Renaissance Studies

The paper aims to present the first results of an in-depth and source-based research about socio-economic inequalities and agricultural growth in the Late Medieval Florentine society.
This area has been intensively studied because of its economic relevance and the rise of a peculiar share-cropping system (mezzadria). Mezzadria lease contracts spread broadly in Tuscany at the end of the Middle Ages (13th c.), linked to the building of the regional city-state by the city-commune of Florence and its raising economy. The system developed before the demographic shocks of Late Middle Ages and continued to develop further during the decline of the Florentine economy in 15th-16th centuries. The role of mezzadria in shaping declining economic trends and socio-economic inequalities, as well as the causes of its rise, are still debated among scholars.
This research would offer an original contribute on these issues through a new in-depth consultation of the Florentine fiscal surveys of the 15th and 16th centuries (the Catasto of 1427 and the Decima repubblicana of the early 16th century) and the use of a social agro-systemic approach. The information entered from sources will be used to draw a picture of the social and property structure of four different sub-regional study-areas within the Florentine territory (characterized by differences in the importance of institutions, in property distribution, in environmental features), comparing the trends and their causal relations for regional differences. The goal is drawing: 1) a more complete figure of agricultural output of mezzadria –  comparing different systems of exploitation and subregions –; 2) an in-depth figure of socio-economic inequalities – property and income distribution, ownership of oxen, access to credit and fiscal incomes. In this way it will be possible to offer a more detailed pattern of explanation of the main dynamics of Late Medieval rural Tuscany.

This is the original version of an article now edited and translated into English (updated with additional illustrations) and republished in "Food, Social Politics and the Order of Nature in Renaissance Europe" (2019), a volume of my collected articles.

Objective: Throughout history, gout has been referred to as the " disease of the kings " , and has been clearly associated with the lifestyle of the aristocratic social classes. According to the written sources, several members of the famous Medici family of Florence suffered from an arthritic disease that contemporary physicians called " gout ". A paleopathological study carried out on the skeletal remains of some members of the family, exhumed from their tombs in the Church of San Lorenzo in Florence, offered a unique opportunity to directly investigate the evidence of the arthritic diseases affecting this elite group. Methods: The skeletal remains of several members of the family were examined macroscopically and submitted to x-ray investigation. Results: The results of the study allowed us to ascertain that the so-called " gout of the Medici " should be considered the clinical manifestation of three different joint conditions: diffuse idiopathic skeletal hyperostosis, rheumatoid arthritis and uratic gout. In particular, uric acid gout was diagnosed in the Grand Duke Ferdinand I (1549-1609). Recently, a new case of this disease was diagnosed in Anton Francesco Maria (1618–1659), a probable illegitimate member of the family. Conclusion: With this new case, uratic gout was observed in 2 out of 9 adult males, leading to suppose that the disease should have been a common health problem within the family. The aetiology of the disease has to be searched in environmental factors, since both historical and paleonutritional studies demonstrated that the diet of this aristocratic court was rich in meat and wine.

This essay is a survey of the figure Fortune in sixteenth- and seventeenth-century English poetry. It argues that poetry reveals the work of figuration within the construction of gendered and racial difference. First, it looks at some early verses by Thomas More where poetic ambiguity is used to imitate the contingency associated with the pagan goddess. It then identifies, in an overlooked variant spelling of Thomas Wyatt’s lyric ‘They fle from me that sometim did me seke’, an association between Fortune and the poet’s mistress, which is reworked by numerous later poets. It reads the ‘dark mistress’ of Shakespeare’s Sonnets as a refiguration of Fortune: not an anti-Petrarchan conception, as is often assumed, but one inspired by the psychological technique of ‘blackening’ proposed in Petrarch’s De remediis fortunae (Remedies for Fortune). Following recent work in critical race theory, it argues that this refiguration reflects anxieties about and aesthetic fascination with the Atlantic slave trade. It discusses the career of the Elizabethan super-tune “Fortune my foe,” from an exchange of verses between Walter Ralegh and Elizabeth I to its dismissal as misogynistic in a 1668 play by Margaret Cavendish. Finally, it discusses an argument in the poetry of Katherine Philips that a virtuous woman can capture Fortune, observing that this triumph over Fortune mirrors the exploitation of slave labour in England’s Caribbean colonies.

