and sculpture but also extends into other spheres: philosophy, music and poetry, gardens, food, relics and rituals. Collectively, the essays gathered here form a survey of key debates and practices attached to the theme of the senses in Renaissance and Baroque art and cultural practice.

Shedding new light on the relatively unknown art of the Wittelsbach dukes's sixteenth-century court, The Court Art of Friedrich Sustris represents the first monograph to focus on this Italian-trained Netherlandish artist. The volume incorporates original archival material, including letters and payment records into the analysis of Sustris's many projects that ranged from large fresco cycles to intimate luxury and devotional objects. Duke Wilhelm V of Bavaria transformed Munich into a vital cultural crossroads between northern Europe and Italy. As Wilhelm's court artist and artistic director, Friedrich Sustris created a unified vision that broadcast Bavarian magnificence to princely courts across Europe. Although much of Sustris's work is lost, the remaining body of his drawings provides a unique window onto the reception of drawings by early modern elites within the context of their collecting practices.

This comprehensive new book is an essential volume for anyone who wants to learn more about Leonardo and to survey his greatest works in one beautifully illustrated collection. The first part contains a detailed exploration of Leonardo's life. It details his childhood, family life and education, and then explores his interests in architecture, engineering and science as well as his career as a painter. The second part of the book contains a gallery of over 300 of Leonardo's major paintings, drawings and designs. These superb reproductions are accompanied by thorough analysis of each artwork and its significance within the context of his life, his technique and his body of work as a whole.

Pieter Brugel the Elder - Fall of the Rebel Angels argues that many of the hybrid falling angels are carefully composed of naturalia and artificialia, as they were collected in art and curiosity cabinets of the time. Bruegel's much noted emulation of Jheronymus Bosch was thus only part of his wider interest in collecting, inspecting, and imitating the artistic and natural world around him. This prompts an examination of the world at the time that Bruegel painted the Fall of the Rebel Angels, locally, in the urban and courtly centres of Antwerp and Brussels on the eve of the Dutch revolt, and globally, as the discovery of the New World irreversibly transformed the European perception of art and nature. Painted as a tale of hubris and pride, Bruegel's masterpiece becomes a meditation on the potential and danger of man's pursuit of art, knowledge and politics, a universal theme that has lost nothing of its power today.

This book is the first comprehensive study of images of rape in Italian painting at the dawn of the Renaissance. Drawing on a wide range of primary sources, Peter Bokody examines depictions of sexual violence in religion, law, medicine, literature, politics, and history writing produced in kingdoms (Sicily and Naples) and city-republics (Florence, Siena, Lucca, Bologna and Padua). Whilst misogynistic endorsement characterized many of these visual discourses, some urban communities condemned rape in their propaganda against tyranny. Such representations of rape often link gender and aggression to war, abduction, sodomy, prostitution, pregnancy, and suicide. Bokody also traces how the new naturalism in painting, introduced by Giotto, increased verisimilitude, but also fostered imagery that coupled eroticism and violation. Exploring images and texts that have long been overlooked, Bokody's study provides new insights at the intersection of gender, policy, and visual culture, with evident relevance to our contemporary condition.

Emphasizing the peculiar, the perverse, the clandestine and the scandalous, this volume opens up a critical discourse on sexuality and visual culture in early modern Italy. Contributors consider not just painted (conventional) representations of sexual activities and eroticized bodies, but also images from print media, drawings, sculpted objects and painted ceramic jars. In this way, the volume presents an entirely new picture of Renaissance sexuality, stripping away layers of misconceptions and manipulations to reveal an often-misunderstood world. 'Sex acts' is interpreted broadly, from the acting out, or performing, of one's (or another's) sex to sexual activity, including what might be considered, now or then, peculiar practices and preferences and a variety of possibly scandalous scenarios. While the contributors come from a variety of disciplinary backgrounds, this collection foregrounds the visual culture of early modern sexuality, from representations of sex and sexualized bodies to material objects associated with sexual activities. The picture presented here nuances our understanding of Renaissance sexuality as well as our own.

