Confraternities were - and are - religious brotherhoods for lay people to promote their religious life in common. Though designed to prepare for the afterlife, they were fully involved in the social, political and cultural life of the community and could affect all men and women, as members or as the recipients of charity. Confraternities organised a great range of devotional, cultural and indeed artistic activities in addition to other functions such as the provision of dowries and the escort of condemned men to the scaffold. Other works have studied the local activities of specific confraternities, but this is the first to attempt a broad survey of such organisations across the breadth of early modern Italy. Christopher Black demonstrates clearly the extent, diversity and influence of confraternal behaviour, and shows how such brotherhoods adapted to the religious and social crises of the sixteenth century - thus illuminating current debates about Catholic Reform, the Counter-Reformation, poverty, philanthropy and social control.

Confraternities were - and are - religious brotherhoods for lay people to promote their religious life in common. Though designed to prepare for the afterlife, they were fully involved in the social, political and cultural life of the community and could affect all men and women, as members or as the recipients of charity. Confraternities organised a great range of devotional, cultural and indeed artistic activities in addition to other functions such as the provision of dowries and the escort of condemned men to the scaffold. Other works have studied the local activities of specific confraternities, but this is the first to attempt a broad survey of such organisations across the breadth of early modern Italy. Christopher Black demonstrates clearly the extent, diversity and influence of confraternal behaviour, and shows how such brotherhoods adapted to the religious and social crises of the sixteenth century - thus illuminating current debates about Catholic Reform, the Counter-Reformation, poverty, philanthropy and social control.

This interdisciplinary volume gathers essays by leading international scholars in the fields of Italian Renaissance literature, music, history and history of art to address the fertile question of the relationship between religious change and shifting cultural forms in sixteenth-century Italy. Each contribution examines the effects of the profound religious changes that took place in the period on cultural forms, seeking to establish an 'aesthetics of reform' for the sixteenth century.

The sixteenth century was a period of tumultuous religious change in Italy as in Europe as a whole, a period when movements for both reform and counter-reform reflected and affected shifting religious sensibilities. Cinquecento culture was profoundly shaped by these religious currents, from the reform poetry of the 1530s and early 1540s, to the efforts of Tridentine theologians later in the century to renew Catholic orthodoxy across cultural life. This interdisciplinary volume offers a carefully balanced collection of essays by leading international scholars in the fields of Italian Renaissance literature, music, history and history of art, addressing the fertile question of the relationship between religious change and shifting cultural forms in sixteenth-century Italy. The contributors to this volume are throughout concerned to demonstrate how a full understanding of Cinquecento religious culture might be found as much in the details of the relationship between cultural and religious developments, as in any grand narrative of the period. The essays range from the art of Cosimo I's Florence, to the music of the Confraternities of Rome; from the private circulation of religious literature in manuscript form, to the public performances of musical laude in Florence and Tuscany; from the art of Titian and Tintoretto to the religious poetry of Vittoria Colonna and Torquato Tasso. The volume speaks of a Cinquecento in which religious culture was not always at ease with itself and the broader changes around it, but was nonetheless vibrant and plural. Taken together, this new and ground-breaking research makes a major contribution to the development of a more nuanced understanding of cultural responses to a crucial period of reform and counter-reform, both within Italy and beyond.

This work describes art patronage in 16th-century Italy. For example, it was the time when Julius II and Bramante embarked upon rebuilding St Peter's; Paul III commissioned Michelangelo to paint the Last Judgement; and Sixtus V and Domenico Fontana transformed the urban fabric of Rome. Other great projects included Borromeo and Pellegrino Tibaldi introducing the ideals of the Counter-Reformation in an ambitious programme of religious architecture in Milan; the centre of Venice being dramatically remodelled by the city's government and Jacopo Sansovino; wealthy Venetian patricians building beautiful villas in the Veneto from designs by Pallado, and commissioning their altarpieces and portraits from artists of the calibre of Titian and Tintoretto. At the same time, Giulio Romano built and decorated the Palazzo del Te for Federigo Gonzaga and, perhaps in the most famous partnership of all, Vasari gave visual expression to Cosimo I's ambition in an enormous programme of building and embellishment that established Florence as a centre of artistic excellence.