John Skelton is a central literary figure and the leading poet during the first thirty years of Tudor rule. Nevertheless, he remains challenging and even contradictory for modern audiences.

This book aims to provide an authoritative guide to this complex poet and his works, setting him in his historical, religious, and social contexts. Beginning with an exploration of his life and career, it goes on to cover all the major aspects of his poetry, from the literary traditions in which he wrote and the form of his compositions to the manuscript contexts and later reception. Contributors: Tom Betteridge, Julia Boffey, John Burrow, David Carlson, Helen Cooper, Elisabeth Dutton, A.S.G. Edwards, Jane Griffiths, Nadine Kuipers, Carol Meale, John Scattergood, Sebastian Sobecki, Greg Waite

Nella letteratura italiana dal XIV al XVIII secolo ha discreta fortuna e circolazione il tema della sconfitta del dio dell’amore, umiliato e privato delle proprie armi soprattutto dalle donne. A partire dalle fonti classiche dell’episodio, rintracciabili nell’epigrammatica alessandrina e nel "Cupido cruciatus" di Decimo Magno Ausonio, si ricostruiscono il significato e le molteplici declinazioni del soggetto nella produzione letteraria italiana, dal "Triumphus Pudicitie" di Francesco Petrarca alla poesia in ottava rima di Luigi Pulci e Angelo Poliziano, dalle raccolte di emblemi ed imprese ai poemetti encomiastici cinquecenteschi in lode di donne, dalle opere di Moderata Fonte e Lucrezia Marinelli alla letteratura morale settecentesca (con particolare attenzione per l’"Amore disarmato" attribuito a Jacopo Durandi). Ripercorrere le tappe della ricezione, tra riscrittura e risemantizzazione, del topos di Cupido punito e disarmato significa andare oltre un’indagine puramente tematica, per ricostruire la fortuna, letteraria ma anche iconografica, di un motivo di lunga durata.
Questo libro ha vinto il Premio Tesi di Dottorato istituito dalla Sapienza Università di Roma, nell’edizione 2013."

One of the most momentous cross-cultural collisions occurred in the Caribbean in 1492, heralding a period of rapid change in both ‘New’ and ‘Old’ Worlds. During the early years of the colonial period, when new relationships were being established, material objects became active agents in the interactions between the indigenous Taíno and the Spanish. The Taíno gifted the Spanish with objects that had significance in their own world, in an attempt to enmesh the Spanish into Taíno socio-political and economic networks. In turn, Spanish objects entered into Taíno value
systems. Glass and jet beads, mirrors and brass ornaments were integrated into prestigious objects, such as the two surviving Taíno cotton sculptures that form the focus of this paper: a belt in the collections of the Weltmuseum Wien and a composite sculpture in the Museo Nazionale
Preistorico Etnografico ‘Luigi Pigorini’, Rome. These pieces offer a glimpse into how Old World exotics were reinterpreted and integrated into indigenous value systems during a period of cultural transition and change.

Full, open access volume:
http://www.archaeopress.com/Public/displayProductDetail.asp?id=%7B75FFD4AC-966D-406F-A3A7-CBE6F4CF613B%7D

In an unpublished manuscript about exemplary women, Cristofano Bronzini described a visit to the Tuscan court by Giovanna Garzoni while she was still in her teens, and transcribed a poem written there in her honour. This new documentary evidence has important implications for understanding Garzoni’s artistic development in the early 1620s.

The thesis is divided into two parts and it aims to explain the historical events related to the bibliographical collection of the ancient Jesuit College of Perugia. The first part focuses on the Jesuit librarian history and on the reconstruction of the historical events related to the library of the Perugian college. The institute, founded in 1552, was endowed with a library a few years after its foundation, enriching its collection through different books acquisition channels. The analysis, conducted on unpublished archival documents and published material, reconstructs the events of the library by entering the special case of Perugia in the broader spectrum of the Jesuit librarian history . In this way I tried to provide a model of historical research adaptable to the different librarian realities of the ancient Society of Jesus. The second part of the dissertation consists of the partial reconstruction of the library catalog.