Concentrating largely on the 'middle ranks' of society in Renaissance Italy - artisans, merchants, and professionals such as bankers and lawyers - this book focuses on new social subjects, new documents and unusual objects. Using innovative methods of inquiry and interdisciplinary analytical tools, contributors explore a little-known but pervasive erotic culture in which sexually explicit artefacts, games and gestures were considered essential to a number of rituals and social occasions. At the same time, they demonstrate how a burgeoning market for erotica, along with a cultural tradition of allusion and innuendo, played an increasingly important role in the Italian peninsula between the fifteenth and early seventeenth centuries. This volume fills some pervasive lacunae in both Renaissance studies and the history of sexuality through a series of critical engagements with material culture and social custom. It reflects recent scholarly interest in interdisciplinary areas such as the material Renaissance, visual communications, urban sociability in the domestic context, and court records regarding marital disputes.

The late Renaissance sculptor Leone Leoni (1509-1590) came from modest beginnings, but died as a nobleman and knight. His remarkable leap in status from his humble birth to a stonemason's family, to his time as a galley slave, to living as a nobleman and courtier in Milan provide a specific case study of an artist's struggle and triumph over existing social structures that marginalized the Renaissance artist. Based on a wealth of discoveries in archival documents, correspondence, and contemporary literature, the author examines the strategies Leoni employed to achieve his high social position, such as the friendships he formed, the type of education he sought out, the artistic imagery he employed, and the aristocratic trappings he donned. Leoni's multiple roles (imperial sculptor, aristocrat, man of erudition, and criminal), the visual manifestations of these roles in his house, collection, and tomb, the form and meaning of the artistic commissions he undertook, and the particular successes he enjoyed are here situated within the complex political, social and economic contexts of northern Italy and the Spanish court in the sixteenth century.

How are processes of vision, perception, and sensation conceived in the Renaissance? How are those conceptions made manifest in the arts? The essays in this volume address these and similar questions to establish important theoretical and philosophical bases for artistic production in the Renaissance and beyond. The essays also attend to the views of historically significant writers from the ancient classical period to the eighteenth century, including Plato, Aristotle, Plotinus, St Augustine, Ibn Sina (Avicenna), Ibn al-Haytham (Alhazen), Ibn Sahl, Marsilio Ficino, Nicholas of Cusa, Leon Battista Alberti, Gian Paolo Lomazzo, Gregorio Comanini, John Davies, Rene Descartes, Samuel van Hoogstraten, and George Berkeley. Contributors carefully scrutinize and illustrate the effect of changing and evolving ideas of intellectual and physical vision on artistic practice in Florence, Rome, Venice, England, Austria, and the Netherlands. The artists whose work and practices are discussed include Fra Angelico, Donatello, Leonardo da Vinci, Filippino Lippi, Giovanni Bellini, Raphael, Parmigianino, Titian, Bronzino, Johannes Gumpp and Rembrandt van Rijn. Taken together, the essays provide the reader with a fresh perspective on the intellectual confluence between art, science, philosophy, and literature across Renaissance Europe.

The first book to be dedicated to the topic, Patronage and Italian Renaissance Sculpture reappraises the creative and intellectual roles of sculptor and patron. The volume surveys artistic production from the Trecento to the Cinquecento in Rome, Pisa, Florence, Bologna, and Venice. Using a broad range of approaches, the essayists question the traditional concept of authorship in Italian Renaissance sculpture, setting each work of art firmly into a complex socio-historical context. Emphasizing the role of the patron, the collection re-assesses the artistic production of such luminaries as Michelangelo, Donatello, and Giambologna, as well as lesser-known sculptors. Contributors shed new light on the collaborations that shaped Renaissance sculpture and its reception.

