When Vesuvius erupted in 79 CE, the force of the explosion blew the top right off the mountain, burying nearby Pompeii in a shower of volcanic ash. Ironically, the calamity that proved so lethal for Pompeii's inhabitants preserved the city for centuries, leaving behind a snapshot of Roman daily life that has captured the imagination of generations. The experience of Pompeii always reflects a particular time and sensibility, says Ingrid Rowland. From Pompeii: The Afterlife of a Roman Town explores the fascinating variety of these different experiences, as described by the artists, writers, actors, and others who have toured the excavated site. The city's houses, temples, gardens--and traces of Vesuvius's human victims--have elicited responses ranging from awe to embarrassment, with shifting cultural tastes playing an important role. The erotic frescoes that appalled eighteenth-century viewers inspired Renoir to change the way he painted. For Freud, visiting Pompeii was as therapeutic as a session of psychoanalysis. Crown Prince Hirohito, arriving in the Bay of Naples by battleship, found Pompeii interesting, but Vesuvius, to his eyes, was just an ugly version of Mount Fuji. Rowland treats readers to the distinctive, often quirky responses of visitors ranging from Wolfgang Amadeus Mozart, Charles Dickens, and Mark Twain to Roberto Rossellini and Ingrid Bergman. Interwoven throughout a narrative lush with detail and insight is the thread of Rowland's own impressions of Pompeii, where she has returned many times since first visiting in 1962.

Italian astronomer and Dominican friar Giordano Bruno (1548–1600), found guilty of heresy by the Roman Inquisition and burned at the stake, has long been an enigma of early modern European philosophy. His central 1586 work On the Heroic Frenzies has shown a particular need for a fresh examination. This vibrant bilingual edition, annotated by celebrated Bruno scholar Ingrid D. Rowland, features the text in its original Italian alongside an elegant, accurate English translation. On the Heroic Frenzies is at once a philosophical dialogue, an anthology of love poetry, and a collection of sonnets, songs, and emblems – sometimes borrowed from other writers, but primarily Bruno’s own. Rowland’s detailed introduction and extensive footnotes highlight the philosophical sources, Biblical allusions, and biographical elements that make Bruno’s work both richly conceived and often challenging to understand. Providing cohesive insights into Bruno’s text, Rowland’s edition of On the Heroic Frenzies is a helpful guide for those new to his work.

Giordano Bruno (1548-1600) is one of the great figures of early modern Europe, and one of the least understood. Ingrid D. Rowland's biography establishes him once and for all as a peer of Erasmus, Shakespeare, and Galileo--a thinker whose vision of the world prefigures ours.
Writing with great verve and erudition, Rowland traces Bruno's wanderings through a sixteenth-century Europe where every certainty of religion and philosophy has been called into question, and reveals how he valiantly defended his ideas to the very end, when he was burned at the stake as a heretic on Rome's Campo de' Fiori.

"A loving and thoughtful account of Bruno's] life and thought, satires and sonnets, dialogues and lesson plans, vagabond days and star-spangled nights. . . . Ingrid D. Rowland has her reasons for preferring Bruno to Copernicus, Tycho Brahe, Johannes Kepler, even Galileo and Leonardo, and they're good ones."--John Leonard, "Harper's
""Whatever else Bruno was, he was wild-minded and extreme, and Rowland communicates this, together with a sense of the excitement that his ideas gave him. . . . It's that feeling for the explosiveness of the period, and Rowland's] admiration of Bruno for participating in it--indeed, dying for it--that is the central and most cherishable quality of the biography."--Joan Acocella, "New Yorker
""Rowland tells this great story in moving, vivid prose, concentrating as much on Bruno's thought as on his life. . . . His restless mind, as she makes clear, not only explored but transformed the heavens."--Anthony Grafton, "New York Review of Books
"" Bruno] seems to have been an unclassifiable mixture of foul-mouthed Neapolitan mountebank, loquacious poet, religious reformer, scholastic philosopher, and slightly wacky astronomer."--Anthony Gottlieb, "New York Times Book Review
""A marvelous feat of scholarship. . . . This is intellectual biography at its best."--Peter N. Miller, "New Republic
""An excellent starting point for anyone who wants to rediscover the historical figure concealed beneath the cowl on Campo de' Fiori."--Paula Findlen, "Nation"

For the first time in more than half a century, Vitruvius' Ten Books on Architecture is being published in English. The only full treatise on architecture and its related arts to survive from classical antiquity, the Architecture libri decem (Ten Books on Architecture) is the single most important work of architectural history in the Western world, having shaped architecture and the image of the architect from the Renaissance to the present. Demonstrating the range of Vitruvius' style, this new edition includes examples from archaeological sites discovered since World War II and not previously published in English language translations. Rowland's new translation and Howe's critical commentary and illustrations provide a new image of Vitruvius, who emerges as an inventive and creative thinker, rather than the normative summarizer, as he was characterized in the Middle Ages and Renaissance. Ingrid D. Rowland is an associate professor of Art History at the University of Chicago. Thomas Noble Howe is a professor in the Department of Art at Southwestern University in Georgetown, Texas.

Between 1480 and 1520, a concentration of talented artists, including Bramante, Raphael and Michelangelo, arrived in Rome and produced some of the most enduring works of art ever created. In this study, Ingrid Rowland examines the culture, society, and intellectual norms that generated the High Renaissance. Fueled by a volatile mix of economic development, longing for ancient civilization, and religious ferment, the High Renaissance, Rowland posits, was also a period in which artists sought "new methods for doing new things."

Focusing on the figures of Plato, Archimedes, and Caravaggio, The Divine Spark of Syracuse discloses the role that Syracuse, a Greek cultural outpost in Sicily, played in fueling creative energies. Among the topics this book explores are Plato and the allegory of the cave, and the divine spark mentioned in his Seventh Letter. It also considers the machines of Archimedes, including his famous screw, and the variety of siege and antisiege weapons that he developed in the defense of his hometown during the sieges of the First and Second Punic Wars, including "the hand" (a giant claw), the "burning mirror," and the catapult. The final chapter offers a look at the sixteenth-century artist and roustabout Caravaggio. On the run after yet another street brawl, Caravaggio traveled to Syracuse, where he painted The Burial of St. Lucy (Santa Lucia) in 1608. Typical of his late works, the painting is notable for its subdued tones and emotional and psychological delicacy, even fragility. This captivating book lends clear insight into the links between the sense of place and inspiration in philosophy, mathematics, and art. Rowland is the most learned tour guide we could ask for.