The elite of Renaissance Italy learnt much about the newly discovered Americas
from the journals of explorer Christopher Columbus and from the accounts from the
Venetian scholar and explorer Antonio Pigafetta. It was during the exploration of
Patagonia, that Pigafetta encountered the Taíno people. He would subsequently
write about what he witnessed, and thus his journal is the first European account of
the Taíno culture and the Cohoba ritual. The Florentine artist Giovanni Stradano,
would be one of the first artists to use this account and depict this ritual.
In his print of Magellan in the Americae Retectio folio, Stradano depicted a Taíno
man putting an arrow down his throat. This is a misrepresentation of the Cohoba
ritual, which involves purging. This depiction would have seemed fantastical,
devilish, and pagan to the Catholic beliefs of the Florentine elite. Although the Taíno
people still exist, and many still practice the Cohoba ritual, they and their culture
had been forgotten in Europe until anthropologists and archaeologists returned to
research South American native culture. This paper examines how the Cohoba
ritual of the Taíno was remembered in the accounts of Pigafetta and the imagery of
Renaissance Italy, in comparison with modern ethnographic evidence.

Grazie all’opera di artisti e intellettuali, nel Rinascimento emerge una consapevolezza inedita del divenire storico che favorisce il culto del nuovo nelle arti, in letteratura, in filologia e nelle scienze. Il nuovo prendeva il posto del culto, una liturgia umana subentrava a quella divina. Questa rivoluzione tocca anche la cultura ebraica, motore e agente di un rinnovamento senza precedenti. Lo studio di Giuseppe Veltri ricostruisce la vita intellettuale ebraica nel Rinascimento italiano ed europeo, mettendo in luce momenti salienti del dibattito del tempo: la coscienza storica del divenire e la secolarizzazione, la funzione della poesia dantesca come ponte fra mondo ebraico e mondo cristiano, l’uso del volgare come simbolo del connubio delle diverse tradizioni, la nascita del criticismo, l’atteggiamento scettico come strategia e sintomo della crisi politica e intellettuale, il dibattito sull’immortalità dell’anima.

The Jewish community had been expelled from England in 1290 and was not readmitted until 1606, yet in the 1520s and 1530s Henry VIII initiated two important cultural exchanges with Venetian Jews. The first, Henry VIII’s consultation of Venetian rabbis about his divorce from Catherine of Aragon, is well known. The second was his invitation to the Venetian Jewish wind-instrument family, the Bassanos, to join his court in the 1530s. While the details of the event have been explored by scholars such as Roger Prior, David Lasocki, and Alessio Ruffatti, I propose that its significance has yet to be fully understood in its religious, political, cultural, and musical context.

In this paper, I consider the Bassanos’s move to England through the lens of an intriguing story of Jewish-Christian interfaith friendship in John Foxe’s Acts and Monuments, also known as the Book of Martyrs (1563). Stories of Jews are few and far between in Foxe’s compendium; stories that both encourage interfaith friendship and do not malign the Jew are all the more unusual. The story, which takes place in England in 1539, follows a Jewish child and a Christian child, “playfellow[s],” into a church and up to the altar. Set against the backdrop of transubstantiation, which, I argue, functions as an allegory for the Bassanos’ creative process, this story becomes a parable for the relationship between Henry VIII and the Bassanos, illuminating the musical, political, and religious significance of their partnership. Henry VIII, despite all his vain excesses, is identified with the Virgin Mary herself for his cultivation and protection of the arts and its creators. What kind of message could Henry VIII have sent by sidestepping religious differences and protocol in his desire to elevate the musical aspect of the court? Could his patronage of the Bassanos have been received as a message of tolerance, even if a self-serving one? I will analyze the story according to three senses of biblical exegesis—historical (literal), tropological (moral), and allegorical—in order to demonstrate how Foxe’s story became a parable for Henry VIII and the Bassanos.