Titian, Colonna and the Renaissance Science of Procreation demonstrates that two major monuments of Italian Renaissance culture - Bellini's and Titian's famous series of mytho-poetical paintings for the camerino of Duke Alfonso d'Este of Ferrara, and Francesco Colonna's Hypnerotomachia Poliphili - were conceived as mnemonic or pedagogical devices aimed at educating the reader/beholder in the medical science of reproductive physiology and the maintenance of sexual health. It is further argued that the learned courtier Mario Equicola, who conceived the pictorial program of Duke Alfonso's camerino, had read Colonna's text and was extensively inspired by its prior literary argument. The study is organized in two parts, intimately interrelated. The first part is a study of Alfonso d'Este's camerino, with a general introduction, individual chapters on each of Bellini's and Titian's four pictorial "bacchanals," and a conclusion proposing a new and more accurate reconstruction of the layout of the room, also including a completely new way of interpreting the ensemble. The second part of the study concerns Colonna's Hypnerotomachia Poliphili, again beginning with its own introductory essay and advancing a completely new interpretation of the text. The brief conclusion brings the insights of the two sections together, clarifying the historical relationship between the pictorial and literary works and explaining their larger cultural significance. Emphasizing Equicola's use of the Hypnerotomachia as a model for pictorial invention, the author reveals how Titian's remarkably sensuous paintings and Colonna's erotically-charged romance are related by their common reference to the neo-Aristotelian medical theory of the "libidinal seasons," and by corollary themes of marriage and sexual consummation. This peculiar intersection of cultural themes came to prominence in the context of a courtly world in which medical science was increasingly brought to bear on the problem of dynastic continuity. While the book thus makes a major contribution to historical and art-historical inquiry into Renaissance notions of sexuality, it also relates this theme to the question of masculine identity and fatherhood, the histories of sexuality and marriage, and the interpretation of courtly art and literature as instruments of political or dynastic ideology. In addition, by grafting together the methods of advanced iconographic philology with those of comparative literature, the author provides a new methodological model that could be applied to other cultural monuments.

Michelangelo's genius is revealed as never before by the man who became Michelangelo's last apprentice- an American artist and art historian whose family helped carve Mount Rushmore. Many believe Michelangelo's talent was miraculous and untrained, the product of "divine" genius-a myth that Michelangelo himself promoted by way of cementing his legacy. But the young Michelangelo studied his craft like any Renaissance apprentice, learning from a master, copying, and experimenting with materials and styles. In this extraordinary book, Alan Pascuzzi recounts the young Michelangelo's journey from student to master, using the artist's drawings to chart his progress and offering unique insight into the true nature of his mastery. Pascuzzi himself is a practicing artist in Florence, Michelangelo's city. When he was a grad student in art history, he won a Fulbright to "apprentice" himself to Michelangelo: to study his extant drawings and copy them to discern his progression in technique, composition, and mastery of anatomy. Pascuzzi also relied on the Renaissance treatise that "Il Divino" himself would have been familiar with, Cennino Cennini's The Craftsman's Handbook (1399), which was available to apprentices as a kind of textbook of the period. Pascuzzi's narrative traces Michelangelo's development as an artist during the period from roughly 1485, the start of his apprenticeship, to his completion of the Sistine Chapel ceiling in 1512. Analyzing Michelangelo's burgeoning abilities through copies he himself executed in museums and galleries in Florence and elsewhere around the world, Pascuzzi unlocks the transformation that made Michelangelo great. At the same time, he narrates his own transformation from student to artist as Michelangelo's last apprentice.

For nearly three centuries Leonardo da Vinci's work was known primarily through the abridged version of his Treatise on Painting, first published in Paris in 1651 and soon translated into all the major European languages. Here for the first time is a study that examines the historical reception of this vastly influential text. This collection charts the varied interpretations of Leonardo's ideas in French, Italian, Spanish, English, German, Dutch, Flemish, Greek, and Polish speaking environments where the Trattato was an important resource for the academic instruction of artists, one of the key sources drawn upon by art theorists, and widely read by a diverse network of artists, architects, biographers, natural philosophers, translators, astronomers, publishers, engineers, theologians, aristocrats, lawyers, politicians, entrepreneurs, and collectors. The cross-cultural approach employed here demonstrates that Leonardo's Treatise on Painting is an ideal case study through which to chart the institutionalization of art in Europe and beyond for 400 years. The volume includes original essays by scholars studying a wide variety of national and institutional settings. The coherence of the volume is established by the shared subject matter and interpretative aim: to understand how Leonardo's ideas were used. With its focus on the active reception of an important text overlooked in studies of the artist's solitary genius, the collection takes Leonardo studies to a new level of historical inquiry. Leonardo da Vinci's most significant contribution to Western art was his interpretation of painting as a science grounded in geometry and direct observation of nature. One of the most important questions to emerge from this study is, what enabled the same text to produce so many different styles of painting?

