Leonardo Bruni was famous in his day as a translator, orator, and historian, and was one of the best-selling authors of the 15th century. Bruni's History of the Florentine People is generally considered the first modern work of history.
Florence in the fifteenth century was the undisputed centre of the Italian Renaissance. Its legacy is apparent today in every aspect of human endeavour. Our art and science, our learning and literature, our Christianity and our civic liberties, even our conception of what constitutes a gentleman, have all been shaped by Florentine thought and deed. In this brilliant and absorbing book Vincent Cronin brings vividly to life the people and myriad achievements of this astonishingly fruitful epoch in human history.
In his application of statistical methods to history, Mr. Molho offers a new approach to the study of Florentine politics. Scholars have long recognized that Florence's deficit-financing of its wars of independence against the Visconti of Milan had far-reaching economic, political, and social effects, but this is the first document-based history to provide concrete support for that general knowledge. Focusing on the governmental and fiscal agencies of Florence as well as a number of memoirs and account hooks written by Florentine citizens, Mr. Molho has gathered and statistically reconstructed much archival material on Florentine taxation, public income, and expenses. He concludes that between 1423 and 1433 Florence underwent a prolonged and vast fiscal crisis that affected both the fiscal structure of the city and its constitutional and institutional framework. His work thus sheds new light on Cosimo de' Medici's rise to power in 1434.
“Walker here pairs off proto-architect Filippo Brunelleschi and doormaker Lorenzo Ghiberti in an often engaging version of Quattrocento Smackdown.” —Library Journal Joining the bestsellers Longitude and Galileo’s Daughter, this is a lively and intriguing tale of two artists whose competitive spirit brought to life one of the world’s most magnificent structures and ignited the Renaissance. The dome of the Santa Maria del Fiore, the great cathedral of Florence, is among the most enduring symbols of the Renaissance, an equal to the works of Leonardo and Michelangelo. Its designer was Filippo Brunelleschi, a temperamental architect and inventor who rediscovered the techniques of mathematical perspective. Yet the completion of the dome was not Brunelleschi’s glory alone. He was forced to share the commission with his archrival, the canny and gifted sculptor Lorenzo Ghiberti. In this lush, imaginative history—a fascinating true story of artistic genius and personal triumph—Paul Robert Walker breathes life into these two talented, passionate artists and the competitive drive that united and dived them. As it illuminates fascinating individuals from Donatello and Masaccio to Cosimo de’Medici and Leon Battista Alberti, The Feud That Sparked the Renaissance offers a glorious tour of 15th-century Florence, a bustling city on the verge of greatness in a time of flourishing creativity, rivalry, and genius. “A convincing account of one of the defining moments in art and history . . . He presents the two key figures in this drama in true human proportions . . . a skillful and engrossing story.” —Kirkus Reviews “A monstrously detailed account of a fascinating period in art and architecture.” —AudioFile
A landmark, hardcover, slipcased volume that tells the story of the archetypal Renaissance city anew, through its art. Placed at the heart of Italy, Florence was already in the Middle Ages a center of commerce and fine craftsmanship. Spurred on by a few powerful dynasties of merchants and financiers—above all the Medici, but also the Strozzi, the Pitti, and others—the city became the leading force in the Renaissance of the arts, literature, and science. Challenging the primacy of the Venetian Republic and even the city of the Popes, Florence attained a glory that was reflected down through the later centuries of Medici rule. And Florence was all along a city of painters, who recorded its sights; the likenesses of its leaders and luminaries; its battles, civic myths, and patron saints; and, of course, the changing tastes of their Tuscan patrons. In this magnificent volume are assembled a wide variety of artworks, both familiar and rarely seen, that, interwoven with an authoritative text, illustrate the eventful history of Florence—from the age of Cimabue and Giotto, through the High Renaissance of Leonardo and Michelangelo, to the Mannerism of Vasari and Bronzino, and even to the era of modern travelers like Sargent and Degas. The History of Florence in Painting is a feast for the eyes and the intellect, and worthy companion to the previous volumes in this series, The History of Venice in Painting, The History of Paris in Painting, and The History of Rome in Painting.