This article explores the emergence and significance of printed game boards in Rome at the turn of the seventeenth century. These objects constitute an important and overlooked visual and material aspect of a pervasive culture of gaming that engrossed a huge range of the populace: both the rich and the poor, men and women, the educated and the illiterate. Printed game boards not only served to entertain, but also mirrored and reified deeper social and moral concerns about gambling and leisure, a tension between the prescribed morality of the legal sanctions, decrees, and censures associated with the Counter-Reformation, and the everyday games common both in courtly leisure and play on the street and in the tavern. Visually manifesting a dual understanding of games as both ludic and mimetic, printed game boards enacted the ontology of life’s journey for early modern players, from the courtly, to the religious, to the quotidian.

The article reconstructs the history, evolution and organisation of the Bassano workshops across the broad span of their existence from 1578 to 1656. Careful historical reconstruction has outlined the profiles of four workshops on the basis of documents, many of which were hitherto unknown and/or unpublished.
The first bottega, directed in Bassano by Jacopo, was supplemented by parallel, yet interconnected, enterprises that were established in Venice by his sons Francesco (1578–1592) and Leandro (1587–1621). Upon Jacopo’s death, his other two sons, Giambattista and Girolamo, took over the family business (1592–1606), whose commercial position was progressively supported and improved as a result of Leandro’s leadership in the Venetian art market. Francesco died only a few months after his father and his shop was inherited by and divided among his three brothers.
The evolution of such a family business was not at all a natural or painless process, as traditionally suggested. It was, instead, the result of Jacopo’s careful and flexible planning, as well as of legal arbitration between father and sons, a complicated procedure that has been discussed in detail in the article.
At the very beginning of the third decade of the seventeenth century, Girolamo’s workshop, which he had meanwhile set up in Venice (1606–1621), was re-capitalised unexpectedly by one of his collaborators, Michele Pietra. Pietra extended his artistic services to include restoration and possibly the production of forgeries of works by famous painters of the sixteenth century (Bassano and Titian included). The analysis of unpublished documentation illuminates the role and importance of Pietra’s shop in terms of commercial strategies and the volume of production.
The article also takes into consideration the appreciation of the style and manner promoted by the four workshops. In particular, the study and attribution of new works, as well as the examination of key commissions, have presented the contributions of the various painters in a new historical perspective. But, more importantly, the paper also demonstrates how a style, which once belonged to Jacopo alone, came to be associated with a distinctive manner – the brand – of an entire clan of artists.

Art and Ideas
Francisco de Hollanda and Sixteenth-Century Aesthetics

The historians of aesthetics who have studied the problem of
ideas in art theory (from Panofsky to Baeumler and Tatarkiewicz) have overlooked Da pintura antiga, by Portuguese artist and theoretician Francisco de Hollanda (1517-1584), a text where the Platonic notion of idea enters a treatise on art for the first time.
The present volume aims to fill such gap by shedding light on an author who has long been overshadowed by the great Michelangelo (whom Hollanda met during his stay in Rome in the years 1538-1540), as well as by advancing an analysis of the aesthetic concepts that emerge not only from Da pintura antiga, but from the entire body of Hollanda’s works.
The most significant element is that in Hollanda’s approach art
theory appropriates connotations previosuly reserved for poetic
creativity. In fact, poetry had borrowed from Platonic philosophy the notion of “divine frenzy” to describe the inspired poet. According to Hollanda, on the contrary, it is the artist who, possessed by such frenzy, is able to rise to the world of ideas. Artistic creativity thus acquires a sacred dimension: “ancient painting” is seen as a sort of “prisca pictura” that, like Ermete Tremegisto’s “prisca theologia”, reveals the most hidden truths. The “melancholic”
artist, who possesses an inspired and bizarre imagination,
as best exemplified by “grottesche”, is the only one capable of
grasping the idea and fixing it with uncommon rapidity in a
sketch. This is a complex and not always immediately successful procedure. Thus, Hollanda considers blindness as a privileged factor to grasp the kind of beauty that the artist, like the prophet, can see only with his “inner eyes”, eyes that are not dimmed by sensible perceptions.
Consequently, “drawing” becomes a key element of Hollanda’s
thought. Drawing emerges as the basis not only of painting,
sculpture, and architecture, but of all the arts that are connected with images: from martial strategy to civil and military engineering; from maps to the design of insignia, livery, clothes, and ornaments.
Hollanda moves beyond the distinction between major
and minor arts, and his approach emerges as more modern than the one that Vasary will articulate a few years later in his famous definition of the “arts of drawing”.

