Castiglione’s Book of the Courtier (Il libro del cortegiano, 1528), a dialogue in which the interlocutors attempt to describe the perfect courtier, was one of the most influential books of the Renaissance. In recent decades a number of postmodern readings of this work have appeared, emphasizing what is often characterized as the playful indeterminacy of the text, and seeking to detect inconsistencies which are interpreted as signs of anxiety or bad faith in its presentation. In contrast to these postmodern readings, the present study conducts an experiment. What understanding does one gain of Castiglione’s book if one attempts an early modern reading? The author approaches The Book of the Courtier as a text in which some of its most important aspects are intentionally concealed and veiled in allegory. W.R. Albury argues that this early modern reading of The Book of the Courtier enables us to recover a serious political message which has a great deal of contemporary relevance and which is lost from sight when the work is approached primarily as a courtly etiquette book, or as a lament for the lost influence of the aristocracy in an age when autocratic nation-states were coming into being, or as an impersonal textual field upon which a free play of transformations and deconstructions may be performed.

In some 750 alphabetical entries the internationally eminent Renaissance scholar John Hale and his team of thirty distinguished co-authors cover every aspect of history and culture. There is a wealth of entries dealing with general themes, from history to humor, patronage to prostitution, technology to town planning, as well as the important names in music, art, science, literature, scholarship, politics and religion, towns and states, wars and treaties. A subject-listing of all the entries -- biographies as well as general themes -- combines with intelligent, clear cross-referencing, and essential further reading is listed within entries. Relevant illustration, clear maps, family trees, tables of succession graphically displayed in a single time chart, and a glossary of Italian terms complete the supporting apparatus of this brilliant reference work. -- From publisher's description.

This fourth edition of Sir John Hale’s classic history of England and the Italian Renaissance includes a detailed introduction by Edward Chaney surveying scholarly developments since the book was first published. Fourth edition of Sir John Hale’s classic history of England and the Italian Renaissance, first published in 1954. The book’s focus on fundamental issues and basis in little-read primary sources ensures that it endures as an important contribution to historical scholarship. Clear, chronological narrative, beautifully written. Provides essential understanding of the period, illuminating both British and Italian cultural history. The fourth edition includes a new introduction by Edward Chaney who is an expert on Anglo-Italian cultural relations. Chaney surveys the scholarship of the last 50 years and supplies an up-to-date bibliography.

The Concise Encyclopedia Of World History Offers The Global Reading Public, Students, And Professors A Handy, Complete, And Accurate Guide To All Political Formations Since The Beginning Of History. It Reaches Into Pre-History Through The Inclusion Of The Important Families Of Languages Spoken Today. It Also Tracks Ethnic Groups, Especially Nomadic, Which Have Been Influential In The Creation Of Civilizations And States. The Entries On Existing Independent States Include Up-To-Date Political Facts And Statistics. They Mention Each Country S World Heritage Sites. To Complement The Individual Entries In This Encyclopedia, There Is An Extensive, Commentated World-Historical Chronology. A Special Feature In This Work Is The Inclusion Of Individual Political Chronologies For Ancient Civilizations And Important Countries And Regions The World Over. To Round Out This Easy-To-Consult And Thoroughly Researched Work, There Is A Cross-Referenced Index Especially Designed For Provinces, Cities, And Other Entities Which Have No Entries Of Their Own But Appear In The Entries, Sometimes Prominently, As, For Example, Abu Dhabi In The United Arab Emirates Or Amritsar In India.

Traces the history of Italy from the Roman Empire to the present, and examines the connections between Italian society, politics, and culture.

Palaces, villas and churches. These were the highlights of my first visit to Italy. I took a lot of photos and looked forward to sharing them with friends and family. Back home, though, I found that I didn’t recall much about the places that impressed me. Although I had the benefit of a half-day guide in Rome, Florence and Venice, I sometimes had difficulty hearing what was said on crowded streets and busy interiors. The guides were capable but had only enough time to mention a few major features. As a rule, they skimped on actually describing buildings that intrigued me. And so they were not especially helpful in providing the insights I wanted. Upon my return, I found myself wondering: Where did the architects actually find their ideas? What did they want to accomplish? And what do their choices tell us about their time? My sojourn in Italy would have been more satisfying if I had come away with a fuller account of what I had seen. What I most needed was context. This book supplies that context. Contemplation of antiquity and the exchange of views among architects released a surge of intellectual energy not seen for a millennium, a development that would never have happened so quickly were it not for Johannes Gutenberg’s invention of printing with movable type. This development, in turn, led to architects’ heightened self-awareness of their collective enterprise. They read what their fellow architects wrote and thereby gained in sophistication. They were no longer merely masons. They became architects in the modern sense. They took pride in their achievements and shared a conviction that the visual culture they created was far superior to that of the previous thousand years. Their embrace of classical civilisation had a visceral urgency. Rome, after all, was a culture with a storied past, peopled by larger-than-life figures. To learn what the ancients had created in word or stone could supply a shortcut to wisdom. And emulating the Romans would provide new models of aesthetic excellence. This endeavour became known as the Renaissance, or rebirth. The Reformation, however, changed everything. Martin Luther brought to issue a quandary: How exactly was Christianity to be reconciled with the pagan past, if at all? Could one source of inspiration be sustained without compromising the other? Religious reform questioned the aesthetic achievements of the previous hundred years. The story of Renaissance architecture represents the effort to find an accommodation.

"Thus spoke Pope Paul III on learning that Cellini had murdered a fellow artist, so great was Cellini's reputation in Renaissance Italy. A renowned sculptor and goldsmith, whose works include the famous salt-cellar made for the King of France, and the statue of Perseus with the head of the Medusa, Cellini's life was as vivid and enthralling as his creations.

It is almost impossible to think about Italy without recalling its Renaissance art masterpieces, its spectacular landscapes, or its widely loved cuisine. Although these combined elements hint at a united Italian culture, Italy is truly a country comprised of individual regions, each with their own identities, histories, and traditions. Readers will follow Italy’s trajectory from a land of disparate barbarian kingdoms to a republic, discovering along the way the glories of the Medici period, the factors influencing Italy’s development into one of the world’s most industrialized countries, and the diverse society that makes up its population.

In the first book of its kind, art information expert Lois Swan Jones discusses how to locate visual and textual information on the Internet and how to evaluate and supplement that information with material from other formats--print sources, CD-ROMS, documentary videos, and microfiche sets--to produce excellent research results. The book is divided into three sections: Basic Information Formats; Types of Websites and How to Find Them; and How to Use Web Information. Jones discusses the strengths and limitations of Websites; scholarly and basic information resources are noted; and search strategies for finding pertinent Websites are included. Art Information and the Internet also discusses research methodology for studying art-historical styles, artists working in various media, individual works of art, and non-Western cultures--as well as art education, writing about art, problems of copyright, and issues concerning the buying and selling of art. This title will be periodically updated.