This visually stunning and technically detailed book is an in-depth analysis of the materials and techniques used on thirty eight of the V&A's Renaissance frames. The book will teach the reader to recognise frame style, structure and surface decoration of the period, as well as additions and alterations and later frames in the style.

* First detailed technical analysis of the V&A's most important Renaissance frames

* Highly illustrated with 100 + colour photos of front back and details, digital reconstructions, section profiles, and illustrations of frame types, joints and mouldings.

* Provides a comparative reference for Renaissance frames in other publications

Christine Powell has worked at the V&A since 1993. She is a Senior Furniture Conservator specialising in gilt wood European Furniture, mirror and picture frames. She has also worked at The National Gallery London for seven years as conservator working on European painted and gilt wood altarpieces and frames and The Wallace Collection for two years on European gilt wood frames and furniture. She has taught and published articles on the history, materials techniques and conservation of gilding. Christine studied furniture making and restoration of furniture at the London College of Furniture (latterly the Metropolitan University) including wood finishing, carving and gilding. Before this she worked in private practice for furniture restoration and special paint effects firms. She also attended Epsom School of Art and Design.

Zoe Allen first joined the V&A in 2000 to work on gilt wooden objects for the British Galleries and returned to the V&A in 2003 where she has worked since as Frames and Gilded Furniture Conservator. Before joining the V&A full time she worked as a conservator for both public institutions, such as English Heritage, and private practices including projects at the Royal Academy, St Paul s Cathedral and Somerset House. Zoe has published articles on her work. After a first degree in French Literature, Zoe studied conservation at the City & Guilds of London Art School. Her training covered the conservation of objects made from wood, stone and other sculptural materials, gilding and decorative surfaces. Internships included the National Institute for Restoration, Croatia, the Royal Collection, London and the Museum of London.

The Erotics of Looking: Early Modern Netherlandish Art presents a collection of provocative essays that explore the material qualities of early Dutch art to reveal ways new forms of visual imagery solicit a beholder s involvement. * Explores how descriptive pictures during the early modern Dutch art period operated as social things and were designed to pleasurably engage the eye and prompt discussion and debate * Shows how these works potentially raised ethical and political questions about the interconnectedness of engaging with pictures and the material world * Represents a major contribution to the field of early modern Netherlandish art and to general debates about the status and functions of descriptive art * Features essays addressing a variety of aspects of the field, from the historiography of Dutch art to closely attentive readings of particular works * Crafts an original theoretical framework by applying recent insights about the making of early modern publics and the study of material things to the analysis of Netherlandish art

The comprehensive study of the Italian Renaissance altarpiece from the 13th to the early 17th century The altarpiece is one of the most distinctive and remarkable art forms of the Renaissance period. It is difficult to imagine an artist of the time-whether painter or sculptor, major or minor-who did not produce at least one. Though many have been displaced or dismembered, a substantial proportion of these works still survive. Despite the volume of material available, no serious attempt has ever been made to examine the whole subject in depth until now. The Italian Renaissance Altarpiece is the first comprehensive study of the genre to examine its content and subject matter in real detail, from the origins of the altarpiece in the 13th century to the time of Caravaggio in the early 1600s. It discusses major developments in the history of these objects throughout Italy, covers the three key categories of Renaissance altarpiece-"immagini" (icons), "historie" (narratives), and "misteri" (mysteries)-and is illustrated with 250 beautiful reproductions of the artworks.

