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Renaissance Italy's art, literature, and culture continue to
fascinate. The domestic life has been examined more in recent
years, and this book reveals the preparation, eating, and the
sociability of dining in Renaissance Italy. It takes readers behind
the scenes to the Renaissance kitchen and dining room, where
everyday meals as well as lavish banquets were prepared and
consumed. Katherine McIver considers the design, equipment, and
location of the kitchen and food prep and storage rooms in both
middle-class homes and grand country estates. The diner's room, the
orchestration of dining, and the theatrical experience of dining
are detailed as well, all in the context of the renowned food and
architectural scholars of the day.
Expanding interdisciplinary investigations into gender and material
culture, Katherine A. McIver here adds a new dimension to
Renaissance patronage studies by considering domestic art - the
decoration of the domestic interior - as opposed to patronage of
the fine arts (painting, sculpture and architecture). Taking a
multidimensional approach, McIver looks at women as collectors of
precious material goods, as organizers of the early modern home,
and as decorators of its interior. By analyzing the inventories of
women's possessions, McIver considers the wide range of domestic
objects that women owned, such as painted and inlaid chests,
painted wall panels, tapestries, fine fabrics for wall and bed
hangings, and elaborate jewelry (pendant earrings, brooches,
garlands for the hair, necklaces and rings) as well as personal
devotional objects. Considering all forms of patronage
opportunities open to women, she evaluates their role in
commissioning and utilizing works of art and architecture as a
means of negotiating power in the court setting, in the process
offering fresh insights into their lives, limitations, and the
possibilities open to them as patrons. Using her subjects'
financial records to track their sources of income and the
circumstances under which it was spent, McIver thereby also
provides insights into issues of Renaissance women's economic
rights and responsibilities. The primary focus on the lives and
patronage patterns of three relatively unknown women, Laura
Pallavicina-Sanvitale, Giacoma Pallavicina and Camilla Pallavicina,
provides a new model for understanding what women bought,
displayed, collected and commissioned. By moving beyond the
traditional artistic centers of Florence, Venice and Rome,
analyzing instead women's artistic patronage in the feudal courts
around Parma and Piacenza during the sixteenth century, McIver
nuances our understanding of women's position and power both in and
out of the home. Carefully integrating extensive archival
Through a visually oriented investigation of historical
(in)visibility in early modern Italy, the essays in this volume
recover those women - wives, widows, mistresses, the illegitimate -
who have been erased from history in modern literature, rendered
invisible or obscured by history or scholarship, as well as those
who were overshadowed by male relatives, political accident, or
spatial location. A multi-faceted invisibility of the individual
and of the object is the thread that unites the chapters in this
volume. Though some women chose to be invisible, for example the
cloistered nun, these essays show that in fact, their voices are
heard or seen through their commissions and their patronage of the
arts, which afforded them some visibility. Invisibility is also
examined in terms of commissions which are no longer extant or are
inaccessible. What is revealed throughout the essays is a new way
of looking at works of art, a new way to visualize the past by
addressing representational invisibility, the marginalized or
absent subject or object and historical (in)visibility to discover
who does the 'looking,' and how this shapes how something or
someone is visible or invisible. The result is a more nuanced
understanding of the place of women and gender in early modern
Italy.
Through a visually oriented investigation of historical
(in)visibility in early modern Italy, the essays in this volume
recover those women - wives, widows, mistresses, the illegitimate -
who have been erased from history in modern literature, rendered
invisible or obscured by history or scholarship, as well as those
who were overshadowed by male relatives, political accident, or
spatial location. A multi-faceted invisibility of the individual
and of the object is the thread that unites the chapters in this
volume. Though some women chose to be invisible, for example the
cloistered nun, these essays show that in fact, their voices are
heard or seen through their commissions and their patronage of the
arts, which afforded them some visibility. Invisibility is also
examined in terms of commissions which are no longer extant or are
inaccessible. What is revealed throughout the essays is a new way
of looking at works of art, a new way to visualize the past by
addressing representational invisibility, the marginalized or
absent subject or object and historical (in)visibility to discover
who does the 'looking,' and how this shapes how something or
someone is visible or invisible. The result is a more nuanced
understanding of the place of women and gender in early modern
Italy.
The relationship between music and painting in the Early Modern
period is the focus of this collection of essays by an
international group of distinguished art historians and
musicologists. Each writer takes a multidisciplinary approach as he
or she explores the interface between music performance and
painting, or between music and art theory. The essays reflect a
variety and range of approaches and offer methodologies which might
usefully be employed in future research in this field. The volume
is dedicated to the memory of Franca Trinchieri Camiz, an art
historian who worked extensively on topics related to art and
music, and who participated in some of the conference panels from
which many of these essays originate. Three of Professor Camiz's
own essays are included in the final section of this volume,
together with a bibliography of her writings in this field. They
are preceded by two thematic groups of essays covering aspects of
musical imagery in portraits, issues in iconography and theory, and
the relationship between music and art in religious imagery.