In this history of Florence, distinguished historian John Najemy discusses all the major developments in Florentine history from 1200 to 1575. Captures Florence's transformation from a medieval commune into an aristocratic republic, territorial state, and monarchy Weaves together intellectual, cultural, social, economic, religious, and political developments Academically rigorous yet accessible and appealing to the general reader Likely to become the standard work on Renaissance Florence for years to come
A sweeping and magisterial four-hundred-year history of both the city and the people who gave birth to the Renaissance. Between the birth of Dante in 1265 and the death of Galileo in 1642, something happened that transformed the entire culture of western civilization. Painting, sculpture, and architecture would all visibly change in such a striking fashion that there could be no going back on what had taken place. Likewise, the thought and self-conception of humanity would take on a completely new aspect. Sciences would be born—or emerge in an entirely new guise. The ideas that broke this mold began, and continued to flourish, in the city of Florence in northern central Italy. These ideas, which placed an increasing emphasis on the development of our common humanity—rather than other-worldly spirituality—coalesced in what came to be known as humanism. This philosophy and its new ideas would eventually spread across Italy, yet wherever they took hold they would retain an element essential to their origin. And as they spread further across Europe, this element would remain. Transformations of human culture throughout western history have remained indelibly stamped by their origins. The Reformation would always retain something of central and northern Germany. The Industrial Revolution soon outgrew its British origins, yet also retained something of its original template. Closer to the present, the IT revolution that began in Silicon Valley remains indelibly colored by its Californian origins. Paul Strathern shows how Florence, and the Florentines themselves, played a similarly unique and transformative role in the Renaissance.
A new history of one of the foremost printers of the Renaissance explores how the Age of Print came to Italy. Lorenz Bninger offers a fresh history of the birth of print in Italy through the story of one of its most important figures, Niccol di Lorenzo della Magna. After having worked for several years for a judicial court in Florence, Niccol established his business there and published a number of influential books. Among these were Marsilio FicinoÕs De christiana religione, Leon Battista AlbertiÕs De re aedificatoria, Cristoforo LandinoÕs commentaries on DanteÕs Commedia, and Francesco BerlinghieriÕs Septe giornate della geographia. Many of these books were printed in vernacular Italian. Despite his prominence, Niccol has remained an enigma. A meticulous historical detective, Bninger pieces together the thorough portrait that scholars have been missing. In doing so, he illuminates not only NiccolÕs life but also the Italian printing revolution generally. Combining Renaissance studiesÕ traditional attention to bibliographic and textual concerns with a broader social and economic history of printing in Renaissance Italy, Bninger provides an unparalleled view of the business of printing in its earliest years. The story of Niccol di Lorenzo furnishes a host of new insights into the legal issues that printers confronted, the working conditions in printshops, and the political forces that both encouraged and constrained the publication and dissemination of texts.
The Intellectual Struggle for Florence is an analysis of the ideology that developed in Florence with the rise of the Medici, during the early fifteenth century, the period long recognized as the most formative of the early Renaissance. Instead of simply describing early Renaissance ideas, this volume attempts to relate these ideas to specific social and political conflicts of the fifteenth century, and specifically to the development of the Medici regime. It first shows how the Medici party came to be viewed as fundamentally different from their opponents, the "oligarchs," then explores the intellectual world of these oligarchs (the "traditional culture"). As political conflicts sharpened, some humanists (Leonardo Bruni and Francesco Filelfo) with close ties to oligarchy still attempted to enrich traditional culture with classical learning, while others, such as Niccolo Niccoli and Poggio Bracciolini, rejected tradition outright and created a new ideology for the Medici party. What is striking is the extent to which Niccoli and Poggio were able to turn a Latin or classical culture into a "popular culture," and how the culture of the vernacular remained traditional and oligarchic.
To whom should we ascribe the great flowering of the arts in Renaissance Italy? Artists like Botticelli and Michelangelo? Or wealthy, discerning patrons like Cosimo de' Medici? In recent years, scholars have attributed great importance to the role played by patrons, arguing that some should even be regarded as artists in their own right. This approach receives sharp challenge in Jill Burke's Changing Patrons, a book that draws heavily upon the author's discoveries in Florentine archives, tracing the many profound transformations in patrons' relations to the visual world of fifteenth-century Florence. Looking closely at two of the city's upwardly mobile families, Burke demonstrates that they approached the visual arts from within a grid of social, political, and religious concerns. Art for them often served as a mediator of social difference and a potent means of signifying status and identity. Changing Patrons combines visual analysis with history and anthropology to propose new interpretations of the art created by, among others, Botticelli, Filippino Lippi, and Raphael. Genuinely interdisciplinary, the book also casts light on broad issues of identity, power relations, and the visual arts in Florence, the cradle of the Renaissance.