In this first comprehensive full length study in English on the art of Jan Brueghel the Elder, Leopoldine Prosperetti illuminates how the work of this painter relates to a philosophical culture prevailing in the Antwerp of his time. She shows that no matter what scenery, figures or objects stock the pictorial field, Brueghel's diverse pictures have something in common: they all embed visual trajectories that allow for the viewer to craft out of the raw material of the picture a moment of spiritual repose. Rooted in the art of Hieronymus Bosch and Pieter Bruegel the Elder these vistas are shown to meet the expectation of viewers to discover in their mazes a rhetorically conceived path to wisdom. The key issue is the ambition of pictorial images to bring into practice the humanist belief that philosophy and rhetoric are inseparable. This original study analyzes the patterns of thought and recurrent optical tropes that constitute a visual poetics for shifting genres - no longer devotional, yet sharing in the meditative goal of redirecting the soul toward an intuitive knowledge of what is good in life. This book reveals how everyday life is the preferred vehicle for delivering the results of philosophical pursuits. One chapter is dedicated to Brueghel's innovative attention to the experience of traveling in a variety of wheeled vehicles along the roads of his native Brabant. He is unique, and surprisingly modern, in giving contemporary viewers an accurate account of all the different types of conveyances that clutter the roads. It makes for lively versions of one of his favorite themes: The Traveled Road. By taking the pursuit of wisdom as its theme, the book succeeds in presenting a new model for the interpretation of a range of visual genres in the Antwerp picture trade.

Debunking the myth of the stark white Protestant church interior, this study explores the very objects and architectural additions that were in fact added to Netherlandish church interiors in the first century after iconoclasm. In charting these additions, Mia Mochizuki helps explain the impact of iconoclasm on the cultural topography of the Dutch Golden Age, and by extension, permits careful scrutiny of a decisive moment in the history of the image. Focusing on the Great or St. Bavo Church in Haarlem, this interdisciplinary book draws on art history, history and theology to look at the impact of iconoclasm and reformation on the process of image-making in the early modern Netherlands. The new objects that began to appear in the early Dutch Reformed Church signaled a dramatic change in the form, function and patronage of church art and testified to new roles for church, government, guild and resident. Each chapter in the book introduces a major theme of the nascent Protestant church interior - the Word made material, the Word made memorial and the Word made manifest - which is then explored through the painting, sculpture and architecture of the early Dutch Reformed Church. The text is heavily illustrated with images of the objects under discussion, many of them never before published. A large number of these images are from the camera of prize-winning photographer Tjeerd Frederikse, with additional photography courtesy of E.A. van Voorden. This book unveils, defines and reproduces a host of images previously unaddressed by scholarship and links them to more familiar and long studied Dutch paintings. It provides a religious art companion to general studies of Dutch Golden Age art and lends greater depth to our understanding of iconoclasm, as well as the way in which cultural artifacts and religious material culture reflect and help to shape the values of a community. Taking up the challenge of an unusual category of objects for visual analysis, this

Starting from an inventory and other documents, Ann Roberts has identified some 30 works of art that originated from the convent of San Domenico of Pisa. She here examines those objects commissioned for and made by the nuns during the fifteenth century; some of the objects included have never before been published. One of her goals in this study is to bring into the discussion of Renaissance art a body of images that have been previously overlooked, because they come from a non-Florentine context and because they do not fit modern notions of the "development" of Renaissance style. She also analyzes the function of the images - social as well as religious - within the context of a female Dominican convent. Finally, she offers descriptions of and documentation for the process of patronage as it was practiced by cloistered women, and the making of art in such enclosures. The author presents a catalogue of works, which gives basic data and bibliography for the objects described in the text. Roberts offers other valuable resources in the appendices, including unpublished C19th inventories of the objects in the convent at various moments, documents regarding the commission of works of art for the convent, letters written by the nuns, a list of the Prioresses of San Domenico, lists of nuns at different points in the fifteenth and early sixteenth century, and a list of the relics owned by the convent in the sixteenth century. Roberts firmly grounds her interpretation in the values of the Order to which the nuns belonged, and in the political and social concerns of their city.

Stretching back to antiquity, motion had been a key means of designing and describing the physical environment. But during the sixteenth through eighteenth centuries, individuals across Europe increasingly designed, experienced, and described a new world of motion: one characterized by continuous, rather than segmented, movement. New spaces that included vistas along house interiors and uninterrupted library reading rooms offered open expanses for shaping sequences of social behaviour, scientists observed how the Earth rotated around the sun, and philosophers attributed emotions to neural vibrations in the human brain. Early Modern Spaces in Motion examines this increased emphasis on motion with eight essays encompassing a geographical span of Portugal to German-speaking lands and a disciplinary range from architectural history to English. It consequently merges longstanding strands of analysis considering people in motion and buildings in motion to explore the cultural historical attitudes underpinning the varied impacts of motion in early modern Europe.