After the State and the Church, the most well organized membership system of medieval and early modern Europe was the confraternity. In cities, towns, and villages it would have been difficult for someone not to be a member of a confraternity, the recipient of its charity, or aware of its presence in the community. In A Companion to Medieval and Early Modern Confraternities, Konrad Eisenbichler brings together an international group of scholars to examine confraternities from various perspectives: their origins and development, their devotional practices, their charitable activities, and their contributions to literature, music, and art. The result is a picture of confraternities as important venues for the acquisition of spiritual riches, material wealth, and social capital. Contributors to this volume: Alyssa Abraham, Davide Adamoli, Christopher F. Black, Dominika Burdzy, David D’Andrea, Konrad Eisenbichler, Anna Esposito, Federica Francesconi, Marina Gazzini, Jonathan Glixon, Colm Lennon, William R. Levin, Murdo J. MacLeod, Nerida Newbigin, Dylan Reid, Gervase Rosser, Nicholas Terpstra, Paul Trio, Anne-Laure Van Bruaene, Beata Wojciechowska, and Danilo Zardin.

Twelve contributions discuss early relatives of St. Vincent DePaul and the Knights of Columbus during the Catholic and Counter-Reformation (1500 to 1650). Topics include confraternities in the context of Italian Catholic Reform; Italian youth confraternities; Jesuits and their promotion of communion; public charity; lay religiosity in Mantua; and confraternities as a venue for female activism. Annotation copyrighted by Book News, Inc., Portland, OR

Mater Misericordiae?Mother of Mercy?emerged as one of the most prolific subjects in central Italian art from the late thirteenth through the sixteenth centuries. With iconographic origins in Marian cult relics brought from Palestine to Constantinople in the fifth century, the amalgam of attributes coalesced in Armenian Cilicia then morphed as it spread to Cyprus. An early concept of Mary of Mercy?the Virgin standing with outstretched arms and a wide mantle under which kneel or stand devotees?entered the Italian peninsula at the ports of Bari and Venice during the Crusades, eventually converging in central Italy. The mendicant orders adopted the image as an easily recognizable symbol for mercy and aided in its diffusion. In this study, the author?s primary goals are to explore the iconographic origins of the Madonna della Misericordia as a devotional image by identifying and analyzing key attributes; to consider circumstances for its eventual overlapping function as a secular symbol used by lay confraternities; and to discuss its diaspora throughout the Italian peninsula, Western Europe, and eastward into Russia and Ukraine. With over 100 illustrations, the book presents an array of works of art as examples, including altarpieces, frescoes, oil paintings, manuscript illuminations, metallurgy, glazed terracotta, stained glass, architectural relief sculpture, and processional banners.

The rise of printing had major effects on culture and society in the early modern period, and the presence of this new technology—and the relatively rapid embrace of it among early modern Jews—certainly had an effect on many aspects of Jewish culture. One major change that print seems to have brought to the Jewish communities of Christian Europe, particularly in Italy, was greater interaction between Jews and Christians in the production and dissemination of books. Starting in the early sixteenth century, the locus of production for Jewish books in many places in Italy was in Christian-owned print shops, with Jews and Christians collaborating on the editorial and technical processes of book production. As this Jewish-Christian collaboration often took place under conditions of control by Christians (for example, the involvement of Christian typesetters and printers, expurgation and censorship of Hebrew texts, and state control of Hebrew printing), its study opens up an important set of questions about the role that Christians played in shaping Jewish culture. Presenting new research by an international group of scholars, this book represents a step toward a fuller understanding of Jewish book history. Individual essays focus on a range of issues related to the production and dissemination of Hebrew books as well as their audiences. Topics include the activities of scribes and printers, the creation of new types of literature and the transformation of canonical works in the era of print, the external and internal censorship of Hebrew books, and the reading interests of Jews. An introduction summarizes the state of scholarship in the field and offers an overview of the transition from manuscript to print in this period.