Leonardo da Vinci lived an itinerant life. Throughout his career - from its beginnings in the creative maelstrom of fifteenth-century Florence to his role as genius in residence at the court of the king of France - Leonardo created a kind of private universe for himself and his work. Leonardo also spent a great deal of time away from his easel, pursuing his interest in engineering, natural science, sculpture, poetry, fables, music and anatomy. In the time that another artist would finish a series of paintings, he would work on one. Sometimes a painting would take decades, accompanying him on his travels as he worked on other commissions. Leonardo's private world was both vibrant and active. It sometimes did and at other times did not interact with the wider world. But what emerged from it has established Leonardo as the definition of the Renaissance Man.

In response to the dominance of Latin as the language of intellectual debate in early modern Europe, regional centers started to develop a new emphasis on vernacular languages and forms of cultural expression. This book shows that the local acts as a mark of distinction in the early modern cultural context. Interdisciplinary in scope, essays examine vernacular strands in the visual arts, architecture and literature from the fourteenth to seventeenth centuries. Contributions focus on change, rather than consistencies, by highlighting the transformative force of the vernacular over time and over different regions, as well as the way the concept of the vernacular itself shifts depending on the historical context. Contributors include James J. Bloom, Jessica E. Buskirk, C. Jean Campbell, Lex Hermans, Sun Jing, Trudy Ko, David A. Levine, Eelco Nagelsmit, Alexandra Onuf, Bart Ramakers, and Jamie L. Smith

The fifteenth-century Italian artist Piero della Francesca painted a familiar world. Roads wind through hilly landscapes, run past farms, sheds, barns, and villages. This is the world in which Piero lived. At the same time, Piero's paintings depict a world that is distant. The subjects of his pictures are often Christian and that means that their setting is the Holy Land, a place Piero had never visited. The Realism of Piero della Francesca studies this paradoxical aspect of Piero's art. It tells the story of an artist who could think of the local churches, palaces, and landscapes in and around his hometown of Sansepolcro as miraculously built replicas of the monuments of Jerusalem. Piero's application of perspective, to which he devoted a long treatise, was meant to convince his contemporaries that his paintings report on things that Piero actually observed. Piero's methodical way of painting seems to have offered no room for his own fantasy. His art looks deliberately styleless. This book uncovers a world in which painting needed to validate itself by cultivating the illusion that it reported on things observed instead of things imagined by the artist. Piero's painting claimed truth in a world of increasing uncertainties.

The fifteenth-century Italian artist Piero della Francesca painted a familiar world. Roads wind through hilly landscapes, run past farms, sheds, barns, and villages. This is the world in which Piero lived. At the same time, Piero's paintings depict a world that is distant. The subjects of his pictures are often Christian and that means that their setting is the Holy Land, a place Piero had never visited. The Realism of Piero della Francesca studies this paradoxical aspect of Piero's art. It tells the story of an artist who could think of the local churches, palaces, and landscapes in and around his hometown of Sansepolcro as miraculously built replicas of the monuments of Jerusalem. Piero's application of perspective, to which he devoted a long treatise, was meant to convince his contemporaries that his paintings report on things that Piero actually observed. Piero's methodical way of painting seems to have offered no room for his own fantasy. His art looks deliberately styleless. This book uncovers a world in which painting needed to validate itself by cultivating the illusion that it reported on things observed instead of things imagined by the artist. Piero's painting claimed truth in a world of increasing uncertainties.