In 1600 Rome was the center of the artistic world. This fascinating book offers a new look at the art and architecture of the great Baroque city at this time of major innovation--especially in painting, largely owing to the presence of Annibale Carracci (1560-1609) and Caravaggio (1571-1610). Rome was a magnet for artists and architects from all over Europe; they came to study the remains of antiquity and the works of Michelangelo, Raphael, and Bramante. The sheer variety of artists working in the city ensured a diversity of styles and innovative cross-influences. Moreover, 1600 was a Jubilee year, offering numerous opportunities for artistic patronage, whether in major projects like St. Peter's, or in lesser schemes such as the restoration of older churches. Clare Robertson examines these developments as well as the patronage of the pope and of major Roman families, drawing on a range of contemporary sources and images to reconstruct a snapshot of Rome at this thrilling time.

The first inter-disciplinary study to examine the construction and development of the world's first cathedral from its origins to 1600.

This book builds upon research on the role of Catholicism in creating and strengthening a global Irish identity, complementing existing scholarship by adding a ‘Roman perspective’. It assesses the direct agency of the Holy See, its role in the Irish collective imagination, and the extent and limitations of Irish influence over the Holy See’s policies and decisions. Revealing the centrality of the Holy See in the development of a series of missionary connections across the Atlantic world and Rome, the chapters in this collection consider the formation, causes and consequences of these networks both in Ireland and abroad. The book offers a long durée perspective, covering both the early modern and modern periods, to show how Irish Catholicism expanded across continental Europe and over the Atlantic across three centuries. It also offers new insights into the history of Irish migration, exploring the position of the Irish Catholic clergy in Atlantic communities of Irish migrants.

Werner Herzog's 2011 film Cave of Forgotten Dreams, about the painted caves at Chauvet, France brought a glimpse of Europe's extraordinary prehistory to a popular audience. But paleolithic cave paintings, stunning as they are, form just a part of a story that begins with the arrival of the first humans to Europe 1.3 million years ago, and culminates in the achievements of Greece and Rome. In Europe before Rome, T. Douglas Price takes readers on a guided tour through dozens of the most important prehistoric sites on the continent, from very recent discoveries to some of the most famous and puzzling places in the world, like Chauvet, Stonehenge, and Knossos. This volume focuses on more than 60 sites, organized chronologically according to their archaeological time period and accompanied by 200 illustrations, including numerous color photographs, maps, and drawings. Our understanding of prehistoric European archaeology has been almost completely rewritten in the last 25 years with a series of major findings from virtually every time period, such as Ötzi the Iceman, the discoveries at Atapuerca, and evidence of a much earlier eruption at Mt. Vesuvius. Many of the sites explored in the book offer the earliest European evidence we have of the typical features of human society--tool making, hunting, cooking, burial practices, agriculture, and warfare. Introductory prologues to each chapter provide context for the wider changes in human behavior and society in the time period, while the author's concluding remarks offer expert reflections on the enduring significance of these places. Tracing the evolution of human society in Europe across more than a million years, Europe before Rome gives readers a vivid portrait of life for prehistoric man and woman.

A social history of reception, this study focuses on sacred art and Catholicism in Rome during the late sixteenth and seventeenth centuries. The five altarpieces examined here were painted by artists who are admired today - Caravaggio, Guercino, and Guido Reni - and by the less renowned but once influential Tommaso Laureti and Andrea Commodi. By shifting attention from artistic intentionality to reception, Pamela Jones reintegrates these altarpieces into the urban fabric of early modern Rome, allowing us to see the five paintings anew through the eyes of their original audiences, both women and men, rich and poor, pious and impious. Because Italian churchmen relied, after the Council of Trent, on public altarpieces more than any other type of contemporary painting in their attempts to reform and inspire Catholic society, it is on altarpieces that Pamela Jones centers her inquiry. Through detailed study of evidence in many genres - including not only painting, prints, and art criticism, but also cheap pamphlets, drama, sermons, devotional tracts, rules of religious orders, pilgrimages, rituals, diaries, and letters - Jones shows how various beholders made meaning of the altarpieces in their aesthetic, devotional, social, and charitable dimensions. This study presents early modern Catholicism and its art in an entirely new light by addressing the responses of members of all social classes - not just elites - to art created for the public. It also provides a more accurate view of the range of religious ideas that circulated in early modern Rome by bringing to bear both officially sanctioned religious art and literature and unauthorized but widely disseminated cheap pamphlets and prints that were published without the mandatory religious permission. On this basis, Jones helps to illuminate further the insurmountable problems churchmen faced when attempting to channel the power of sacred art to elicit orthodox responses.

A exploration of Paschal I's building campaign that illuminates the relationship between the material world and political power in medieval Rome.

Architects and artists have always acknowledged over the centuries that Rome is rightly called the 'eternal city'. Rome is eternal above all because it was always young, always 'in its prime'. Here the buildings that defined the West appeared over more than 2000 years, here the history of European architecture was written. The foundations were laid even in ancient Roman times, when the first attempts were made to design interiors and thus make space open to experience as something physical. And at that time the Roman architects also started to develop building types that are still valid today, thus creating the cornerstone of later Western architecture. In it Rome's primacy remained unbroken -- whether it was with old St Peter's as the first medieval basilica or new St. Peter's as the building in which Bramante and Michelangelo developed the High Renaissance, or with works by Bernini and Borromini whose rich and lucid spatial forms were to shape Baroque as far as Vienna, Bohemia and Lower Franconia, and also with Modern buildings, of which there are many unexpected pearls to be found in Rome. All this is comprehensible only if it is presented historically, i. e. in chronological sequence, and so the guide has not been arranged topographically as usual but chronologically.This means that one is not led in random sequence from a Baroque building to an ancient or a modern one, but the historical development is followed successively. Every epoch is preceded by an introduction that identifies its key features. This produces a continuous, lavishly illustrated history of the architecture of Rome -- and thus at the same time of the whole of the West. Practical handling is guaranteed by an alphabetical index and detailed maps, whose information does not just immediately illustrate the historical picture, but also makes it possible to choose a personal route through history.