The book takes an interdisciplinary approach and covers the origins of the Italian Renaissance through the Baroque period. It is comprised of fifteen chapters, organized chronologically, along with an introduction and conclusion. As the Renaissance is central to the teaching of Western Civilization courses, often functioning as a bridge between first and second semesters, this book will help provide background to the social, cultural, and political scene in Italy between the Medieval and Modern eras.

This ambitious book is about a way of building that for centuries dominated the making of monumental architecture – yet now not only is it lost as practice, knowledge of its very existence is consigned to oblivion. In pre-modern Europe, the architect built not just with imagination, brick and mortar, but with time, using vast quantities of duration to erect monumental buildings that otherwise would have been impossible. Not mere medieval muddling-through, this entailed a sophisticated set of norms and practices. Virtually all the great cathedrals of Europe were built under this regime. In particular, the major works of pre-modern Italy, from the Pisa cathedral group to the new St Peter’s – the apotheosis of the practice – are thus cast in an entirely new light.  Even as ‘Building-in-Time’ flourished, the fifteenth-century Italian architect Leon Battista Alberti proposed a new temporal regime whereby time would ideally be excluded from the making of architecture (‘Building-outside-Time’). Planning and building, which had formed one fluid, imbricated process, were to be sharply divided, and the change that always came with time excluded from architectural facture. Ironically, it was Brunelleschi, as creator of the cupola of Florence cathedral and one of the supreme practitioners of Building-in-Time, who was the lynchpin of Alberti’s turn to the arts in the mid-1430s. That he arrived in Florence just at the moment Brunelleschi’s dome was being completed was crucial to Alberti’s subsequent career in visual culture.  In telling this story, Trachtenberg rewrites the history of medieval and Renaissance architecture in Italy and recasts the turn to modernity in new terms. Recovering this lost element allows us also to see the present in a new way: temporality is not a neutral or secondary factor in modern architecture culture, but an epistemic condition that silently affects all production and experience of the built environment.

A MOST HAVE FOR THE ART HISTORIAN!

Dopo la pubblicazione del primo tomo, che raccoglie il patrimonio architettonico e artistico del Fondo Edifici di Culto di 129 luoghi di culto presenti in Piemonte, Veneto, Liguria, Emilia Romagna, Toscana, Marche, Umbria e Abruzzo, L' ERMA in collaborazione con il Ministero dell' Interno prosegue l' opera con il secondo tomo che conterrà il patrimonio artistico-culturale di Roma e del Lazio. Gli edifici di culto raccolti in questo secondo tomo sono 191 di cui 120 sul territorio laziale e 71 nella capitale. Tra i più importanti edifici a Roma ricordiamo Sant' Andrea al Quirinale, Sant' Andrea della Valle, Santa Croce in Gerusalemme, la Basilica di SS. Giovanni e Paolo al Celio, Santa Maria del Popolo, Santa Maria in Aracoeli al Campidoglio, senza però tralasciare tutti gli altri edifici di culto con i loro relativi patrimoni artistici presenti sul territorio romano e laziale.

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Il Corpus Del Fondo Edifici Di Culto è una prestigiosa enciclopedia costituita da 4 volumi, di assoluto valore scientifico in cui saranno illustrati, attraverso delle schede e per mezzo di foto a colori di alta qualità, tutti gli edifici di culto facenti parte del patrimonio del Fondo Edifici di Culto del Ministero dell' Interno e tutto il patrimonio artistico-culturale in essi contenuti; il patrimonio del F.E.C., è costituito da oltre 730 edifici di culto di grandissimo pregio storico, architettonico, artistico e culturale, dislocati su tutto il territorio nazionale aperti al pubblico e concessi in uso gratuito all'Autorità Ecclesiastica ma gestiti dal Fondo Edifici di Culto, amministrato dalla Direzione Centrale per l' amministrazione del Fondo Edifici di Culto del Ministero dell' Interno. L' importanza dell' opera sarà messa in risalto dalla elegante veste editoriale dei 4 lussuosi volumi imperdibili per gli studiosi del settore ed i collezionisti.