The relationship between music and painting in the Early Modern
period is the focus of this collection of essays by an
international group of distinguished art historians and
musicologists. Each writer takes a multidisciplinary approach as he
or she explores the interface between music performance and
painting, or between music and art theory. The essays reflect a
variety and range of approaches and offer methodologies which might
usefully be employed in future research in this field. The volume
is dedicated to the memory of Franca Trinchieri Camiz, an art
historian who worked extensively on topics related to art and
music, and who participated in some of the conference panels from
which many of these essays originate. Three of Professor Camiz's
own essays are included in the final section of this volume,
together with a bibliography of her writings in this field. They
are preceded by two thematic groups of essays covering aspects of
musical imagery in portraits, issues in iconography and theory, and
the relationship between music and art in religious imagery.
The modern twenty-first century kitchen has an array of time saving
equipment for preparing a meal: a state of the art stove and
refrigerator, a microwave oven, a food processor, a blender and a
variety of topnotch pots, pans and utensils. We take so much for
granted as we prepare the modern meal - not just in terms of
equipment, but also the ingredients, without needing to worry about
availability or seasonality. We cook with gas or electricity - at
the turn of the switch we have instant heat. But it wasn't always
so. Just step back a few centuries to say the 1300s and we'd find
quite a different kitchen, if there was one at all. We might only
have a fireplace in the main living space of a small cottage. If we
were lucky enough to have a kitchen, the majority of the cooking
would be done over an open hearth, we'd build a fire of wood or
coal and move a cauldron over the fire to prepare a stew or soup. A
drink might be heated or kept warm in a long-handled saucepan, set
on its own trivet beside the fire. Food could be fried in a pan,
grilled on a gridiron, or turned on a spit. We might put together a
small improvised oven for baking. Regulating the heat of the open
flame was a demanding task. Cooking on an open hearth was an
all-embracing way of life and most upscale kitchens had more than
one fireplace with chimneys for ventilation. One fireplace was kept
burning at a low, steady heat at all times for simmering or boiling
water and the others used for grilling on a spit over glowing,
radiant embers. This is quite a different situation than in our
modern era - unless we were out camping and cooking over an open
fire. In this book Katherine McIver explores the medieval kitchen
from its location and layout (like Francesco Datini of Prato two
kitchens), to its equipment (the hearth, the fuels, vessels and
implements) and how they were used, to who did the cooking (man or
woman) and who helped. We'll look at the variety of ingredients
(spices, herbs, meats, fruits, vegetables), food preservation and
production (salted fish, cured meats, cheese making) and look
through recipes, cookbooks and gastronomic texts to complete the
picture of cooking in the medieval kitchen. Along the way, she
looks at illustrations like the miniatures from the Tacuinum
Sanitatis (a medieval health handbook), as well as paintings and
engravings, to give us an idea of the workings of a medieval
kitchen including hearth cooking, the equipment used, how cheese
was made, harvesting ingredients, among other things. She explores
medieval cookbooks such works as Anonimo Veneziano, Libro per cuoco
(fourtheenth century), Anonimo Toscano, Libro della cucina
(fourteenth century), Anonimo Napoletano (end of thirteenth/early
fourteenth century), Liber de coquina, Anonimo Medidonale, Due
libri di cucina (fourteenth century), Magninus Mediolanensis (Maino
de' Maineri), Opusculum de saporibus (fourteenth century), Johannes
Bockenheim, Il registro di cucina (fifteenth century), Maestro
Martino's Il Libro de arte coquinaria (fifteenth century) and
Bartolomeo Sacchi, called Platina's On Right Pleasure and Good
Health (1470). This is the story of the medieval kitchen and its
operation from the thirteenth-century until the late
fifteenth-century.
Expanding interdisciplinary investigations into gender and material
culture, Katherine A. McIver here adds a new dimension to
Renaissance patronage studies by considering domestic art - the
decoration of the domestic interior - as opposed to patronage of
the fine arts (painting, sculpture and architecture). Taking a
multidimensional approach, McIver looks at women as collectors of
precious material goods, as organizers of the early modern home,
and as decorators of its interior. By analyzing the inventories of
women's possessions, McIver considers the wide range of domestic
objects that women owned, such as painted and inlaid chests,
painted wall panels, tapestries, fine fabrics for wall and bed
hangings, and elaborate jewelry (pendant earrings, brooches,
garlands for the hair, necklaces and rings) as well as personal
devotional objects. Considering all forms of patronage
opportunities open to women, she evaluates their role in
commissioning and utilizing works of art and architecture as a
means of negotiating power in the court setting, in the process
offering fresh insights into their lives, limitations, and the
possibilities open to them as patrons. Using her subjects'
financial records to track their sources of income and the
circumstances under which it was spent, McIver thereby also
provides insights into issues of Renaissance women's economic
rights and responsibilities. The primary focus on the lives and
patronage patterns of three relatively unknown women, Laura
Pallavicina-Sanvitale, Giacoma Pallavicina and Camilla Pallavicina,
provides a new model for understanding what women bought,
displayed, collected and commissioned. By moving beyond the
traditional artistic centers of Florence, Venice and Rome,
analyzing instead women's artistic patronage in the feudal courts
around Parma and Piacenza during the sixteenth century, McIver
nuances our understanding of women's position and power both in and
out of the home. Carefully integrating extensive archival
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