Sculptor, architect, painter, playwright, and scenographer, Gian Lorenzo Bernini (1598-1680) was the last of the great universal artistic geniuses of early modern Italy, placed by both contemporaries and posterity in the same exalted company as Leonardo, Raphael, and Michelangelo. And his artistic vision remains palpably present today, through the countless statues, fountains, and buildings that transformed Rome into the baroque theater that continues to enthrall tourists today. It is perhaps not surprising that this artist who defined the baroque should have a personal life that itself was, well, baroque. As Franco Mormando's dazzling biography reveals, Bernini was a man driven by many passions, possessed of an explosive temper and a hearty sex drive, and he lived a life as dramatic as any of his creations. Drawing on archival sources, letters, diaries, and - with a suitable skepticism - a hagiographic account written by Bernini's son (who portrays his father as a paragon of virtue and piety), Mormando leads us through Bernini's many feuds and love affairs, scandals and sins. He sets Bernini's raucous life against a vivid backdrop of baroque Rome, bustling and wealthy, and peopled by churchmen and bureaucrats, popes and politicians, schemes and secrets. The result is a seductively readable biography, stuffed with stories and teeming with life - as wild and unforgettable as Bernini's art. No one who has been bewitched by the baroque should miss it.

Gian Lorenzo Bernini (1598-1680), sculptor, architect, painter, and playwright, was the most influential artist of seventeenth-century Rome and, indeed, one of the leading creative forces in European art for most of that century. He is universally recognized as one of the creators of the vastly popular Roman Baroque style, which was quickly disseminated throughout all of Europe. His influence lasted well beyond his death, and the popularity of his numerous works--fountains, statues, churches, and public squares--is today as great as it was during his own lifetime, if not more so. Domenico Bernini (1657-1723) was the artist's youngest child. Domenico's full-length biography of his famous father represents one of the most important and most intimate primary sources for the artist's life and work.

In this edition, Franco Mormando presents the first critical translation in any language of the complete Italian text, together with annotated translations of two other significant but brief biographical sketches. Mormando provides a lengthy Introduction that closely examines the author and his career, his editorial agenda and critical reception, Baroque biography as a literary genre, the other extant primary sources, and the artistic vocabulary of early modern Europe, among other relevant topics. Extensive commentary accompanies and illuminates the text from a multiplicity of historical, linguistic, and cultural perspectives. This edition is, in effect, a one-volume encyclopedia on the artist's life and work. As such, it stands alone within the immense bibliography of Bernini scholarship.

"When the city was filled with these bonfires, he then combed the city, and whenever he received notice of some public sodomite, he had him immediately seized and thrown into the nearest bonfire at hand and had him burned immediately." This story, of an anonymous individual who sought to cleanse medieval Paris, was part of a sermon delivered in Siena, Italy, in 1427. The speaker, the friar Bernardino (1380-1444), was one of the most important public figures of the time, and he spent forty years combing the towns of Italy, instructing, admonishing, and entertaining the crowds that gathered in prodigious numbers to hear his sermons.
His story of the Parisian vigilante was a "recommendation." Sexual deviants were the objects of relentless, unconditional persecution in Bernardino's sermons. Other targets of the preacher's venom were witches, Jews, and heretics. Mormando takes us into the social underworld of early Renaissance Italy to discover how one enormously influential figure helped to dramatically increase fear, hatred, and intolerance for those on society's margins.
This book is the first on Bernardino to appear in thirty-five years, and the first ever to consider the preacher's inflammatory role in Renaissance social issues.

Sculptor, architect, painter, playwright, and scenographer, Gian Lorenzo Bernini (1598-1680) was the last of the great universal artistic geniuses of early modern Italy, placed by both contemporaries and posterity in the same exalted company as Leonardo, Raphael, and Michelangelo. And his artistic vision remains palpably present today, through the countless statues, fountains, and buildings that transformed Rome into the Baroque theater that continues to enthrall tourists today.It is perhaps not surprising that this artist who defined the Baroque should have a personal life that itself was, well, baroque. As Franco Mormando's dazzling biography reveals, Bernini was a man driven by many passions, possessed of an explosive temper and a hearty sex drive, and he lived a life as dramatic as any of his creations. Drawing on archival sources, letters, diaries, and--with a suitable skepticism--a hagiographic account written by Bernini's son (who portrays his father as a paragon of virtue and piety), Mormando leads us through Bernini's many feuds and love affairs, scandals and sins. He sets Bernini's raucous life against a vivid backdrop of Baroque Rome, bustling and wealthy, and peopled by churchmen and bureaucrats, popes and politicians, schemes and secrets.The result is a seductively readable biography, stuffed with stories and teeming with life--as wild and unforgettable as Bernini's art. No one who has been bewitched by the Baroque should miss it.

Plague was one of the enduring facts of everyday life on the European continent, from earliest antiquity through the first decades of the eighteenth century. It represents one of the most important influences on the development of Europe's society and culture. In order to understand the changing circumstances of the political, economic, ecclesiastical, artistic, and social history of that continent, it is important to understand epidemic disease and society's response to it. To date, the largest portion of scholarship about plague has focused on its political, economic, demographic, and medical aspects. This interdisciplinary volume offers greater coverage of the religious and the psychological dimensions of plague and of European society's response to it through many centuries and over a wide geographical terrain, including Byzantium. This research draws extensively upon a wealth of primary sources, both printed and painted, and includes ample bibliographical reference to the most im