Meredith Ray shows that women were at the vanguard of empirical culture during the Scientific Revolution. They experimented with medicine and alchemy at home and in court, debated cosmological discoveries in salons and academies, and in their writings used their knowledge of natural philosophy to argue for women’s intellectual equality to men.
During the Renaissance beauty products and herbal medicines were made in the workshops of monasteries, still rooms of homes large and small, or by alchemists in their storefronts. These arts were part of traditions handed down from Arab, Roman, Greek, and Turkish cultures. Every family had its own book of secrets (Libretti di Secreti, Tesori, Tesoretti) where they recorded successful iterations of their personal recipes for cosmetics, medicines, and household products such as dyes, candles, pesticides, etc. One example of this type of book is Caterina Sforza's alchemical, medical experiment, and recipe collection titled "Gli Experimenti de la Ex.ma S.r Caterina da Furlj Matre de lo inllux.mo S.r Giouanni de Medici", or "Gli Experimenti". In this book Gigi Coulson has translated 24 of Caterina's beauty recipes into modern English for the benefit of those wanting to try their hand at creating them in their own still rooms.
In the first major book in four decades on Caterina Sforza (1463-1509), Joyce de Vries investigates the famous noblewoman's cultural endeavors, and explores the ways in which gender, culture, and consumption practices were central to the invention of the self in early modern Italy. Sforza commissioned elaborate artistic and architectural works, participated in splendid civic and religious rituals, and collected a dazzling array of clothing, jewelry, and household goods. By engaging in these realms of cultural production, de Vries suggests, Sforza manipulated masculine and feminine norms of behavior and effectively promoted her social and political agendas. Drawing on visual evidence, inventories, letters, and contemporary texts, de Vries offers a penetrating new interpretation of women's contributions to early modern culture. She explains the correlations between prescriptive literature and women's actions and reveals the mutability of gender roles in the princely courts. De Vries's analysis of Sforza's posthumous legend suggests that what we see as "the Renaissance" was as much a historical invention as a coherent moment in historical time.
What Philippa Gregory has done for Tudor England, Jeanne Kalogridis does for Renaissance Italy. Her latest irresistible historical novel is about a countess whose passion and willfulness knew no bounds—Caterina Sforza Daughter of the Duke of Milan and wife of the conniving Count Girolamo Riario, Caterina Sforza was the bravest warrior Renaissance Italy ever knew. She ruled her own lands, fought her own battles, and openly took lovers whenever she pleased. Her remarkable tale is told by her lady-in-waiting, Dea, a woman knowledgeable in reading the "triumph cards," the predecessor of modern-day Tarot. As Dea tries to unravel the truth about her husband's murder, Caterina single-handedly holds off invaders who would steal her title and lands. However, Dea's reading of the cards reveals that Caterina cannot withstand a third and final invader—none other than Cesare Borgia, son of the corrupt Pope Alexander VI, who has an old score to settle with Caterina. Trapped inside the Fortress at Ravaldino as Borgia's cannons pound the walls, Dea reviews Caterina's scandalous past and struggles to understand their joint destiny, while Caterina valiantly tries to fight off Borgia's unconquerable army.
As portraits, private diaries, and estate inventories make clear, elite families of the Italian Renaissance were obsessed with fashion, investing as much as forty percent of their fortunes on clothing. In fact, the most elaborate outfits of the period could cost more than a good-sized farm out in the Mugello. Yet despite its prominence in both daily life and the economy, clothing has been largely overlooked in the rich historiography of Renaissance Italy. In Dressing Renaissance Florence, however, Carole Collier Frick provides the first in-depth study of the Renaissance fashion industry, focusing on Florence, a city founded on cloth, a city of wool manufacturers, finishers, and merchants, of silk dyers, brocade weavers, pearl dealers, and goldsmiths. From the artisans who designed and assembled the outfits to the families who amassed fabulous wardrobes, Frick's wide-ranging and innovative interdisciplinary history explores the social and political implications of clothing in Renaissance Italy's most style-conscious city. Frick begins with a detailed account of the industry itself -- its organization within the guild structure of the city, the specialized work done by male and female workers of differing social status, the materials used and their sources, and the garments and accessories produced. She then shows how the driving force behind the growth of the industry was the elite families of Florence, who, in order to maintain their social standing and family honor, made continuous purchases of clothing -- whether for everyday use or special occasions -- for their families and households. And she concludes with an analysis of the clothes themselves: what pieces made up an outfit; how outfits differed for men, women, and children; and what colors, fabrics, and design elements were popular. Further, and perhaps more basically, she asks how we know what we know about Renaissance fashion and looks to both Florence's sumptuary laws, which defined what could be worn on the streets, and the depiction of contemporary clothing in Florentine art for the answer. For Florence's elite, appearance and display were intimately bound up with self-identity. Dressing Renaissance Florence enables us to better understand the social and cultural milieu of Renaissance Italy.
