In this volume Giulia Zanon sheds new light on our grasp of social hierarchy and the possibilities for social mobility in pre-modern Italy. By adopting an interdisciplinary approach that combines deep archival research with a multitude of artistic and architectural artefacts, this work breaks new ground by contextualizing the part played by social relationships and the arts in publicly affirming and displaying the prestige of the middling sorts, the cittadini, in early modern Venice.

Throughout history, marriage has been used as a method of creating and strengthening bonds between elites and the societies over which they ruled. Nowhere is this more apparent than in early modern Venice, where members of the patriciate looked to marital alliances with outsider brides to help maintain their position and social distinction in a fluid society. This book explores the parameters of upward social mobility, contemporary evaluations of social status and moral behaviour, and the place of marriage and concubinage within patrician society. Drawing heavily on the records of the Avogaria di Comun, which had the task of examining the social backgrounds and moral reputations of women from outside the patriciate who wished to marry patricians, this study provides a fascinating reconstruction of Venetian society as it was seen by individuals at every level.

Situated between the patriciate and popular orders, cittadini occupied the middle-tier of Venice's tripartite social hierarchy. Unlike the nobility, the citizenry was not a closed caste, and foreign individuals not fortunate enough to be born in Venice could become naturalised citizens provided they met certain requirements. As newcomers to the city, immigrant merchant families had to acquire the material commodities necessary for everyday life. De Maria investigates important aspects of the artistic, commercial and familial activities of naturalised citizen families. Much of the documentation concerning their commercial interests, real estate development, household management, chapel decoration and confraternity affiliations has not previously been published, allowing this study to expand both the context and the interpretation of Venetian painting and architecture of the highest calibre, including the commissions to Titian, Tintoretto and Veronese.

Venice's reputation for political stability and a strong, balanced republican government holds a prominent place in European political theory. Edward Muir traces the origins and development of this reputation, paying particular attention to the sixteenth century, when civic ritual in Venice reached its peak. He shows how the ritualization of society and politics was an important reason for Venice's stability. Influenced in part by cultural anthropology, he establishes and applies to Venice a new methodology for the historical study of civic ritual.

"As the sixteenth century opened, members of the patriciate were increasingly withdrawing from trade, desiring to be seen as "gentlemen in fact" as well as "gentlemen in name." The author considers why this was so and explores such wide-ranging themes as attitudes toward wealth and display, the articulation of family identity, the interplay between the public and the private, and the emergence of characteristically Venetian decorative practices and styles of art and architecture. Brown focuses new light on the visual culture of Venetian women - how they lived within, furnished, and decorated their homes; what spaces were allotted to them; what their roles and domestic tasks were; how they dressed; how they raised their children; and how they entertained. Bringing together both high arts and low, the book examines all aspects of Renaissance material culture."--BOOK JACKET.

Norbert Huse and Wolfgang Wolters provide the first contemporary single-volume survey of the three arts of Venice -- painting, sculpture, and architecture. They offer an important counterbalance to the traditional orientation toward painting as the city's preeminent art by focusing on architecture as the essential Venetian artistic medium. In the process, they define the distinctly Venetian terms by which the city and culture should be understood. Huse and Wolters begin their study with 1460, when Venice was one of the key powers of Italy, and end their discussion with the death of Tintoretto in 1594, a period of waning international power. Wolfgang Wolters outlines the city's development and present a typological survey of Venetian architecture. A review of sculptors and their works follows. Norbert Huse opens the next section, on painting, by describing the changed situation of painters at the end of the fifteenth century. He explores the different forms and functions of Venetian paintings in three distinct periods. With over three hundred illustrations and an exhaustive bibliography, this volume successfully fills a gap in art historical scholarship. -- From publisher's description.

Venice's Secret Service is the untold and arresting story of the world's earliest centrally-organised state intelligence service. Long before the inception of SIS and the CIA, in the period of the Renaissance, the Republic of Venice had masterminded a remarkable centrally-organised state intelligence organisation that played a pivotal role in the defence of the Venetian empire. Housed in the imposing Doge's Palace and under the direction of the Council of Ten, the notorious governmental committee that acted as Venice's spy chiefs, this 'proto-modern' organisation served prominent intelligence functions including operations (intelligence and covert action), analysis, cryptography and steganography, cryptanalysis, and even the development of lethal substances. Official informants and amateur spies were shipped across Europe, Anatolia, and Northern Africa, conducting Venice's stealthy intelligence operations. Revealing a plethora of secrets, their keepers, and their seekers, Venice's Secret Service explores the social and managerial processes that enabled their existence and that furnished the foundation for an extraordinary intelligence organisation created by one of the early modern world's most cosmopolitan states.

This book offers an overview of all facets of musical life in sixteenth-century Venice. It addresses the city’s institutions (churches, confraternities, and academies) against the background of public and private occasions of music making. Supported by a generous collection of archival, literary, and iconographical sources, it treats both ceremonial life in the Serenissima and private forms of patronage. The Companion also addresses the dense web of musical activity (from chapel masters and singers to instrumentalists and instrument makers to music printers and theorists) and the rich variety of styles and musical genres (the frottola, the madrigal, motets and masses, instrumental music, polychoral music, Venetian-language polyphony), broadening the geographical perspective beyond the Veneto to Istria and Dalmatia. Contributors are Rodolfo Baroncini, Sherri Bishop, Bonnie J. Blackburn, David Bryant, Ivano Cavallini, Paolo Da Col, Daniel Donnelly, Rebecca Edwards, Iain Fenlon, Jonathan Glixon, Don Harrán (†), Jeffrey Kurtzman, Giulio M. Ongaro, Francesco Passadore, Elena Quaranta, Katelijne Schiltz, Eleanor Selfridge-Field, and Giovanni Zanovello.