Although there are many books in English on the city and state of Lucca, this is the first scholarly study to cover the history of the entire region from classical antiquity to the end of the fifteenth century. At one level, it is an archive-based study of a highly distinctive political community; at another, it is designed as a contribution to current discussions on power-structures, the history of the state, and the differences between city-states and the new territorial states that were emerging in Italy by the fourteenth century. There is a rare consensus among historians on the characteristic features of the Italian city-state: essentially the centralization of economic, political, and juridical power on a single city and in a single ruling class. Thus defined, Lucca retained the image of an old-fashioned, old-style city-republic right through until the loss of political independence in 1799. No consensus exists with regard to the defining qualities of the Renaissance state. Was it centralized or de-centralized; intrusive or non-interventionist? The new regional states were all these things. And the comparison with Lucca is complicated and nuanced as a result. Lucca ruled over a relatively large city territory, in part a legacy from classical antiquity. Lucca was distinctive in the pervasive power exercised over its territory (largely a legacy of the region's political history in the early and central middle ages). In consequence, the Lucchese state showed a marked continuity in its political organization, and precociousness in its administrative structures. The qualifications relate to practicalities and resources. The coercive powers and bureaucratic aspirations of any medieval state were distinctly limited, whilst Lucca's capacity for independent action was increasingly circumscribed by the proximity (and territorial enclaves) of more powerful and predatory neighbours.

This volume brings together a series of studies by Professor Blomquist on the evolution of banking in Lucca from the 12th and 13th centuries. They describe how the leading bankers operated, how they invested, and how they pursued their family interests. In particular, they trace the transformation of money changers, or campsores, into deposit and transfer bankers, who deployed their capital in trading ventures as well as in banking. Moreover, the author shows how Lucchese merchant-bankers expanded their operations from Italy, first to the fairs of Champagne and ultimately to all of Europe's major commercial centres. Special attention is given to the use of the exchange contract, or cambium, as an instrument of credit and of transfer. Problems of coinage and foreign exchange are also treated extensively, including the origins of the Tuscan grossi and the Lucchese gold groat. The collection concludes with a study of the cloth trade and another concerning the first consuls in Lucca.

The study of music from the early Middle Ages to end of the seventeenth century.

What does it mean--and what might it yet come to mean--to write "history" in the twenty-first century? History After Hobsbawm brings together leading historians from across the globe to ask what being an historian should mean in their particular fields of study. Taking their cue from one of the previous century's greatest historians, Eric Hobsbawm, and his interests across many periods and places, the essays approach their subjects with an underlying sense of what role an historian might seek to play, and attempt to help twenty-first-century society understand "how we got here" They present new work in their sub-fields but also point to how their specialisms are developing, how they might further grow in the future, and how different areas of focus might speak to the larger challenges of history--both for the discipline itself and for its relationship to other fields of academic inquiry. Like Hobsbawn, the authors in this collection know that history matters. They speak to both the past and the present and, in so doing, introduce some of the most exciting new lines of research in a broad array of subjects from the medieval period to the present.

This volume offers unparalleled coverage of all aspects of art and architecture from medieval Western Europe, from the 6th century to the early 16th century. Drawing upon the expansive scholarship in the celebrated 'Grove Dictionary of Art' and adding hundreds of new entries, it offers students, researchers and the general public a reliable, up-to-date, and convenient resource covering this field of major importance in the development of Western history and international art and architecture.

The Mediterranean has always attracted the imagination of modern historians as the epicentre of great political entities, such as the Egyptians, Greeks, Romans, Arabs, Ottomans, Venetians, and Spanish. However, it seems that the sea itself was always on the margins of historical inquiry – at least, until the publication of the famous two-volume work by F. Braudel in 1949. This collection of essays aims to offer a vertical history of war in the Mediterranean Sea, from the early Middle Ages to the early modernity, putting the emphasis on the changing face of several different aspects and contexts of war over time. Contributors are Stephen Bennett, Stathis Birtachas, Cornel Bontea, Wayne H. Bowen, Lilia Campana, Raffaele D’Amato, Elina Gugliuzzo, Nikolaos Kanellopoulos, Savvas Kyriakides, Tilemachos Lounghis, Alan V. Murray, Chrysovalantis Papadamou, Jacopo Pessina, Philip Rance, Georgios Theotokis, Iason Tzouriadis, Ian Wilson, and Aysel Yildiz.

No detailed comparison of the city-state in medieval Europe has been undertaken over the last century. Research has concentrated on the role of city-states and their republican polities as harbingers of the modern state, or else on their artistic and cultural achievements, above all in Italy. Much less attention has been devoted to the cities' territorial expansion: why, how, and with what consequences cities in the urban belt, stretching from central and northern Italy over the Alps to Switzerland, Germany, and the Low Countries, succeeded (or failed) in constructing sovereign polities, with or without dependent territories. Tom Scott goes beyond the customary focus on the leading Italian city-states to include, for the first time, detailed coverage of the Swiss city-states and the imperial cities of Germany. He criticizes current typologies of the city-state in Europe advanced by political and social scientists to suggest that the city-state was not a spent force in early modern Europe, but rather survived by transformation and adaption. He puts forward instead a typology which embraces both time and space by arguing for a regional framework for analysis which does not treat city-states in isolation, but within a wider geopolitical setting.

Holy Treasure and Sacred Song explores the complex interplay between relic cults and the liturgy in medieval Tuscany. Drawing on documentary, literary and visual evidence rarely considered together, it reveals that liturgical texts, music, and ritual were integral to the clergy's well-informed promotion of saints buried in their churches.

Demonstrates how food-growing gardens in early medieval cities transformed Roman ideas and economic structures into new, medieval values.

These volumes propose a renewed way of framing the debate around the history of medieval art and architecture to highlight the multiple roles played by women. Today’s standard division of artist from patron is not seen in medieval inscriptions—on paintings, metalwork, embroideries, or buildings—where the most common verb is 'made' (fecit). At times this denotes the individual whose hands produced the work, but it can equally refer to the person whose donation made the undertaking possible. Here twenty-four scholars examine secular and religious art from across medieval Europe to demonstrate that a range of studies is of interest not just for a particular time and place but because, from this range, overall conclusions can be drawn for the question of medieval art history as a whole. Contributors are Mickey Abel, Glaire D. Anderson, Jane L. Carroll, Nicola Coldstream, María Elena Díez Jorge, Jaroslav Folda, Alexandra Gajewski, Loveday Lewes Gee, Melissa R. Katz, Katrin Kogman-Appel, Pierre Alain Mariaux, Therese Martin, Eileen McKiernan González, Rachel Moss, Jenifer Ní Ghrádaigh, Felipe Pereda, Annie Renoux, Ana Maria S. A. Rodrigues, Jane Tibbetts Schulenburg, Stefanie Seeberg, Miriam Shadis, Ellen Shortell, Loretta Vandi, and Nancy L. Wicker.