Renaissance jewels are among the most alluring manifestations of an age that experienced the widening of horizons, from the Old World to the New. This volume overflows with luxurious imagery expressing the boundless creativity and spirit of the Age of the Renaissance. Yvonne Hackenbroch relates the tales of the jewels, the artists, and the patrons who commissioned them.

Betrifft die Handschrift Cod. 200 der Burgerbibliothek Bern (S. 34).

Original essays by leading scholars on the significance of accessories in the cultural, social, and political lives of men and women in the Renaissance

Memling, Van Eyck, Antonello da Messina, Raphael, Holbein, Titian, Leonardo . . . these are the greatest names of the Renaissance which symbolize the ultimate in artistic achievement. Now their work is reproduced in this spectacular, luxury volume printed on cotton paper and exquisitely presented in a brown and turquoise linen case. Whether Italian, Flemish, or German, all were masters of the portrait, a style that was popular and much appreciated during the fifteenth and sixteenth centuries. The genius of these artists allowed them to overcome the limits of the genre and inscribe the art of portraiture into the universal history of mankind. Sharply focused and featuring meticulously researched illustrations, this beautiful book is the first of its kind to shed light on some of the most familiar images in art history. 70 illustrations

Drawing on the popular jewellery collection at the Victoria and Albert Museum, 'Jewels & Jewellery' explores every aspect of this fascinating subject within a broad historical framework. Famous pieces are highlighted in special features.

Today we associate the Renaissance with painting, sculpture, and architecture—the “major” arts. Yet contemporaries often held the “minor” arts—gem-studded goldwork, richly embellished armor, splendid tapestries and embroideries, music, and ephemeral multi-media spectacles—in much higher esteem. Isabella d’Este, Marchesa of Mantua, was typical of the Italian nobility: she bequeathed to her children precious stone vases mounted in gold, engraved gems, ivories, and antique bronzes and marbles; her favorite ladies-in-waiting, by contrast, received mere paintings. Renaissance patrons and observers extolled finely wrought luxury artifacts for their exquisite craftsmanship and the symbolic capital of their components; paintings and sculptures in modest materials, although discussed by some literati, were of lesser consequence. This book endeavors to return to the mainstream material long marginalized as a result of historical and ideological biases of the intervening centuries. The author analyzes how luxury arts went from being lofty markers of ascendancy and discernment in the Renaissance to being dismissed as “decorative” or “minor” arts—extravagant trinkets of the rich unworthy of the status of Art. Then, by re-examining the objects themselves and their uses in their day, she shows how sumptuous creations constructed the world and taste of Renaissance women and men.

"Many famous artworks of the Italian Renaissance were made to celebrate love, marriage, and family. They were the pinnacles of a tradition, dating from early in the era, of commemorating betrothals, marriages, and the birth of children by commissioning extraordinary objects - maiolica, glassware, jewels, textiles, paintings - that were often also exchanged as gifts. This volume is the first comprehensive survey of artworks arising from Renaissance rituals of love and marriage and makes a major contribution to our understanding of Renaissance art in its broader cultural context. The impressive range of works gathered in these pages extends from birth trays painted in the early fifteenth century to large canvases on mythological themes that Titian painted in the mid-1500s. Each work of art would have been recognized by contemporary viewers for its prescribed function within the private, domestic domain."--BOOK JACKET.

An exquisite look into the art of fine jewelry making, through the eyes of famed designer Temple St. Clair A Southern girl with a nomadic spirit and a voracious appetite for history and culture, Temple St. Clair grew up spending summer vacations in Morocco and Bavaria, studied at an international boarding school in Switzerland, and went night diving in Honduras with the son of Jacques Cousteau. In her early twenties, St. Clair landed in Florence, where she completed a master's in Italian literature. In fact, she had no exposure to jewelry making until her visiting mother bought an ancient coin and asked St. Clair to commission a local goldsmith to make a piece of jewelry around it. Armed with the coin and a sketch, St. Clair entered the ancient Palazzo dell'Orafo of Florentine goldsmiths, where she first discovered the centuries-old art of fine Italian jewelry making. Inspired by the distinctive craftsmanship, St. Clair continued to work with artisans to bring her designs to life. A new world soon began to open up to her—a world that engaged her multicultural education, vast experiences, and rich curiosity; a world that awarded her with a new identity as "an amateur anthropologist, a hopeless hunter and gatherer, a bit of a wanderer, and a self-made jewelry historian who loves to dream and draw." With an artist's eye for detail and an unwavering esteem for the historic, St. Clair creates one-of-a-kind pieces that combine ancient influences with traditional craftsmanship and contemporary flair. In Alchemy, she takes readers on an idiosyncratic excursion into the intricate history and craft of jewelry making—from the ancient origins of talismans and charms, to the complicated pursuit of the perfect gemstone—all through the lens of her own fascinating experiences. The result is a mesmerizing and visually stunning book that will appeal to jewelry lovers, artistic dreamers, and anyone who suffers from wanderlust.