The very name Lucrezia Borgia conjures up everything that was sinister and corrupt about the Renaissance—incest, political assassination, papal sexual abuse, poisonous intrigue, unscrupulous power grabs. Yet, as bestselling biographer Sarah Bradford reveals in this breathtaking new portrait, the truth is far more fascinating than the myth. Neither a vicious monster nor a seductive pawn, Lucrezia Borgia was a shrewd, determined woman who used her beauty and intelligence to secure a key role in the political struggles of her day. Drawing from a trove of contemporary documents and fascinating firsthand accounts, Bradford brings to life the art, the pageantry, and the dangerous politics of the Renaissance world Lucrezia Borgia helped to create.
Between her birth in 1463 as the illegitimate daughter of the Duke of Milan, to her death in 1509 as a member of the powerful Medici family, Caterina Sforza's life crossed the firmament of Italy's High Renaissance like a shooting star. In her 46 years she bore eight children and buried three husbands. She was painted by Botticelli, slandered by Machiavelli, and feted by Pope Sixtus IV. She was celebrated as a warrior who fearlessly led her own troops into battle, and ruthlessly defended her city-state of Forli, but Caterina was eventually defeated, imprisoned and raped by Cesare Borgia. Remembered as the author of a recipe book that went through more than 100 editions, Caterina was honoured at her death as 'without a doubt the first lady of Italy'. Her youngest son would become - like her - a brilliant soldier and a national hero, and the next four generations of her descendants would include two Dukes of Tuscany, a queen of France, and a queen of England.
Blending the iconoclastic feminism of The Notorious RBG and the confident irreverence of Go the F**ck to Sleep, a brazen and empowering illustrated collection that celebrates inspirational badass women throughout history, based on the popular Tumblr blog. Well-behaved women seldom make history. Good thing these women are far from well behaved . . . Illustrated in a contemporary animation style, Rejected Princesses turns the ubiquitous "pretty pink princess" stereotype portrayed in movies, and on endless toys, books, and tutus on its head, paying homage instead to an awesome collection of strong, fierce, and yes, sometimes weird, women: warrior queens, soldiers, villains, spies, revolutionaries, and more who refused to behave and meekly accept their place. An entertaining mix of biography, imagery, and humor written in a fresh, young, and riotous voice, this thoroughly researched exploration salutes these awesome women drawn from both historical and fantastical realms, including real life, literature, mythology, and folklore. Each profile features an eye-catching image of both heroic and villainous women in command from across history and around the world, from a princess-cum-pirate in fifth century Denmark, to a rebel preacher in 1630s Boston, to a bloodthirsty Hungarian countess, and a former prostitute who commanded a fleet of more than 70,000 men on China’s seas.
Absolutism in Renaissance Milan shows how authority above the law, once the preserve of pope and emperor, was claimed by the ruling Milanese dynasties, the Visconti and the Sforza, and why this privilege was finally abandoned by Francesco II Sforza (d. 1535), the last duke. As new rulers, the Visconti and the Sforza had had to impose their regime by rewarding supporters at the expense of opponents. That process required absolute power, also known as 'plenitude of power', meaning the capacity to overrule even fundamental laws and rights, including titles to property. The basis for such power reflected the changing status of Milanese rulers, first as signori and then as dukes. Contemporary lawyers, schooled in the sanctity of fundamental laws, were at first prepared to overturn established doctrines in support of the free use of absolute power: even the leading jurist of the day, Baldo degli Ubaldi (d. 1400), accepted the new teaching. However, lawyers came eventually to regret the new approach and to reassert the principle that laws could not be set aside without compelling justification. The Visconti and the Sforza too saw the dangers of absolute power: as legitimate princes they were meant to champion law and justice, not condone arbitrary acts that disregarded basic rights. Jane Black traces these developments in Milan over the course of two centuries, showing how the Visconti and Sforza regimes seized, exploited and finally relinquished absolute power.
